[Charles Maurice]. French dramatist, born of middle-class parents in Paris in 1859. He made his serious début as a dramatist on the little stage of the Chat Noir with Phryné (1891), a series of Greek scenes. Lysistrata, a four-act comedy, was produced at the Grand Théâtre in 1892 with Mme. Réjane in the title part. Later plays were Folle Entreprise (1894); Pension de famille (1894); Complices (1895), in collaboration with M. Groselande; Amants (1895), produced at the Renaissance theatre with Mme. Jeanne Granier as Claudine Rozeray; La Douloureuse (1897); L’Affranchie (1898); Georgette Lemeunier (1898); Le Torrent (1899), at the Comédie Française; Éducation de prince (1900); La Clairière (1900), and Oiseaux de passage (1904), in collaboration with L. Descaves; La Bascule (1901); L’Autre danger, at the Comédie Française (1902); Le Retour de Jérusalem (1903); L’Escalade (1904); and Paraître (1906). With Amants he won a great success, and the play was hailed by Jules Lemaître as the Bérénice of contemporary French drama. Very advanced ideas on the relations between the sexes dominate the whole series of plays, and the witty dialogue is written with an apparent carelessness that approximates very closely to the language of every day. He wrote several fresh plays after 1910: Le Ménage de Molière (1912); Les Éclaireuses (1913); L’Impromptu de Paquetage (1916); Le Théâtre aux armées (1916). He also published some war-time essays and addresses: La Parisienne et la Guerre (1916); Premières Impressions après (1917); Lettres à la Dame Blanche (1917); Pendant qu’ils sont à Noyon (1917); La Chasse à l’Homme (1919).
