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141:. The play was long attributed to her lover Florent Dancourt before that was changed to Ulrich, although some sources continue to name Dancourt as the author. The feminine agreement of the preface, the analysis of the privilege and the style of the play all attest to Madame Ulrich's authorship. According to André Blanc, "the careful composition, the considerable role of disguises and their final resolution, a certain confusion at times, a romantic intention, the very attack of the comedy, very brilliant, hardly resembles Dancourt's manner of this period."
162:, Madame Ulrich's actions were monitored by police lieutenant-general René d'Argenson. Initially sent with her daughter Thérèse to a convent to repent, she was then regularly arrested and confined at Les Madelonnettes, from which she escaped, at Le Refuge, and then at Hôpital Général. After 1707, no further trace of her can be found. According to her biographer
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Far from the "debauched courtesan, unworthy mother and venal muse" to which history has long reduced her, Aurore Évain concludes that "the few biographical and literary elements we have today enable us to re-establish the portrait of a free, cultivated woman, a promising writer , but whose auctorial
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From 1699 onwards, Madame Ulrich's freedom of morals displeased the authorities. The pleasures and amusements of King Louis XIV's early reign had given way to austerity and devotion. Control over society and transgressive behavior intensified. After the repression of prostitution, courtesans who had
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Following the death of her friend Jean de La
Fontaine, Madame Ulrich published Posthumous Works in 1696, for which she wrote a preface and a dedication to the Marquis de Sablé, as well as a portrait of the poet, and included unpublished works (including the Tale of the Quiproquos, new versions of
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fled the puritanism of the Court for the pleasures of Paris and its libertine salons were put under surveillance. To discipline these rebellious wives and daughters who had freed themselves from marital or paternal guardianship, they were locked up at the
105:, met her and decided to place her in a convent with a view to marrying her, despite their great age difference. She became a friend of the Duchesse de Choiseul-Praslin, had lovers such as the comedian
101:(a five-part string ensemble at the French royal court). Her father died when she was thirteen or fourteen, and she was apprenticed to a barber. Mr. Ulrich, a butler to the Count of
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Philip F. Riley, A Lust for Virtue: Louis XIV's Attack on Sin in
Seventeenth-century France, Westport (Connecticut), Greenwood Press, 2001, (about Mme Ulrich: p. 59-60)
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Aurore Evain, Théâtre de femmes de l'Ancien Régime, vol. 3 (xviie siècle), Saint-Etienne, Publications de l'université de Saint-Étienne, 2011, pp. 185-187
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comedy, La Folle Enchère, which premiered on 30 May 1690 at the Comédie-Française and was performed before the King at the
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Cécile Daumas, "Vraies héroïnes classiques, fausses femmes soumises', Libération, 19 janvier 2023, p. 18-19 (in French)
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recognition and literary creation were violently thwarted by the social and moral conditions imposed on women".
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certain fables, of which she owned the manuscripts, verses and two letters written to her by La
Fontaine).
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272:"Biographie de Jean de La Fontaine, illustrée par les timbres-poste"
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La Folle enchère : comédie en un acte et en prose
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Title page of the Ulrich comedy, "The Mad Bid". 1691
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