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Currently only Chalmers’ Biographical Dictionary is indexed, terms are not stemmed, and diacritical marks are retained.

a marshal in the French army, and a member of the French academy,

, a marshal in the French army, and a member of the French academy, and of many other literary societies, was born in 1734, of a distinguished family. His military talents raised him to the rank of brigadier-general, and he is said to have served in that capacity with great reputation in America. Of his military, however, we know less than of his literary career, which he pursued amidst all his public employments. He had early in life a strong passion for poetry and music. Many of his comedies, written for private theatres, and heard with transport, might have been equally successful on the public stages, had he had courage sufficient to make the experiment. He was an officer in the French guards in 1765, when he published his ingenious “Essay on the Union of Poetry and Music.” This essay was the consequence of a voyage into Italy, where he seems to have adopted an exclusive taste for the dramatic music of that country, as Rousseau had done before. He even adopts some of Rousseau’s ideas upon music; but in general he thinks for himself, both deeply and originally. By his reflections on the musical drama, he not only offended the musicians of France, but the lyric poets of every country; not scrupling to assert that in an opera, music, which ought to be the principal consideration, had been too long a slave to syllables; for since the cultivation of the melo-drama, it was found that music had its own language, its tropes, metaphors, colouring, movements, passions, and expression of sentiment. This little tract, for it was but a pamphlet of 90 or 100 pages, 12mo, gave birth to a long controversy in France, in which the author was supported by the abbe Arnaud, M. D'Alembert, the abb Morellet, and M. Marmontel. His chief antagonist was the author of a “Treatise on the Melo-Drama,” who, loving poetry better than music, wished to reduce the opera to a mere recitative or musical declamation. During the subsequent feuds between the Gluckists and Piccinists, the opponents of the marquis de Chastellux enlisted with the former, and his friends with the latter of these sects.