Works
Beginning his literary career in 1772 with the critically acclaimed Lucie, ou les Parents imprudents and finishing in 1792 with L'Aîné et le cadet, Collot was an accomplished, if minor, dramatist in a turbulent period of the French stage.
Before the Revolution he wrote at least fifteen plays, of which ten survive, including Lucie, an adaptation of William Shakespeare's The Merry Wives of Windsor (as M. Rodomont, ou l'Amant loup-garou), and an adaptation of Pedro Calderón de la Barca's El Alcalde de Zalamea (Il y a bonne justice, ou le Paysan magistrat), all three of which kept the stage throughout France for over a decade. During the first three years of the Revolution he wrote at least seven more plays, of which six survive, juggling the tearful love themes of le drame bourgeois with political themes and messages in such plays as L'Inconnu, ou le Préjugé vaincu and Socrate (on Socrates).
In 1791 he wrote the prize-winning L'Almanach de père Gérard, a fictional account of revolutionary morality which went on to become the best-seller of the period, establishing his political credentials in the process.
He was also one of the authors of the first French republican Constitution, which was written in 1793 but never applied.
Read more about this topic: Jean-Marie Collot D'Herbois
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“The mind, in short, works on the data it receives very much as a sculptor works on his block of stone. In a sense the statue stood there from eternity. But there were a thousand different ones beside it, and the sculptor alone is to thank for having extricated this one from the rest.”
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“The slightest living thing answers a deeper need than all the works of man because it is transitory. It has an evanescence of life, or growth, or change: it passes, as we do, from one stage to the another, from darkness to darkness, into a distance where we, too, vanish out of sight. A work of art is static; and its value and its weakness lie in being so: but the tuft of grass and the clouds above it belong to our own travelling brotherhood.”
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