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Relevant bibliographies by topics / Pierre Beaumarchais

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Academic literature on the topic 'Pierre Beaumarchais'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Pierre Beaumarchais"

1

Chéry, Aurore. "Beaumarchais et le théâtre politique de Louis XVI : un nouveau « Secret du roi »." Romanica Wratislaviensia 67 (July 23, 2020): 77–89. http://dx.doi.org/10.19195/0557-2665.67.6.

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Pierre Caron de Beaumarchais is well-known as a playwright and as a spy of Louis XVI. I argue here that both activities were closely associated and that the king ordered him to write literary works in order to defend his policies. I defend the hypothesis that the libretto of Thomas d’Hèles’ opera L’Amant jaloux is one of the commissioned works and that Beaumarchais hides under the pseudonym Thomas d’Hèles.

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DUNKLEY, J. "Review. OEuvres. Edition etablie par Pierre Larthomas. Beaumarchais." French Studies 44, no. 3 (July 1, 1990): 337. http://dx.doi.org/10.1093/fs/44.3.337-a.

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3

Cuillé, Tili Boon. "The Barber of Seville by Pierre-Augustin Caron de Beaumarchais, and: The Marriage of Figaro by Pierre-Augustin Caron de Beaumarchais." Theatre Journal 66, no. 4 (2014): 621–24. http://dx.doi.org/10.1353/tj.2014.0121.

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Paşca, Eugenia Maria. "Pierre-Augustin Caron de Beaumarchais—From Fail to Glory." Psychology 10, no. 08 (2019): 1176–87. http://dx.doi.org/10.4236/psych.2019.108076.

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Łukaszewicz, Justyna. "Beaumarchais traduit et adapté pour le théâtre polonais du siècle des lumières." Romanica Wratislaviensia 67 (July 23, 2020): 143–58. http://dx.doi.org/10.19195/0557-2665.67.11.

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Almost all the dramatic works by Pierre-Augustin Caron de Beaumarchais (1732–1799) have been translated and performed in Poland during his lifetime. The author of this article studies the 18th-century translations with their paratexts, comparing them with the original versions, in order to discover — among translation/adaptation procedures — traces of political, social, or cultural clashes that have marked Beaumarchais’ life work and time. The corpus includes the translation of Eugénie (1778), a translation (1780) and a rewriting (1782) of The Barber of Seville and finally the only Polish version of The Marriage of Figaro (1786) that remains of the two created at the time. From play to play, the reception of Beaumarchais in Poland is growing: the time spent between the French première and the Polish one is shortening, while the number of translations, the volume of translator paratexts and the amount of information in the media space are increasing. The Polish ver-sion of Eugénie includes the same family and social clashes as the original. In the translation of The Barber of Seville, the clashes have been slightly mitigated. In The Barber of Warsaw, a play inspired by The Barber of Seville, social satire is limited, while the character being a partial equivalent of Figaro is relegated to the rank of traditional valet. In the translation of The Marriage of Figaro, all the confrontations, including that between Figaro and the Count, have been rendered, but the scene of the trial is not as sharp as in the original and the translator has eliminated Marceline’s ‘feminist’ discourse. On the other hand, in the paratextual space of the Polish edition, there is an echo of Beau-marchais’ personal clashes.

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Arpin, Maurice. "Une prise de position : la préface du Mariage de Figaro." L’Annuaire théâtral, no. 34 (May 6, 2010): 28–44. http://dx.doi.org/10.7202/041538ar.

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La préface duMariage de Figaroconstitue un texte-clé pour une appréciation générale des talents et de la sensibilité de Beaumarchais. À l’aide de concepts inspirés de la sociologie de Pierre Bourdieu et d’une sociopoétique de la réception d’Alain Viala, l’auteur étudie ce texte comme l’expression spécifique de la position du dramaturge dans le champ littéraire. L’analyse du dialogue, des lois du genre préfaciel, des structures du champ littéraire et de l’image sociale de l’écrivain lui-même expose les rapports du texte avec les conventions linguistiques. Dès lors, au-delà des thèmes et des sujets qui y sont abordés, la préface traduit un effort de consolidation de position dans le champ de la dramaturgie.

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Giguère, Pierre. "BEAUMARCHAIS, Jean-Pierre de, COUTY, Daniel et REY, Alain. Dictionnaire des littératures de langue française. Paris, Bordas, 1984. 3 volumes (XV, 2637 p.)." Documentation et bibliothèques 31, no. 2 (1985): 74. http://dx.doi.org/10.7202/1053472ar.

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Fântână, Cristina Simionescu. "8. Gioachino Rossini, Voice Assemblies In The Opera IL Barbiere Di Siviglia." Review of Artistic Education 19, no. 1 (April 1, 2020): 58–70. http://dx.doi.org/10.2478/rae-2020-0008.

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AbstractIn Naples, Gioachino Rossini creates some of his works for representations in other cities. The best known, the Barber of Seville or Useless Precaution, opened on February 20, 1816, atTeatro Argentina in Rome. The booklet, a version of Pierre de Beaumarchais’s eponymous novel, was rewritten by Cesare Sterbini, being a variant other than that already used by Giovanni Paisiello. Moreover, since then the work has enjoyed a great popularity, contributing to this triumph and the extremely short period in which it was conceived: two or three weeks. Later, Rossini claimed that he had created the work in just twelve days. The opening, initially bearing the title of Almaviva, was not successful, as the admirers of Paisiello, extremely indignant, sabotaged the show by whistling and shouting throughout the first act. However, shortly after the second performance, the work became so appreciated that the fame of Paisiello’s work was transferred to Rossini, the title The Barber of Seville becoming an inalienable Rossinian heritage. Il Barbiere was not Rossini’s favourite work. Ironically, it won the status of classical opera much later, at the end of the Rossini’s career. Today we clearly consider its status as the first in the history of the work, often overlooking the radical impact it had at the time of the opening, when it shocked and provoked a large audience of unknowing persons. The speed of his writing could explain the dramatic drop in intensity felt in the second half of the second act.

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9

Janek Babar, Lara. "O personagem Cherubino na opera Le Nozze de Figaro de Mozart." Música em Perspectiva 10, no. 1 (January 9, 2018). http://dx.doi.org/10.5380/mp.v10i1.57348.

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No presente artigo apresenta-se o percurso da pesquisa publicada em 2017 pela autora1 e os resultados obtidos. O trabalho, centrado no pajem da ópera de Mozart, composta em 1786 com libreto de Lorenzo Da Ponte2, reúne em quatro capítulos descrições, análises e sistematizações de dados a partir de fontes primárias e secundárias. Diversos estágios de criação e reprodução do personagem são percorridos, desde sua origem na comédia de Pierre Augustin Caron de Beaumarchais (1778), no libreto e na composição musical até em interpretações identificadas nos âmbitos da Recepção Histórica ou disponíveis em gravações.

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Dissertations / Theses on the topic "Pierre Beaumarchais"

1

Saleh, Nada. "Les didascalies dans la trilogie espagnole de Beaumarchais." Toulouse 2, 2003. http://www.theses.fr/2003TOU20035.

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Les didascalies sont souvent considérées comme une partie marginale du texte dramatique. La dialectique entre texte et représentation, autrement dit entre le pouvoir du dramaturge et celui du metteur en scène a toujours suscité une polémique assez intéressante. Les didascalies étant la partie du texte qui véhicule la mise en scène imaginée par l'auteur, l'objectif de cette recherche est de montrer, à travers l'exemple de Beaumarchais, que celles-ci revêtent une importance primordiale en fonction de l'époque, des conditions de la vie théâtrale, mais aussi des auteurs. Leur place et leur portée sont indéniables dans la trilogie espagnole du grand auteur dramatique du XVIIIe siècle. Elles sont le reflet du conflit de préséance entre le dramaturge, fondateur de la Société des Auteurs dramatiques, et les comédiens ou responsables de l'effectuation scénique avant l'invention de la mise en scène. L'étude du contexte historique et esthétique s'impose pour montrer les influences qu'a subies Beaumarchais et qui ont mené à l'introduction d'une écriture didascalique originale
Didascalies are often considered as a marginal part of the dramatic text. The dialectics between the text and representations, in other words, between the ability of the playwright and that of the producer, has always aroused a fairly interesting polemic. Didascalies, being that part of the text that conveys the staging imagined by the author, the object of this research is to show, through the example of Beaumarchais, that these might have a primordial importance regarding the period, the requisites of theatrical life and also the authors. Their place and their scope are undeniable in the Spanish Trilogy of this great author of the XVIIIth century. They are the reflection of the conflict of precedence between the dramatist, promoter of the Society of Dramatic Authors, and the comedians or responsibles of the scenic execution before the invention of staging. The study of the historical and aesthetic context is essential to show the influences that Beaumarchais had to come under and which have led to the introduction of a genuine didascalic writing

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2

Obitz-Lumbroso, Bénédicte. "Beaumarchais en toutes lettres : identités d'un épistolier." Thesis, Orléans, 2010. http://www.theses.fr/2010ORLE1106.

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Si la correspondance de Beaumarchais a suscité de nombreuses éditions thématiques, rares ont été les tentatives d’en donner une vision d’ensemble. Ce travail se veut donc d’abord la constitution d’un corpus de presque 1 500 lettres, éparpillées depuis le XVIIIe siècle au gré des publications et pour la première fois inventoriées. Retrouver des lettres oubliées, les réunir avec un souci d’exhaustivité, les présenter dans leur succession chronologique, telle a été notre première tâche. À ce travail quantitatif, s’est ajouté un second, d’ordre taxinomique. Il s’est alors agi d’organiser et classer cet ensemble selon les critères du genre épistolaire : destinataires, visées, types de lettres. Toutefois, cette seule entreprise de compilation ne saurait suffire ; il faut aussi comprendre ces lettres. Pour cela, elles ont été replacées dans leurs contextes, relationnel R saisir les situations d’échanges entre les correspondants R, historique R distinguer l’arrière-plan que constituent les événements majeurs de l’époque R, culturel R mesurer les valeurs, les modèles de pensée, les normes esthétiques qui les déterminent. À partir de ces fondations, reste à bâtir une interprétation de cette correspondance. Peut-elle constituer une clé pour mieux comprendre la vie et l’oeuvre de Beaumarchais ? Oui, en choisissant comme fil rouge de cette lecture la problématique identitaire, question essentielle du genre épistolaire, problème épineux de l’existence de Beaumarchais, interrogation récurrente de son oeuvre. L’intérêt de sa correspondance est donc d’abord biographique, concernant ce « vrai volcan d’activités », cet homme aux mille métiers et talents, qui utilise la lettre comme un instrument pour se faire sa place dans le monde. Il est aussi littéraire, car la lecture de ces lettres complète notre approche de l’oeuvre de Beaumarchais et de son identité d’écrivain : elle dévoile une écriture, révèle un imaginaire, fait ressortir les liens entretenus avec le théâtre et les mémoires
If Beaumarchais' correspondence was published in many thematic editions, attempts to give a full vision of it have been rare. This work first aims at constituting a corpus of almost 1,500 letters, that were scattered in various publications since the 18th c. and are here listed for the first time. Our first task was to find forgotten letters, to assemble them thoroughly, and to present them in their chronological order. This quantitative undertaking was completed by a taxonomic operation. Indeed, we had to organize and classify the letters according to the criteria of the epistolary genre: addressees, aims, types of letters. However, solely gathering letters together is not enough, one also has to understand them. To do so, they were set back in their context: interpersonal R grasping the circumstances of the exchanges between the correspondents, historical R perceiving the background that the major events of the time constituted, and cultural R measuring the values, the ways of thinking, the aesthetic norms that determine them. We finally have to interpret this correspondence. Could it be a key that would help us understand Beaumarchais' life and work better? Yes, if we choose to follow the issue of the identity as a guiding thread. This question of identity is at the heart of the epistolary genre, and is also a thorny problem in Beaumarchais' life, together with being a recurring concern in his work. The interest of his correspondence is first biographical, as it is about this man of a thousand jobs and talents, who uses letters as a tool to make his place in the society. It is also a literary interest, since reading these letters completes our understanding of Beaumarchais' work and identity as a writer: it unveils a writing, reveals his vision of the world, and puts into light the connections between his correspondence, his theatre and his pamphlets

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Higgins, William Ladd. "The Ghosts of Versailles : a character study of the opera by John Corigliano and William M. Hoffman /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1995.

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4

Bressan, Sulivan Antonio. "Drama em pauta: Beaumarchais e Lorenzo da Ponte, um estudo intertextual de Fígaro." Pontifícia Universidade Católica do Rio Grande do Sul, 2008. http://hdl.handle.net/10923/4127.

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The intertextual relations between the play “The Marriage of Figaro”, written by Pierre Augustin Caron de Beaumarchais in 1784 and the homonymous opera composed by Wolfgang Amadeus Mozart two years afterwards under the adaptation of Lorenzo da Ponte. The work is divided into three parts called “acts”. The author tries to demonstrate that the censorship, instead of suffocating the creative talent, stimulates him to seek ways to evade it. Even though in the adaptation Lorenzo da Ponte deleted the parts which were more offensive to the nobility, he maintained the subversive character of Beaumarchais’ work; and Mozart, contradicting many people’s beliefs, was not ignorant neither indifferent towards the meaning of his operas. The relations between music and literature, based on Lorenzo da Ponte’s libretto and Mozart’s music, are also analyzed.
As relações intertextuais entre a peça “As bodas de Fígaro”, escrita por Pierre Augustin Caron de Beaumarchais, em 1784, e a ópera homônima composta por Wolfgang Amadeus Mozart, dois anos depois, sob adaptação de Lorenzo da Ponte. O trabalho está dividido em três partes, denominadas de “atos”. O autor procura demonstrar que a censura, ao invés de sufocar o talento criador, apenas o incentiva a buscar meios de burlála. Lorenzo da Ponte, mesmo tendo alijado da adaptação as partes mais ofensivas à nobreza, preservou o caráter subversivo da obra de Beaumarchais; e Mozart, ao contrário do que muitos imaginam, não era ignorante, ou mesmo indiferente, ao significado de suas óperas. São analisadas também as relações entre música e literatura, com base no libreto de Lorenzo da Ponte e na música de Mozart.

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Bressan, Sulivan Antonio. "Drama em pauta : Beaumarchais e Lorenzo da Ponte, um estudo intertextual de F?garo." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2009. http://tede2.pucrs.br/tede2/handle/tede/1891.

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As rela??es intertextuais entre a pe?a As bodas de F?garo, escrita por Pierre Augustin Caron de Beaumarchais, em 1784, e a ?pera hom?nima composta por Wolfgang Amadeus Mozart, dois anos depois, sob adapta??o de Lorenzo da Ponte. O trabalho est? dividido em tr?s partes, denominadas de atos. O autor procura demonstrar que a censura, ao inv?s de sufocar o talento criador, apenas o incentiva a buscar meios de burl?la. Lorenzo da Ponte, mesmo tendo alijado da adapta??o as partes mais ofensivas ? nobreza, preservou o car?ter subversivo da obra de Beaumarchais; e Mozart, ao contr?rio do que muitos imaginam, n?o era ignorante, ou mesmo indiferente, ao significado de suas ?peras. S?o analisadas tamb?m as rela??es entre m?sica e literatura, com base no libreto de Lorenzo da Ponte e na m?sica de Mozart.

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6

Yvernault, Virginie. "Révolution et figaromania. Réception, usages et significations du théâtre de Beaumarchais (XVIIIe-XIXe siècles)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040119.

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Beaumarchais n’est pas seulement un dramaturge célèbre du XVIIIe siècle, c’est avant tout le père de Figaro, cette figure familière qui s’invite dans le débat public dès qu’il est question de liberté d’expression ou de lutte contre l’injustice. Récusant le concept de mythe, dont les études de réception sont friandes, cette étude s’interroge sur la manière dont l’usage systématique de Figaro dans des domaines extra-littéraires détermine l’ensemble du discours critique sur Beaumarchais. Aux origines de la figaromania, il y a un parcours de la subversion à l’institutionnalisation, qui s’opère à la fin du XIXe siècle, lorsque la Révolution « entre au port », avec l’avènement des républicains. Cette enquête propose donc une histoire de la réception qui puisse montrer la convergence entre les significations d’une œuvre appartenant au patrimoine national et les multiples usages et appropriations dont elle fait l’objet, envisagés dans leur diversité à l’échelle européenne
Beaumarchais is not only a famous 18th century playwright, but first and foremost the architect of Figaro; the well-known character who slides his way into the public debate as soon as liberty of expression or the fight against injustice is evoked. Challenging the idea of a myth, endorsed by other reception studies, this study analyses how the systematic use of Figaro outside the literary domain shapes the entire critical discourse on Beaumarchais. At the origins of figaromania, there is a transition from subversion to ‘institutionalisation’ at the end of the 19th century as the French Revolution came to an end, with the arrival of the Republicans. Therefore, this study proposes a historical context of the reception of Beaumarchais’ work, at the European level, that shows the convergence between the meaning of an oeuvre that belongs to the national cultural heritage and the many different roles and appropriations that this oeuvre assumes

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Furlong, Alison Marie. "Georg Wildhagen's Figaros Hochzeit: How an Italian Opera Based on a French Play Became a German Socialist Film." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1269535387.

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Ben, Lazreg Feten. "La scène de reconnaissance dans les nouveaux genres dramatiques au XVIIIe siecle, de la comédie au drame." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030016/document.

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La reconnaissance est essentiellement théorisée par Aristote à propos de la tragédie. Dans la comédie, la reconnaissance n’assume qu’un rôle accessoire. Dans ces deux genres, elle est essentiellement tributaire du dénouement. Au XVIIIe siècle, les auteurs se sont intéressés de près à ce principe dramatique auquel ils ont eu recours de manière massive dans les nouveaux genres dramatiques que le siècle a vu naître. Marivaux, Destouches, Nivelle de La Chaussée, Diderot, Mercier et Beaumarchais ont tous transposé la notion aristotélicienne de l’anagnorisis dans leurs pièces. Les écarts avec l’assise théorique qu’offre la Poétique et avec la place qu’occupe la reconnaissance dans le théâtre classique se font évidents. N’étant plus nécessairement liée au dénouement, la reconnaissance concerne, dans les comédies nouvelles, toutes les étapes de l’action. Les auteurs revendiquent le recours à ce principe dramatique, en dépit des lourds préjugés qui pèsent sur lui, et revendiquent également le pathétique en tant que nouvelle voie à explorer au théâtre. Les scènes de reconnaissance sont symptomatiques de cette volonté de dépasser la division rigoureuse des genres ; elles traduisent les nouvelles aspirations et les nouvelles voies empruntées par l’art dramatique. Elles renseignent sur le renouvellement des formes et des enjeux des nouveaux genres et incarnent le projet dramatique des Lumières qui consiste, avant tout, à créer un rapport à la fois intime et solide avec le spectateur. Désormais, c’est de l’efficacité de l’effet dramatique que dépendent le succès des nouveaux genres et la transmission efficace du message moral, philosophique et politique que les reconnaissances tentent de véhiculer
Recognition is essentially theorized by Aristotle about the tragedy. In comedy, recognition assumes only a secondary role. In both genres, it is essentially dependent on the final dénouement. In the eighteenth century, the authors have been interested in this dramatic principle which they have used massively in the new dramatic genres born in that century. Marivaux, Destouches, Nivelle de La Chaussée, Diderot, Mercier and Beaumarchais have all transposed the Aristotelian notion of anagnorisis in their plays. The differences with the theoretical basis enabled by Poetics and the place of recognition in classical theater are obvious. Being no longer necessarily linked to dénouement, recognition in the new comedies is concerned with all stages of the action. The authors claim the use of this dramatic principle despite the heavy bias against it, as well as they claim the use of the pathetic as a new way to explore drama. Recognition scenes are symptomatic of this desire to go beyond the strict division of gender, as they reflect new aspirations and new pathways for drama to explore. They provide information on the renewal of forms and new kinds of challenges facing the new genres, while embodying the Enlightenment project aiming, above all, to create a relationship that is both intimate and solid with the viewer. Now it is the efficiency of the dramatic effect that conditions the success of new genres and the efficient transmission of the moral, philosophical and political messages which recognition that tries to convey

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Lagrange, Marianne. "L’interaction entre l’opinion publique et la diplomatie françaises au moment de la guerre d’Indépendance américaine." Thèse, 2016. http://hdl.handle.net/1866/19100.

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Dès les batailles de Lexington et Concord le 19 avril 1775, la guerre d’Indépendance américaine retient l’attention en France, et ce, à la fois des diplomates français, mais également de l’opinion publique française. Parmi les deux groupes, on retrouve des éléments qui tentent de favoriser et de préparer une intervention officielle de la France dans cette guerre. L’objectif de ce mémoire est donc d’étudier l’interaction qui eut alors lieu entre l’opinion publique et la diplomatie. Le premier chapitre étudie comment l’opinion publique crée les conditions opportunes à l’intervention de Beaumarchais auprès du gouvernement français, puis l’impact de cette intervention. Le second chapitre s’intéresse quant à lui aux arguments mis de l’avant par le ministère des Affaires étrangères – par l’entremise de sa propre gazette, les Affaires de l’Angleterre et de l’Amérique – pour convaincre et préparer l’opinion publique à l’intervention de la France dans la guerre d’Indépendance américaine.
As early as the battles of Lexington and Concord, April 19th 1775, the American War of Independence holds the attention in France of both French diplomats as well as French public opinion. Amongst both groups, we find elements trying to favour and prepare an official French intervention in this war. The aim of this thesis is therefore to study the interaction that took place then between public opinion and diplomacy. The first chapter studies how public opinion created the opportune conditions for Beaumarchais’ intervention to the French government and the impact of this intervention. As for the second chapter, it is interested in the arguments put forward by the Ministry of Foreign Affairs – through its own newspaper, the Affaires de l’Angleterre et de l’Amérique – to convince and prepare public opinion to the intervention of France in the American War of Independence.

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Books on the topic "Pierre Beaumarchais"

1

Pierre-Augustin Caron de Beaumarchais. [Paris]: Fayard, 1999.

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Schérer, Jacques. La dramaturgie de Beaumarchais. 4th ed. Paris: Librairie Nizet, 1989.

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Beaumarchais and the theatre. London: Routledge, 1995.

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Pierre Augustin Caron de Beaumarchais. Le barbier de Séville: (théâtre). Paris: Bordas, 1995.

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Thomas, Hugh. Beaumarchais in Seville: An intermezzo. New Haven, CT: Yale University Press, 2007.

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C, Spinelli Donald, ed. Beaumarchais and the American Revolution. Lanham, Md: Lexington Books, 2003.

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Maîtres et valets: Textes étudiés 'Le Barbier de Séville' et 'Le Mariage de Figaro' de Beaumarchais. [Paris]: Gallimard, 1994.

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Beaumarchais, Jean-Pierre de. Pierre-Augustin Caron de Beaumarchais, La folle journée ou Le mariage de Figaro. Paris: Presses universitaires de France, 2005.

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Pierre-Augustin Caron de Beaumarchais: La folle journée, ou, le Mariage de Figaro. Paris: Presses universitaires de France, 2005.

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Pierre Augustin Caron de Beaumarchais. For the good of mankind: Pierre-Augustin Caron de Beaumarchais political correspondence relative to the American Revolution. Lanham, MD: University Press of America, 1987.

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Book chapters on the topic "Pierre Beaumarchais"

1

Wild, Gerhard. "Beaumarchais, Pierre Augustin Caron de." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_2657-1.

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2

Mellein, Richard. "Beaumarchais, Pierre Augustin Caron de: La mère coupable ou L'autre Tartuffe." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_2660-1.

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3

Wehinger, Brunhilde. "Beaumarchais, Pierre Augustin Caron de: Le barbier de Séville ou La précaution inutile." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_2658-1.

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4

Mellein, Richard. "Beaumarchais, Pierre Augustin Caron de: La folle journée ou Le mariage de Figaro." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_2659-1.

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5

"Beaumarchais, Pierre-Augustin Caron de (1732–99)." In A New Dictionary of the French Revolution. I.B. Tauris, 2012. http://dx.doi.org/10.5040/9780755622771.ch-0058.

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