DUCIS, Jean François (August 22, 1733-March 31, 1816), a French dramatic poet, famous more especially for his adaptations of Shakespeare to the Parisian stage of the 18th century. He was born and brought up at Versailles, where his father, originally from Savoy, held the position of a respectable linen-draper; and all through life he retained the simple tastes and straightforward independence fostered by his bourgeois education. The friendship of Marshal Belleisle procured him an appointment as clerk, and even after he ceased to discharge the duties of his post secured the continuance of his salary. In 1768 the passion for the theatre which had been growing within him during the previous years found vent in the tragedy of Amelise; and the failure of this first attempt was fully compensated by the success of his Hamlet in 1767, and of Romeo and Juliette in 1772. Oedipe chez Admète, imitated partly from Euripides and partly from Sophocles, appeared in 1778, and secured him in the following year the chair in the Academy left vacant by the death of Voltaire. Equally successful was Le Roi Lear in 1783, at the representation of which the author received what was then the rare honour of being called before the curtain. Macbeth in 1783 did not take so well, and Jean sans Peur in 1791 was almost a failure; but Othello in 1792, supported by the acting of Talma, obtained immense applause. The next appearance of the author was no longer as an adapter or imitator of foreign models, but as a dramatist with a plot and characters of his own contrivance.and invention; and though his contrivance produced nothing more original than the old story of unlawful love between brother and sister ultimately obtaining sanction by their supposed kinship being disproved, the poetic charm of the ...verse and its vivid picturing of desert life secured for Abufar, ou la famille arabe, a flattering reception. On the failure of a similar piece, Phédor et Waldemar, ou la famille de Sibérie, Ducis ceased to write for the stage; and the rest of his life was spent in quiet retirement at Versailles. He had been named a member of the Council of the Ancients in 1798, but he never discharged the functions of the office; and, when at a later date Napoleon wished him to accept some post of honour under the empire, he escaped from his solicitations by a happy brusquerie, — “General, do you like wild duck shooting Ί I am something of a wild duck myself.” Amiable, religious, and bucolic, he had little sympathy with the fierce, sceptical, and tragic times in which his lot was cast. “Alas !” he said in the midst of the Revolution, “tragedy is abroad in the streets; if I step outside of my door, I have blood to my very ankles. I have too often seen Atreus in clogs, to venture to bring an Atreus on the stage.” Though actuated by what seems to have been an honest and ardent admiration of the great English dramatist, Ducis is not in any deep sense of the word Shakespearian. His ignorance of the English language left him at the mercy of such translators as Letourneur and La Place; and even this modified Shakespeare had still to undergo a process of purification and correction before he could be presented to the fastidious criticism of French taste. That such was the case was not, however, the fault of Ducis; and his works, defective as they were, did good service in modifying the judgment of his fellow countrymen. He did not pretend to reproduce, but to excerpt and refashion; and consequently the French play sometimes differs from its English namesake in everything almost but the name. The plot is different, the characters are different, the motif different, and the scenic arrangement different. The result is really a new play, and a new play, be it said, with undoubted merits of its own. Le banquet de l'amitié, a poem in four cantos, 1771, Au Roi de Sardaigne, 1775, Discours de réception a l'académie française, 1779,Épître à l'amitié, 1786, and a Recueil de Poésies, 1809, complete the list of Ducis’s publications. An edition of his works in three volumes appeared in 1813; Oeuvres posthumes were edited by Campenon in 1826; and Hamlet, Oedipe chez Admète, Macbeth, and Abufar are reprinted in vol. ii. of Didot’s Chefs d'oeuvre tragiques.
See Campenon, Essai de mémoires sur Dueis, 1824; Onêsime Leroy, Étude sur la personne et les écrits de Ducis, 1832, based on L'ucis’s own memoirs preserved in the library at Versailles; Sainte-Beuve, Causeries du lundi, t. vi., and Nouveaux lundis, t. iv.; Villemain, Tableau de la litt, au X Ville, siècle.
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