Page:EB1911 - Volume 02.djvu/949

 speedily ensued; and he bore a grudge against the Directors and Bonaparte for their treatment of him at that time. He took no part in the coup d’état of Brumaire 1799, and did not distinguish himself in the Rhenish campaign which ensued. Nevertheless, owing to his final adhesion to Bonaparte’s fortunes, he received a marshal’s baton at the beginning of the Empire (May 19, 1804). In the campaign of 1805 he did good service around Constance and Bregenz, and at Jena (October 14, 1806) his corps distinguished itself. Early in 1807 he fell ill of a fever, and at the battle of Eylau he had to be supported on his horse, but directed the movements of his corps with his wonted bravery. His corps was almost annihilated and the marshal himself received a wound from which he never quite recovered. When transferred to Catalonia, he gained some successes but tarnished his name by cruelty. In the campaign of 1812 in Russia and in the Saxon campaign of 1813 his conduct was little more than mediocre. Before the battle of Leipzig (October 16, 18, 19, 1813), Napoleon reproached him with not being the Augereau of Castiglione; to which he replied, “Give me back the old soldiers of Italy, and I will show you that I am.” In 1814 he had command of the army of Lyons, and his slackness exposed him to the charge of having come to an understanding with the Austrian invaders. Thereafter he served Louis XVIII., but, after reviling Napoleon, went over to him during the Hundred Days. The emperor repulsed him and charged him with being a traitor to France in 1814. Louis XVIII., when restored to the throne, deprived him of his military title and pension. He died at his estate of La Houssaye on the 12th of June 1816. In person he was tall and commanding, but his loud and vulgar behaviour frequently betrayed the soldier of fortune.

AUGHRIM, or, a small village in Co. Galway, Ireland, 4 m. W. by S. of Ballinasloe. It is rendered memorable by the decisive victory gained here on the 12th of July 1691 by the forces of William III. under General Ginkel, over those of James II. under the French general St Ruth, who fell in the fight. The Irish numbering 25,000, and strongly posted behind marshy ground, at first maintained a vigorous resistance; but Ginkel having penetrated their line of defence, and their general being struck down by a cannon ball at this critical moment, they were at length overcome and routed with terrible slaughter. The loss of the English did not exceed 700 killed and 1000 wounded; while the Irish, in their disastrous flight, lost about 7000 men, besides the whole material of the army. This defeat rendered the adherents of James in Ireland incapable of further efforts, and was speedily followed by the complete submission of the country. AUGIER, GUILLAUME VICTOR ÉMILE (1820–1889), French dramatist, was born at Valence, Drôme, on the 17th of September 1820. He was the grandson of Pigault Lebrun, and belonged to the well-to-do bourgeoisie in principles and in thought as well as by actual birth. He received a good education and studied for the bar. In 1844 he wrote a play in two acts and in verse, La Ciguë, refused at the Théâtre Français, but produced with considerable success at the Odéon. This settled his career. Thenceforward, at fairly regular intervals, either alone or in collaboration with other writers—Jules Sandeau, Eugène-Marie Labiche, Éd. Foussier—he produced plays which were in their way eventful. Le Fils de Giboyer (1862)—which was regarded as an attack on the clerical party in France, and was only brought out by the direct intervention of the emperor—caused some political excitement. His last comedy, Les Fourchambault, belongs to the year 1879. After that date he wrote no more, restrained by an honourable fear of producing inferior work. The Academy had long before, on the 31st of March 1857, elected him to be one of its members. He died in his house at Croissy on the 25th of October 1889. Such, in briefest outline, is the story of a life which Augier himself describes as “without incident”—a life in all senses honourable. Augier, with Dumas fils and Sardou, may be said to have held the French stage during the Second Empire. The man respected himself and his art, and his art on its ethical side—for he did not disdain to be a teacher—has high qualities of rectitude and self-restraint. Uprightness of mind and of heart, generous honesty, as Jules Lemaitre well said, constituted the very soul of all his dramatic work. L’Aventurière (1848), the first of Augier’s important works, already shows a deviation from romantic models; and in the Mariage d’Olympe (1855) the courtesan is shown as she is, not glorified as in Dumas’s Dame aux Camélias. In Gabrielle (1849) the husband, not the lover, is the sympathetic, poetic character. In the Lionnes pauvres (1858) the wife who sells her favours comes under the lash. Greed of gold, social demoralization, ultramontanism, lust of power, these are satirized in Les Effrontés (1861), Le Fils de Giboyer (1862), Contagion, first announced under the title of Le Baron d’Estrigaud (1866), Lions et renards (1869)—which, with Le Gendre de M. Poirier (1854), written in collaboration with Jules Sandeau, reach the high-water mark of Augier’s art; in Philiberte (1853) he produced a graceful and delicate drawing-room comedy; and in Jean de Thommeray, acted in 1873 after the great reverses of 1870, the regenerating note of patriotism rings high and clear. His last two dramas, Madame Caverlet (1876) and Les Fourchambault (1879), are problem plays. But it would be unfair to suggest that Émile Augier was a preacher only. He was a moralist in the great sense, the sense in which the term can be applied to Molière and the great dramatists—a moralist because of his large and sane outlook on life. Nor does the interest of his dramas depend on elaborate plot. It springs from character and its evolution. His men and women move as personality, that mysterious factor, dictates. They are real, several of them typical. Augier’s first drama, La Ciguë, belongs to a time (1844) when the romantic drama was on the wane; and his almost exclusively domestic range of subject scarcely lends itself to lyric outbursts of pure poetry. But his verse, if not that of a great poet, has excellent dramatic qualities, while the prose of his prose dramas is admirable for directness, alertness, sinew and a large and effective wit. Perhaps it wanted these qualities to enlist laughter on his side in such a war as he waged against false passion and false sentiment.

AUGITE, an important member of the (q.v.) group of rock-forming minerals. The name (from , lustre) has at various times been used in different senses; it is now applied to aluminous pyroxenes of the monoclinic series which are dark-greenish, brownish or black in colour. Like the other pyroxenes it is characterized crystallographically by its distinct cleavages parallel to the prism-faces (M), the angle between which is 87°. A typical crystal is represented in fig. 1, whilst fig. 2 shows a crystal twinned on the orthopinacoid (r&#8202;′). Such crystals, of short prismatic habit and black in colour, are common as phenocrysts in many basalts, and are hence known as “basaltic augite”; when the containing rock weathers to a clayey material the augite is left as black isolated crystals, and such specimens, usually from Bohemia, are represented in all mineral collections. Though typical of basaltic rocks, augite is also an important constituent of many other kinds of igneous rocks, and a rock composed almost wholly of augite is known as augitite. It also occurs in metamorphic rocks; for example, in the crystalline limestones of the Fassathal in Tirol, where the variety known as fassaite is found as pistachio-green crystals resembling epidote in appearance.

Chemically, augite resembles diopside in consisting mainly of CaMgSi2O6, but it contains in addition alumina and ferric iron as (Mg, Fe″) (Al, Fe‴)2 SiO6; the acmite (NaFe‴Si2O6,)