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5097	dbpedia	0	67	https://www.poetryfoundation.org/poets/charles-baudelaire	en	Charles Baudelaire	https://s3-us-east-2.ama…mtime=1715886111	https://s3-us-east-2.ama…mtime=1715886111	[ "https://cdn-test.poetryfoundation.org/cdn-cgi/image/w=10,h=16,q=50,fit=contain,blur=3/content/images/951f8f89e8d91c142ace81a5d1624d1173fc8dbc.jpg", "https://cdn-test.poetryfoundation.org/cdn-cgi/image/w=10,h=16,q=50,fit=contain,blur=3/content/images/june2024-poetry-cover.jpg", "https://cdn-test.poetryfoundation.org/cdn-cgi/image/w=10,h=16,q=50,fit=contain,blur=3/content/images/951f8f89e8d91c142ace81a5d1624d1173fc8dbc.jpg", "https://cdn-test.poetryfoundation.org/cdn-cgi/image/w=10,h=16,q=50,fit=contain,blur=3/content/images/june2024-poetry-cover.jpg", "https://www.poetryfoundation.org/assets/images/logo-print.png", "https://cdn-test.poetryfoundation.org/cdn-cgi/image/w=10,h=10,q=50,blur=3/content/images/a1efffbc14d7b2b8d9954cae389c4865dad7d5a7.jpeg" ]	[]	[]	[ "" ]	null	[]	null	Poems, readings, poetry news and the entire 110-year archive of POETRY magazine.		/favicon.ico?v2.0.0	The Poetry Foundation	https://beta.poetryfoundation.org/poets/charles-baudelaire	Charles Baudelaire is one of the most compelling poets of the 19th century. While Baudelaire’s contemporary Victor Hugo is generally—and sometimes regretfully—acknowledged as the greatest of 19th-century French poets, Baudelaire excels in his unprecedented expression of a complex sensibility and of modern themes within structures of classical rigor and technical artistry. Baudelaire is distinctive in French literature also in that his skills as a prose writer virtually equal his ability as a poet. His body of work includes a novella, influential translations of the American writer Edgar Allan Poe, highly perceptive criticism of contemporary art, provocative journal entries, and critical essays on a variety of subjects. Baudelaire’s work has had a tremendous influence on modernism, and his relatively slim production of poetry in particular has had a significant impact on later poets. More than a talent of 19th-century France, Baudelaire is one of the major figures in the literary history of the world. The extent of the influence of Baudelaire’s family background on his life and work has been the subject of some interest to critics. In his life-story there are classic ingredients for neurosis, and his adult life was shaped by a triangle of family relations that some believe explains his complicated psyche. Baudelaire’s father, François Baudelaire (1759–1827), came from a family of woodworkers, winegrowers, farm laborers, and craftsmen who had lived near the Argonne forest since the 17th century. He went to Paris on a scholarship and in the course of a long career there became a priest; worked as a tutor for the children of Count Antoine de Choiseul-Praslin, even composing a manual to teach Latin; resigned his priesthood during the Reign of Terror; married Rosalie Janin, a painter, and had a son, Alphonse Baudelaire (1805–1862); earned a living as a painter; and from the age of thirty-eight until retirement worked his way up the ranks of the civil service. François Baudelaire was 60 when he married the 26-year-old Caroline Dufayis (1793–1871) in 1819; Charles was their only child, born in Paris on April 9, 1821. Caroline was an orphan: her mother, who came from a family of solicitors from the same part of France as the Baudelaires, died in England, where she had emigrated for unknown reasons; little is known about Caroline’s father except that his name was Charles Dufayis and that he was supposed to have died in July 1795 at Quiberon Bay in southern Brittany when Revolutionary forces put down a peasant revolt aided by émigrés. It is not known whether or not the difference in his parents’ ages affected their son, but Baudelaire was just six when his father died, so he had no opportunity to know his father well. The death of François Baudelaire, though, set the scene for several major dramas in Baudelaire’s life: his inheritance at 21 of a respectable fortune; the establishment of a board of guardians that was to control Baudelaire’s financial fortunes for most of his adult life; and the remarriage of his mother to Jacques Aupick, a man with whom Baudelaire could not get along. Aupick (1779?–1857), like Caroline Dufayis, was an orphan. His father was an Irishman who died in the military service in France; his mother, who might or might not have been his father’s legal wife, died shortly afterward. The young Aupick made his way successfully in the military: with no real family advantages, he was a general by the end of his life, and he had served as the head of the École Polytechnique (Polytechnic School) in Paris, as ambassador to Constantinople as well as to Spain, and as a senator. Caroline Dufayis Baudelaire met Aupick at the beginning of 1828, a year into her widowhood, and they were married rather precipitously on November 8, 1828, probably because of the stillborn child born a month later. Aupick was transferred to Lyon in December 1831, and in January 1836 he was transferred back to Paris, where he stayed until 1848, when he was sent as a diplomat to Constantinople. It is understandable that Baudelaire might be jealous of his mother’s new husband, as he was deeply attached to his mother both materially and emotionally. Their close relationship was of enduring significance, for during the course of his life he borrowed from his mother an estimated total of 20,473 francs and much of what is known of his later life comes from his extended correspondence with her. Although quite possibly Baudelaire’s attachment to his mother did lead to his resentment and dislike of his stepfather, it is interesting to note that he did not manifest resentment early on. As a schoolboy in Lyons from 1832 to 1836 Baudelaire’s letters to his parents were mostly affectionate and he referred to Aupick as his father. Easy relations within the family persisted through Baudelaire’s high-school years at Louis-le-Grand in Paris, where Colonel Aupick had been transferred. Far from being “maudit” (cursed) in the tradition of his later legend, Baudelaire was actually a prize student of whom both parents were proud. Even when he was expelled from Louis-le-Grand in 1839 for refusing to give up a note passed him by a classmate, stepfather and stepson appeared to be on good terms. Baudelaire began referring to his stepfather as “the General” (Aupick had been promoted in 1839) in 1841, around the time his family contrived to send the young man on a voyage to the Indian Ocean. After passing the “bac,” or baccalauréat (high-school degree), in 1839, several months after his expulsion from the lycée, Baudelaire spent two years in the Latin Quarter pursuing a literary career and, of particular concern to Aupick, accumulating debts. To save Baudelaire from his debts, a family council was called in which it was decided to send him on a long voyage in June of 1841, paid for from his future inheritance (the parents later agreed to pay for it themselves as a gesture of goodwill). Baudelaire did not want to go, and in fact he jumped ship at the Ile Bourbon, returning to Paris in February of 1842. If the stiff forms of address in his letters of this time are any indication, Baudelaire resented his family’s intervention in his way of life and held his stepfather responsible for it. Familial censure only became more institutionalized. By June of 1844 Baudelaire had spent nearly half of the capital of the 99,568 francs he had inherited two years before. The family decided that it was necessary to seek a conseil judiciaire (legal adviser) to protect the capital from Baudelaire, and on September 21, 1844 the court made Narcisse Désirée Ancelle, a lawyer, legally responsible for managing Baudelaire’s fortune and for paying him his “allowance.” The sum paid him was enough for a single young man to live on comfortably, but Baudelaire had expensive tastes and he was bitter about this intervention for the rest of his life. Relations among family members soured. Baudelaire could no longer bear to be around “the General” and there were long periods of time when Mme Aupick was not permitted to see her son. For the next 15 years Baudelaire’s letters to his mother are laced with reproach, affection, and requests for money, and it was only after her husband’s death—in 1857, the year of the publication of Les Fleurs du mal (The Flowers of Evil)—that relations between mother and son began to improve. Financial constraint, alienation, and complex emotions defined Baudelaire’s life, and it is against this backdrop of complicated family relations that some of the best poetry in the French language was written. Though Baudelaire’s interest in verse was manifest as early as his days in the lycée, his public emergence as a poet was slow and complicated by many sideline activities through the early 1850s. Baudelaire began making literary connections as soon as he passed the bac, at the same time that he was amassing debts. From 1839 to 1841, while he was living in the Latin Quarter, he became associated with the École Normande (Norman School), a group of student-poets centered around Gustave Levavasseur, Philippe de Chennevières, and Ernest Prarond. None of these people became major poets, but they were involved in Baudelaire’s first ventures with poetry. Prarond claims to have heard Baudelaire recite as early as 1842 some of the poems that were later published in Les Fleurs du mal. Baudelaire considered participating in a collective publication with Levavasseur, Prarond, and another person named Dozon. He withdrew his contribution, however, because Levavasseur wanted to correct the “idiosyncrasies” in his work. Baudelaire was never without literary acquaintances. His professional social activity continued throughout his life, and in the course of his literary career he became acquainted with writers such as Victor Hugo, Charles-Augustin Sainte-Beuve, and Théophile Gautier. As his rejection of Levavasseur’s corrections suggested, though, Baudelaire—like the speakers in his poetry—was always an individual within the crowd. Baudelaire’s first publications of poetry were probably disguised, for reasons known only to himself. 11 poems published between 1844 and 1847 in L’Artiste under the name of Privat d’Anglemont—another friend in Baudelaire’s literary circle—have been attributed to Baudelaire, and in fact nine of these poems have been included in the definitive Pléiade edition of Baudelaire’s collected works published 1975–1979. The first poem published under Baudelaire’s own name appeared in L’Artiste on May 25, 1845; Baudelaire probably wrote the sonnet “A Une Dame Créole” (To a Creole Lady), which celebrates the “pale” and “hot” coloring of the lovely Mme Autard de Bragard, on his trip to the Indian Ocean. The poem is not a prodigious showing for someone who was already establishing a reputation for himself in Parisian circles as a poet, and Baudelaire’s next official publication of verse did not take place until a full six years later, in 1851. In De quelques écrivains nouveaux (On Some New Writers, 1852) Prarond described Baudelaire as a poet who had achieved a certain reputation without having published a verse. Although the statement was not technically accurate in 1852, it illustrates a facet of Baudelaire’s reputation. Even though he had no record of solid achievements, Baudelaire, with his compelling personality, had the ability to impress others, and he was already deliberately cultivating his image with eccentric stories designed to shock and test his acquaintances. For example, he liked to recite to friends his poem “Nightmare,” which features a man who witnesses the rape of his mistress by an entire army. Early in his career Baudelaire’s reputation was more solidly based on his nonpoetic publications. In 1847 he published his only novella, La Fanfarlo, an autobiographically based work that features a tortured hero named Samuel Cramer. He wrote a handful of essays and reviews for various journals, notably Le Corsaire Satan; these works—including Le Musée classique du bazar Bonne-Nouvelle (The Classical Museum of the Bonne-Nouvelle Bazaar) and Comment on paie ses dettes quand on du génie (How to Pay Your Debts When You’re a Genius)—were collected in Curiosités esthétiques (Esthetic Curiosities, 1868) as well as L’Art romantique (Romantic Art, 1868), the second and third volumes in the posthumously published Oeuvres complètes (Complete Works, 1868–1873). Baudelaire also wrote two of the Salons that contribute to his reputation as a discerning, sometimes prophetic, and often amusing critic. Although Salon de 1845 (1845) went unnoticed by critics, the next year his Salon de 1846 made a good impression on a small circle. Although he does not develop an aesthetic theory in Salon de 1845, Baudelaire does launch his idea that heroism can exist in life’s ordinary details. The essay notably displays a particularly charming feature of Baudelaire’s critical writing: the sharp and colorful illustration of points. The works of one painter, for example, are witheringly dismissed: “chaque année les ramène avec leurs mêmes désespérantes perfections” (each year brings them back with the same depressing perfections); another painter’s works, writes Baudelaire, recall the pictures of travel brochures and evoke a China “où le vent lui-même, dit H. Heine, prend un son comique en passant par les clochettes;—et où la nature et l’homme ne peuvent pas se regarder sans rire” (where the wind itself, says H. Heine, sounds comical as it blows through bells; and where nature and man cannot look at each other without laughing). In the important Salon de 1846 Baudelaire critiques particular artists and in a more general way lays the groundwork for the ideas about art that he continued to develop in his “Salon de 1859,” first published in Revue française in June and July of that year, and up until his essay “Le Peintre de la vie moderne” (The Painter of Modern Life), which appeared in Le Figaro in November and December of 1863. As Baudelaire defines it in Salon de 1846, art represents an ideal for Baudelaire: “L’art est un bien infiniment précieux, un breuvage rafraîchissant et réchauffant, qui rétablit l’estomac et l’esprit dans l’équilibre naturel de l’idéal” (Art is an infinitely precious thing, a warming and refreshing drink which reestablishes stomach and spirit in the natural equilibrium of the ideal). Although art leads to an abstraction, “l’idéal,” the references to stomach and drink indicate that for Baudelaire the ideal is built on concrete particulars. Indeed, as he goes on to explain in Salon de 1846 “Ainsi l’idéal n’est pas cette chose vague, ce rêve ennuyeux et impalpable qui nage au plafond des académies; un idéal, c’est l’individu redressé par l’individu, rconstruit et rendu par le pinceau ou le ciseau à l’éclatante vérité de son harmonie native” (Thus the ideal is not the vague thing, that boring and intangible dream which swims on the ceilings of academies; an ideal is the individual taken up by the individual, reconstructed and returned by brush or scissors to the brilliant truth of its native harmony). At the time he wrote Salon de 1846 Baudelaire believed that Romanticism represented the ideal, and he presents the painter Eugène Delacroix as the best artist in that tradition. Baudelaire, though, also articulates principles that later took him beyond Romanticism to a more radical view of art. He propounds that beauty must contain the absolute and the particular, the eternal and the transitory, and in a section of Salon de 1846 titled “De l’Héroïsme de la Vie Moderne,” (The Heroism of Modern Life) he elaborates that the “particulier” can be found in contemporary and ordinary urban life: “Le spectacle de la vie élégante et des milliers d’existences flottantes qui circulent dans les souterrains d’une grande ville,—criminels et filles entretenues,—la Gazette des Tribuneaux et le Moniteur nous prouvent que nous n’avons qu’à ouvrir les yeux pour connaître notre héroïsme” (The spectacle of elegant life and of the thousands of existences which float in the underground of a big city—criminals and kept women—the Gazette des Tribuneaux and the Moniteur prove that we have only to open our eyes in order to recognize our heroism). Modern life as inspiration for art is an idea that Baudelaire develops in “Le Peintre de la vie moderne” with reference to the artist Constantin Guys. As Baudelaire observes in 1846, Delacroix works in the grand tradition, and a new tradition has not yet come into being. Despite several halfhearted attempts to indulge his parents’ desire for his settled employment, throughout the 1840s Baudelaire was committed to his vocation as a poet, and as an artist he did his best to absorb the “spectacle” of Parisian life by living the life of a bohemian and a dandy. After the naming of the conseil judiciaire he affirmed a new identity by changing his name to Baudelaire-Dufayis, adding his mother’s maiden name to his father’s family name (this gesture lasted until the Revolution of 1848). He was particular about his dress, and virtually every contemporary description of him describes his changing hairstyles, from flowing locks to a shaved head to short, clipped hair. Early in the decade he took up with Jeanne Duval, the mixed-race mistress with whom he had a long and complicated affair; in the late 1840s he met Marie Daubrun, the second inspiration for the three love cycles of his poetry. He had already had a bout with gonorrhea by this time and had picked up syphilis, the disease that was probably the cause of his death. Baudelaire attempted suicide once, on June 30, 1845. He cultivated an interest in art and painting, which fueled his continued accumulation of debts—he was a generally unlucky but enthusiastic collector. He began a pattern of moving from hotel to hotel to escape creditors and was well acquainted with the seamy side of Paris, a familiarity that is evident in his poems. The year 1848 marked the beginning of a strange period in Baudelaire’s life, one that does not quite fit with his life as a dandy, and which he himself later labeled “Mon ivresse de 1848” (My frenzy in 1848) in his Journaux intimes (Intimate Journals, 1909). Baudelaire—the product of a bourgeois household, the elitist poet of refined and elegant dress, the man who in the 1850s embraced Count Joseph de Maistre, an ultra-royalist aristocrat, and who had already expressed admiration for the aristocratic views of Edgar Allan Poe—participated in the French Revolution of 1848 that lead to the overthrow of the constitutional monarchy. As Richard Burton documents extensively in Baudelaire and the Second Republic: Writing and Revolution (1988), Baudelaire did have strong revolutionary sympathies during this period. He was influenced by thinkers such as François Marie Charles Fourier, Félicité Lamennais, and Emanuel Swedenborg. His dedication of Salon de 1846 to the “bourgeois” may well have been intended as ironic. Baudelaire wrote a positive and approving preface for Pierre Dupont’s Chant des ouvriers (Song of the Workers, 1851), which praises the working man. He sought out Pierre-Joseph Prudhon, one of the great writers and thinkers of the 1848 revolution. With Champfleury, a journalist, novelist, and theoretician of the realist movement, he started a short-lived revolutionary newspaper after the provisional government was established. Most dramatically, he physically participated in the revolutions of February and June, actually fighting on a barricade and, according to some contemporaries’ accounts, apparently shouting, “Il faut aller fusiller le général Aupick” (We must go shoot General Aupick). Although a school of criticism has grown up in which Baudelaire is labeled a revolutionary, it would be a mistake to reduce the life and thought of this complex man to political dogma. Baudelaire was undeniably fervent, but this fervor must be seen in the spirit of the times: the 19th-century Romantic leaned toward social justice because of the ideal of universal harmony but was not driven by the same impulse that fires the Marxist egalitarian. It is also possible, given Baudelaire’s relationship with his stepfather and his famous cry on the barricades, that at least part of his zeal was motivated by personal feelings. Furthermore, even during this heady period Baudelaire never lost his critical acumen and spirit of contradiction. He rose repeatedly during speeches for the May 4 elections to interrupt idealistic speakers with pointed, embarrassing questions. In Mon coeur mis à nu et Fusées; journaux intimes (My Heart Laid Bare and Fusées; Intimate Journals, 1909) he elaborates on the “ivresse de 1848”: “De quelle nature était cette ivresse? Goût de la vengeance. Plaisir naturel de la démolition (What was the nature of this drunkenness? A desire for vengeance. A natural pleasure in destruction). After Louis-Napoleon Bonaparte’s coup d’état in 1851, Baudelaire ceased all political activity. To the extent that he considered politics in his later years, his outlook was anti-egalitarian and anti-activist—reminiscent of the aristrocratic conservatism represented by Poe and de Maistre, in other words: “There is no form of rational and assured government save an aristocracy. ... A monarchy or a republic based upon democracy are equally absurd and feeble.” For the most part, though, Baudelaire’s Intimate Journals reveal his relative lack of interest in politics, his disillusionment with mankind and all of its institutions, and his ultimate faith in the classless aristocracy of the “Dandy.” After a long period of incubation, of familial reproaches that he had wasted his life, and of a reputation based on potential, a few publications, and force of personality, Baudelaire came into his own as a literary personage in the 1850s. On 9 April 1851 eleven poems were published in the Messager de l’Assemblée under the title “Les Limbes” (Limbo); these poems were later included in Les Fleurs du mal. In March and April 1852 Baudelaire’s first major study of Poe was published in Revue de Paris. In “Edgar Allan Poe, sa vie et ses ouvrages” (Edgar Allan Poe, His Life and His Works) Baudelaire notes views that were probably influenced by de Maistre as well as brought out by Poe: belief in original sin; faith in the imagination, which Baudelaire called “la reine des facultés” (the queen of faculties); approval of the cult of Beauty and of poetry for its own sake; and hatred for progress and nature. In 1854 and 1855 Baudelaire’s first translations of Poe’s writings were published in Le Pays. A meticulous translator, Baudelaire was known to hunt down English-speaking sailors for maritime vocabulary. His translations of Poe culminated in Histoires extraordinaires (1856; Tales of Mystery and Imagination), which included “Edgar Allan Poe, sa vie et ses ouvrages” as a preface; Nouvelles Histoires extraordinaires (1856; New Tales of Mystery and Imagination); Aventures d’Arthur Gordon Pym (1858; originally published as The Narrative of Arthur Gordon Pym, 1838); Eureka (1863; originally published 1848); and Histoires grotesques et sérieuses (1865; originally published as Tales of Grotesque and Arabesque, 1840). Also in 1855 the Revue des deux mondes published eighteen poems with the title of Les Fleurs du mal. Two of Baudelaire’s prose poems were published for the first time that same year in a festschrift, “Hommage à C. F. Denecourt.” The festschrift publication is particularly interesting because the prose poems were published alongside two poems in verse, so that “Crépuscule du Soir” (Dusk) appeared in verse and in prose. In June of 1857 the first edition of Les Fleurs du mal was published by the fine letter press of Auguste Poulet-Malassis. Although Baudelaire considered publishing Les Fleurs du mal with the large printing house of Michel Lévy, which published his translations of Poe, he chose the smaller press of Poulet-Malassis out of a concern for quality. A tyrannical author, Baudelaire took rooms near the offices of his publishers so that he could better supervise the placement of every comma. The press was solicitous of Baudelaire’s corrections, and Poulet-Malassis became a devoted friend: he lent Baudelaire large sums of money though he himself eventually went bankrupt and to debtor’s prison for his own debts; he tended to Baudelaire during his last days in Brussels, though the writer had signed over Poulet-Malassis’s legal rights on some works to the publisher Hetzel; and when on his deathbed Baudelaire chose Lévy to publish his Oeuvres complètes , Poulet-Malassis loyally rallied to the cause, ceding his legally exclusive rights to Baudelaire’s works and doing what he could to help produce a satisfactory edition. About one month after Les Fleurs du mal went on sale in July 1857, a report was drawn up by the Sûreté Publique (Public Safety) section of the Ministry of the Interior stating that the collection was in contempt of the laws that safeguard religion and morality. Thirteen poems were singled out and put on trial. In contrast with the last time he went to court, when he acquiesced to the imposition of a conseil judiciaire, Baudelaire fought this battle to the last. The proceeding betrays some of the misunderstandings that have infected views of his poetry ever since. To intercede with the government on his behalf Baudelaire made the unfortunate choice of Aglaé Sabatier, “la Présidente,” a woman to whom he had been sending anonymous and admiring poems since 1852. The third muse for the trilogy of love cycles in Les Fleurs du mal, “Apollonie” (as she was also known) was without great political influence, and her dubious social standing probably did not lend credibility to Baudelaire’s claims for morality. Baudelaire’s defense at the trial was threefold: that he had presented vice in such a way as to render it repellent to the reader; that if the poems are read as part of the larger collection, in a certain order, their moral context is revealed; and that his predecessors—Alfred de Musset, Pierre-Jean Béranger, George Sand, Honoré de Balzac—had written far more scandalously and gotten away with it. Baudelaire’s lawyer unwisely emphasized the last point, which was easily dismissed: that others have gotten away with transgression does not justify one’s own. Six of the poems were condemned—the ban on them was not lifted until after World War II, on 31 May 1949—and both Baudelaire and his editors were fined. Though the trial was an ordeal and certainly did not help improve the poet’s relations with his mother (General Aupick was dead by this time), the trial was not ultimately detrimental to Baudelaire. The condemned poems were excised, and the book went back on sale. Baudelaire subsequently achieved a certain notoriety, for better and for worse. For the better, Les Fleurs du mal got good reviews from critics that counted. Emile Deschamps, a founding father of 1830s Romanticism, published a poem in praise of the collection in Le Présent . Gustave Flaubert, who had endured a similar trial for Madame Bovary (1857), wrote to Baudelaire on 13 July 1858 that “Vous avez trouvé moyen de rajeunir le romantisme. Vous ne ressemblez à personne (ce qui est la première de toutes les qualités). ... Vous êtes résistant comme le marbre et pénétrant comme un brouillard d’Angleterre” (You have found a way to inject new life into Romanticism. You are unlike anyone else [which is the most important quality]. ... You are as resistant as marble and as penetrating as an English fog). On 30 August 1887 Hugo wrote to Baudelaire that his flowers of evil were as “radiant” and “dazzling” as stars. In contrast, the influential Sainte-Beuve maintained a significant silence. There were many negative reviews by lesser critics, but none that affected Baudelaire’s reputation. For the worse, Baudelaire’s legend as a poète maudit (cursed poet) exploded at this time, and Baudelaire, as always, contributed to this reputation by shocking people with elaborate eccentricities. He invited people over to see riding breeches supposedly cut from his father’s hide, for example, or in the middle of a conversation casually asked a friend, “Wouldn’t it be agreeable to take a bath with me?” It is difficult to sort out which stories about Baudelaire are true and which are fictive—later on someone apparently thought that Baudelaire had actually gotten unreasonably angry with a poor window-glazier, misconstruing the prose poem “Le Mauvais Vitrier” (The Bad Glazier) as reality. Baudelaire’s legend as a poète maudit obscured his profound complexity, and Charles Asselineau’s preface to Charles Baudelaire, sa vie et son oeuvre (Charles Baudelaire, His Life and Work, 1869), the first biography of the poet, only sealed his notorious image by passing on the more infamous anecdotes. Another effect of the condemnation of Les Fleurs du mal is that the excision of six poems probably prompted Baudelaire to write the new and wonderful poems published in the collection’s second edition of 1861. After the trial he experienced a surge of creative activity. In Baudelaire in 1859 (1988) Burton posits that this rebirth of energy had to do with a reconciliation with his mother. General Aupick had died in April of 1857, and in 1858 Baudelaire switched from the formal vous to the more intimate tu in addressing his mother. He wrote several of the important poems in the second edition—including “Le Voyage” (The Voyage) and “La Chevelure” (The Head of Hair)—in 1859, during a long stay at Honfleur in the “Maison Joujou” (Playhouse) of his mother. Whatever the reason for this literary activity, Baudelaire wrote thirty-five new poems between 1857 and 1861, adding “Tableaux Parisiens” to the already existing sections of Les Fleurs du mal and creating more or less the definitive version of the collection. Baudelaire’s only collection of verse is composed of six sections: “Spleen et Idéal” (Spleen and the Ideal), “Tableaux Parisiens” (Parisian Tableaus), “Le Vin” (Wine), “Fleurs du mal” (Flowers of Evil), “Révolte” (Revolt), and “La Mort” (Death). In the trial of his poems Baudelaire had argued that there was an “architecture” that organized the meaning of his work, and this organizing principle has been the subject of debate among critics. There is certainly a progression from “Au lecteur” (To the Reader), the poem that serves as the frontispiece, to “Le Voyage,” the final poem. “Au lecteur” invites the reader into the collection by portraying regretful yet irresistible corruption and ennui while forcing the reader into complicity with its well-known conclusion: “—Hypocrite lecteur,—mon semblable,—mon frère!” (Hypocritical reader, my mirror-image, my brother!). Intervening poems explore various facets of the poet’s experience, many of which represent struggles with what Blaise Pascal called the “gouffre” (the abyss). “Le Voyage” surveys the disappointed hopes of speakers who have traveled far and wide only to find what “Au lecteur” had promised, “Une oasis d’horreur dans un désert d’ennui” (An oasis of horror in a desert of tedium). The final cry of this poem, “Nous voulons ... / Plonger ... / Au fond de l’Inconnu pour trouver du nouveau” (We want ... / To plunge ... / To the bottom of the Unknown in order to find something new), is addressed to death and is ambiguous: it either launches the collection’s journey on a new course from that set in “Au lecteur,” thus possibly concluding Les Fleurs du mal on a note of optimism, or it ends the poem’s quest in death. In either case, there is clearly a movement toward closure, and perhaps resolution, in Les Fleurs du mal. Reading the poems by following too rigorous a system would do injustice to them, however. Although there is a general sense of progression in Les Fleurs du mal, individual works do not always fit the pattern assigned to their part in the collection. In similar fashion, though Baudelaire’s legend glossed him as the satanic poet of ennui, sordid details, and forbidden sensuality, in fact his poetry treats a variety of themes with a range of perspectives. He does deal with topics that fueled his scandalous reputation. As “Au lecteur” promised, the collection is dominated by the poet’s Catholic sense of original sin. “Le Mauvais Moine” (The Bad Monk), in the section “Spleen et Idéal,” describes the poet as a “mauvais cénobite” (a bad monk) who is trapped in the “odious” grave of his soul. Redemption, given this situation, appears hopeless: “‘ moine fainéant! Quand saurai-je donc faire / Du spectacle vivant de ma triste misère / Le travail de mes mains et l’amour de mes yeux? (O lazy monk! When will I ever know how to turn / the living spectacle of my sad misery / into the work of my hands and love of my eyes?) Many poems echo this expression of futility for man’s spiritual condition, especially in “Spleen et Idéal” and notably in the four “Spleen” poems (LXXV, LXXVI, LXXVII, LXXVIII) within that section. While some poems end without hope, however—“Spleen LXXVIII” concludes with “atrocious” Anxiety staking the poet’s skull with a black flag—others betray the desire to break out of imprisonment in sin. “Le Mauvais Moine” concludes by expressing that wish (“When will I ever know how ... ?”), though it is in the tenuous form of a question. For Baudelaire, the love of Beauty and sensual love are two specific examples of man’s capacity for original sin. In Les Fleurs du mal Beauty is a compelling but often terrible phenomenon described in terms of hard, lifeless matter. Even the woman of “Le Serpent qui danse” (The Snake Which Dances), a poem about movement, has eyes that are “deux bijoux froids où se mêle / L’or avec le fer” (two cold jewels where / Gold mixes with iron), and Beauty of “La Beauté” (Beauty) is like “un rêve de pierre” (a dream of stone) that inspires love “éternel et muet ainsi que la matière” (as eternal and mute as matter). The power of this inhuman Beauty is terrible. “La Beauté” reduces the poet to a “docile” lover who is virtually chained to his idol. “Hymne à la Beauté” (Hymn to Beauty) concludes with the same helpless devotion to Beauty’s powers of distraction and more explicitly articulates Beauty’s dual nature: her look is “infernal et divin” (infernal and divine), and the poet is so addicted that he does not care whether She comes from Heaven, Hell, or both. Baudelaire does not just treat Beauty as an abstract phenomenon; he also writes about individual women. Baudelaire’s three love cycles reflect his experiences with three different women—Duval, Daubrun, and Mme Sabatier—and discussions of his love poems are often organized around the poems associated with each woman. It is not always clear, however, which poems are associated with whom. Jeanne Duval was a mixed-race person and a sometime actress who, according to Baudelaire, did not understand and in fact undermined his poetry and whose attraction was powerfully physical. Baudelaire met Duval in the early 1840s and lived with her periodically, but by the late 1840s he was writing to his mother that life with her had become a duty and a torment. Nonetheless, it was not until 1856 that they broke up; the rupture was at her instigation, and even afterward Baudelaire continued to support her financially: as usual, his was not the conventional response to a situation. Baudelaire’s relations with Marie Daubrun were less extended. She was a blonde, Rubenesque actress who seems never seriously to have reciprocated Baudelaire’s fascination for her. Baudelaire had met her in the late 1840s or early 1850s but probably did not become intimately involved with her until around 1854. Their sporadic connection ended when Marie left Baudelaire to go back to Théodore de Banville. Apollonie Sabatier represented a different sort of attraction from that of Jeanne and Marie. “La Présidente” had been a model and the mistress of various men, one of whom left her a stipend that secured her independence. Her position as an independent woman who had a history with men placed her in the demimonde, the “half-world” that is neither part of “le monde,” the world of social acceptability and prominence, nor part of the underworld of prostitutes. She was much admired as a tasteful, witty, intelligent woman, and her social evenings were attended by artists such as Théophile Gautier, Maxime Du Camp, Ernest Feydeau, and Flaubert. Baudelaire’s feelings for Mme Sabatier started as admiration from afar: he sent her anonymous letters accompanied by poems. Eventually he revealed his identity to her. When she finally responded to him, however, he dropped her with a letter in which he tells her that her capitulation, whether it was physical or emotional, had turned her from a Goddess into “a mere woman.” Despite the direct stares of Nadar’s famous photographs, Baudelaire’s was a complex personality. On the one hand he experienced animal love and a sense of duty with Jeanne; on the other hand he felt platonic love for Mme Sabatier and yet he betrayed her. His relations with women were far from entirely pleasant. Baudelaire’s complicated experiences with these women and with others undoubtedly shaped his poetry about them. Some readers view Baudelaire as a mere sensualist and in some poems he certainly does celebrate the sensuality of women, of scent, and of sensation, but it is important to note that his poetic descriptions of women are multidimensional. Although there are extremely sensual poems, such as “Parfum Exotique” (Exotic Perfume), “La Chevelure” (The Head of Hair), and “L’Invitation au Voyage” (Invitation to a Voyage), Baudelaire also wrote poems, such as those dedicated to Beauty, in which a woman is admired as a hopelessly unattainable object of art—” Je t’adore à l’égal de la voûte nocturne” (I Adore You as the Vaulted Night Is High), for example, or “Avec ses vêtements ondoyants et nacrés” (With Her Undulating and Pearly Garments). Indeed, contrary to the stereotype of Baudelaire as a lustful idolater, in many of his sensual poems he alchemizes the physical elements of the woman into an ethereal substance. The ultimate importance of “la chevelure” is as a source of memories, and in “Parfum Exotique” the initial scent of the woman’s breast becomes the exotic perfume of an imaginary island. When Baudelaire idolizes the woman as a form of art, similarly, by the end of most poems the woman’s body is conspicuous by its removal. In “Je t’adore à l’égal de la voûte nocturne” the speaker tells the woman that he loves her “d’autant plus, belle, que tu me fuis” (all the more, beautiful one, when you flee me). The image of “la froide majesté d’une femme stérile” (the cold majesty of a sterile woman) in “Avec ses vêtements ondoyants et nacrés” does not invite embraces. For Baudelaire, as for the English metaphysical poets, the human struggle starts with the flesh but ultimately takes place on the metaphysical plane. Woman, on this level, represents good or evil. Some poems portray the woman as demonic, in the tradition of “Hymne à la Beauté.” In “Sed non Satiata” (But she is Not Satisfied), the speaker cries to the woman: “‘ démon sans pitié! verse-moi moins de flamme” (O pitiless demon! Throw me less fire). “Le Vampire” (The Vampire) is about the symbiosis of the vampire woman and the enslaved poet. Other poems—these are usually the ones associated with Mme Sabatier—represent the woman as a redemptive angel against a somber background. The play between light and dark in these poems ranges from the simple to the complex. In “Reversibilité” (Reversibility) there is a simple counterpoint between the “Ange plein de bonheur, de joie et de lumières” (Angel full of happiness, of joy, and of lights) and the tortured speaker. A more complex interplay between light and dark occurs in “Aube Spirituelle” (Spiritual Dawn) when the monstrance-like memory of the woman shines against a backdrop of the sun drowning in its congealing blood. Such complexity is again evident in “Confession,” when the “aimable et douce femme” (amiable and sweet woman) confesses her “horrible” lack of faith in humanity. Behind Baudelaire’s struggles with sin and ennui is an articulated awareness of Satan, notably in the section “Révolte.” “Le Reniement de Saint Pierre” (St. Peter’s Denial) concludes with the speaker congratulating Peter for denying Jesus. In “Abel et Caïn” the narrative voice urges Cain to ascend to heaven and throw God to earth. “Les Litanies de Satan” (The Litanies of Satan) is addressed to Satan and has the refrain “‘ Satan, prends pitié de ma triste misère!” (O Satan, have pity on my sad misery!). These are strong poems, understandably shocking to the readers of his day, but Baudelaire’s struggles with evil do not ally him with Satan. In his poetry Baudelaire represents himself as trapped and cries out in a despair that suggests his awareness of sin as a burden. Baudelaire is not a diabolic preacher; with C. S. Lewis, he would point out that Satan is part of the Christian cosmology. Baudelaire’s “Doctrine of Correspondences” suggests a belief of sorts in a pattern for the world and in relationships between the physical world and a spiritual one. This view, probably influenced by Emanuel Swedenborg and viewed as an antecedent to symbolism, is presented in the poem “Correspondances.” Nature is presented as a “temple” whose living pillars speak to man and whose “forest of symbols” (forêt de symboles) observe him. Baudelaire writes that “Les parfums, les couleurs, et les sons se répondent” (Perfumes, colors, and sounds interact with each other) like echoes in a “ténébreuse et profonde unité” (dark and deep unity). Although he does not include a direct expression of faith in God or gods in the poem, Baudelaire’s profoundly mystical belief in the world’s fundamental unity is clear. “Correspondances” epitomizes Baudelaire’s complicated spirituality. Indeed, the subject of Baudelaire’s faith has been much debated. The references to God and to Satan in his poems, letters, and intimate journals have been counted; the validity of his last rites has been weighed; his confession of faith to Nadar has been examined. Most critics agree that Baudelaire’s preoccupations are fundamentally Christian but that in Les Fleurs du mal he fails to embrace entirely Jesus Christ and his power of redemption. Debates about Baudelaire’s Christianity have not resolved the matter, though, nor is a label for Baudelaire’s faith necessarily desirable for reading his poetry. Les Fleurs du mal is best read on its own terms, with a respect for its complexity. The constant thrust of the collection is to impart to the reader an awareness of tension between the physically real and the spiritually ideal, of a hopeless but ever-renewed aspiration toward the infinite from an existence mired in sin on earth. This thrust is evident in poems in which the speaker bemoans enslavement to the soul’s “gouffre” (abyss) or to Beauty’s fascinations, in which he cries out to Satan in rage, in which he delves into the sensual to escape the physical world, and in which he articulates a feeble hope in love’s redemptive capacity and the possibility of unity. Baudelaire’s ambiguous relationship with the material world and his desire for another world are evident in his poems about the city of Paris. While some critics, notably Edward Kaplan, have argued that “Tableaux Parisiens,” the section added to the edition of 1861, shows a “conversion to the real world as it exists,” critics such as F. W. Leakey have pointed out that in these poems Baudelaire treats the city the way he treats the female body in “Je t’adore à l’égal de la voûte nocturne,” that is, by moving away from it as a physical presence. “Paysage” (Landscape) invokes concrete details of Paris—”Les tuyaux, les clochers, ces mâts de la cité” (the pipes, the bells, the masts of the city)—but the poem concludes with the poet behind closed shutters, his head on his desk, resolving to make “de mes pensers brûlants une tiède atmosphère” (a warm atmosphere from my burning thoughts). In “Le Soleil” (The Sun) the poet walks the streets of Paris, but he appears to see the city as a literary text rather than on its physical terms. He goes “Flairant dans tous les coins les hasards de la rime, / Trébuchant sur les mots comme sur les pavés” (Seeking out the hazards of rhyme in all corners / Stumbling on words as on cobblestones). “Le Cygne” (The Swan) is a magnificent poem that records the changes wrought in Paris by the Baron Georges-Eugène Haussmann. Although he accumulates concrete details, Baudelaire again removes himself from the physical presence he is recording by recasting what he sees: “Je ne vois qu’en esprit tout ce camp de baraques . . .” (I see all these barracks ... only in spirit) and “tout pour moi devient allégorie” (everything becomes an allegory for me). Baudelaire’s reputation as the father of modern poetry about cities is largely based on the “Tableaux Parisiens,” which describe the streets of Paris in such gritty detail; the importance of these street scenes for the poet, though, is that he usually plunges into them with the desire to transcend them. Baudelaire’s theory of correspondences and his introduction of such topics as the city and the ugly side of man’s nature to poetry in verse are responsible for the modern quality of Les Fleurs du mal. Baudelaire also deals with a variety of themes in the Romantic tradition, however, including solitude; the mal de siècle, which in Baudelaire’s terms becomes ennui; the special plight of the poet; introspection; yearnings for the infinite; and romance. Furthermore, Baudelaire’s prosody is traditional: his alexandrines are no more loosened than those of the Romantics, and he uses a wide variety of classical forms. Even in his treatment of Romantic themes, however, Baudelaire is radical for his time. He imagines solitude not as a state of nature but as it happens in cities, presenting it in counterpoint to city crowds. The person who experiences ennui, as opposed to mal de siècle, is mercilessly self-aware and is troubled by original sin and a divided self. For Baudelaire the poet is endowed with special powers but is also a clumsy albatross (“L’Albatros”) or slothful sinner (“Le Mauvais Moine”). No longer mournful meditation in picturesque settings, introspection turns ugly with Baudelaire, a guilty pleasure to be squeezed like “une vieille orange” (an old orange), as Baudelaire asserts in “Au Lecteur.” The infinite is no longer the divine perceived in stars; it is found in the expansiveness of scents, in the imagination, in poetry, in cold-hearted Beauty, in the desire to escape. To traditional forms and traditional themes Baudelaire brought imagery and situations that had never before existed in French poetry. “Une Charogne” (A Cadaver) provides an excellent example of how Baudelaire uses Romantic and even classical themes to go beyond them. The poet takes a walk with his beloved and concludes that, although time passes, his poetry will immortalize her. Unlike Pierre de Ronsard’s poem on that classical theme, “Quand tu seras bien vielle” (When You Are Very Old), however, Baudelaire’s meditation is prompted by a human cadaver whose guts spill across the page, the poem graphically detailing the flies, vermin, and stink. The speaker instructs his beloved that when she, too, is a rotting corpse, she should tell the vermin—who will eat her with kisses—that “j’ai gardé la forme et l’essence divine / De mes amours décomposés!” (I have maintained the form and divine essence / Of my decomposed loves!). Just as he exploits grotesque physical details only to extract from them an “essence divine,” so Baudelaire uses poetic convention while transforming it. Similarly, Baudelaire’s use and mastery of traditional technique revolutionized French poetry by so clearly representing a unique sensibility. In “Le Cygne,” a poem detailing the poet’s thoughts as he walks through a changing Paris, Baudelaire sensitively communicates modern anxiety and a modern sense of displacement. The poem begins with an abrupt exclamation, “Andromaque, je pense à vous!” (Andromache, I am thinking of you!). A series of repetitions compounds the initial sense of urgency. The frequent recurrence of the verb je pense à (I am thinking about), though, also indicates the meditative nature of the poem; the repetition of words such as là (there)—along with a myriad of sharp descriptions—show that meditation interacts with the speaker’s close observations. Syntax broken across stanzas conveys the reach of the poet’s thoughts and observations as well as a sense of breathless haste. The speaker returns to the same thoughts—notably, a swan escaped from a zoo and Andromache, the wife of the Trojan hero Hector—and the use of exclamation points is heavy: he is obsessed and slightly frantic. The gist of the speaker’s meditations is that he is haunted by absences: by Paris as it is no longer, by the swan who has lost his native soil, by Andromache’s losses. Those absences are present in this poem by virtue of Baudelaire’s prosody. Andromache’s fall into destitution is represented in the space caused by the enjambment between stanzas: “ … et puis [je pense] à vous / Andromaque, des bras d’un grand époux tombée” (And I think of you, / Andromache, fallen from the arms of a great husband). The lament of all who have suffered losses is emphasized by an enjambment that forces a quick draw of breath right before the end of the sentence and that accents the finality of “jamais” (never) at the beginning of the next sentence: “Je pense . . . . . . . . . . . . . . . À quiconque a perdu ce qui ne se retrouve Jamais, jamais!” (I think . . . . . . . . . . . . . . Of whomever has lost that which can Never, never be found again!). In Les Fleurs du mal traditional prosody and themes combine with novel thoughts and inspiration to create works of supreme originality. Although there were not many reviews of the second edition of Les Fleurs du mal and not all of those published were favorable, Baudelaire became an established poet with its publication. Saint-Beuve—though he never did review Les Fleurs du mal—ranked him grudgingly among the leaders of a new generation of poets as he remarked that poets coming along seemed to be in the style of Hugo, Gautier, Banville, and “even Baudelaire.” Younger poets started to dedicate poems to Baudelaire. Charles Asselineau in Charles Baudelaire: Sa vie et son oeuvre (1869) describes Baudelaire as accepted and blossoming with success after 1861. On the strength of that success, in fact, Baudelaire attempted an application to the Académie Française in 1861, seeking—many thought ironically—the place of Henri Lacordaire, a Roman Catholic priest. The taint of the trial and of his reputation was too strong, though, and Baudelaire thought it prudent to let his candidacy drop before he met with certain failure. In the 1860s Baudelaire diversified from poetry in verse to literary activity in several different spheres. He wrote Les Paradis artificiels, Opium et Haschisch (The Artificial Paradise, Opium and Hashish, 1860), in which he resumes the interest in drugs that he had first explored in 1851 with Du Vin et du haschisch (On Wine and Hashish), an article published in Le Messager del’Assemblée. He also wrote seven articles for Jacques Crépet’s Les Poètes Français (French Poets, 1862), including pieces on Hugo, Gautier, and Marceline Desbordes-Valmore. These essays were published later along with others in Curiosités esthétiques . The note on Baudelaire in Crépet’s volume, written by Gautier, was fairly positive. This anthology established contact between Baudelaire and his first major biographer, Crépet. Baudelaire also continued with essay projects on topics of miscellaneous artistic interest, for example, the expression of his admiration for Wagner in 1861, Richard Wagner et “Tannhäuser” à Paris, and a valedictory tribute to Delacroix in 1863. The most significant of these essays was his definitive article on modern art. Around 1859 Baudelaire met the sketch artist Constantin Guys and began writing “Le Peintre de la vie moderne” (The Painter of Modern Life). This essay, ultimately published in Le Figaro in 1863, brings to fruition his ideas about “l’héroïsme de la vie moderne” (the heroism of modern life) first expressed in Salon de 1845 and Salon de 1846. Where in the Salon de 1846 Baudelaire discusses the duality of art in general terms, in “Le Peintre de la vie moderne” that duality specifically defines art’s modernity: “La modernité, c’est le transitoire, le fugitif, le contingent, la moitié de l’art, dont l’autre moitié est l’éternel et l’immuable” (Modernity is the transitory, the fugitive, the contingent, half of art, the other half of which is eternal and immutable). Art is composed of the eternal and the contingent; modernity—which can occur in every historic era—is a function of finite particulars “qui sera, si l’on veut, tour à tour ou tout ensemble, l’époque, la mode, la morale, la passion” (which, if you like, will be one by one or simultaneously the era, fashion, morals, passion). Baudelaire illustrates these principles by discussing in detail the interests and techniques of “CG,” his designation for the artist who wished to remain anonymous, from his brush stroke to his Crimean War drawings for the Illustrated London News. Central to Baudelaire’s estimation of Guys is that Guys is not an artist but is, rather, a man of the world. For Baudelaire, a broad interest in the world as opposed to the restricted perspective that he associates with most “artistes” is crucial to interesting art. Along with this line of thought Baudelaire elaborates his notion of the dandy, who is not only the elegant dresser of usual associations but also a man of the world who lives according to the highest aesthetic principles. Baudelaire also develops his ideas about “la foule,” the crowd, which is the solitary artist’s domain “as water is for the fish.” He devotes an entire section to the aspects of modern life that the true artist must absorb: military life, the dandy, cars, women, prostitutes, and even makeup. In that last section, “Eloge du Maquillage” (In Praise of Makeup), Baudelaire makes explicit two more concepts that are important to his ethos. First, true to the metaphysical import of flesh already described in his poetry, Baudelaire makes it clear that for him there is a spiritual dimension to physical rituals: he speaks of “la haute spiritualité de la toilette” (the high spirituality of the toilet) and states that fashion must be considered “un symptôme du goût de l’idéal” (a symptom of a taste for the ideal). Second, as a corollary to the importance he attaches to fashion, makeup, and the codes of the dandy, Baudelaire touches on his unromantic distaste for the natural. Everything beautiful is beautiful by calculation, he opines. Art is necessary to correct the natural state of man, which on the physical level is unattractive and on the spiritual level is a state of original sin. By the early 1860s Baudelaire had found a model for his ideals in the person of Guys, and he gave full expression to his artistic aesthetic in “Le Peintre de la vie moderne.” Baudelaire continued with scattered publications of poetry in the 1860s. In 1862 he published 20 prose poems in La Presse . This landmark year marks a shift in his creative endeavors from poetry in verse to poetry in prose: thereafter most of his creative publications are prose poems. Baudelaire managed to write only fifty of the one hundred prose poems he had projected. These poems were posthumously collected in 1869 as Petits poèmes en prose (Little Poems in Prose) and published with Les Paradis artificiels; later they were published by the better known title Le Spleen de Paris, petits poèmes en prose (The Spleen of Paris, Little Poems in Prose, 1917). Le Spleen de Paris is, as Baudelaire would say, a “singular” assemblage of works that represents an extremely ambitious literary project. In his correspondence he refers to the prose poems as a “pendant” (a completion of) to Les Fleurs du mal. He explains in what senses Le Spleen de Paris completes Les Fleurs du mal when he articulates his ambitions for the prose poems in “A Arsène Houssaye,” a letter that became the preface to the collection. Houssaye was the editor of L’Artiste and La Presse , which published some of the prose poems individually. In “A Arsène Houssaye” Baudelaire is careful to point out that the main predecessor for the genre of prose poetry was Aloysius Bertrand’s Gaspard de la Nuit (Gaspard of the Night, 1842), a relatively little-known work about gothic scenes in Paris. Bertrand did not label his short pieces “prose poems,” though: Baudelaire is the first poet to make a radical break with the form of verse by identifying nonmetrical compositions as poetry. Baudelaire offered a tantalizing statement about his goals for the new form: “Quel est celui de nous qui n’a pas, dans ses jours d’ambition, rêvé le miracle d’une prose poétique, musicale sans rythme et sans rime, assez souple et assez heurtée pour s’adapter aux mouvements lyriques de l’âme, aux ondulations de la rêverie, aux soubresauts de la conscience?” (Who among us has not, in his days of ambition, dreamed the miracle of a poetic prose, musical without rhythm or rhyme, supple and agile enough to adapt to the lyrical movements of the soul, to the undulations of daydreams, to the leaps of consciousness?). Having mastered the forms of traditional verse, Baudelaire wanted to do nothing less than create a new language. Unlike Bertrand’s “picturesque” topics, Baudelaire associates his new language with the modern topic of the city. In “A Arsène Houssaye” he states that the ideal that obsesses him is born “surtout de la fréquentation des villes énormes, ... du croisement de leurs innombrables rapports” (especially from frequenting large cities, ... from the interconnection of their innumerable points of relationship). In contrast with the “architecture” of Les Fleurs du mal, these interconnections are presented without order. The work has “ni queue ni tête, puisque tout, au contraire, y est à la fois tête et queue, alternativement et réciproquement” (neither tail nor head because, on the contrary, everything is at once head and tail, alternately and reciprocally). Le Spleen de Paris is modern in that it represents a break with traditional form, is about urban life, and is consciously without order. It is worth noting that in his preface Baudelaire refers to the form of the work as “prose lyrique.” He does not in the collection refer to the works as poems in prose, and the title, Le Spleen de Paris, petits poèmes en prose was chosen after Baudelaire’s death by editors and critics. It is true that critics chose this title from titles that Baudelaire considered in his correspondence, and that in his correspondence Baudelaire most often refers to his endeavours as “poèmes en prose.” Among the most significant challenges posed by Le Spleen de Paris, though, are the questions surrounding its form: is this poetry? Did Baudelaire succeed in his ambition to forge a new poetic language? In her classic tome on prose poetry Le Poème en prose du Baudelaire jusqu’à nos jours (The Prose Poem from Baudelaire to the Present, 1959) Suzanne Bernard defined the important characteristics of the genre: “l’unité, la gratuité, la brièveté (unity, gratuitousness, and brevity). Most critics have tended to discuss the themes of the poems rather than their form, however, accepting poetry in Baudelaire’s wake as an attitude rather than a set of rules. This collection, which has been growing in popularity among critics, still contains much to be explored. Baudelaire’s poems in prose are short anecdotes, bitter satires, and reveries about unusual topics, including dogs, mud, aged tumblers, windows, widows, and poor people standing outside fancy eating establishments. Several critics, notably Pierre Emmanuel, have noted that there is more compassion in these works than in Baudelaire’s poetry in verse. This compassion can take strange forms—the speaker of “Les Yeux des pauvres” (The Eyes of the Poor) is so moved by a family of poor people that he hates the companion he had loved for her lack of sympathy. “Assommons les Pauvres” (Let’s Knock Out the Poor) concludes with the speaker sharing his purse with a beggar, but it is after having beaten him like “cooks who want to tenderize a steak.” It is true, though, that whereas Baudelaire most often offers visions of beauty in Les Fleurs du mal, he commonly and sympathetically treats the poor in Le Spleen de Paris. In fact, the speaker in “Mademoiselle Bistouri” concludes by praying to God—as opposed to the devil—to have pity on crazy people. Furthermore, while many of the prose poems are about ugliness, they often accept and possibly even transcend ugliness. “Un cheval de race” (A Thoroughbred) is about a woman well past her prime who is “bien laide” (very ugly) but “délicieuse pourtant” (nonetheless beautiful). In “Perte d’auréole” (The Lost Halo) the speaker loses his “halo” in the mud, but concludes that he is better off without it and that the halo is actually much better suited to “some bad poet.” While the speaker in the poems of Les Fleurs du mal sought escape, in the prose poem “Déjà!” Baudelaire describes a speaker who had escaped on a boat that then returned to shore. At first he alone among the passengers is regretful, but in the last paragraph of the poem he celebrates “la terre avec ses bruits, ses passions, ses commodités, ses fêtes;” (earth with its sounds, its passions, its conveniences, its celebrations). As with Les Fleurs du mal, it would be a mistake to pigeonhole the poems in this collection, which unlike his first has no headings. There are some harsh, disturbing poems in Le Spleen de Paris —“Le Gâteau” (The Cake), for example, which is about a fratricidal war between two natives over a piece of cake. As critics have noticed from the very beginning, however, the prose poems address banalities and travails of life quite differently from Les Fleurs du mal. It is not coincidental that Baudelaire’s departure from traditional form and his exploring new themes occurred in chronological conjunction with “Le Peintre de la vie moderne.” Certainly, Baudelaire’s break with traditional notions of poetry had a far-reaching effect on subsequent poetry, from Arthur Rimbaud’s Les Illuminations (1886) to modernist experimentation with form. In fact, Henri Peyre, an eminent scholar of French poetry, argues in Connaissance de Baudelaire (1951) that Le Spleen de Paris has had a greater influence on poetry than Les Fleurs du mal. This conclusion is surprising because it is only relatively recently that Baudelaire’s prose poetry has attracted critical attention, but few critics have disagreed with Peyre. Le Spleen de Paris undoubtedly has had a significant influence on modern poetry. During the period in which he was seriously exploring prose poetry, Baudelaire experienced a series of financial disasters. He had sold his writings to Poulet-Malassis, who had gone bankrupt in 1862. La Presse stopped publishing his poetry in prose. He had signed over to Michel Lévy sole ownership for his translations of Poe for 2,000 francs, so he lost a regular income; furthermore, he could not get Lacroix and Verboeckhoven, another printing house based in Brussels, interested in his work. These circumstances led Baudelaire to travel to Brussels, where he hoped to earn money with a lecture series and to make contact with Victor Hugo’s publisher, Lacroix et Verboeckhoven. Baudelaire arrived in Brussels on April 24, 1864 and checked into the Hotel du Grand Miroir, where he stayed, enduring a miserable sojourn, until his stroke in 1866. His lecture series was a failure: he got less money for the lectures than he was expecting, and though his first lecture got a good review, the rest were described by those who attended as disasters because of Baudelaire’s stage fright. Baudelaire describes his last attempt to lecture in excruciating terms: there were three enormous drawing rooms, lit with chandeliers and candelabras, decorated with superb paintings, a “profusion” of cake and wine—and all for 10 or 12 people. He did not even bother to deliver the entire talk. In addition to the disappointment of the lecture series, Baudelaire did not make contact with Lacroix, who never accepted his invitations. Also, Baudelaire found the culture and climate of Belgium stifling, so stifling that while there he began writing a vitriolic indictment of the country titled “Pauvre Belgique!,” which was pubblished in Oeuvres posthumes et correspondances inédites (1887). Despite his unhappy situation, Baudelaire stayed on in Belgium, perhaps because he was hoping for a satirical book to come out of the stay, perhaps because he did not want to return to France without something to show for the trip, or perhaps because he could not pay his hotel bill. His time in Belgium was not in fact wasted: Poulet-Malassis had emigrated there to escape creditors in France, and with his help Baudelaire published Les Épaves (The Wreckage, 1866), in which he assembled the condemned poems and other pieces left out of the French edition of Les Fleurs du mal. Baudelaire also became acquainted with Mme Hugo, even becoming a regular visitor at her home, and made contacts with local artists, notably with the engraver Félicien Rops. While visiting the Rops family, Baudelaire collapsed during a trip to the Eglise Saint-Loup on March 15, 1866. Baudelaire’s health had been deteriorating for some time. There was no effective cure for syphilis in his day, and so although he thought he was cured of it in the early 1840s, his disease erupted in 1849, and again in the spring of 1861. In letters from January 1862 he describes recurrent and distressing symptoms. The doctors never mentioned syphilis in connection with his final illness, but it seems very likely that the cerebral hemorrhage of March 15 was caused by the debilitating effects of the disease. The Rops took Baudelaire back to Brussels, and by March 31 paralysis had set in. He was transported to the Clinique Saint-Jean et Sainte Elisabeth on April 3. By April 4, Baudelaire was incapable of speaking coherently. Madame Aupick arrived in Brussels on April 14 and returned with Baudelaire to Paris at the end of June. Baudelaire was eventually moved into a hydrotherapeutic establishment, and it was there that he died on August 31, 1867. The terrible irony of Baudelaire’s story is that this supremely articulate man spent the last 17 months of his life reduced to incoherent monosyllables. This aphasic state was special torture for him because he seemed to understand what was going on around him but was unable to express himself. A particularly sad example of this situation touches on the publication of Baudelaire’s complete works. He had wanted to find a publisher for them before his stroke, and his friends organized themselves to bring about what had become a last wish. Baudelaire conveyed with signs that he wanted Lévy as publisher, and this request was arranged. Ever the perfectionist, Baudelaire wanted to oversee the production of the manuscript. He knew, however, that he was in no condition to do so. In the hopes that he would eventually recover, Baudelaire used a calendar and a book published by Lévy to indicate that he wanted the process to wait until March 31. This date came with no improvement in Baudelaire’s health, and his collected works had to be prepared without his supervision; the seven-volume Oeuvres complètes (Complete Works) were not published until after his death, between 1868 and 1873. Biographies were also quickly available: Asselineau’s anecdotal Charles Baudelaire, sa vie et son oeuvre was published two years after the poet’s death; the first scholarly biography of Baudelaire was written by Jacques Crépet in 1887 and completed by his son Eugène in 1907: Baudelaire. Étude biographique revue et complétée par Jacques Crépet. Baudelaire had achieved an important reputation in the literary world by the time of his death; writers such as Stéphane Mallarmé, Paul Verlaine, and Rimbaud openly sang his praises. In his correspondence Rimbaud called him a “génie, un voyant” (genius, a visionary). In articles written for the journal L’Art in November and December 1865 Verlaine credited Baudelaire with writing poetry about modern man. Mallarmé celebrated Baudelaire in essays and took up many of his themes (Poe, escape from the physical world, and desire for the infinite). Baudelaire’s influence has carried over into the 20th century and to other countries in the work of such writers as Pierre-Jean Jouve, Pierre Emmanuel, and T.S. Eliot. Though Baudelaire was accepted as a poet during his lifetime, his status with 19th-century critics was tenuous. Of 1500 books, 700 copies of Crépet’s biographical study remained in 1892. Lurid articles that exaggerated Baudelaire’s legendary eccentricities attended his death. Important scholars such as Ferdinand Brunetière and Gustave Lanson remained relatively ignorant of Baudelaire’s achievements. Toward the end of the 19th century small magazines began to perceive Baudelaire’s work more clearly and to free him of the myth of decadence that had grown up around him. Baudelaire’s importance was not fully recognized by the world of criticism until the 20th century, though. In 1926 Paul Valéry’s “Situation de Baudelaire” (The Situation of Baudelaire) was published as an introduction to Les Fleurs du mal; in 1927 Marcel Proust published the influential “A propos de Baudelaire” (On the Subject of Baudelaire). These essays and others brought about a renaissance for Baudelaire’s fortunes in France, and by World War II his work was regularly anthologized and used in schools. Baudelaire’s writings have also come to be greatly appreciated abroad, notably in England, where he was introduced by the critic Arthur Symons and where the American poet Eliot subsequently introduced him to American and English modernist poetry. Baudelaire is now an important figure in the literary canon. Critical articles and books about him abound; the W.T. Bandy Center for Baudelaire Studies at Vanderbilt University is devoted to recording all major publications on the author and his work. In the 1980s and 1990s the prose poems seem to have become a particularly appealing topic for scholars of Baudelaire. Baudelaire’s poetry has gone beyond what was once selective appreciation on the one hand and widespread notoriety on the other to general acclaim. Unlike Hugo, who cultivated his relationship with the public, Baudelaire in his career set himself apart by cultivating an eccentric image, by living an unconventional life, by writing poetry in verse that used Romantic topoi to upset them, and by launching a new form. While he did seek recognition, Baudelaire and his poetry are defined by their distinct individuality.
5097	dbpedia	2	91	https://www.ccfs-sorbonne.fr/en/novels-poetry-theater-literary-classics-for-learning-french/	en	The 10 classic French books to read	https://www.ccfs-sorbonn…7-a-15.49.54.jpg	https://www.ccfs-sorbonn…7-a-15.49.54.jpg	[ "https://www.ccfs-sorbonne.fr/wp-content/uploads/2023/11/logo-ccfs-blanc-3.png", "https://www.ccfs-sorbonne.fr/wp-content/uploads/2023/11/logo-ccfs-blanc-3.png", "https://www.ccfs-sorbonne.fr/wp-content/uploads/flags/drapeau-en.png", "https://www.ccfs-sorbonne.fr/wp-content/uploads/flags/drapeau-en.png", "https://www.ccfs-sorbonne.fr/wp-content/uploads/flags/frapeau-fr.png", "https://www.ccfs-sorbonne.fr/wp-content/uploads/flags/frapeau-fr.png", "https://www.ccfs-sorbonne.fr/wp-content/uploads/flags/drapeau-es.png", "https://www.ccfs-sorbonne.fr/wp-content/uploads/flags/drapeau-es.png", "https://www.ccfs-sorbonne.fr/wp-content/uploads/flags/drapeau-cn.png", "https://www.ccfs-sorbonne.fr/wp-content/uploads/flags/drapeau-cn.png", "https://www.ccfs-sorbonne.fr/wp-content/uploads/2024/06/Capture-decran-2024-06-17-a-14.01.39.jpg", "https://www.ccfs-sorbonne.fr/wp-content/uploads/2024/06/Capture-decran-2024-06-17-a-14.01.39.jpg", "https://www.ccfs-sorbonne.fr/wp-content/uploads/2024/04/Capture-decran-2024-04-10-a-12.20.29.jpg", "https://www.ccfs-sorbonne.fr/wp-content/uploads/2024/04/Capture-decran-2024-04-10-a-12.20.29.jpg", "https://www.ccfs-sorbonne.fr/wp-content/uploads/2024/04/Capture-decran-2024-04-10-a-12.00.39.jpg", "https://www.ccfs-sorbonne.fr/wp-content/uploads/2024/04/Capture-decran-2024-04-10-a-12.00.39.jpg", "https://www.ccfs-sorbonne.fr/wp-content/uploads/2024/05/logo-FEI-e1716384005794-300x120.png", "https://www.ccfs-sorbonne.fr/wp-content/uploads/2024/05/logo-FEI-e1716384005794-300x120.png", "https://www.ccfs-sorbonne.fr/wp-content/uploads/2023/10/logo-campusfle.png", "https://www.ccfs-sorbonne.fr/wp-content/uploads/2023/10/logo-campusfle.png", "https://www.ccfs-sorbonne.fr/wp-content/uploads/2023/10/logo-campus-france.png", "https://www.ccfs-sorbonne.fr/wp-content/uploads/2023/10/logo-campus-france.png", "https://www.ccfs-sorbonne.fr/wp-content/uploads/2024/06/logo-paris-je-t-aime.png", "https://www.ccfs-sorbonne.fr/wp-content/uploads/2024/06/logo-paris-je-t-aime.png", "https://www.ccfs-sorbonne.fr/wp-content/uploads/2023/11/logo-ccfs-sorbonne.png", "https://www.ccfs-sorbonne.fr/wp-content/uploads/2023/11/logo-ccfs-sorbonne.png" ]	[]	[]	[ "" ]	null	[ "Anthony Demarle" ]	2023-07-27T04:34:37+00:00	French literature includes great classics renowned throughout the world which facilitate learning the language and discovering French culture	en	https://www.ccfs-sorbonn…icon-150x150.png	CCFS Sorbonne	https://www.ccfs-sorbonne.fr/en/novels-poetry-theater-literary-classics-for-learning-french/	La gloire de mon père (My Father’s Glory) (Marcel Pagnol) “La Gloire de mon Père” by Marcel Pagnol is an ideal book for people who want to learn French, especially international students. This autobiographical story captures rural Provence using prose that is as beautiful as it is accessible; “My Father’s glory” offers an immersion in Provençal culture, while helping to improve linguistic skills thanks to its clear and evocative narrative style. Le Père Goriot (Father Goriot) (Honoré de Balzac) “Le Père Goriot” by Honoré de Balzac is a classic novel of French literature which also offers a valuable opportunity to learn the language and discover French culture. This major work is distinguished by its rich and elaborate language, ideal for improving vocabulary and understanding in French. The book explores the intricacies of 19th century Parisian society, allowing readers to dive into French culture and history while following a gripping story. Les Miserables (Victor Hugo) “Les Misérables” by Victor Hugo is a masterpiece of French literature which has been the subject of numerous cinematographic adaptations, including in the United States. The novel features a rich variety of language styles, from popular to formal, which allows readers to explore various levels of French language. The story itself offers an in-depth exploration of French society and history, while touching on universal themes such as justice, redemption and love. Reading Les Misérables is an enriching way to improve your French language skills while discovering the depth of French literature and culture. L’Etranger (The Stranger by Albert Camus) L’Etranger (“The Stranger”) by Albert Camus is another classic novel of French literature that promotes learning while exploring French culture. Camus’ simple and direct writing style allows learners to immerse themselves in the contemporary French language while exploring the philosophical and existential themes that characterize the Camus work. Germinal (Emile Zola) “Germinal” by Émile Zola is a powerful novel that allows you to learn french while delving into the culture and history of the country. The work explores the social condition of miners in the North of France during the 19th century, providing a captivating and moving insight into the life of the working class at that time. Zola’s detailed descriptions and lively language enrich the understanding of the language while provoking reflection on the struggles and social issues that have marked the history of France ever since. The Cid (Pierre Corneille) “Le Cid” by Pierre Corneille is a must-have in classic French literature. Its Alexandrine-based literary style and poetic dialogues provide an excellent resource for students, allowing them to discover 17th century French and the general subtlety of the language. The work itself explores universal themes such as honor, love and duty, while providing deep insight into French culture and values of the time. It is an enriching way to improve your language skills while discovering the cultural and literary roots of France. Note that “Le Cid” was inspired by the Spanish chivalrous novel “Les Enfances du Cid” written by Guillén de Castro. Madame Bovary (Gustave Flaubert) “Madame Bovary” by Gustave Flaubert is a remarkable novel which allows you to learn French language while exploring a literary movement tinged with realism and romanticism. Realism is manifested through the careful portrayal of provincial life in France, while romanticism shines through the passions and dreams of Emma Bovary, the main character of the book. This book caused considerable controversy due to its unflattering portrait of society, the pervasiveness of the theme of adultery, and its implicit criticism of the morals that prevailed back then. It is a must-read for those who wish to understand French literature and its impact on 19th century society. Les fleurs du mal (Charles Baudelaire) “Les Fleurs du Mal” by Charles Baudelaire is an emblematic poetic work and a literary classic. Its lyrical poetry, rich imagery, and evocative language make it a valuable resource for those wishing to learn French . The collection explores human emotions, beauty, melancholy and decadentism, providing another profound insight into 19th century French culture and aesthetics. Les Fleurs du Mal offers an often inspiring way to improve understanding of the language while discovering the richness of French poetry. Le conte de Monte Cristo (The Count of Monte Cristo by Alexandre Dumas)
5097	dbpedia	1	93	https://www.thegreatcat.org/cats-19th-century-part-16-theophile-gautier/	en	Cats in the 19th Century (Part 16 -Théophile Gautier)	https://www.thegreatcat.…ER-THÉOPHILE.jpg	https://www.thegreatcat.…ER-THÉOPHILE.jpg	[ "https://www.thegreatcat.org/wp-content/uploads/2014/05/Theophile-Gautier.jpg", "https://www.thegreatcat.org/wp-content/uploads/2014/05/Theophile-Gautier.jpg", "https://thegreatcat.org/wp-content/uploads/2014/05/Tomb-of-Theophile-Gautier.jpg", "https://thegreatcat.org/wp-content/uploads/2014/05/Tomb-of-Theophile-Gautier.jpg", "https://www.thegreatcat.org/wp-content/uploads/2016/05/Front-2.jpg", "https://www.thegreatcat.org/wp-content/uploads/2016/05/Front-2.jpg", "https://www.thegreatcat.org/wp-content/plugins/digiproveblog/dp_seal_trans_16x16.png", "https://www.thegreatcat.org/wp-content/plugins/digiproveblog/dp_seal_trans_16x16.png", "https://www.thegreatcat.org/wp-content/uploads/2019/07/Logo-7-500x500.png", "https://www.paypalobjects.com/en_US/i/scr/pixel.gif", "https://www.thegreatcat.org/wp-content/uploads/2016/05/Front-2.jpg", "https://www.thegreatcat.org/wp-content/uploads/2018/01/Front-Cover-2-386x500.png", "https://www.thegreatcat.org/wp-content/uploads/2018/01/EX6Irises_Painting-cover-for-cats-and-flowers.png", "https://www.thegreatcat.org/wp-content/uploads/2016/05/Medieval-Cats-Coloring-Book-for-Cat-Lovers.jpg", "https://www.thegreatcat.org/wp-content/uploads/2017/02/Front-Cover-3b.png", "https://www.thegreatcat.org/wp-content/uploads/2016/05/Ancient-Egyptian-Cats-A-Coloring-Book-for-Adults-and-Children-1.jpg" ]	[]	[]	[ "" ]	null	[ "LA Vocelle" ]	2014-05-16T10:04:42+00:00	The French poet and writer Théophile Gautier (1811-1872), truly adored cats. Many of his poems include them, and they were his beloved companions.	en	https://www.thegreatcat.…greatcatlogo.png	THE GREAT CAT	https://www.thegreatcat.org/cats-19th-century-part-16-theophile-gautier/	The French poet and writer Théophile Gautier (1811-1872), truly adored cats. Many of his poems include them, and they were his beloved companions. An excerpt from the Daily Telegraph of 1895, describes his passionate affection for his felines. “Theophile Gautier, one of the most famous and artistic French authors of the present century, had an especial fondness of all animals, but cats were his particular favorites. In his book called ‘La Menagerie Intime or My Private Menagerie’ he describes his household pets. One of the first was Childebrand, a short-haired, fawn colored beauty, striped with black velvet, like the clown in Hugo’s ‘Roi s’Amuse’. He had great green eyes, almond-shaped, and surrounded by bands of black. Madame Theophile was another favorite, reddish and white breasted, pink-nosed and blue-eyed. She dwelt with him on terms of great intimacy, sleeping with him, sitting on the arm of his chair when he wrote, following him on his walks through the garden and always present at meals, when she sometimes stole attractive bits from his plate. He tells an amusing tale about her and a parrot left in his charge for a short time by an absent friend. Madame Theophile had never beheld a parrot, and it astonished her greatly by its gyrations and beak and claw and the strange motions of its awkward green body. She sat for a long time as still as an Egyptian mummied cat, watching it with meditation, for she had never seen such a peculiar example of natural history. Finally she seemed to say: ‘I have it now; it is a green chicken!’ Meanwhile the parrot watched the cat with increasing alarm, ruffling its feathers and whacking its beack uneasily against its cage. Presently the cat seemed to say: ‘Well, even if it is a green chicken, very likely it is good to eat.’ ‘I watched the scene,’ says Gautier. ‘Her paws gradually spread and contracted, she gave alternative purrs and growls, and prepared for a spring. The parrot, perceiving the danger, said in a deep bass voice: ‘Have you breakfasted, Jacquot?’ The blare from a trumpet, a pistol shot, an earthquake, could not have frightened her more. All her ornithological ideas were upset. ‘What more,’ said the parrot, ‘the king’s roast beef?’ The cat’s face expressed terror. ‘He is not a bird; he is a monsieur,’ she seemed to say. The green creature then sang a French couplet about good wine, and the cat, fleeing for her life, took refuge under the bed. Madame Theophile had all the tastes of a great French lady, being especially fond of perfumes, but patchouli and vertivert would throw her into ecstasies. She liked music, too, but sharp, high notes affected her and she would put her paw upon a singer’s lips when such a high note distressed her. A third favorite was brought to Gautier from Havana by a friend. This was an Angora, as white as a swan, the founder of the ‘White Dynasty.’ He received the name of Pierrot, and as he grew older and more dignified this was extended to Don Pierrot de Navarre. He always loved to be with people, adored Gautier’s literary friends, and used to sit silently when they discussed great questions, sometimes putting his head on one side and occasionally making a little cry. He used to play with the books, turning over the leaves with his paws and going to sleep on top of them. Like Childebrand, he used to sit by the author when he was at work and watch his pen move across the paper with intense interest. He never went to bed until Gautier returned home, and no matter how late it was he would bound out in the dark to greet him, and as soon as the candle was lit scamper ahead like a page. His companion was a beautiful puss, as white as snow, and owing to her celestial purity she was named ‘Seraphita,’ for Balzac’s romance. (Singleton, 1895 Daily Telegraph)” The first line of his work, My Private Menagerie states,” I have often been caricatured in Turkish dress seated upon cushions, and surrounded by cats so familiar that they did not hesitate to climb upon my shoulders and even upon my head. The caricature is truth slightly exaggerated, and I must own that all my life I have been as fond of animals in general and of cats in particular as any Brahmin or old maid.“ Gautier is famous for many cat quotes. Visit our page on Cat Quotes for more information. Want to know more about the cat in literature, art and history? Then Revered and Reviled is the book for you. Now available on Amazon in both paperback and Kindle formats. Copyright secured by Digiprove © 2014 Laura Vocelle
5097	dbpedia	0	30	https://search.proquest.com/openview/896e7d5aab0bfc1168191fe45b7bc0f6/1%3Fpq-origsite%3Dgscholar%26cbl%3D1816663	en	J.G. Palache, Gautier and the Romantics (Book Review)	https://search.proquest.…roQuest_logo.gif	https://search.proquest.…roQuest_logo.gif	[ "https://search.proquest.com/assets/ctx/51be0a5b/images/icons/blank.gif", "https://search.proquest.com/assets/ctx/51be0a5b/images/icons/blank.gif" ]	[]	[]	[ "" ]	null	[]	null	Explore millions of resources from scholarly journals, books, newspapers, videos and more, on the ProQuest Platform.	en	/apple-icon-57x57.png		null	This is a short preview of the document. Your library or institution may give you access to the complete full text for this document in ProQuest.
5097	dbpedia	2	29	https://rmschwartz.wordpress.com/the-arts/literature/	en	19th-Century France through Literature	https://rmschwartz.wordp…aumedelorris.jpg	https://rmschwartz.wordp…aumedelorris.jpg	[ "https://rmschwartz.wordpress.com/wp-content/uploads/2013/01/montage-trans.jpg", "https://rmschwartz.wordpress.com/wp-content/uploads/2013/04/220px-bodleiandouce195folio1rguillaumedelorris.jpg?w=660", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2013-04-11T17:00:55+00:00	Victor Hugo’s France was one of great turmoil and change. The 19th-century saw Democracy rise and Monarchy fall as well as the Restoration and the July Monarchy. One such reflection of the changes is literature. Throughout the century, French literature enjoyed great success and can be broken up into three literary periods: Romanticism, Realism, and…	en	https://s1.wp.com/i/favicon.ico	France in the Age of Les Misérables	https://rmschwartz.wordpress.com/the-arts/literature/	Victor Hugo’s France was one of great turmoil and change. The 19th-century saw Democracy rise and Monarchy fall as well as the Restoration and the July Monarchy. One such reflection of the changes is literature. Throughout the century, French literature enjoyed great success and can be broken up into three literary periods: Romanticism, Realism, and Naturalism. The first half of the century saw Romantic writers used imagination and emotion to fuel their writing in a world that François-René de Chateaubriand claimed was cold and empty. Beside Victor Hugo, Alexandre Dumas represented French Romanticism with his novels of adventure and escapism. During the mid 19th-century, Realism reacted to the Romantic movement with literature accurately depicting French life and society. One such writer who channeled his energy into writing what he saw as truth is Honoré de Balzac. Lastly, the tail end of 19th-century literary movements was Naturalism. French Naturalism rejected Romanticism and instead strove to portray the lives of the working class by writing accurately about their poor living conditions. Émile Zola wrote about the extremes of both the reputable and the disreputable with stark frankness characteristic of the time. MAIN POINT: In my research of French novelists, my aim was to find what they wrote about and what their goals were. I often came across articles that talked in depth about what certain novelists aimed to achieve. For example, writers like Balzac wrote honestly about what they saw even if it shocked readers. His aim was to shock with reality, more or less like Victor Hugo who tended to be slightly more dramatic with his writing. On the other hand, novelists like George Sand were on the forefront writing about women and what she wanted to be changed in the way society viewed women and laws regarding issues that had to do with women such as divorce and marriage laws. Within the novels of both Balzac and Sand, I found their voices emboldened by their styles of writing and blatant exhibition of their beliefs. In sum, I was able to analyze the role that novels had on French society, which was that novels provided an escape for readers from the problems of their time by reading about the views held by the writers of the novels. EVIDENCE: “Finally, these novelists are still valued highly because they are able to combine the illusion of reality with imaginative boldness, and because their language is more inventive and their novel-structures more skillful than those of those contemporaries” (Finch 36). This quote describes why exactly the French novel triumphs over its counterparts that were perhaps more popular and more widely read. This quote explains that the novels of Balzac and others go beyond the stereotypes of their time and move between the dramatic and the comic without using much melodrama or sentimentality- unlike those of female novelists. 2. “The post-Revolutionary sentimental novel is structured around a conflict between two equally valuable moral imperatives: first, the imperative to build and sustain the collective social order which these novels represent as duty to the family; and second, the natural imperative to happiness; the imperative to pursue individual freedom and be true to what these novels call the ‘heart’” (Cohen 56). This quote refers to the French female novelist tradition, which tends to involve a sentimental code that novels by French males do not. The sentimental novel captures the air of post-Revolutionary France well because it addresses the problems in the political theory and practice of its time. The article goes on to describe female writers and their overwhelming popularity and then fall once realism started to emerge. 3. “Nothing is so easy as to deceive one’s self when one does not lack wit and is familiar with all the niceties of language. Language is a prostitute queen who descends and rises to all roles. Disguises herself, arrays herself in fine apparel, hides her head and effaces herself; an advocate who has an answer for everything, who has always foreseen everything, and who assumes a thousand forms in order to be right. The most honorable of men is he who thinks best and acts best, but the most powerful is he who is best able to talk and write” (Sand 47). An excerpt from one of George Sand’s best known novels that exemplifies the sentimentality in her writing. Here, Sand’s biting words refers to the lofty language often used by male writers who are now often more well-known than female French writers. Sand’s novel serves as a plea for the way women are viewed by French society and calls for vast social change that includes a change in French marriage laws. 4. “Holding this book in your hand, sinking back in your soft armchair, you will say to yourself: perhaps it will amuse me. And after you have read this story of great misfortunes, you will no doubt dine well, blaming the author for your own insensitivity, accusing him of wild exaggeration and flights of fancy. But rest assured: this tragedy is not a fiction. All is true” (Balzac 3). This quote exemplifies the dissertation that many of the male French novelists of the time had a large influence on the French public because of their no-nonsense honest writing that used the real to evoke a reaction in readers instead of sentimentality. CONNECTIONS: There are many ways in which these documents aid my research. The first source helps to delve into literature and its influence much deeper that the superficiality that are the novels themselves. The book contains articles that examine the time period of 19th century France and provides samples from the most essential novels of the time to aid various discussions centered around the different existing types of novels. The second and third sources relate to my research in that they are the foundation that my research is based upon. They provide the most basic examples of writing and will be used to bring to life my webpage. M.I.T. (most interesting thing): note one aspect of each document that you found to be the most interesting. [THIS OFTEN CAN SERVE AS A POINT OF DEPARTURE OR BASIS FOR YOUR INTERPRETIVE THEME, CONCLUSION, AND MAIN POINT.] The most interesting thing I found in “The Cambridge Companion to the French novel: from 1800 to the present” was the idea that female French novelists tended to write more about the emotional aspects of their time while male French novelists tended to try and be more objective about their portrayals of French society during the 1800s. This serves as a vast divide between the different styles of writing and how different female and male novelists were treated. The most interesting thing I found about “Indiana” by George Sand is the portrayal of how women were treated by men coming from a female writer. Though many female French writers enjoyed success in the 19th century, they were still outnumbered by the male French writers of their time and many of those male writers did portray women. I think it is especially imperative to compare the treatment of different subjects, such as female rights, by men and women alike. PROMPTINGS/REFLECTIONS: One idea I came up while reading these primary sources was to explore the vast divide between novels by females and novels by males. EVALUATION: State brief answers to these questions: These sources revealed the complexity of issues surrounding their time. More than the summary of a novel, the novels themselves gave a point of view that allowed me to see the general views held by the writers and to see how they treated different subjects. With “The Cambridge Companion” I was able to see what was underneath the skin of the novels, that is what more they can reveal about the time they were written during and how they effected French society. All of my sources contain suitable evidence to support my conclusion and main point in that they all are multi-faceted and bring into focus the most important ideas. I must remember with writers that often they only express the point of view they most believe in and often fail to explore beliefs, ideas, and subject matters that go beyond what they most are apt to write about. CONCLUSION: the overarching significance of 19th century French novelists cannot be understated. French novelists of all genres, backgrounds, and beliefs played a rather large role in the influencing of public opinion and continue to inspire generations from all over the world to this day because they are so influential in content and in style. It is evident that the French novels that are still well-known today are so because they artfully blended the illusion of reality with bold imagination that evoked both interest and outrage in the novel’s subject matters. KEY TERMS OR VOCABULARY: Realist: Realism is the trend, beginning with mid 19th century French literature and extending to late-nineteenth- and early-twentieth-century authors, toward depictions of contemporary life and society as it was, or is. In the spirit of general realism, Realist authors opted for depictions of everyday and banal activities and experiences, instead of a romanticized or similarly stylized presentation. Sentimentalism: Sentimentalism is the practice of being sentimental, or the tendency to be governed by feelings instead of reason.
5097	dbpedia	3	6	https://heritage.bnf.fr/bibliothequesorient/en/theophile-gautier-art	en	Théophile Gautier (1811-1872)			[ "https://heritage.bnf.fr/bibliothequesorient/sites/default/files/logo_bnf.svg__3.png", "https://heritage.bnf.fr/bibliothequesorient/sites/default/files/logo_bibliotheque_dorient_noir_2.png", "https://heritage.bnf.fr/bibliothequesorient/sites/all/themes/portailpartage_omega/css/images/search.png", "https://heritage.bnf.fr/bibliothequesorient/sites/all/themes/portailpartage_omega/css/images/Croix_Fermeture.png", "https://heritage.bnf.fr/bibliothequesorient/sites/all/themes/portailpartage_omega/css/images/Croix_Fermeture.png", "https://heritage.bnf.fr/bibliothequesorient/sites/all/themes/portailpartage_omega/css/images/search.png", "http://gallica.bnf.fr/ark:/12148/bpt6k86309037.thumbnail", "https://heritage.bnf.fr/bibliothequesorient/sites/all/themes/portailpartage_omega/css/images/Exporter.png", "http://gallica.bnf.fr/ark:/12148/bpt6k5685444r.thumbnail", "https://heritage.bnf.fr/bibliothequesorient/sites/all/themes/portailpartage_omega/css/images/Exporter.png", "http://gallica.bnf.fr/ark:/12148/bpt6k209368w/f381.image.thumbnail", "https://heritage.bnf.fr/bibliothequesorient/sites/all/themes/portailpartage_omega/css/images/Exporter.png", "http://gallica.bnf.fr/ark:/12148/bpt6k57026434.thumbnail", "https://heritage.bnf.fr/bibliothequesorient/sites/all/themes/portailpartage_omega/css/images/Exporter.png", "http://gallica.bnf.fr/ark:/12148/btv1b8455557h/f1.item.thumbnail", "https://heritage.bnf.fr/bibliothequesorient/sites/all/themes/portailpartage_omega/css/images/Exporter.png", "http://gallica.bnf.fr/ark:/12148/bpt6k5444534t.thumbnail", "https://heritage.bnf.fr/bibliothequesorient/sites/all/themes/portailpartage_omega/css/images/Exporter.png", "http://gallica.bnf.fr/ark:/12148/bpt6k5440839p.thumbnail", "https://heritage.bnf.fr/bibliothequesorient/sites/all/themes/portailpartage_omega/css/images/Exporter.png", "https://heritage.bnf.fr/bibliothequesorient/sites/all/themes/portailpartage_omega/css/images/twitter.jpg", "https://heritage.bnf.fr/bibliothequesorient/sites/all/themes/portailpartage_omega/css/images/facebook.jpg", "https://heritage.bnf.fr/bibliothequesorient/sites/all/themes/portailpartage_omega/css/images/instagram.jpg", "https://heritage.bnf.fr/bibliothequesorient/sites/all/themes/portailpartage_omega/css/images/youtube.jpg" ]	[]	[]	[ "" ]	null	[ "Sophie Basch" ]	null		en			https://heritage.bnf.fr/bibliothequesorient/en/theophile-gautier-art	The Alhambra was constantly to inspire him: in his Voyage en Espagne, published in 1843, Gautier described at length the capital of the last western European Moorish kingdom, which provided him with an inexhaustible stock of images. It had also charmed Henry Swinburne and Chateaubriand –concluding his itinerary in the Orient where Gautier had begun it. In 1837, Joseph Philibert Girault de Prangey had just published his Monuments arabes et moresques de Cordoue, Séville et Grenade, dessinés et mesurés en 1832 et 1833 the second volume of which brought together his Souvenirs de Grenade et de l’Alhambra: the colour plates revealed to the public the extraordinary decorative refinement of Nasrid palaces, as can be found in some of the poems in España (1845). Oriental scenes would now constantly model Gautier’s imagery. In 1842, he published La Mille et Deuxième nuit (reprinted in 1852 in La Peau de tigre) in which appears a peri, a female genie from Arabic-Persian mythology which also inspired Victor Hugo, and which can equally be found that same year in a “fantastical ballet in two acts”, La Péri, which Gautier composed with Jean Coralli on a score by Friedrich Burgmüller, and which premiered in Paris, at the Théâtre de l’Académie Royale de Musique, on 17th July 1843. A taste for the Orient had appeared very early, through hashish which Gautier enjoyed as much as his admirer Baudelaire (La Pipe d’opium, 1838; Le Club des Hachichins, 1846), through books and visits to the Louvre, where he discovered Egyptian art, which inspired him with several short stories and a famous novel (Une nuit de Cléopâtre in 1838, Le Pied de momie in 1840, and Le Roman de la momie in 1857). In 1845, Gautier discovered North Africa, where he travelled as an Orientalist, in the steps of the painters he admired: his unfinished Voyage pittoresque en Algérie : Alger, Oran, Constantine, la Kabylie (1845) remained unpublished until 1973. But this was not yet the Orient that he dreamed of discovering, and for which in 1843, his friend Gérard de Nerval left as a pathfinder, charged, as his friend Eugène de Nully had already been told to do in 1836, to send him back “a few pots of local colour”, to feed his imagination: for a long time, Gautier, who lived thanks to this activities as a journalist and serial novelist, had to picture the Orient through the descriptions of his wealthier friends: in December 1846, he wrote a marvellous description of Constantinople in the preface to a collection of drawings by his friend Camille Rogier: La Turquie, mœurs et usages des Orientaux au dix-neuvième siècle. Then, in 1852, he at last discovered the city of his dreams, as correspondent to the La Presse edited by Émile de Girardin, who financed his trip, as well as that of his companion, the singer Ernesta Grisi, who was a great theatrical success. Constantinople, the fruit of two months’ peregrinations, appeared in 1853. In it, the capital of the Ottoman Empire is described in all its aspects, down to the smallest detail, with a masterful touch, guided by a painter’s eye, to such an extent that this narrative turned out to be the liveliest and the most picturesque of the descriptions of Constantinople, which Gautier ironically opposed to the ugliness of Western civilisation, which he found to be “quite farcical, despite the progress of the Enlightenment”. Gautier waited until 1869, and the ceremonies in honour of the inauguration of the Suez Canal, before discovering Egypt, thanks to the invitation of the Khedive in the escort accompanying Empress Eugénie. He confided the report of his journey, which is also told in detail in his correspondence, to the Journal Officiel in 1870. These episodes were to be brought together in 1877 in the posthumous collection L’Orient, which unites a large number of articles and prefaces. Ironically, an unfortunate accident turned his stay into a motionless voyage: Gautier broke his arm in the sea, and was condemned to observe Cairo from the terrace of his hotel (Louise Colet, the lady of letters and companion of Gustave Flaubert, who was also invited to these festivities, tells of this incident in Les Pays lumineux. Voyage en Orient, 1879). Destiny thus turned the land of the Pharaohs into the “armchair Orient”, which had for so long fed the imagination of the author of Roman de la momie, who, in 1843, declared to Gérard de Nerval: “I am a Turk, not from Constantinople, but from Egypt. It seems to me that I have lived in the Orient; and when, during carnival, I dress up in a caftan and some authentic fez, it feels like I am putting back on my usual clothes. I have always been surprised by the fact that I do not understand Arabic readily; I must have forgotten it. In Spain, everything that recalled the Moors interested me as much as if I had been a child of Islam, and I took sides with them against the Christians.”
5097	dbpedia	3	73	https://www.librarything.com/author/gautierthophile	en	Théophile Gautier	https://www.librarything.com/favicon_lt_32.ico	https://www.librarything.com/favicon_lt_32.ico	[ "https://image.librarything.com/pics/lt1wordmark_150w.png", "https://image.librarything.com/pics/ltlogo_square_fff_trans.png", "https://image.librarything.com/pics/sbar_4.png", "https://pics.cdn.librarything.com//picsizes/b2/4b/b24be731ee848ef6547542f76674330414c5141_v5.jpg", "https://images-na.ssl-images-amazon.com/images/P/1843910209.01._SX100_SCLZZZZZZZ_.jpg", "https://images-na.ssl-images-amazon.com/images/P/0140448136.01._SX100_SCLZZZZZZZ_.jpg", "https://images-na.ssl-images-amazon.com/images/P/225313645X.01._SX100_SCLZZZZZZZ_.jpg", "https://images-na.ssl-images-amazon.com/images/P/1419128914.01._SX100_SCLZZZZZZZ_.jpg", "https://pics.cdn.librarything.com//picsizes/b2/22/b22231eac0445d4636f4b4b6d77424c41457341_v5.jpg", "https://pics.cdn.librarything.com//picsizes/22/58/2258601b23ce17c636f692f7377424c41457341_v5.jpg", "https://pics.cdn.librarything.com//picsizes/b5/7e/b57e644e29e09bd656951424167426b41414141_v5.jpg", "https://pics.cdn.librarything.com//picsizes/e0/eb/e0ebb29e90113966549656c4151426b41414141_v5.jpg", "https://pics.cdn.librarything.com//picsizes/e3/d8/e3d8d16edccc96f657665574167426b41414141_v5.jpg", "https://pics.cdn.librarything.com//picsizes/6c/e0/6ce0cd82eeb298b656f57376667426b41414141_v5.jpg", "https://pics.cdn.librarything.com//picsizes/5d/f8/5df8b3d689a6b53654f44547677426b41414141_v5.jpg", "https://pics.cdn.librarything.com//picsizes/7b/e1/7be1fab8d7a50e8654f6e487777426b41414141_v5.jpg", "https://pics.cdn.librarything.com//picsizes/c6/3a/c63a879cfd8e558654b326e3777426b41414141_v5.jpg", "https://pics.cdn.librarything.com//picsizes/6f/99/6f99bb40da6e0e8654451334167426b41414141_v5.jpg", "https://pics.cdn.librarything.com//picsizes/31/39/3139b47a2ac592265694e747677426b41414141_v5.jpg", "https://pics.cdn.librarything.com//picsizes/10/77/10775eab5eebd5e65424b6c4151426b41414141_v5.jpg", "https://image.librarything.com/pics/er_page_banner9f_noLT_75w.png", "https://pics.cdn.librarything.com//picsizes/88/24/8824864e009186c654a55314167417941444941_v5.jpg", "https://pics.cdn.librarything.com//picsizes/e2/98/e298e36055da16b654a51314167417941444941_v5.jpg", "https://pics.cdn.librarything.com//picsizes/01/57/015739a90a06674654a4d314167417941444941_v5.jpg", "https://pics.cdn.librarything.com//picsizes/ef/1b/ef1b78079745f59654a45314167417941444941_v5.jpg", "https://pics.cdn.librarything.com//picsizes/0a/2d/0a2d59fbf621349654a41314167417941444941_v5.jpg", "https://pics.cdn.librarything.com//picsizes/46/3c/463c2af2e0cb71f656f546a4151417941444941_v5.jpg" ]	[]	[]	[ "librarything", "library", "thing", "catalog your books", "catalogue your books", "book cataloging", "library", "free book catalog", "catalogue" ]	null	[]	null	Théophile Gautier, author of Mademoiselle de Maupin, on LibraryThing	en	/favicon_lt_32.ico	LibraryThing.com	https://www.librarything.com/author/gautiertheophile
5097	dbpedia	2	87	https://www.cnn.com/travel/article/african-american-artists-writers-paris/index.html	en	On the trail of African American writers and artists in Paris	https://media.cnn.com/ap…494,c_crop/w_800	https://media.cnn.com/ap…494,c_crop/w_800	[ "https://media.cnn.com/api/v1/images/stellar/prod/200225162108-02-african-american-writers-artists-in-paris-baker.jpg?q=x_3,y_205,h_1403,w_2494,c_crop/h_833,w_1480", "https://media.cnn.com/api/v1/images/stellar/prod/200225161855-01-african-american-writers-artists-in-paris-baldwin.jpg?q=w_1110,c_fill", "https://media.cnn.com/api/v1/images/stellar/prod/200225162646-06-african-american-writers-artists-in-paris-de-flore.jpg?q=w_1110,c_fill", "https://media.cnn.com/api/v1/images/stellar/prod/200225162446-04-african-american-writers-artists-in-paris-deux-magots.jpg?q=w_1110,c_fill", "https://media.cnn.com/api/v1/images/stellar/prod/200225162559-05-african-american-writers-artists-in-paris-coupole.jpg?q=w_1110,c_fill", "https://media.cnn.com/api/v1/images/stellar/prod/200225162208-03-african-american-writers-artists-in-paris-huchette.jpg?q=w_1110,c_fill" ]	[]	[]	[ "african americans", "arts and entertainment", "business and industry sectors", "business", "economy and trade", "cafes and delis", "classical music", "continents and regions", "demographic groups", "europe", "food and beverage industry", "food and drink", "france", "jazz music", "minority and ethnic groups", "music", "music and dance", "musical styles", "north america", "paris", "population and demographics", "restaurant and food service industry", "restaurant industry", "restaurants", "society", "the americas", "united states", "western europe" ]	null	[ "Brittany Vickers" ]	2020-02-27T17:19:55+00:00	Some of the 20th century’s most celebrated African American writers and artists escaped oppressive racism in America and blossomed in the City of Light to become trailblazers of literary and artistic expression. Visitors can visit some of their favorite spots in Paris.	en	/media/sites/cnn/apple-touch-icon.png	CNN	https://www.cnn.com/travel/article/african-american-artists-writers-paris/index.html	Josephine Baker in Paris, circa 1926 (Photo by Gaston Paris/Roger Viollet via Getty Images) Writer James Baldwin was 24 when he arrived in Paris in 1948, with only $40 in his pocket. Entertainer and civil rights activist Josephine Baker was just 19 when she left the United States and began dazzling Parisian crowds in 1925 draped in just a pink flamingo feather. Despite their humble beginnings, these iconic figures escaped the permeating and oppressive racism of America and blossomed in the City of Light to become trailblazers of literary and artistic expression lasting for decades to come. With roots stretching to the Harlem Renaissance and well beyond, black American artists arriving in Paris during this period experienced a freedom to pursue and express themselves through literature, music, stage performance and art. The ingenuity and creative brilliance of black Americans was always present, but in the United States, black artists and entertainers were obstructed psychologically and physically. Regardless of their fame and success African Americans were still restricted to back door entryways and segregated audiences and treated as second-class citizens. It was in Paris, a European cultural capital, where they were embraced for their talent and intellectual prowess and celebrated for their genius. While Paris certainly was not free of racism, the city was still a place of freedom from the repressive Jim Crow laws black Americans faced in the US. From cafes to smoky jazz clubs, these artistic giants sought refuge in a city whose light promised not to dim theirs. The result? A groundbreaking cultural exchange that has enriched French culture and allowed African Americans to leave a lasting imprint on the country. Their paths can be retraced in cafes and hangouts made famous by African American scholars, artists and musicians – places that are still thriving today. Visitors can explore this history with a guided group tour or through self-guided stops at spots significant to the African American experience in Paris, or some combination of the two. Ricki Stevenson’s Black Paris Tours delve into the African diaspora’s influence and heritage. The walking tours explore neighborhoods and figures that helped shape Paris, including sites that chronicle the story of African American history in the city. The Brian Scott Bagley Company offers visitors a historic and artistic point of view retracing the life of the unparalleled Josephine Baker throughout Paris as well as other custom tours. More interested in curating a solo itinerary? Just mark the places you’re most interested in visiting, start your morning with a croissant and embark on your own adventure. Here are some fascinating spots to get you started on a journey into the dazzling legacy of black Americans in Paris. Related: What you could learn about black history by visiting these eight states La Palette Nestled in the vibrant and artsy 6th arrondissement of Paris, La Palette is a well-known cafe created as a haven for artists and writers. The celebrated contemporary artist Beauford Delaney, originally from Tennessee, was so enraptured with Paris on his first visit in 1953 he decided to settle there. He lived in Paris for the remainder of his life. It was at La Palette where you could walk in and see regulars like Delaney or James Baldwin having lunch surrounded by dozens of original artwork hanging from the deep mahogany walls. Today, the cafe, with its sunny and flowery terrace, easily attracts visitors taking a step away from the array of eclectic galleries lining the street. La Palette, 43 Rue de Seine, 75006 Paris, France Café de Flore Situated in the heart of Saint-Germain-des-Près, this landmark cafe dating back to the 1880s is where James Baldwin worked on his first novel, “Go Tell It On The Mountain.” The cafe has a rich history of being a home to artists and authors, tourists and locals alike. Simone de Beauvoir and Jean-Paul Sartre were regulars. Stop in today, and you’ll find waiters, immaculately dressed in their white shirts and aprons, whisking espressos or aperitifs or French onion soup to tables, before leaving patrons in peace to converse and people-watch to their heart’s content. Café de Flore, 172 Boulevard Saint-Germain, 75006 Paris, France Les Deux Magots Another magnet for the creative set, Les Deux Magots is located directly across from Café de Flore. This classic Parisian cafe was the backdrop for the passionate debate between two legendary African American writers, James Baldwin and Richard Wright. The renowned authors both detailed and wrote about the plight of being black in America but notably never agreed with the other’s perspective. Today, the cafe is a hotspot for tourists, and a common debate is whether to order red or white wine. Les Deux Magots, 6 Place Saint-Germain des Prés, 75006 Paris, France Le Tournon For decades this traditional Parisian cafe located in the posh 6th arrondissement was a literary hangout bustling with brilliant black minds, including novelist and journalist William Gardner Smith and writer Ralph Ellison. It was at Le Tournon where legendary novelist Richard Wright, who protested the treatment of black Americans in works including “Native Son” and autobiography “Black Boy,” could always be assured of a debate alongside his coffee. Today, the cafe is a popular spot for neighborhood residents. It’s also steps away from the French senate so you might even spot the occasional government official. Inside, photos of the many famous African American artists who regularly visited the cafe for the classic bistro fare and spirited discourse are proudly displayed . Le Tournon, 18 Rue de Tournon, 75006 Paris, France Théâtre des Champs Élysées “I have two loves,” Josephine Baker once stated, “My country and Paris.” As jazz crossed the Atlantic, it brought its distinctive improvisation and addictive sounds – and so did one of the world’s most iconic entertainers. It was at the Théâtre des Champs Élysées in 1925 where a 19-year-old Josephine Baker opened “La Revue Negre,” the captivating cabaret show that would entice Parisian audiences for decades. The show was an overnight sensation and Baker became the biggest black female star in the world known for her “danse sauvage,” performed in her now iconic banana skirt. Baker’s bold looks have been recreated by the biggest names in entertainment, including Beyoncé and Rihanna, and inspired collections in fashion from Prada to Marc Jacobs. Today, the theater, which opened in 1913, is dedicated to classical music and dance including concert recitals, symphonic orchestras, chamber music, classical ballets and choreographic creations. Théâtre des Champs Élysées, 15 Avenue Montaigne, 75008 Paris, France Manko Just steps away from Théâtre des Champs is Manko, a plush Peruvian restaurant, cocktail bar and club. Decades ago, this building housed a sultry jazz club and this spirit of nightlife is still alive today. Channel the cabaret girls of the past and nightclub powerhouses like Ada “Bricktop” Smith and Josephine Baker, whether you go for the ceviche or the trendy club atmosphere. African American entertainers, following performances at Théâtre des Champs Élysées, hung out at the after-hours club to party and indulge until the sun lit their steps home. Manko, 15 Avenue Montaigne, 75008 Paris, France La Coupole Brasserie La Coupole, a true Art Deco gem, located in the 14th arrondissement, opened in 1927. La Coupole is a piece of Montparnasse’s history where the who’s who of Paris dined and came to be seen. Known as Josephine Baker’s favorite restaurant, it was here that Baker, the Black Pearl of Paris, appeared with her pet cheetah, Chiquita. Chiquita wore a diamond collar and would perform onstage with Baker, going from the stage to a waiting Rolls-Royce after her performance. Today, you can enjoy your crepes without the presence of a cheetah, but the old-world elegance is still alive in this famous Parisian brasserie. La Coupole, 102 Boulevard du Montparnasse 75014, Paris, France Le Carrousel Le Carrousel has lived more lives than a chat noir. Located in the popular Pigalle neighborhood, this building made its debut in 1926 as club Chez Josephine, a gift from Giuseppe Pepito Abatino to Josephine Baker. In the entrance hangs a plaque. Celebrating the rich and lasting legacy of the world-renowned entertainer, it reads, “Here Josephine Baker, music hall artist, civil rights activist, held a cabaret from 1926 to 1928 promoting the fusion of jazz and Afro-American culture.” Despite its many transformations through the years, the spirit of cabaret lives on in this contemporary restaurant. It’s now an intimate place to enjoy a drink or delicious truffle croquets with friends before partying the night away in the red-light district just steps away. Le Carrousel, 40 Rue Pierre Fontaine, 75009 Paris, France Caveau de la Huchette Le Caveau de la Huchette is a jazz club located in the Latin Quarter of Paris. The building dates to the 16th century and owners claim it was once used as a secret lodge for masons. If nothing else, its intimate cellar vibe lets you know it had a life long before it became a Paris hotspot. Opened in 1947, energetic clubs like this one kept jazz alive as musical tastes shifted overseas. In Paris, African American performers were still able to enchant the city’s crowds and make a living with the riveting sounds. Today, the club continues to be a prominent spot for Parisian nightlife where big names in jazz and up and comers take the stage nightly. Filmmakers also find inspiration here; the club was recently showcased in the Oscar-winning film “La La Land.” Caveau de la Huchette, 5 rue de la Huchette 75005, Paris, France When asked, “Why did you choose France?,” James Baldwin responded, “It wasn’t so much a matter of choosing France – it was a matter of getting out of America. I didn’t know what was going to happen to me in France, but I knew what was going to happen to me in New York.” We now know part of what happened in the City of Light was a legacy of freedom and creative expression, still alive today.
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Braswell", "Bettina R. Lerner", "Laura Morowitz", "Edmund Birch", "Neil McWilliam", "Vicki Mistacco", "Florence Goulesque", "Timothy Unwin", "Elizabeth Carroll", "Hope Christiansen" ]	null		en	/favicon.ico		null	Nineteenth-Century French Studies provides scholars and students with the opportunity to examine new trends, review promising research findings, and become better acquainted with professional developments in the field. Scholarly articles on all aspects of nineteenth-century French literature and criticism are published. Invited essays of nearly double the length of a traditional article and Incipit, a dialogic format in which two colleagues debate a matter of primary concern to the field, are also featured.
5097	dbpedia	2	68	https://clarivate.com/highly-cited-researchers/	en	Highly Cited Researchers	https://clarivate.com/wp…CR-690x540-1.png	https://clarivate.com/wp…CR-690x540-1.png	[ "https://clarivate.com/wp-content/themes/clarivate-dark/src/img/logo.svg?v=2.4.253", "https://clarivate.com/wp-content/themes/clarivate-dark/src/img/logo.svg?v=2.4.253", "https://clarivate.com/wp-content/plugins/native-lazyload/assets/images/placeholder.svg", "https://publons.com/media/initialcon/RA30.png", "https://clarivate.com/wp-content/plugins/native-lazyload/assets/images/placeholder.svg", "https://publons.com/media/initialcon/FA30.png", "https://clarivate.com/wp-content/plugins/native-lazyload/assets/images/placeholder.svg", "https://publons.com/media/initialcon/FA30.png", "https://clarivate.com/wp-content/plugins/native-lazyload/assets/images/placeholder.svg", "https://publons.com/media/initialcon/GA30.png", "https://clarivate.com/wp-content/plugins/native-lazyload/assets/images/placeholder.svg", "https://publons.com/media/initialcon/DA30.png", "https://clarivate.com/wp-content/plugins/native-lazyload/assets/images/placeholder.svg", "https://publons.com/media/initialcon/DA30.png", "https://clarivate.com/wp-content/plugins/native-lazyload/assets/images/placeholder.svg", "https://publons.com/media/initialcon/AA30.png", "https://clarivate.com/wp-content/plugins/native-lazyload/assets/images/placeholder.svg", "https://publons.com/media/initialcon/JA30.png", "https://clarivate.com/wp-content/plugins/native-lazyload/assets/images/placeholder.svg", "https://publons.com/media/initialcon/QA30.png", "https://clarivate.com/wp-content/plugins/native-lazyload/assets/images/placeholder.svg", "https://publons.com/media/initialcon/MA30.png", "https://clarivate.com/wp-content/plugins/native-lazyload/assets/images/placeholder.svg", "https://clarivate.com/wp-content/themes/clarivate-dark/src/img/logo.svg", "https://clarivate.com/wp-content/plugins/native-lazyload/assets/images/placeholder.svg", "https://clarivate.com/wp-content/themes/clarivate-dark/src/img/x-logo.svg", "https://clarivate.com/wp-content/plugins/native-lazyload/assets/images/placeholder.svg", "https://clarivate.com/wp-content/themes/clarivate-dark/src/img/linkedin-logo.svg", "https://clarivate.com/wp-content/plugins/native-lazyload/assets/images/placeholder.svg", "https://clarivate.com/wp-content/themes/clarivate-dark/src/img/facebook-logo.svg", "https://clarivate.com/wp-content/plugins/native-lazyload/assets/images/placeholder.svg", "https://clarivate.com/wp-content/themes/clarivate-dark/src/img/instagram-logo.svg" ]	[]	[]	[ "" ]	null	[]	2023-11-02T14:11:37+00:00	Highly Cited Researchers have demonstrated significant and broad influence reflected in their publication of multiple highly cited papers over the last decade.	en	https://clarivate.com/wp…e-touch-icon.png	Clarivate	https://clarivate.com/highly-cited-researchers/	Please be advised that recently there have been fraudulent job offers and interviews using the Clarivate name, logo and even names of our colleagues. Please be aware that Clarivate will: Never ask for payment of any kind as part of our hiring or onboarding processes Never ask an applicant to email sensitive personal information, such as a Social Security Number, birthdate, credit card or bank account information Never issue pre-employment checks to purchase office supplies Never ask you to pay up for an external course and upskill If you have any question about a position posted in our company name, please check our current open positions on the Clarivate website Careers pages or contact one of our recruiting team members directly. If you have been the victim of a scam, please contact your local law enforcement agency. This link leads to the machine-readable files that are made available in response to the federal Transparency in Coverage Rule and includes negotiated service rates and out-of-network allowed amounts between health plans and healthcare providers. The machine-readable files are formatted to allow researchers, regulators, and application developers to more easily access and analyze data. View now
5097	dbpedia	1	46	https://www.blackgate.com/2011/10/17/romanticism-and-fantasy-the-french-experience/	en	Romanticism and Fantasy: The French Experience – Black Gate	https://www.blackgate.co…011/10/carte.jpg		[ "https://www.blackgate.com/wp-content/uploads/2011/10/per.jpg", "https://www.blackgate.com/wp-content/uploads/2011/10/cdb.jpg", "https://www.blackgate.com/wp-content/uploads/2011/10/carte.jpg", "https://www.blackgate.com/wp-content/uploads/2011/10/cl.jpg", "https://www.blackgate.com/wp-content/uploads/2011/10/oye.jpg", "https://www.blackgate.com/wp-content/uploads/2011/10/perr2.jpg", "https://www.blackgate.com/wp-content/uploads/2011/10/vol.jpg", "https://www.blackgate.com/wp-content/uploads/2011/10/zadig.jpg", "https://www.blackgate.com/wp-content/uploads/2011/10/dd.gif", "https://www.blackgate.com/wp-content/uploads/2011/10/jjr.jpg", "https://www.blackgate.com/wp-content/uploads/2011/10/cdf.jpg", "https://www.blackgate.com/wp-content/uploads/2011/10/da.jpg", "https://www.blackgate.com/wp-content/uploads/2011/10/smarra.jpg", "https://www.blackgate.com/wp-content/uploads/2011/10/nerv.gif", "https://secure.gravatar.com/avatar/02d79b3628e9dfeedf34efc4177e4bd5?s=56&d=mm&r=g", "https://secure.gravatar.com/avatar/6e80b5c3f5dcec1e3f543d7851cfe45b?s=56&d=mm&r=g", "https://secure.gravatar.com/avatar/734b29280e73f710dd338c881a2a48ba?s=64&d=mm&r=g", "https://secure.gravatar.com/avatar/604573051fe42bc5adda62e856a75600?s=64&d=mm&r=g", "http://2.gravatar.com/avatar/8928c192e6fd68374815d29c111bbbaa?s=64&d=mm&r=g", "https://secure.gravatar.com/avatar/604573051fe42bc5adda62e856a75600?s=64&d=mm&r=g", "http://2.gravatar.com/avatar/8928c192e6fd68374815d29c111bbbaa?s=64&d=mm&r=g", "https://www.blackgate.com/wp-content/plugins/wpdiscuz/assets/img/trackback.png", "https://www.blackgate.com/wp-content/uploads/2024/08/HFQ-2024-ad-small-min.jpg", "https://www.blackgate.com/wp-content/uploads/2024/07/Immaculate-Scoundrels-ad-min.jpg", "https://www.blackgate.com/wp-content/uploads/2024/01/Silstra_vertical-webbanner_blackgate213-min.jpg", "https://www.blackgate.com/wp-content/uploads/2023/10/RPG-Rundown.jpg", "https://www.blackgate.com/wp-content/uploads/2021/03/BG-current_issue.jpg", "https://www.blackgate.com/wp-content/uploads/2021/03/BG-dragon_footer.jpg" ]	[]	[]	[ "" ]	null	[ "Matthew David Surridge" ]	2011-10-17T00:00:00		en			https://www.blackgate.com/2011/10/17/romanticism-and-fantasy-the-french-experience/	In my previous posts about Romanticism and fantasy, I looked at British literature in the 18th century through to 1789, and tried to track the emergence of a certain kind of fantastic fiction. In order to understand what happens in British writing (and politics) after 1789, though, we have to look at what happens in France. Before continuing, I need to emphasise: I am not an academic, or a professional historian. I’ve read a fair amount about the period, and I have an intense fascination with Romantic literature in English. These posts come out of that fascination, and are an attempt to relate what I see in that literature with the contemporary fantasy fiction that seems to me to be its direct descendant. All of which is to say that in writing about French literature and history, I am even more of a dilettante than in discussing British writing. There are people who dedicate their lives and careers to making sense of these subjects, and dissecting their various meanings; I am not one of them. Having said that, it seems to me that the element of fantasy I found in English literature in the late eighteenth century was not present in contemporary French writing in the same way, or to the same degree. In Britain, it seems almost as though the suppression of the fantastic by neo-classical norms led to its eruption later in the century, at first under cover of antiquarianism, then more and more openly. In France, even more classical in its orientation than Britain, that process didn’t happen; instead it seems another type of fantastic fiction came to prominence. I. This is not the place for a full history of this period of French literature, but it is worth pointing out that the 17th century saw the French language regulated and, so it has been said, ‘purified.’ This process of linguistic development was guided and encouraged by the Académie Française, an association of intellectuals founded by Cardinal Richelieu in 1634. The Académie was to establish the laws of the French language, and determine as well the laws for French literature. Later Académies for other arts followed, part of a centralising trend; the 17th century was an age of increasing absolutism under Louis XIV. The actual members of the Académie were not necessarily the greatest writers of the time — and no women were elected to the Académie, until, as it turned out, 1980 — but the Académie did produce a grammar and dictionary, both fairly late in the century. The Académie also attempted to codify laws for rhetoric, and establish rules for the proper practice of poetry. (No equivalent to the Académie ever existed in Britain, though some English writers in the 18th century did speak wistfully of the idea of an English Academy.) That being noted, you can find some interesting examples of the fantastic, or things that partake of the fantastic, in 17th century French literature. For example, in 1657 a work called L’autre monde (The Other World) was published, a somewhat bowdlerised version of the original text, Histoire comique des états et empires de la lune (Comic History of the States and Empires of the Moon). It was a posthumous work by a man named Cyrano de Bergerac. Bergerac had been part of a philosophical and literary movement called libertinism, which was skeptical, satirical, and often anti-religious in outlook. L’autre monde was proto-science fiction, in which a trip to the moon reveals a society both like and pointedly unlike the earth. It’s an early example of the satirical and fantastical traveller’s tale. Conversely, in 1654 Madeleine de Scudéry published Clélie, histoire romaine (Clelia, a Roman Story), which contained “La carte de Tendre,” an allegorical map of the fictional country of Tenderness. This was an imagined world, inset in a realistic story that itself opened new ground in the developing novel form by emphasising conversation and interiority of character over external action. It was imitated and parodied many times. Clélie came out of what has come to be called salons: regular meetings of wits and writers, many of them female, typically presided over by an aristocratic woman. Salons were a kind of private academy, creating spaces for discussion, spaces in which official censors had little influence. Witty verse and deftly-written letters were particularly celebrated, but the salons also helped to unify the developing French language, encouraging linguistic invention as well as brilliant conversation. They were also often political. Salon women tried to enunciate and claim rights such as the right to decide when and whether they would bear children. Clélie’s discussion of love and tenderness was related to these kinds of feminist concerns. As well, discussions in the salons helped inspire the civil war called the Fronde (1648-1653). Nevertheless, the years after the Fronde would not only see the influence of the salons at its height, but also a dismissal of salon art as “préciosité” — self-conscious preciousness and frivolity. The literary trend from 1660 on was toward neo-classicism, and the establishment of rules for approved art. In that year the great playwright Pierre Corneille published a collection of his plays which included three essays on the theatre; these essays laid down rules extracted from (or distantly inspired by) Aristotle. Plays shouldn’t cover a time of more than twenty-four hours, should take place in one setting only, should never have the stage empty of characters, and so forth. Corneille, a good classicist, believed that the ancients had determined the laws of good art, and moderns could only try hopelessly to live up to their example. The restraint and simplicity implied by classicism was at odds with the preciosity of the salons. In the early 1670s Nicolas Boileau-Despréaux took his four-canto poem L’art poétique (The Art of Poetry) to the salons. In 1664 he’d written (though not published) a satire of stories such as Clélie, the Dialogue sur les héros de roman (Dialogue on the Heroes of Romance). His new poem was a long argument in favour of neoclassical ideals. Boileau held up the ancients as the only writers worth following, and mocked moderns. The work gained him the title of “Lawmaker of Parnassus” — the muses, the dwellers of Parnassus, were subject to the precepts of Boileau’s criticism. In 1684, Boileau was elected to the Académie Française; neoclassicism seemed the dominant critical ideology. As it happened, by that time the salons had taken up a very unclassical form as a vehicle for their wit: the fairy tale. The telling of tales, elaborated with the clever use of language and metaphor, seems to have begun as early as 1670. In 1690 a collection was published by Marie-Catherine Le Jumel de Barneville, baronne d’Aulnoy. More would follow. One of the salon writers was Charles Perrault, an enemy of Nicolas Boileau — as a child, Boileau had been a patient of Perrault’s brother, a physician and architect, and as an adult was displeased with the care he’d been given; in 1671 Boileau mocked Perrault in L’art poetique, and Perrault managed to have its publication blocked for a time. The two men were naturally on different sides in a literary war, the Quarrel of the Ancients and the Moderns, Boileau holding that classical writers were models for the moderns, Perrault arguing that contemporary writers were as good as any classics. It has been suggested that Perrault’s 1697 fairy tale collection Histoires ou Contes de temps passé, avec des Moralitez (Histories, or Tales of Past Times) was influenced by the debate. Whether this is so or not, it is worth noting that the frontispiece to the book showed an old woman reading the stories to children, with a sign on the wall reading “Contes de ma mère l’Oye,” or “Mother Goose’s Tales” — a traditional term in France that through Perrault entered the English vocabulary. In a sense, though, it seems that the publication of these collections of Perrault’s writings marked the end of the first great wave of literary fairy tales. A second soon arrived. From 1704 to 1717 Antoine Galland published his translation of The Thousand and One Nights. Imitations and parodies followed. The book established a fashion for Arabic or ‘Oriental’ fictions set in all manner of remote lands, often meant to make a direct allegorical or philosophical point. These mixed with literary fairy tales and travellers’ tales (perhaps especially after the baron de Montesquieu published his Lettres persanes, which satirised French society by presenting letters written by a fictional sultan supposedly travelling through France), and some of them reached novel length, though so far as I can tell without any of the novel’s characteristic inwardness or sense of character. The decades after 1730 seem to have seen a particular surge in popularity of fairy tales, and 1731 saw the first publication of Le cabinet des fées, a three-volume anthology of the better tales. But another movement was underfoot in France in the 1730s. In 1734 François-Marie Arouet, writing under the pen name Voltaire, published his Lettres philosophiques. The letters were the fruit of a forced trip to England — Voltaire had gotten into a quarrel with a nobleman, intended to challenge the man to a duel, was put into the Bastille, and allowed out only if he agreed to an exile in London — and fitted into an emerging discourse of philosophical works which favoured reason over revelation, tradition, or authority. Voltaire and his fellow philosophes argued passionately for rationalism, for progress and freedom of thought. Perhaps the greatest product of this Enlightenment was the Encyclopédie, published from 1751 to 1772, edited by Denis Diderot and Jean Le Rond d’Alembert, which set forth a theory of knowledge and presented a rationalist critique of virtually everything, using irony and cunning cross-references to draw connections censors would not allow to be made explicit. It is notable that the greatest of the Enlightenment philosophes did not hesitate to take up the form of the romantic tale. Voltaire’s 1747 Zadig, for example, used the story of a Babylonian philosopher — complete with basilisks and angels — to present a social satire. Diderot produced Les bijoux indiscrets in 1748, allegedy in order to prove to his mistress he could turn out a licentious novel in two weeks (the word ‘pornography’ had not yet been invented). ‘Bijoux,’ literally ‘jewels,’ was slang for the female genitals, and the story concerned a sultan who acquired a magic ring that gave voices to the privates of his harem-women. Diderot’s story was in fact one of a number of erotic or at least highly sexualised fairy tales that came along in the 1730s and 40s. In 1758, Diderot’s friend and protegé, Jean-Jacques Rousseau, published a fairy tale, La reine fantastique. It’s a minor satirical work, but it’s a sign of how widespread the fairy tale form had become. Rousseau was a gifted, troubled man, who broke from Diderot at about the same time as he published his fairy tale. Intellectually, the two men had their differences; Rousseau can be viewed as the last of the Enlightenment philosophes, the first of the Romantics, or both. In his time, he was most celebrated for his 1761 novel Julie, ou la nouvelle Héloïse. It was a sensation throughout Europe; though it was an intensely realistic novel, influenced by Richardson, it became identified with Romanticism due to the vivid realisation of that realism and its theme of sexual passion. Rousseau rejected any trace of preciosity, writing as directly and emotionally as it could. His philosophical writing was also important. Notably, in 1755 he published a Discours sur l’origine et les fondements de l’inégalité parmi les hommes (Discourse on the Origin and Foundations of Inequality among Men), and in 1762 published an important essay, Du contrat social. He died in 1778; a posthumous autobiography, the Confessions, further established his credentials as an apostle of a new kind of selfhood that came to be associated with Romanticism. But let’s skip back a few years. Voltaire’s Lettres philosophiques didn’t just help to usher in the Enlightenment, they also helped foster an emerging interest in English literature in France. There seems to have been a fad for English writing from the 1750s to 1770s, and for German writing from the 1760s. Shakespeare was translated twice, partially in 1746 and then completely from 1776 to 1783; Voltaire was irritated, notably referring to Shakespeare as a “drunken savage,” while on the other hand Diderot wrote of Shakespeare as “a terrible mortal … a colossus who was gothic, but between whose legs we would all pass without our heads even touching his testicles.” Both terms played into an emerging discourse about European literature: Britain as a gothic, Germanic land, opposed to the southern, Latinate, classical culture. There was one major difference between the publishing industries of the two countries, at any rate. France did not have the relative liberty of the press that England did. Government officials oversaw all printed material — in theory. In practice this was an impossibility, given the amount of material involved. Rather than suppress radical or obscene material, the government censors soon evolved a system of complex, unofficial categories for the literature they supposedly controlled, and a grey market for censored books developed; indeed, exploded. Radical philosophy, political scandal, and (illustrated) pornography were all distributed by these clandestine channels, and seem to have constituted a majority of the reading material of France at the time. Many of the great books by writers like Voltaire and Diderot were officially illegal, or circulated in manuscript before being committed to print. 1771 saw the publication, through these illegal channels, of a social satire that also happens to be a work of science fiction. L’An deux mille quatre cent quarante, rêve s’il en fût jamais (The Year 2440: A Dream if Ever There Was One) was probably written by Louis-Sébastien Mercier, a hack writer. It’s a utopian tale about a man who falls asleep and wakes up seven hundred years in the future. Though social systems and fashions are changed, Mercier can’t imagine technological progress; people still drive horse-drawn carriages. Mercier’s friend and fellow “Rosseau de ruisseau” (Rousseau of the gutter) Nicolas-Edmé Restif de la Bretonne, was a much more prolific creator of utopias. In six volumes, five of them published between 1770 and 1789, with the last coming in 1797, he projected schemes to reform or uplift men, women, language, and various other elements of society (the title of the 1770 volume on prostitutes introduced a new word: Le pornographe). Finally, it’s worth pointing out that the production of fairy tales had continued all this time. Later editions of the Cabinet des fées had republished the best tales throughout the century. The final version, published between 1785 and 1789, ran to forty-one volumes. And at least one of the men who translated tales for this version of the Cabinet, Jacques Cazotte, was also a writer of fairy tales himself. Cazotte’s most successful fairy tales belong to the 1740s, but in 1772 he published a story called Le Diable amoreux (The Devil in Love). It’s different from preceding fairy tales, an occult romance in which a devil falls in love with the magician who called it up from hell. The story was a major influence on later writers, both in France and elsewhere. Still, it seems to me that the fairy tale is the characteristic form of French fantasy in the century. If neoclassicism and the Enlightenment seemed to suppress the fantastic in England, then in France the Enlightenment found a way to allow the marvellous some reign. As far as I can see, these works have a different feel than the fantasies that would emerge from Romanticism. They seem to be flatter, with little sense of individual psychology or of a consistent fantastic world. They were frequently written as satires or comments on contemporary France, which has the effect of undermining the imaginative integrity of the fantasy. It’s distinctive, but seems to have little direct relevance on the Romantic fictions I’m interested in; Rousseau’s sentimental realism may have had the most impact on English literature of any French work of the period. Until 1789, when a series of events began that would influence England, and Europe, and the world, quite dramatically. II. There has been much argument about the causes and significance of the French Revolution. Whether it was inspired by Enlightenment philsophy or not; whether it represented a revolt of the bourgeois class or not; whether the Terror of 1793-4 was inevitable in 1789. I do not pretend to have a meaningful opinion on these issues. I want here simply to try to set down a timeline of events for the decades following the Revolution, because what is undeniable is that the Revolution had a tremendous impact on the development of Romanticism in England as well as France. In 1789 an ongoing economic crisis led to disorder in the French countryside and the summoning of the Estates-General, a kind of irregularly-held parliament. The Estates-General convened on May 5, and was inmmediately paralysed by procedural disagreement. There were three equal Estates, one for aristocrats, one for the Church, and one for the 96 percent of the rest of the people. Middle-class lobbying had led to double representation for the Third Estate, which in 1789 therefore had as many representatives as the other two Estates together. Were the Estates to decide on their policy stances each among themselves, and then vote on issues as an Estate (in which case the Third Estate was outnumbered two to one), or should the Estates-General as a whole debate policy and give each representative a vote? The Third Estate insisted on the second procedure; the First and Second disagreed. After a six-week standoff, on June 17 the Third Estate declared itself the National Assembly of France, and effectively assumed legislative power. King Louis XVI tried to prevent them from assembling in their usual meeting-hall; the members therefore convened in a nearby tennis-court, and swore to provide a constitution for France. Louis was unable to convince the assembly to dissolve; political miscues and a concentration of soldiers in the Paris suburbs led to violence in the streets, and then on July 14 to the storming of the massive jail called the Bastille, a hated symbol of despotism. Uprisings followed throughout France. On August 4 the National Assembly abolished the feudal system, the traditional ordering of French society dating back about a thousand years, and on August 26 proclaimed a Declaration of the Rights of Man and Citizen. Aristocracy was effectively abolished; ‘citoyen’ replaced ‘monsieur’. Political clubs were formed, notably one that met at an old monastery of the Jacobins. The property of the Church was seized by the state, then the Church itself was made into a state Church. In June of 1791 Louis was deprived of all political power; on Spetember 3 a new constitution was proclaimed, establishing a constitutional monarchy governed by a Legislative Assembly. It didn’t work out, and in 1792 the government was paralysed by a constitutional crisis. Meanwhile, the crowned heads of nations neighbouring France were worried and (especially in the cases of those related to Louis) outraged by the Revolution; the revolutionaries, on the other hand, were eager to export the Revolution to other European monarchies. France declared a pre-emptive war on Austria and Prussia in the spring of 1792. An attack on the royal family by a radical mob on August 10 was followed in September by the murder of 1400 prisoners in the Paris jails. The radical Jacobins controlled the city government, and now moved to control the national government, declaring France a republic on September 21 — later named the beginning of Year One of the revolutionary calendar. The government was in the hands of a National Convention, which wielded both legislative and executive power. The war took a turn for the better, as France took over the Austrian Netherlands, but this brought the British and the Dutch into the war against France, who wanted to keep France from controlling the Netherlands. Louis was executed early in 1793, the French were driven out of the Netherlands, and counter-revolutions broke out in France — though the allies failed to take advantage. To meet the unrest, in April executive power was given to the nine-member Committee of Public Safety, controlled first by Georges-Jacques Danton and then, from late July, Maximilien Robespierre. Political purges followed. Paranoia and the fear of counter-revolutionary traitors to France were exacerbated by the July 13 assassination of populist journalist and former Convention member Jean-Paul Marat in his bath by Charlotte Corday. The Reign of Terror, a dictatorship that effectively suspended all rights of the citizens, took hold under Robespierre. Louis’ Queen, Marie Antoinette, was executed in October; many thousands of others, aristocrats and political enemies of the Jacobins, also died by the guillotine. Revolts in the provinces were harshly put down. (In retrospect, particularly notable was a battle at the city of Toulon, then occupied by counter-revolutionaries and British soldiers; a 24-year-old captain conceived and executed the successful capture of a hill where he then positioned his artillery, thus turning the tide of the battle. In recognition, the Corsican-born Napoleon Bonaparte was promoted to brigadier-general.) In May of 1794 the Church was abolished, replaced with the Cult of Reason. But the Terror was turning against its masters; first Danton, then Robespierre himself were executed (ironically, following a military triumph that restored the Netherlands to France). The powers of the Committee were gradually diminished. (Bonaparte, who had led French forces to a string of triumphs in Italy, was briefly put under house arrest for being too close to Robespierre. He was soon freed.) Various weak governments ruled until November 1799, or, in the revolutionary calendar, 18 Brumaire. By that time Bonaparte had conquered northern Italy, effectively stabilising the French military situation in Europe. After an unsuccessful attempt to conquer Egypt, during which time war broke out again between France and Austria, Bonaparte returned to France, overthrew the government, and then returned to the field in Austria. War would continue between France and various configurations of European powers in alliance against her until 1812. Napoleon, who crowned himself Emperor in 1804, won victory after victory. Britain’s Admiral Nelson defeated him at sea near Cape Trafalgar in 1805, but that same year success in a battle at Austerlitz gave Napoleon the upper hand over Austria, Prussia, and Russia; by 1807 all Napoleon’s enemies except Britain had either been conquered or, as in the case of Russia, had sued for peace. The Napoleonic Empire spread over much of Europe. Britain responded by fostering a guerilla war in Spain, distracting Napoleon as other parts of his empire began to rebel. Finally, in 1812, Napoleon felt he had no choice but to invade Russia, which itself looked ready to resume its former opposition to France. Napoleon led several hundred thousand men, the largest army ever seen in Europe, across the border at midsummer, having had to wait on the provision of fodder for his cavalry. He successfully captured Moscow, the traditional capital of the Russian people, but the government in Saint Petersburg didn’t attempt to negotiate peace, as Napoleon seems to have expected they would. With no supplies, Napoleon had to retreat as winter set in. The Russian army, which had fallen back before him as he advanced to Moscow, now harried his retreat. Between the Russians and the winter, the death toll was incredible. It has been estimated that one man in twenty survived the retreat. Amazingly, Napoleon then held out for almost two years against the countries he had defeated to establish his empire, before finally surrendering in April, 1814. Napoleon was sent into exile on the island of Elba, and the grandson of Louis XV of France was installed as King Louis XVIII. Representatives of the various European powers met at a congress in Vienna to settle matters involved in the break-up of the Napoleonic Empire and the aftermath of the French Revolution. It appeared events were returning to normal. Until, in February 1815, Napoleon escaped Elba, and over the course of three weeks marched on Paris and forced Louis XVIII to flee. Napoleon gathered a new army as the powers of Europe prepared to go to war against him yet again. He attacked the Prussians on June 16, and then, on June 18, attacked the British near the town of Waterloo. The ‘thin red line’ of British troops, commanded by the Duke of Wellington, did not break under Napoleon’s assault, and when the Prussian cavalry joined the battle late in the day, the Emperor was defeated. The ‘hundred days’ of his return had come to an end. He abdicated, and was sent into exile again, on the island of St. Helena, where he died under slightly murky circumstances in 1821. After Napoleon’s second defeat, the Congress of Vienna reconvened. The balance of power in Europe was restored; a “German Confederation” was established out of the ruins of the Holy Roman Empire; and Switzerland was guaranteed eternal neutrality. The various national powers were naturally conservative, opposed to nationalism and liberal ideas (such as democracy). The settlement of the Congress was designed to repress the dangerous democratic ideas of the French Revolution. The spirit of reaction set in across Europe, and (very broadly speaking) dominated European politics until at least 1848. Still, despite the semi-regular Congresses the great powers continued to hold, uprisings and revolutions in the name of nationalist or liberal ideas continued here and there. As for France, it was granted a two-chambered legislature on the British model; Louis XVIII was succeeded by Charles X in 1824; and then in 1830 the July Revolution led to fighting on the barricades, the flight of Charles to England, and the installation of the July Monarchy of Louis Philippe I, who ruled until 1848, when he himself was overthrown. This all seems far afield from fantasy fiction. But I feel it’s vital background for understanding what happened in literature from 1789 onward. The Revolution wasn’t just a political event; it came almost as a revelation. Its early days were a time of idealism, when anything seemed possible: “Bliss was it in that dawn to be alive,” William Wordsworth later recalled, “but to be young was very heaven.” Conversely, Britain declaring war against France was a bitter blow for many liberals. As time went on and the Revolution first became more vicious, and then more directly threatening with the rise of Napoleon, early professions of faith in the Revolution became viewed as a sign of political unreliability. Napoleon himself was alternately a hero and a villain, depending on who you asked and when. One of the great musical products of Romanticism, Beethoven’s Third Symphony, was intended by its composer to be dedicated to Napoleon the radical — but when he was told that Napoleon had declared himself Emperor, Beethoven tore up the title-page he’d had prepared, renamed the symphony the Eroica (“heroic” in Italian), and dedicated it to “the memory of a great man.” Politics and war determined the background for Romanticism, and Romantic fantasies adhered to nations and heroes. We’ll see this play out in many ways over the course of future posts. III. And what was happening in France, during these later years? How had Romanticism begun to manifest itself? It came later than in Britain, by and large, but you can find some examples in the opening years of the century. Arguably, you can find a notorious case even before that; the brutal pornography of the Marquis de Sade (notably 120 Days of Sodom, 1785, and Justine, 1788, revised 1791) used tropes familiar from the developing genre of Gothic fiction. But unlike the Gothic, Sade avoided the fantastic. Critic Chantal Thomas sums it up: “Sade has no deep affinity with texts dominated by magic, sustained by the supernatural, and permeated by a diffuse terror essentially bound to a certain place and atmosphere. His writing is opposed to the use of this type of fantastic. However extreme the imagination of torture and the sophistication of crime in his own works, he makes no appeal to the supernatural.” In 1802 François-René de Chateaubriand published a meditation on Christianity, Génie du Christianisme, that dealt with Christianity in what would come to be called a Romantic spirit — dwelling on images of tombs, ruins, and the like, and appreciating the gothic architecture of cathedrals like Notre-Dame de Paris. Anne Louise Germaine de Staël, the last of the great salonnières, is significant in this context for her essays. 1800’s De la littérature considérée dans ses rapports avec les institutions sociales (The Influence of Literature Upon Society) argued that different cultures produced different kinds of literatures, meaning that absolute ideas of artistic merit were impossible. She also distinguished between literatures of the north and of the south, an idea further elaborated in her 1810 essay De l’Allemagne (Of Germany), arguing that the classical southern culture was descended from pagan Rome, while the gothic northern culture was shaped by medieval Christianity. But it was at least another decade until Romanticism could be found in verse or fiction, starting with the verse of Alphonse de Lamartine (Méditations Poétiques, 1820). Fantasy emerged in the fiction of Charles Nodier, starting with Smarra (1821). Jean-Jacques Ampère translated some tales by the German writer E.T.A. Hoffmann in 1829; this seems to have started a kind of craze for the fantastic in France, particularly in the form of the tale that may be a fantasy or may be a hallucination or dream. Writers such as Théophile Gautier, Gérard de Nerval, and Prosper Mérimée all wrote significant works of fantasy; so too did Honoré de Balzac, better known as a realist writer. Perhaps above all was Victor Hugo, certainly Romantic and arguably a fantasist, depending on how one wants to characterise works such as Notre-Dame de Paris (The Hunchback of Notre-Dame) and religious verse such as Le Fin de Satan (The End of Satan, 1886). Romanticism and the fantastic came late to France, then, but eventually did come in force. More than that; it seems to me that while there was a reaction against Romantic fantasy in England during the Victorian age, when fantastic fiction was often considered to be by definition for children, French fantasy by contrast birthed a tradition. That fantastic tradition of the 1830s then continued through both popular serials like Eugène Sue’s Le juif errant (1845) and more ambitious work like Charles Baudelaire’s Les Fleurs du Mal (1857), on to the horrific short stories of Guy de Maupassant and the prose poems of Lautréamont’s Les chants de Maldoror (The Lays of Maldoror, 1874; ‘Lautrémont’ is a pseudonym taken from a novel by Sue). As we’ll see, the Romantic era in British literature came to a fairly distinct close, as one generation of writers was replaced by another, with a different set of techniques and approaches. Fantasy became, to some extent, marginalised. In French I feel — and I am very much an outside observer, so take this as you will — that Romanticism could be said to evolve rather than end, becoming a component of decadence and surrealism. If the form of the fantastic that interests me is slow in coming to France, the corollary seems to be that it was taken seriously for rather longer.
5097	dbpedia	1	11	https://www.poetryfoundation.org/poets/theophile-gautier	en	Théophile Gautier	https://s3-us-east-2.ama…mtime=1715886111	https://s3-us-east-2.ama…mtime=1715886111	[ "https://cdn-test.poetryfoundation.org/cdn-cgi/image/w=10,h=16,q=50,fit=contain,blur=3/content/images/951f8f89e8d91c142ace81a5d1624d1173fc8dbc.jpg", "https://cdn-test.poetryfoundation.org/cdn-cgi/image/w=10,h=16,q=50,fit=contain,blur=3/content/images/june2024-poetry-cover.jpg", "https://cdn-test.poetryfoundation.org/cdn-cgi/image/w=10,h=16,q=50,fit=contain,blur=3/content/images/951f8f89e8d91c142ace81a5d1624d1173fc8dbc.jpg", "https://cdn-test.poetryfoundation.org/cdn-cgi/image/w=10,h=16,q=50,fit=contain,blur=3/content/images/june2024-poetry-cover.jpg", "https://www.poetryfoundation.org/assets/images/logo-print.png" ]	[]	[]	[ "" ]	null	[]	null	Poems, readings, poetry news and the entire 110-year archive of POETRY magazine.		/favicon.ico?v2.0.0	The Poetry Foundation	https://www.poetryfoundation.org/poets/theophile-gautier	French art critic, journalist, and fiction writer Théophile Gautier was born in 1811 and lived in Paris for most of his life. He attended the Collège Charlemagne, where he became friends with the poet Gérard de Nerval. Gautier was first interested in painting but turned to poetry and became an early proponent of Romanticism. With the publication of his first collection of poetry, Albertus (1832), and his novel Mademoiselle de Maupin (1835), he shifted his allegiance from Romanticism to the burgeoning philosophy of l’art pour l’art, or “art for art’s sake.” Art and travel influenced Gautier’s creative work and journalism. His collections of poems España (1845) and Voyage en Espagne (1845) were the result of travels to Spain. As an art critic, he covered the theater, visual arts, and salons for La Presse. An extremely influential and prolific journalist and critic, he was an early supporter of the work of the artists Ingres, Delacroix, and Goya. Travel to Greece led to his collection of poems Émaux et Camées (1852), in which he focused on artworks, following his ideas concerning transposition d’art—writing directly about art pieces. Gautier joined Le Moniteur Universel in 1854 and became editor of L’Artiste in 1856. In 1868, he became librarian to Princess Mathilde Bonaparte.
5097	dbpedia	3	49	https://francois-vidit.com/docs/en/paris/louvre/la-joconde/gautier	en	The Mona Lisa according to Theophile Gautier	https://francois-vidit.c…nde_700x1030.jpg	https://francois-vidit.c…nde_700x1030.jpg	[ "https://francois-vidit.com/docs/vasari/la-joconde_700x1030.jpg" ]	[]	[]	[ "The Joconde", "Mona Lisa", "Theophile Gautier", "Leonardo Da Vinci" ]	null	[ "FranÃ§ois VIDIT" ]	2019-01-06T16:28:00+01:00	presentation of the text written by Theophile Gautier in 1867 on the portrait of Lisa Gherardini, wife of Francesco del Giocondo, known as Â«Monna Lisa, the GiocondaÂ» or Â«the JocondeÂ».	en	/favicon.png	francois-vidit.com	https://francois-vidit.com/docs/en/paris/louvre/la-joconde/gautier	The Mona Lisa according to the text of Theophile Gautier from the Paris guide by the main writers and artists of France Our admiration and love for this divine Monna Lisa del Giocondo is not new, and many passions for real people have lasted less time. We have been writing these lines for about twelve years now, perhaps a little too enthusiastic, but they accurately reflect our impression: Â«La Joconde! Sphinx of beauty who smiles so mysteriously in frame of Leonardo da Vinci and seems to offer to the admiration of centuries an enigma by them not yet solved, an invincible attraction brings every back to thee! Oh! indeed. Who has not long hours before that head bathed twilight half tints enveloped in transparent gauze and whose features melodiously drowned in a violet vapor appear like the creation of Dream through the black gauze of Sleep! From which planet fell in the middle of an landscape of azure that strange being with her glance promising unknown voluptuousness and her expression divinely ironical? Leonardo da Vinci gives to his faces such an imprint of superiority that one feels disturbed in their presence. The lids of her profound eyes hide secrets interdicted the profane; and the curve of her mocking lips suit the gods, who know everything and gently despise human vulgarities. What unquieting fixedness, and what superhuman sardonism in those dark sloes, in those lips undulating like the bow of love after it has hurled the arrow. Doesn't it seem that the Joconde is the Isis of a cryptic religion, who believing herself alone, half opens the folds of her veil, even if the imprudent one who surprises her become insane and die for it? Never has the feminine ideal been invested with forms more deliciously seductive. Believe that, if Don Juan had met Mona Lisa, he would have spared himself the trouble of writing down the names of three thousand women on his list; he would have drawn but one; and the wings of his desire would have refused to carry him further. They would have melted and become deplumed before the black sun of these sloesÂ». We have seen her very often since then, that adorable Joconde, and our declaration of love does not appear to us too burning. She is ever there, smiling with a mocking voluptuousness upon her innumerable lovers. Upon her brow reposes that serenity of a woman sure of being eternally beautiful, and who feels herself superior to the ideal of all poets and of all artists. The divine Leonardo took four years to make this portrait, which he could not decide to leave, and which he never considered finished; during the sessions, musicians performed pieces to brighten up the beautiful model and prevent his charming features from looking bored or tired. Is it to be regretted that the particular black used by Leonardo, of which he was the inventor, prevailed in the colours of the Monna Lisa and gave them this delicious violetish harmony? This abstract tonality that is like the colour of the ideal? We do not think so. Now, mystery adds itself to charm, and the painting, in its freshness, was perhaps less attractive.
5097	dbpedia	1	27	https://www.addall.com/books-in-order/theophile-gautier/	en	Théophile Gautier Books In Order	https://www.addall.com/b…oks-in-order.jpg	https://www.addall.com/b…oks-in-order.jpg	[ "https://www.addall.com/books-in-order/wp-content/uploads/2022/03/logo-addall-2.png", "https://www.addall.com/books-in-order/wp-content/uploads/2022/03/logo-addall-2.png", "https://www.addall.com/books-in-order/wp-content/uploads/2022/04/books-in-order.jpg 1280w, https://www.addall.com/books-in-order/wp-content/uploads/2022/04/books-in-order-300x169.jpg 300w, https://www.addall.com/books-in-order/wp-content/uploads/2022/04/books-in-order-1024x576.jpg 1024w, https://www.addall.com/books-in-order/wp-content/uploads/2022/04/books-in-order-768x432.jpg 768w", "https://www.addall.com/books-in-order/wp-content/uploads/2022/04/books-in-order.jpg", "https://m.media-amazon.com/images/I/51VkhfMy6qL._SL250_.jpg", "https://m.media-amazon.com/images/I/51VkhfMy6qL._SL250_.jpg", "https://m.media-amazon.com/images/I/414EpiE8PAL._SL250_.jpg", "https://m.media-amazon.com/images/I/414EpiE8PAL._SL250_.jpg", "https://m.media-amazon.com/images/I/510poqBhQZL._SL250_.jpg", "https://m.media-amazon.com/images/I/510poqBhQZL._SL250_.jpg", "https://m.media-amazon.com/images/I/51W02CQZZ3L._SL250_.jpg", "https://m.media-amazon.com/images/I/51W02CQZZ3L._SL250_.jpg", "https://m.media-amazon.com/images/I/51WWYgMs8hL._SL250_.jpg", "https://m.media-amazon.com/images/I/51WWYgMs8hL._SL250_.jpg", "https://m.media-amazon.com/images/I/31Gu0QqP65L._SL250_.jpg", "https://m.media-amazon.com/images/I/31Gu0QqP65L._SL250_.jpg", "https://m.media-amazon.com/images/I/31qmO+jxJCL._SL250_.jpg", "https://m.media-amazon.com/images/I/31qmO+jxJCL._SL250_.jpg", "https://m.media-amazon.com/images/I/51oVdEVex0L._SL250_.jpg", "https://m.media-amazon.com/images/I/51oVdEVex0L._SL250_.jpg", "https://m.media-amazon.com/images/I/51R9oJlSWZL._SL250_.jpg", "https://m.media-amazon.com/images/I/51R9oJlSWZL._SL250_.jpg" ]	[]	[]	[ "" ]	null	[ "Editorial" ]	2022-03-24T20:23:12-07:00	Pierre Jules Th ophile Gautier 1811 1872 was a French poet, dramatist, novelist, journalist, and literary critic. Gautier's work is difficult to classify and	en		Books In Order	https://www.addall.com/books-in-order/theophile-gautier/	Novels Collections Novellas Novels Book Covers Collections Book Covers Novellas Book Covers Théophile Gautier Books Overview Related Authors
5097	dbpedia	2	25	https://www.napoleon.org/en/magazine/itineraries/the-authors-of-napoleon/	en	The Authors of Napoleon	https://www.napoleon.org…f-lazyload-0.jpg	https://www.napoleon.org…f-lazyload-0.jpg	[ "https://www.napoleon.org/wp-content/themes/napoleon/images/logo-napoleon-en.png", "https://www.napoleon.org/wp-content/themes/napoleon/images/logo-fondation-napoleon.png", "https://www.napoleon.org/wp-content/thumbnails/uploads/2001/06/hugo_nadar-tt-width-509-height-650-crop-1-bgcolor-ffffff-lazyload-0.jpg" ]	[]	[]	[ "" ]	null	[]	2001-11-09T23:00:00+00:00	We invite you to take a trip through the Ile-de-France and Haute-Normandie, to rediscover some of the greatest French writers of the 19th Century. Not	en	/wp-content/themes/napoleon/icons/apple-touch-icon-57x57.png	napoleon.org	https://www.napoleon.org/en/magazine/itineraries/the-authors-of-napoleon/	Our itinerary starts with an evocation of one of the greatest French writers of the early 19th Century: François-René de Chateaubriand (1768-1848). The author of Génie du Christianisme (1802), Chateaubriand allied himself with the Consulat cause and was greatly impressed by what he perceived to be Napoleon’s abilities. For Bonaparte the feeling was mutual and in 1803 the First Consul appointed the writer to the post of secretary to the French Embassy in Rome under Cardinal Fesch; Chateaubriand was later promoted to the post of French minister to the Valais republic. But with the assassination of the Duke of Enghien in 1804 the writer distanced himself from Napoleon and directly criticized him in an article appearing in the Mercure in 1807: “When, in the silence of the abjection, the only sound that can be heard is the clink of the chains of a slave and the voice of the informer; when all tremble before the tyrant and it is as dangerous to incur his favor as to merit his disgrace, then the historian appears, bringing with him with the vengeance of the people.” With the publication of this article, Chateaubriand was ordered by the imperial police to move away from Paris. Thus began his exile at the Vallée-aux-Loups estate in Châtenay-Malabry. And it was here that he wrote a large part of his account of his life, Mémoires d’Outre-tombe, a life which had been so closely linked to the history of the period. In 1814, he published a pamphlet entitled “De Buonaparte et des Bourbons” in which he denounced the Emperor as a usurper and even denied his military genius. But in the Mémoires – which only appeared after Chateaubriand’s death in 1848 – the writer in fact reveals himself as an admirer of Napoleon, consecrating gradually as the book progresses almost one third of this work to the great man. Although Chateaubriand recanted some of his former condemnations, he did not however become an unqualified supporter of the man and his actions: “Bonaparte was not great through his words, his speeches, his writings, or through love (which he never had) for liberties (which he never intended to establish); he is great for having created a regulated and strong government, a code of laws adopted in different countries, courts of justice, schools, a strong, active and intelligent administration which guides our lives still today; he is great for having revived, enlightened and established Italy better than anyone else could have done; he is great for having brought France out of chaos to renaissance […] he is great above all for, from illegitimate birth, having raised himself up by his own efforts to the height where thirty-six million subjects obeyed him, in an age when the crown had lost all credibility […] for having filled ten years with such wonders that it is hard today to comprehend them”. During his lifetime Napoleon was for the most part celebrated by authors whose popularity was short-lived: “It is the mediocre writers who support me, not the great”, was the Emperor’s shrewd comment. In fact, Chateaubriand was not the only one to oppose Napoleon. Two other writers of note during the Empire period also expressed their disapproval, namely Germaine de Staël, exiled to Coppet in Switzerland in 1803 for her hard-line political, religious and social views, and Benjamin Constant (also exiled to Coppet), the author of a violent pamphlet entitled “De l’esprit de conquête et de l’usurpation” which appeared in 1814. Our itinerary then brings you back towards Paris, to Passy, or more precisely to number 47 rue Raynouard, to Balzac’s house. Honoré de Balzac (1799-1850), a giant of French literature, drew his creative energy from the Napoleonic saga. Indeed, he even went so far as to have inscribed on the bust of Bonaparte which sat imposingly on the mantlepiece in his study in rue Cassini the words “All that he [Napoleon] did with the sword, I will accomplish with a pen”. In La Comédie humaine, (Balzac’s enormous literary canvass comprising series of novels grouped under the headings Scènes de la vie politique, Scènes de la vie privée, Scènes de la vie de Campagne and Scènes de la vie militaire), he observed and analyzed the French society which had emerged from the Revolution (a society which Napoleon had largely been responsible for forming) and cast everything in Napoleonic light. For Balzac the act of writing was in itself a struggle of Napoleonic proportions: “When inspiration comes, all my intellectual forces shake in anticipation for the fight. My ideas move off like the battalions of the Grande Armée […] The infantry of memories charges in, banners streaming; the light cavalry of comparison spreads out in a magnificent gallop; the big guns of logic, with their wagons and shells, provide support; flights of genius come like sniper shots. The actors stand face-to-face. The paper gets covered in ink as battle commences. And as with battles and their black gunpowder, everything ends in a downpour of blackness. Each day is an Austerlitz of creation”. Described by Paul Bourget as a “France’s own literary Napoleon”, Balzac represented the Emperor many times in his novels and short stories. He gave a direct version in the historical, detective novel Une Ténébreuse Affaire, from Scènes de la vie politique. He took a sideways glance at Napoleon both in the novel Une double Famille, from Scènes de la vie privée, and in his famous Colonel Chabert, the man whom all thought had died at the battle of Eylau. With Le Médecin de Campagne (from Scènes de la vie de Campagne) Balzac composed his most decidedly Napoleonic novel of the whole Comédie humaine, the narrator being an old soldier of the Empire named Goguelat. According to Balzac’s initial plan for the Comédie humaine, the series Scènes de la vie militaire was to recount the Napoleonic epic in its entirety. Of the twenty novels planned for this series only two were completed, namely Les Chouans and Une passion dans le désert, a curious story about a soldier in the Egyptian Army. Also of Napoleonic interest (and both published in the volume Etudes philosophiques) are the the piece entitled El Verdugo, set during the Spanish campaign, and the remarkable novella Adieu, where Balzac suddenly transports his reader to the icy plains of Russia with a poignant description of the crossing of the Berezina river. In the morning of the second day of this itinerary, we leave Balzac and his epic to go in search of the author who aimed to write a second Comédie humaine (this time based on France of the Second Empire), the man who wished to be considered as Balzac’s literary successor, Emile Zola (1840-1902). Zola’s house is at Médan in the Yvelines, and on first entering you get the impression of stepping into one of the pages of his extraordinary saga novel, Les Rougon-Macquart. This saga was the double product of Zola’s respect for Balzac and his interest in physiology, and it is the study of a family with branches at all levels of society. Not simply a masterpiece of realistic observation, Les Rougon-Macquart, sub-titled Histoire naturelle et sociale d’une famille sous le Second Empire (Natural and social history of a family during the Second Empire), aimed at being an exhaustive depiction of imperial society. Despite the overall plan for twenty novels being complete already by 1868, the first novel was not to appear until after the fall of the Empire in 1871. Zola did not however abandon the project but continued meticulously preparing for each book compiling huge dossiers of information on the social milieux about which he wished to write. When the saga was finished in 1893 he had created a vast canvass of more than 2000 characters. Les Rougon-Macquart remains the point of reference for the understanding of Second Empire society. Clearly Zola, a fervent republican, did not in the least share the government’s ideas. Indeed he even went so far as to become a confirmed opponent of the Empire, reiterating his attacks in his fairy tales (“Les Aventures du grand Sidoine et du petit Médéric”, Contes à Ninon, 1864) and in his articles for the opposition journals La Tribune, Le Rappel, and La Cloche. Thus what we see of the Second Empire is therefore biased and incomplete: the political regime with its weaknesses and excesses is summarily condemmned, as is the immoral ammassing of riches and the proportional increase in poverty, and the dissolution of morals in a society under tension. That being said, his works give us a brilliant view of an entire epoch in flux, a fascinated vision of modernity on the move, notably: the great constructions and architecture of iron and glass, in La Curée and Le Ventre de Paris; the creation of department stores and of banks, in Au Bonheur des Dames and L’Argent; the railways, in La Bête humaine; conditions for the working classes and the beginnings of trade unions, in L’Assommoir and Germinal; the problems of the countryside and its peasants in La Terre; religion, in La Faute de l’Abbé Mouret; the triumphant middle classes, in Pot-Bouille; the education of girls, the role of women in society, particularly the party girls of the ‘Naughty Nineties’, in Une Page d’amour and Nana; art, in L’Oeuvre; etc. Fictional and historical characters rub shoulders as the plot weaves its way through the Second Empire period. La Fortune des Rougon, the first novel in the saga, recounts in parallel the origins of the family, and the origins of the Empire, namely the coup d’état which Zola considered as blood on the hands of the perpetrators. The government, the ministers, and the life at court (notably the receptions at the Tuileries and the famous Compiègne “series”) all figure in the different parts of the saga. Napoleon III (Genealogy) himself appears many times: notably in La Curée, Son Excellence Eugène Rougon and of course La Débâcle, the terrible story of the war of 1870 and the defeat at Sedan. The portrait that Zola presents of the Emperor is critical but not a caricature. Whilst Napoleon III appears a confused character, hesitant, hypocritical, poorly advised, a sentimental dreamer, a deluded waverer with humanist ideals, Zola also portrays him as a man of great courage when put to the test. But the Les Rougon-Macquart saga is more than just a neurotic and pessimistic vision of the Second Empire, a mere collection of attacks launched against an authoritarian government and an inegalitarian society. It is also an immense historical document, a penetrating overview of industrialized civilisation in the second half of the 19th Century. After this plunge into the realist universe of Zola, we continue our itinerary in the direction of Rouen and head for the house of one of the greatest historians of the 19th Century, Jules Michelet. Although less well known to anglophone readers, Michelet (1798-1874) is not out of place in this walk dedicated to writers. Indeed, as aptly expressed in Taine’s epigram “Michelet writes like Delacroix paints”, Michelet’s writing style was of epic proportions. As the protégé of Guisot, he was elected to the College of France as professor in 1838. But because of his unabashed liberalism and anticlericalism, his courses on morality and history were suspended in 1851. As the famous memorialist of the Second Empire, the ruthless Viel-Castel, wrote on 12th March, 1851: “The government has finally closed the door on Michelet’s courses. During these courses, communism of the purest sort was openly taught; it was a real scandal.” In 1853, for having refused to swear allegiance to the Emperor, Michelet was again dismissed, this time from the post of head of the historical section of the National Archives, a post which he had occupied since 1831. Refusing susequently to launch himself into politics, the historian left Paris to dedicate himself to his research. Here he completed his monumental Histoire des Temps Modernes publishing it over the period 1855 to 1867, finished La Bible humaine in 1864, and in 1869 wrote the general preface to the collection of volumes encompassing the complete Histoire de France. As for his non-historical works, the most noteworthy are L’Amour (1858) and La Femme (1859) both of which had a profound influence on the young Zola as he discovered the importance of physiology. Withdrawing into very discreet opposition, Michelet foresaw with great perspicacity the fall of the Second Empire one year before it took place. Let us continue our stroll in the literary world of the Second Empire with an evocation of one of its most eminent figures, Gustave Flaubert (1821-1880). The Flaubert Pavilion at Croisset, a village very near to Rouen, is the only vestige left of the property where the writer wrote parts of his three masterpieces, Madame Bovary (1857), Salammbô (1862) and L’Education sentimentale (1869). On the publication of Madame Bovary in 1857, Flaubert was taken to court in what was to become the first in a series of high profile literary court cases, and these trials give a very good idea of moral climate under the Second Empire. In fact in the same year, two other writers were to see their works attacked by the censor. The first, Eugène Sue, was prosecuted for the publication of his Mystères du Peuple, Histoire d’une famille de prolétaires à travers les âges. For what were considered “attacks against the authority” he received the exceedingly harsh sentence of one year in prison and a fine of 6000 francs. Sue died on August 3, 1857, and as a result of the trial which took place shortly after his death, the book was removed from the market and destroyed. The second author to come under fire was Charles Baudelaire, whose collection of poems Les Fleurs du mal was attacked by the newspapers almost as soon as it was published in June 1857. The poems were considered as being “in defiance of the laws protecting religion and morality”. Baudelaire’s sentence was a 300 franc fine and the removal of six poems from the edition. The poet appealed to the Empress Eugenie (Genealogy) herself for a reduction of the fine and this was eventually reduced to 50 francs on 20 January, 1858. For all three trials Ernest Pinard, the Attorney General, was the prosecutor. Sue’s work was attacked for its political provocation, whilst Flaubert’s and Baudelaire’s books were criticised on esthetic grounds. The realistic intensity of Madame Bovary – serialised in la Revue de Paris October to December 1856 – caused a scandal despite its many cuts and the bowdlerisation of sensitive words like as “adultery” and insults such as “piece of beef”! The famous scene of the carriage in Rouen also fell victim to this censorship. Flaubert warned his readers that they were reading only fragments of his work. When Madame Bovary was finally published in book form in April 1857 by Michel Levy, Flaubert was charged with insulting the public morality and offending decent manners. Whilst recognizing the stylistic unity of the novel, the attorney Pinard criticised its lewd character. The author and publishers were reprimanded but acquitted. From 1862 on – with his novel Salammbô a confirmed success – Flaubert began to limit his social life to strictly literary circles, first and foremost the “Magny dinners” where writers and artists such as Gavarni, the Goncourts, Sainte-Beuve, Baudelaire or Théophile Gautier gathered, and the salon of Princess Mathilde (Genealogy) in the rue de Courcelles. Despite the whiff of scandal, Flaubert finally received official recognition from the Second Empire when he was invited to Compiègne at the time of the famous “series”. There he received the Legion of honour on August 15, 1866, and in 1867 he was even invited to the Tuileries to a ball given in honour of the foreign sovereigns who came for the Exposition Universelle. It was in fact from Flaubert, with this first-hand experience of imperial circles, that Emile Zola in part took his descriptions in Les Rougon-Macquart. This last day is entirely dedicated to Victor Hugo (1802- 1885) and two of his houses: Villequier (The Hugo Museum) with its memorabilia for the most part relating to his family and Victor Hugo’s House in the Place Vosges in Paris where the writer lived from 1833 to 1848. Victor Hugo holds a special place in this itinerary, in that his personal history is closely linked to that of the First and Second Empires. Born in 1802, he very early on had first-hand experience of Napoleon through his father, General Léopold Hugo, a fervent supporter of the Emperor. However, the Hugo household was not unanimously pro-Napoleon. His mother, Sophie Trébuchet, was a Royalist, and it was this political opposition combined with personal disagreement which led to his parents’ separation. And so, even though the young Victor Hugo had experienced his father’s military life at close quarters, joining him in his different postings firstly in Naples in 1807 and secondly in Spain in 1809, nevertheless the future author – who proclaimed at 14 years, “I want to be Chateaubriand or nothing” – began his literary career under the double banner inherited from his mother, that of catholic and hard-line royalist. With his first collection of poems – published in 1822 – he mixed poetry with politics in order to sing the praises of the Bourbons and to curse the man whom, in one of his odes entitled, Buonaparte, he compared to a “living plague”. But after the death of his mother, Victor Hugo became closer to his father – a man about whom he knew very little – and his influence proved a strong catalyst in leading the young Hugo to begin to see Napoleon in a positive light. The Nouvelles Odes of 1824 bear eloquent witness to this sea-change. In the poem A mon Père, written in 1823, Hugo expressed for the first time his admiration for the Napoleonic armies and his pride to be linked to the heros of the epic. His change of mind is further shown by the ode A l’Arc de Triomphe and subsequently by the poem Les Deux Iles published in Odes et Ballades in 1826. Structured on the antithesis “Praise” and “Blame”, Les Deux Iles is an attempt by Hugo to give an impartial judgement on the Emperor. But his admiration for Napoleon was not to be finally and unequivocally revealed until 1827 with his Ode à la Colonne de la place Vendôme, a poem intended as a reply to a calculated insult – where Napoleonic titles were deliberately omitted – inflicted upon four marshals of the Empire at a reception in the Austrian Embassy. In a spirit of national reconciliation (but also of reconciliation with his father), Hugo presented Napoleon as the equal of Charlemagne and of the kings who had made France great. From then on, he was happy to sing the praises of the Emperor and his epic history without reserve, notably in his poems: Souvenir d’enfance (in Les Feuilles d’Automne), A la Colonne, Napoléon II (in Les Chants du Crépuscule), and A l’Arc de Triomphe (in Les Voix intérieures), etc. Victor Hugo gradually moved away from the legitimist party to join the camps of liberalism. Elected to the Chamber of peers in 1845, he called for the return from exile of the Bonaparte family before supporting in 1848 the electoral campaign of Louis-Napoleon (Genealogy). He even created with his sons a journal entitled L’Evénement, in which his last pre-election canvassing gesture was to publish a page with nothing on it except the name of the candidate repeated one hundred times. Nevertheless, after the election, he slowly distanced himself from the prince president, not so much because he did not receive the ministerial post promised to him (as some scholars would have it), but rather because the government did not fulfil his democratic expectations. During a debate in the Chamber on 17th July, 1851, he pointed out the dangers threatening France: “What! after Augustus are we to have Augustulus? Because we have had Napoleon the Great, must we have Napoleon the Small!” Thereafter, Victor Hugo became a committed leader of republican opposition and after the coup d’etat of 2nd December was forced to flee France. Thoughout the Second Empire period, the writer lived in exile, first in Brussels, and later, on the Channel Islands Jersey and Guernsey. In 1859, the triumphant Empire granted amnesty to the exiles but Hugo refused it: “Faithful to the engagement that I have made with my conscience, I will live to the end the exile of liberty. When liberty returns, I will return”. Considering himself as a sort of guardian of France’s moral conscience, he published ferocious pamphlets against the imperial regime, both in prose (Napoléon le Petit (1852)) and in verse (Châtiments (1853)). He also expressed his antibonapartiste hate in texts which he kept in manuscript, only publishing them later in 1877-1878 under the title Histoire d’un Crime. In exile, Victor Hugo published Les Contemplations (1856), La Légende des siècles (1859), Les Travailleurs de la mer (1866), and Homme qui rit (1869). He also completed Les Misérables, published in Brussels in 1862, a sweeping saga taking the reader through a part of the 19th Century, including an epic description of the Battle of Waterloo. By way of conclusion, here are a few famous verses from L’Expiation, one of Hugo’s masterpieces in the collection Châtiments: «Waterloo! Waterloo! Waterloo! Dismal plain! Pale death swirled together the sombre batallions In your theatre of woods, hillocks and valleys, Like a current bubbling up into an overfull urn. Europe on one side, France on the other. Carnage! from heros God took away all hope; Victory, you were a deserter, and Fate was weary. O Waterloo! I weep; and then I hold back my tears – alas! – For these, the last soldiers of the final war Were great; they had conquered the whole earth, put twenty kings to flight, and had crossed the Alps and the Rhine, And their soul sang in bugles of bronze!»
5097	dbpedia	3	86	https://www.bruzanemediabase.com/en/exploration/artists/gautier-theophile	en	Théophile GAUTIER - Bru Zane Mediabase	https://www.bruzanemedia…-de-Benjamin.jpg	https://www.bruzanemedia…-de-Benjamin.jpg	[ "https://www.bruzanemediabase.com/sites/default/files/logo.svg", "https://www.bruzanemediabase.com/themes/custom/bruzane/images/Logo Fondation Bru 1.png", "https://www.bruzanemediabase.com/sites/default/files/styles/440x580/public/2023-05/Theophile-Gautier-portrait-charge-de-Benjamin.jpg?itok=cJKi8ufC", "https://www.bruzanemediabase.com/sites/default/files/styles/auto_x_150/public/2024-08/lc_1843_04_05_saltimbanques_c_gallica.jpg?itok=kSIjXH1f", "https://www.bruzanemediabase.com/sites/default/files/styles/auto_x_150/public/2024-08/lc_1847_10_20_gautier_c_gallica.jpg?itok=KIE22CYx", "https://www.bruzanemediabase.com/sites/default/files/styles/auto_x_150/public/2024-06/gautier.jpg?itok=wrjCercC", "https://www.bruzanemediabase.com/sites/default/files/styles/auto_x_150/public/2023-05/Theophile-Gautier-portrait-charge-de-Benjamin.jpg?itok=hXuWnFd6", "https://www.bruzanemediabase.com/sites/default/files/styles/auto_x_150/public/2023-05/Page-de-titre-du-lamento-Chanson-du-pecheur-Gautier-Paladilhe.jpg?itok=bUj4Wr0W", "https://www.bruzanemediabase.com/sites/default/files/styles/auto_x_150/public/2023-10/Page-de-titre-du-recueil-Vingt-Melodies-Masse.jpg?itok=-7fTvA6G", "https://www.bruzanemediabase.com/sites/default/files/styles/auto_x_150/public/2023-05/Page-de-titre-d-Attente-Gautier-Masse.jpg?itok=xCnHHiB3", "https://www.bruzanemediabase.com/sites/default/files/styles/auto_x_150/public/2023-05/Theophile-Gautier-caricature-de-Mailly.jpg?itok=4aAq3cpg", "https://www.bruzanemediabase.com/sites/default/files/styles/auto_x_150/public/2023-10/Page-de-titre-de-la-barcarolle-Ou-voulez-vous-aller-Gautier-Gounod.jpg?itok=Xz_uIrTz", "https://www.bruzanemediabase.com/sites/default/files/styles/260x200_crop/public/2024-08/lc_1843_04_05_saltimbanques_c_gallica.jpg?itok=_ybV93SV", "https://www.bruzanemediabase.com/sites/default/files/styles/260x200_crop/public/2024-08/lc_1847_10_20_gautier_c_gallica.jpg?itok=joeA_yVp", "https://www.bruzanemediabase.com/sites/default/files/styles/260x200_crop/public/2024-06/gautier.jpg?itok=Sm745JBj", "https://www.bruzanemediabase.com/sites/default/files/styles/260x200_crop/public/2023-05/Theophile-Gautier-portrait-charge-de-Benjamin.jpg?itok=k3j6wRHb" ]	[]	[]	[ "" ]	null	[]	1811-08-30T12:00:00+00:00	Discover Théophile GAUTIER through his/her biography, his/her works and the documents available on Bru Zane Mediabase \|	en	/sites/default/files/faviconV2_1.png	Bru Zane Mediabase	https://www.bruzanemediabase.com/en/exploration/artists/gautier-theophile	Homme de lettres, auteur et critique d'art et de théâtre français.
5097	dbpedia	2	33	https://lifeonlalune.com/2010/11/29/french-country-novels/	en	French country novels	https://lifeonlalune.com…rgnat-hamlet.jpg	https://lifeonlalune.com…rgnat-hamlet.jpg	[ "https://lifeonlalune.com/wp-content/uploads/2010/11/auvergnat-hamlet.jpg", "https://lifeonlalune.com/wp-content/uploads/2010/11/lavoir-at-bach.jpg", "https://lifeonlalune.com/wp-content/uploads/2010/11/gariotte-shepherds-hut.jpg", "https://lifeonlalune.com/wp-content/uploads/2018/10/cropped-la-lune-the-moon.jpg?w=120", "https://lifeonlalune.com/wp-content/uploads/2018/10/cropped-la-lune-the-moon.jpg?w=120", "https://lifeonlalune.com/wp-content/uploads/2018/10/cropped-la-lune-the-moon.jpg?w=120", "https://lifeonlalune.com/wp-content/uploads/2018/10/cropped-la-lune-the-moon.jpg?w=120", "https://lifeonlalune.com/wp-content/uploads/2018/10/cropped-la-lune-the-moon.jpg?w=120", "https://lifeonlalune.com/wp-content/uploads/2018/10/cropped-la-lune-the-moon.jpg?w=120", "https://1.gravatar.com/avatar/1daf89a8e518c891ff418a18dd643db1e82a3cd24dd77daa778a1b4964364573?s=120&d=&r=G", "https://2.gravatar.com/avatar/56369921acb6322d37cd02e2aa6a52c8a3d8f982dd3893686c20b24fbb781ea5?s=120&d=&r=G", "https://1.gravatar.com/avatar/1daf89a8e518c891ff418a18dd643db1e82a3cd24dd77daa778a1b4964364573?s=120&d=&r=G", "https://2.gravatar.com/avatar/56369921acb6322d37cd02e2aa6a52c8a3d8f982dd3893686c20b24fbb781ea5?s=120&d=&r=G", "https://1.gravatar.com/avatar/a2c550862f4891fc3351acf3361524a9a9ff82b26c12d78402ac41c9ec4145f6?s=120&d=&r=G", "https://2.gravatar.com/avatar/56369921acb6322d37cd02e2aa6a52c8a3d8f982dd3893686c20b24fbb781ea5?s=120&d=&r=G", "https://lifeonlalune.com/wp-content/uploads/2016/10/blogging-abroad-logo.jpg?w=125", "https://lifeonlalune.com/wp-content/uploads/2012/03/expat-focus-top-blog-140x162.jpg?w=130", "https://lifeonlalune.com/wp-content/uploads/2017/09/french_100_1000px.png?w=1000", "https://lifeonlalune.com/wp-content/uploads/2018/10/cropped-la-lune-the-moon.jpg?w=50", "https://lifeonlalune.com/wp-content/uploads/2018/10/cropped-la-lune-the-moon.jpg?w=50", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[ "Vanessa in France" ]	2010-11-29T00:00:00	French country novels celebrate rural life, which changed out of all recognition during the 20th century.	en	https://lifeonlalune.com…he-moon.jpg?w=32	Life on La Lune	https://lifeonlalune.com/2010/11/29/french-country-novels/	The French are very attached to their rural past. Many French people born in the countryside move to Paris to work, but move back when they retire, or keep a second home in the country. Large numbers of Aveyronnais, for example, moved to Paris to find employment and became one of the most visible and cohesive groups of provincial emigrants. Many of them opened bistros specialising in Aveyronnais dishes. They remain loyal to their home département and to the traditions of their youth. End of an era This attachment to provincial life has given rise to a genre of novel writing in France called ‘romans de terroir’ or country novels. Many of these novels describe the extensive changes that took place in rural life during the late 19th and 20th centuries, often through the prism of family history. The agricultural revolution was slow in coming to France but, when it did, a way of life that had lasted for more than a thousand years was swept away in the space of about fifty. Mechanisation spelt depopulation: our own village numbered 4,000 inhabitants in 1900; now it has 1,500. The spread of universal education, paid holidays and better job prospects in the towns also made young people turn their backs on the land. The turmoil of World War I had a profound effect on the countryside. The flower of French youth was mown down, as the monuments des morts in even the tiniest villages testify. Much farmland reverted to nature, lacking enough hands to cultivate it. Defeat and occupation by the Germans in World War II also left deep scars, which are still evident, even today. The Brive school Romans de terroir often chronicle these events. They are frequently set in southwest France. The best-known exponents of this type of fiction are probably Claude Michelet and Christian Signol, but there are many others. There is even a ‘Brive school’ of writing, established in the 1980s around the Brive-la-Gaillarde Book Fair. Claude Michelet, who lives near Brive, is one of its most prominent members. Some suggestions Here are some of my favourites: there are many more. Some of Michelet’s novels are translated into English and are available on Amazon (I indicate these below). I am surprised to see that none of Signol’s, Anglade’s or Crozes’ novels appears to be available in English. Maybe there isn’t a market for this type of novel, or maybe it’s just too difficult to translate some of the nuances. Des Grives aux Loups, Claude Michelet Part I – Des Grives aux Loups (Firelight and Woodsmoke); Part II – Les Palombes ne passeront plus (Applewood); Part III – L’appel des engoulevents (Scent of Herbs); Part IV – La Terre des Vialhe (not translated?) This is a fantastic series by the doyen of le roman de terroir. This has to be Michelet’s best work: I find some of his others disappointing by comparison. It chronicles the history of the Vialhe family in the Corrèze from 1900 up till about 1988. It’s all there: the agricultural revolution, rural depopulation, World War I, World War II, the desertion of the village by the younger generation and a panoply of realistic and well-drawn characters. Michelet originally intended to finish the saga at the end of the third book, but under pressure from his public and publishers, he wrote a fourth. In my opinion, that was a mistake: it’s not bad, but it lacks focus. Also worth reading by Michelet: Les promesses du ciel et de la terre: three-volume saga of two French couples who move to South America in the mid-19th century and eventually get involved in the construction of the Panama Canal. Not strictly a roman de terroir, but they all suffer in different ways from homesickness for France. La Rivière Espérance, Christian Signol Part I – La Rivière Espérance; Part II – Le Royaume du Fleuve; Part III – L’âme de la Vallée Signol is a prolific exponent of this type of novel. He has written a number of family sagas. Latterly, his novels have focused on a single character from cradle to grave. I find them less satisfying. This three-volume saga deals with a family of bâteliers, or barge-owners, who plied the River Dordogne in flat-bottomed boats. They brought wood, coal and cheeses from the upper reaches of the river and brought back wine, fish and salt from Bordeaux. It was hard, dangerous work, requiring a thorough knowledge of the river and its currents and hazards. The coming of the railway brought about the end of this ancient line of work. Also worth reading by Signol: Marie des Brebis: true story of a woman abandoned at birth in 1901 and brought up by a shepherd, who lived a simple life on the Causse de Gramat (Lot). Ce que vivent les homes: two-volume saga of the Barthélémy family in the uplands of the Corrèze, 1900-2000. La Soupe à la Fourchette, Jean Anglade Delightful, bittersweet tale of a little girl, Zenaïde Pujol, who is evacuated from Marseille during World War II and ends up in the Cantal with a farming family, three generations of which live in the same household. She might as well have come from Mars. To start with, she and the family have trouble understanding each other, the Auvergnat customs and lifestyle are totally different from Marseille city-life and the young son of the family, Adrien, is jealous because his mother is kind to Zenaïde. Eventually, the two children become inseparable, but Zenaïde has to return to Marseille when the war ends. The book ends mysteriously and sadly. La Gantière, Daniel Crozes Daniel Crozes writes with passion about his native Aveyron. In addition to novels, he has written several guidebooks and books about ancient crafts. Much of the action in this novel takes place in Millau, but I still count it as a roman de terroir because the heroine never renounces her attachment to her native countryside. At the beginning, farmer’s daughter Alice works in the cheese caves at Roquefort (click here for a post I wrote about the cheese). She gets the sack for joining a strike and ends up in Millau working for one of the glove factories. Millau once had a thriving glove making industry, using sheepskins from the nearby causses. Alice eventually sets up on her own account and the novel recounts the ups and downs of the glove making industry through the 20th century. See also my other posts about French novels: French novels: ten of the best numbers 1-5 French novels: ten of the best numbers 6-10 The top ten Maigret novels Copyright © 2010 A writer’s lot in France, all rights reserved
5097	dbpedia	1	66	https://www.nyrb.com/collections/theophile-gautier	en	Théophile Gautier	http://www.nyrb.com/cdn/shop/files/nyrb_2x_8bf09cb3-f655-46a3-9f17-8e6d1c02700c.webp?height=628&pad_color=fff&v=1673544401&width=1200	http://www.nyrb.com/cdn/shop/files/nyrb_2x_8bf09cb3-f655-46a3-9f17-8e6d1c02700c.webp?height=628&pad_color=fff&v=1673544401&width=1200	[ "https://www.nyrb.com/cdn/shop/files/nyrb_2x_8bf09cb3-f655-46a3-9f17-8e6d1c02700c.webp?v=1673544401", "https://www.nyrb.com/cdn/shop/files/nyrb_logo-pill_92f9c85a-a9a9-4819-99e3-50e416c747f1.png?v=1677683811", "https://www.nyrb.com/cdn/shop/products/productimage-picture-my-fantoms-229_c89c754f-2590-406d-aab6-59d3faae01d5.png?v=1528394369&width=165 165w,//www.nyrb.com/cdn/shop/products/productimage-picture-my-fantoms-229_c89c754f-2590-406d-aab6-59d3faae01d5.png?v=1528394369&width=360 360w,//www.nyrb.com/cdn/shop/products/productimage-picture-my-fantoms-229_c89c754f-2590-406d-aab6-59d3faae01d5.png?v=1528394369&width=533 533w,//www.nyrb.com/cdn/shop/products/productimage-picture-my-fantoms-229_c89c754f-2590-406d-aab6-59d3faae01d5.png?v=1528394369 600w", "https://www.nyrb.com/cdn/shop/files/gift-card-promo_large_3b60120b-e022-4602-8582-c4d60778795b.webp?v=1673628839&width=275 275w,//www.nyrb.com/cdn/shop/files/gift-card-promo_large_3b60120b-e022-4602-8582-c4d60778795b.webp?v=1673628839 400w", "https://www.nyrb.com/cdn/shop/files/SideBar_BkClub_large_10f0e3bd-a6bb-4bb9-ba1d-b35a3261f1d7.webp?v=1673628873&width=275 275w,//www.nyrb.com/cdn/shop/files/SideBar_BkClub_large_10f0e3bd-a6bb-4bb9-ba1d-b35a3261f1d7.webp?v=1673628873 400w", "https://www.nyrb.com/cdn/shop/files/suggest-title.webp?v=1673628884&width=275 275w,//www.nyrb.com/cdn/shop/files/suggest-title.webp?v=1673628884&width=550 550w,//www.nyrb.com/cdn/shop/files/suggest-title.webp?v=1673628884&width=710 710w,//www.nyrb.com/cdn/shop/files/suggest-title.webp?v=1673628884 993w", "https://www.nyrb.com/cdn/shop/files/NYRoB_Logo_Black_CMYK.png?v=1677685402&width=350, //www.nyrb.com/cdn/shop/files/NYRoB_Logo_Black_CMYK.png?v=1677685402&width=700 2x", "https://www.nyrb.com/cdn/shop/files/trc_logo_2line_rgb_ny-red-top_space.png?v=1721245895&width=350, //www.nyrb.com/cdn/shop/files/trc_logo_2line_rgb_ny-red-top_space.png?v=1721245895&width=700 2x" ]	[]	[]	[ "" ]	null	[]	null	Théophile Gautier (1811-1872), whose father was a minor government functionary, was born in southwestern France, but when he was three his family moved to Paris, where he spent the rest of his life. The young Gautier wanted to make his name as a painter until, at eighteen, he met Victor Hugo and decided to become a wri	en	//www.nyrb.com/cdn/shop/files/nyrb-logo-favicon.png?crop=center&height=32&v=1679675451&width=32	New York Review Books	https://www.nyrb.com/collections/theophile-gautier
5097	dbpedia	1	89	https://www.wikiwand.com/en/Th%25C3%25A9ophile_Gautier	en	Théophile Gautier	https://wikiwandv2-19431…s/icon-32x32.png	https://wikiwandv2-19431…s/icon-32x32.png	[ "https://wikiwandv2-19431.kxcdn.com/_next/image?url=https://upload.wikimedia.org/wikipedia/commons/thumb/b/bd/Th%25C3%25A9ophile_Gautier_by_Nadar_c1856-1.jpg/640px-Th%25C3%25A9ophile_Gautier_by_Nadar_c1856-1.jpg&w=640&q=50", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bd/Th%C3%A9ophile_Gautier_by_Nadar_c1856-1.jpg/220px-Th%C3%A9ophile_Gautier_by_Nadar_c1856-1.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6d/Th%C3%A9ophile_Gautier%27s_signature.png/150px-Th%C3%A9ophile_Gautier%27s_signature.png" ]	[]	[]	[ "" ]	null	[]	null	Pierre Jules Théophile Gautier was a French poet, dramatist, novelist, journalist, and art and literary critic.	en	https://wikiwandv2-19431…icon-180x180.png	Wikiwand	https://www.wikiwand.com/en/Th%C3%A9ophile_Gautier	French poet, dramatist, and novelist / From Wikipedia, the free encyclopedia Dear Wikiwand AI, let's keep it short by simply answering these key questions: Can you list the top facts and stats about Th%C3%A9ophile Gautier? Summarize this article for a 10 year old SHOW ALL QUESTIONS
5097	dbpedia	0	92	https://www.fabula.org/actualites/34419/s-whidden-dir-models-of-collaboration-in-nineteenth-century-french-literature-several-authors-one-.html	en	S. Whidden (dir.), Models of Collaboration in Nineteenth-Century French Literature: Several Authors, One Pen	https://www.fabula.org/a…uments/34419.jpg	https://www.fabula.org/a…uments/34419.jpg	[ "https://www.fabula.org/medias/logo-light.png", "https://www.fabula.org/actualites/documents/34419.jpg" ]	[]	[]	[ "" ]	null	[ "Matthieu Vernet", "Équipe de recherche Fabula" ]	2009-11-25T00:00:00+01:00	Models of Collaboration in Nineteenth Century French Literature Several Authors One Pen Sous la direction de Seth Whidden Ashgate 2009 208 p EAN 9780754666431 Full...	fr	/medias/pwa/icon-16x16.png		https://www.fabula.org/actualites/34419/s-whidden-dir-models-of-collaboration-in-nineteenth-century-french-literature-several-authors-one-.html	Models of Collaboration in Nineteenth-Century French Literature: Several Authors, One Pen Sous la direction de Seth Whidden Ashgate, 2009, 208 p. EAN 9780754666431 Full contents list Introduction Index Présentation de l'éditeur : Contributing to the current lively discussion of collaborationin French letters, this collection raises fundamental questions aboutthe limits and definition of authorship in the context of thenineteenth century's explosion of collaborative ventures. While themodel of the stable single author that prevailed during the Romanticperiod dominates the beginning of the century, the authority of thespeaking subject is increasingly in crisis through the century'spolitical and social upheavals. Chapters consider the breakdown ofauthorial presence across different constructions of authorship,including the numerous cenacles of the Romantic period; collaborativeventures in poetry through the practice of the "Tombeaux" and as seenin the Album zutique; the interplay of text and image throughillustrations for literary works; the collective ventures of literaryjournals; and multi-author prose works by authors such as the Goncourtbrothers and Erckmann-Chatrian. Interdisciplinary in scope, theseessays form a cohesive investigation of collaboration that extendsbeyond literature to include journalism and the relationships andtensions between literature and the arts. The volume will interestscholars of nineteenth-century French literature, and more generally,any scholar interested in what's at stake in redefining the role of theFrench author Sommaire: Introduction: on collaboration, SethWhidden; Collaboration Before the Revolution: How often did authorswrite alone?: ways of becoming an author in early modern France, JoanDeJean; ''Le dîner des philosophes'': conviviality and collaboration inthe French Enlightenment, John R. Iverson. The 19th Century: A LongCentury of Collaboration: Collaboration and solidarity: the collectivestrategies of the romantic cenacle, Anthony Glinoer; Smoothcollaboration: vitalism and Judaism in Erckmann-Chatrian''s L''AmiFritz, Julia Przybos; Sharing one''s death: Le Tombeau de ThéophileGautier (1873), Pascal Durand; Poetry in collaboration in the 1870s:the Cercle Zutique, ''Le Fleuve'' and ''The Raven'', Seth Whidden;Erasing collaboration: the case of André Gill and Louis de Gramont,Joseph Acquisto; The Médan group and the campaign of naturalism,Jennifer K. Wolter; From illustration to decoration: Maurice Denis''illustrations for Paul Verlaine and André Gide, Frédéric Canovas; Acollective experiment in literary journalism: the case of La RevueWagnérienne, Pamela A. Genova; Rhyparographers: Les Frères Goncourt andmonstrous writing, Lawrence R. Schehr. The 20th Century: Collaborationand Modernism: Belgian, modernist and avant-garde literary journalsfrom the early 1920s: a model for network collaboration, Daphné deMarneffe; Index. Seth Whidden is AssociateProfessor of French at Villanova University, USA. He is the author ofLeaving Parnassus, and coeditor-in-chief of the scholarly journalParade sauvage: revue d'études rimbaldiennes.Seth Whidden's official bio page on the Villanova University website.
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"https://hipparis.com/wp-content/uploads/2023/09/hip-paris-logo-white.svg", "https://hipparis.com/wp-content/uploads/2023/09/hip-paris-logo-white.svg", "https://hipparis.com/wp-content/uploads/2023/09/hip-paris-logo-white.svg", "https://hipparis.com/wp-content/uploads/2023/09/hip-paris-logo-white.svg", "https://hipparis.com/wp-content/uploads/2021/01/subscribe-background.jpg", "https://hipparis.com/wp-content/uploads/2021/01/subscribe-background.jpg", "https://hipparis.com/wp-content/uploads/2023/10/hip-paris-logo-white.svg", "https://hipparis.com/wp-content/uploads/2023/10/hip-paris-logo-white.svg", "https://hipparis.com/wp-content/uploads/2023/09/HiP-PARIS-Logo.webp", "https://hipparis.com/wp-content/uploads/2023/09/HiP-PARIS-Logo.webp" ]	[]	[]	[ "" ]	null	[ "Molli Sébrier" ]	2021-01-15T11:00:00+00:00	If you’re looking for something new add to your reading list too, look no further. Here are 6 must read contemporary French female writers.	en		HiP Paris Blog	https://hipparis.com/must-read-contemporary-french-female-writers/	As a self-described bookworm, I’m always on the lookout for new contemporary authors. I do enjoy the classics, but sometimes they can feel outdated. I’m also always interested in adding more female authors to my to-be-read pile, because, let’s face it, women writers were given the short end of the stick for centuries. Things have changed (a little) these days, and there are plenty of fabulous female writers to discover. And, because I live in Paris and have been learning French for years now, I like to dabble in French books too. Sometimes it’s a challenge, but it’s one that I enjoy. If you’re looking for some new female French authors to add to your reading list too, look no further. And, don’t worry. If you don’t speak French, you can always opt for the English version. Annie Ernaux First up on my list is Annie Ernaux, a French memorialist who published her first novel in 1974. It marked the beginning of a beautiful career that continues to be centered on autobiographies. Her most recently published book, “Mémoire de fille” (“A Girl’s Story”), came out in 2016. Ernaux’s work tends to blend her own experiences with stories that she’s heard, as well as historical events. I was recently gifted “Les Années” (“The Years“), a memoir about life in France after the Second World War up until 2006, and I can’t wait to get started! Vanessa Springora Vanessa Springora made waves with the publication of her first and only novel, “Le Consentement” (“Consent: A Memoir”) in early 2020. It is an autobiographical work that brought to light a relationship that she had with the famous French writer Gabriel Matzneff (then 49) when she was just 14 years old. Although Matzneff has been making references to his preferences towards underage girls in his books for years, Springora’s memoir illustrates the damage caused by such an inappropriate relationship. I look forward to reading more of her work in the future, and as difficult as it was to get through “Le Consentement,” it is worth the read. Leïla Slimani If you’ve seen the French movie “ChansonDouce” (“The Perfect Nanny”), then you may have heard of Leïla Slimani’s work without even realizing it! It’s based on Slimani’s novel of the same name, which went on to win the Prix Goncourt, a prestigious French literary award, in 2016. Slimani is a French-Moroccan author who also serves as a French diplomat for an international organization that represents Francophone countries like her native Morocco. Victoria Mas I immediately became interested in Mas after I read her novel. She is only a few years older than I am and has already has a debut under her belt, “Le bal des folles“ (“The MadWomen’s Ball”).The book, although being a work of historical fiction, takes place in a real hospital in Paris. The English translation of the book is scheduled to be published in 2021. I was introduced to Victoria Mas through a book club in Paris that I belong to called The FBC Paris. If you’re interested in discovering some incredible female authors, I definitely encourage you to look into it! As of now, all of their sessions on done on Zoom, so anyone in the world can join. Yasmina Reza I first discovered Yasmina Reza when I was in a French language course in my early years in Paris. Reza is most well known for her plays, but many of them read like a novel. I personally loved “Le Dieu du carnage” (“God of Carnage”). If you want to try your hand at reading in French and you’re a beginner, I definitely suggest it. Reza specializes in satire and much of her work is centered on middle-class families and their struggles. She has won many awards over the course of her career, including several Molière Awards for best author. Delphine de Vigan Delphine de Vigan’s debut novel, “No et moi” (“No and Me”), took the French literary world by storm in 2007. The book tells the story of an unexpected friendship that develops between two teenage girls: one who is gifted and has an IQ of 160, and one who is homeless and living in poverty. Her breakout novel won several prizes, was translated into over twenty different languages, and has even been made into a film. After the success of her book, De Vigan decided to write full-time and has since published several other works including “Rien ne s’oppose à la nuit” (“Nothing Holds Back the Night”) and “D’après une histoire vraie” (“Based on a True Story”), which is her first psychological thriller. Related Links Curious what a perfect day in Paris is like? Check out My Perfect Day in Paris with Kasia Dietz If you’re a fan of Netflix’s Bridgerton, take a look at The Lost Romance of Dance Cards Looking for Parisian stuff you can do anywhere this month? Don’t miss What to do in Paris and Online in January This post may contain affiliate links. If you click through and make a purchase, we may receive a commission (at no additional cost to you). Thanks for supporting the blog in this way so we can continue to provide you with fabulous content. Please feel free to reach out if you have any questions.
5097	dbpedia	1	31	https://heritage.bnf.fr/bibliothequesorient/en/theophile-gautier-art	en	Théophile Gautier (1811-1872)			[ "https://heritage.bnf.fr/bibliothequesorient/sites/default/files/logo_bnf.svg__3.png", "https://heritage.bnf.fr/bibliothequesorient/sites/default/files/logo_bibliotheque_dorient_noir_2.png", "https://heritage.bnf.fr/bibliothequesorient/sites/all/themes/portailpartage_omega/css/images/search.png", "https://heritage.bnf.fr/bibliothequesorient/sites/all/themes/portailpartage_omega/css/images/Croix_Fermeture.png", "https://heritage.bnf.fr/bibliothequesorient/sites/all/themes/portailpartage_omega/css/images/Croix_Fermeture.png", "https://heritage.bnf.fr/bibliothequesorient/sites/all/themes/portailpartage_omega/css/images/search.png", "http://gallica.bnf.fr/ark:/12148/bpt6k86309037.thumbnail", "https://heritage.bnf.fr/bibliothequesorient/sites/all/themes/portailpartage_omega/css/images/Exporter.png", "http://gallica.bnf.fr/ark:/12148/bpt6k5685444r.thumbnail", "https://heritage.bnf.fr/bibliothequesorient/sites/all/themes/portailpartage_omega/css/images/Exporter.png", "http://gallica.bnf.fr/ark:/12148/bpt6k209368w/f381.image.thumbnail", "https://heritage.bnf.fr/bibliothequesorient/sites/all/themes/portailpartage_omega/css/images/Exporter.png", "http://gallica.bnf.fr/ark:/12148/bpt6k57026434.thumbnail", "https://heritage.bnf.fr/bibliothequesorient/sites/all/themes/portailpartage_omega/css/images/Exporter.png", "http://gallica.bnf.fr/ark:/12148/btv1b8455557h/f1.item.thumbnail", "https://heritage.bnf.fr/bibliothequesorient/sites/all/themes/portailpartage_omega/css/images/Exporter.png", "http://gallica.bnf.fr/ark:/12148/bpt6k5444534t.thumbnail", "https://heritage.bnf.fr/bibliothequesorient/sites/all/themes/portailpartage_omega/css/images/Exporter.png", "http://gallica.bnf.fr/ark:/12148/bpt6k5440839p.thumbnail", "https://heritage.bnf.fr/bibliothequesorient/sites/all/themes/portailpartage_omega/css/images/Exporter.png", "https://heritage.bnf.fr/bibliothequesorient/sites/all/themes/portailpartage_omega/css/images/twitter.jpg", "https://heritage.bnf.fr/bibliothequesorient/sites/all/themes/portailpartage_omega/css/images/facebook.jpg", "https://heritage.bnf.fr/bibliothequesorient/sites/all/themes/portailpartage_omega/css/images/instagram.jpg", "https://heritage.bnf.fr/bibliothequesorient/sites/all/themes/portailpartage_omega/css/images/youtube.jpg" ]	[]	[]	[ "" ]	null	[ "Sophie Basch" ]	null		en			https://heritage.bnf.fr/bibliothequesorient/en/theophile-gautier-art	The Alhambra was constantly to inspire him: in his Voyage en Espagne, published in 1843, Gautier described at length the capital of the last western European Moorish kingdom, which provided him with an inexhaustible stock of images. It had also charmed Henry Swinburne and Chateaubriand –concluding his itinerary in the Orient where Gautier had begun it. In 1837, Joseph Philibert Girault de Prangey had just published his Monuments arabes et moresques de Cordoue, Séville et Grenade, dessinés et mesurés en 1832 et 1833 the second volume of which brought together his Souvenirs de Grenade et de l’Alhambra: the colour plates revealed to the public the extraordinary decorative refinement of Nasrid palaces, as can be found in some of the poems in España (1845). Oriental scenes would now constantly model Gautier’s imagery. In 1842, he published La Mille et Deuxième nuit (reprinted in 1852 in La Peau de tigre) in which appears a peri, a female genie from Arabic-Persian mythology which also inspired Victor Hugo, and which can equally be found that same year in a “fantastical ballet in two acts”, La Péri, which Gautier composed with Jean Coralli on a score by Friedrich Burgmüller, and which premiered in Paris, at the Théâtre de l’Académie Royale de Musique, on 17th July 1843. A taste for the Orient had appeared very early, through hashish which Gautier enjoyed as much as his admirer Baudelaire (La Pipe d’opium, 1838; Le Club des Hachichins, 1846), through books and visits to the Louvre, where he discovered Egyptian art, which inspired him with several short stories and a famous novel (Une nuit de Cléopâtre in 1838, Le Pied de momie in 1840, and Le Roman de la momie in 1857). In 1845, Gautier discovered North Africa, where he travelled as an Orientalist, in the steps of the painters he admired: his unfinished Voyage pittoresque en Algérie : Alger, Oran, Constantine, la Kabylie (1845) remained unpublished until 1973. But this was not yet the Orient that he dreamed of discovering, and for which in 1843, his friend Gérard de Nerval left as a pathfinder, charged, as his friend Eugène de Nully had already been told to do in 1836, to send him back “a few pots of local colour”, to feed his imagination: for a long time, Gautier, who lived thanks to this activities as a journalist and serial novelist, had to picture the Orient through the descriptions of his wealthier friends: in December 1846, he wrote a marvellous description of Constantinople in the preface to a collection of drawings by his friend Camille Rogier: La Turquie, mœurs et usages des Orientaux au dix-neuvième siècle. Then, in 1852, he at last discovered the city of his dreams, as correspondent to the La Presse edited by Émile de Girardin, who financed his trip, as well as that of his companion, the singer Ernesta Grisi, who was a great theatrical success. Constantinople, the fruit of two months’ peregrinations, appeared in 1853. In it, the capital of the Ottoman Empire is described in all its aspects, down to the smallest detail, with a masterful touch, guided by a painter’s eye, to such an extent that this narrative turned out to be the liveliest and the most picturesque of the descriptions of Constantinople, which Gautier ironically opposed to the ugliness of Western civilisation, which he found to be “quite farcical, despite the progress of the Enlightenment”. Gautier waited until 1869, and the ceremonies in honour of the inauguration of the Suez Canal, before discovering Egypt, thanks to the invitation of the Khedive in the escort accompanying Empress Eugénie. He confided the report of his journey, which is also told in detail in his correspondence, to the Journal Officiel in 1870. These episodes were to be brought together in 1877 in the posthumous collection L’Orient, which unites a large number of articles and prefaces. Ironically, an unfortunate accident turned his stay into a motionless voyage: Gautier broke his arm in the sea, and was condemned to observe Cairo from the terrace of his hotel (Louise Colet, the lady of letters and companion of Gustave Flaubert, who was also invited to these festivities, tells of this incident in Les Pays lumineux. Voyage en Orient, 1879). Destiny thus turned the land of the Pharaohs into the “armchair Orient”, which had for so long fed the imagination of the author of Roman de la momie, who, in 1843, declared to Gérard de Nerval: “I am a Turk, not from Constantinople, but from Egypt. It seems to me that I have lived in the Orient; and when, during carnival, I dress up in a caftan and some authentic fez, it feels like I am putting back on my usual clothes. I have always been surprised by the fact that I do not understand Arabic readily; I must have forgotten it. In Spain, everything that recalled the Moors interested me as much as if I had been a child of Islam, and I took sides with them against the Christians.”
5097	dbpedia	0	51	https://hannahfielding.net/favourite-writer-charles-baudelaire/	en	Favourite writer: Charles Baudelaire			[ "https://www.facebook.com/tr?id=449903952352663&ev=PageView&noscript=1", "https://secure.gravatar.com/avatar/ebc36fb0dd0b46bd26af77d70816b08e?s=96&d=mm&r=g", "https://secure.gravatar.com/avatar/ebc36fb0dd0b46bd26af77d70816b08e?s=96&d=mm&r=g" ]	[]	[]	[ "" ]	null	[ "Hannah" ]	2012-10-08T11:25:30+00:00	I was schooled by French nuns at a convent school, and therefore was given a good grounding in French literature. I loved it – so much so that I took a degree in the subject as a young woman. One of my favourite writers of those revered in France is Charles Baudelaire. His poems captured […]	en		Hannah Fielding	https://hannahfielding.net/favourite-writer-charles-baudelaire/	I was schooled by French nuns at a convent school, and therefore was given a good grounding in French literature. I loved it – so much so that I took a degree in the subject as a young woman. One of my favourite writers of those revered in France is Charles Baudelaire. His poems captured such beauty in nineteenth-century France, and his stanzas echoed in my mind through my teenage years. Baudelaire was born in Paris in 1821. He lost his father at the tender age of six, and detested his stepfather, whom his mother married soon after her husband’s death. Baudelaire’s family were determined that he would be a diplomat, but he had other ideas. He wanted to be a writer. To his family’s dismay, he became something of a dandy, dallying with an actress, Jeanne Duval, and getting into debt. Hopping between the homes of his mistresses to hide from debtors, he immersed himself in writing poetry. In 1846, Baudelaire found a kindred soul in the form of Edgar Allen Poe, and as well as writing his own original works, he spent the following seventeen years translating Poe’s works into French. Baudelaire published just one book of poetry, entitled Les Fleurs du Mal (The Flowers of Evil) in 1857. It was not warmly received, despite praise from Victor Hugo, Sainte-Beuve, Théophile Gautier and other poets, because it explored topics in a way considered to be unsavoury. For example: His take on love: “There is an invincible taste for prostitution in the heart of man, from which comes his horror of solitude. He wants to be ‘two’. The man of genius wants to be ‘one’… It is this horror of solitude, the need to lose oneself in the external flesh, that man nobly calls ‘the need to love’.” His take on marriage: “Unable to suppress love, the Church wanted at least to disinfect it, and it created marriage.” His take on pleasure: “Personally, I think that the unique and supreme delight lies in the certainty of doing ‘evil’ –and men and women know from birth that all pleasure lies in evil.” Indeed, such was the uproar caused by the book that Baudelaire, his publisher and his printer were prosecuted for creating an offense against public morals. Today, though, Baudelaire’s genius is recognised. He is credited as being the man who coined the very term ‘modernity’ (modernité), and his works are critically admired for the rhythm of his verse, the strength of his conviction and voice, and the stark beauty with which he describes the world of his time. The following poems is one of my favourites. I am very much a summer person – I love warmth and sunshine – and I think Baudelaire superbly captures in his poem that feeling of gloom that comes over one as the days shorten and become cooler. Autumn Song i Soon we will sink in the frigid darkness Good-bye, brightness of our too short summers! I already hear the fall in distress Of the wood falling in the paved courtyard. Winter will invade my being: anger, Hatred, chills, horror, hard and forced labor, And, like the sun in its iced inferno, My heart is but a red and frozen floe. I hear with shudders each weak limb that falls. The scaffold will have no louder echo. My spirit is like a tower that yields Under the tireless and heavy ram blow. It seems, lulled by this monotonous sound, Somewhere a coffin is hastily nailed, For whom? Summer yesterday, autumn now! This mysterious noise sounds like a farewell. ii I love the greenish light of your long eyes, Sweet beauty, but all is bitter today. Nothing, not love, the boudoir or the hearth Is dearer than the sunshine on the sea. Still love me, tender heart! Be a mother Even to the ingrate, to the wicked, Lover, sister, ephemeral sweetness Of fall’s glory or of the setting sun. Short-lived task! The tomb awaits, merciless. Ah! Let me, my head resting on your knees, Savor, regretting the white hot summer, The autumn’s last rays yellow and tender. Translated by Thomas D. Le, 30 June 2001 Chant d’Automne i Bientôt nous plongerons dans les froides ténèbres; Adieu, vive clarté de nos étés trop courts! J’entends déjà tomber avec des chocs funèbres Le bois retentissant sur le pavé des cours. Tout l’hiver va rentrer dans mon être: colère, Haine, frissons, horreur, labeur dur et forcé, Et comme le soleil dans son enfer polaire, Mon coeur ne sera plus qu’un bloc rouge et glacé. J’écoute en frémissant chaque bûche qui tombe; L’échafaud qu’on bâtit n’a pas d’écho plus sourd. Mon esprit est pareil à la tour qui succombe Sous les coups du bélier infatigable et lourd. Il me semble, bercé sur ce choc monotone, Qu’on cloue en grande hâte un cercueil quelque part, Pour qui ?– C’était hier l’été; voici l’automne ! Ce bruit mystérieux sonne comme un départ. ii J’aime de vos longs yeux la lumière verdâtre, Douce beauté, mais tout aujourd’hui est amer, Et rien, ni votre amour, ni le bourdoir, ni l’âtre, Ne me vaut le soleil rayonnant sur la mer. Et pourtant, aimez-moi, tendre coeur ! soyez mère, Même pour un ingrat, même pour un méchant; Amante ou soeur, soyez la douceur éphémère D’un glorieux automne ou d’un soleil couchant.
5097	dbpedia	1	8	https://arthistorians.info/gautiert/	en	Dictionary of Art Historians	https://arthistorians.in…ontPage_2022.jpg	https://arthistorians.in…ontPage_2022.jpg	[ "https://arthistorians.info/wp-content/uploads/2023/09/DoAH_logo.png", "https://arthistorians.info/wp-content/uploads/2023/09/DoAH_logo.png", "https://arthistorians.info/wp-content/uploads/2023/11/Pierre-Jules-Theophile-Gautier.jpeg", "https://licensebuttons.net/l/by-sa/4.0/88x31.png", "https://arthistorians.info/wp-content/uploads/2023/09/DAHVC_Logo2020-2048x422-1-1024x211.png", "https://licensebuttons.net/l/by-sa/4.0/88x31.png", "https://arthistorians.info/wp-content/uploads/2023/09/DAHVC_Logo2020-2048x422-1-1024x211.png" ]	[]	[]	[ "" ]	null	[]	2023-11-08T22:48:02+00:00	French art critic and poet; primary exponent of the art-for-art's sake approach. Gautier was the son of bureaucrat in the French tax office, Pierre Gautier	en	https://arthistorians.in…09/DoAH_logo.png	Dictionary of Art Historians	https://arthistorians.info/gautiert/	Full Name: Gautier, Théophile Other Names: Pierre-Jules-Théophile Gautier Gender: male Date Born: 1811 Date Died: 1872 Place Born: Tarbes, Occitanie, France Place Died: Paris, Île-de-France, France Home Country/ies: France Subject Area(s): Modern (style or period) Career(s): art critics Overview French art critic and poet; primary exponent of the art-for-art’s sake approach. Gautier was the son of bureaucrat in the French tax office, Pierre Gautier, and his mother was mother was Antoinette-Adelaïde Concarde. In 1814 his family moved to Paris where Gautier received a formal education at the Collège Charlemagne. In 1829 he entered the studio of Louis-Edouard Rioult (1790-1855), a pupil of Jacques-Louis David. Though he did not remain there long, he adopted a bohemian lifestyle, joining the Romantic circle of Victor Hugo. Following the July Revolution (1830), he was among the esthetes who embraced the notion of art’s autonomy and freedom from supporting ideology. Gautier’s preface to his 1835 book, Mademoiselle de Maupin became an early statement of the “l’art pour l’art” ideology, i.e., art need bear no deep meaning or be for any purpose other than its own beauty to be important. When Emile de Girardin (1806-1881) founded his La Presse in 1836, Gautier was one of its first regular art and theatre critics. Gautier covered nearly all the Salons for La Presse during Louis-Philippe’s reign, 1830-1848. He wrote on architecture and the applied arts as well. Gautier promoted the work of Ingres and Delacroix largely through his technique of actively and personally entering into the picture’s story. Gautier’s 1843 travelogue, Tra los montes, and reissued as Voyage en Espagne in 1845, introduced France to the work of Francesco Goya. He fell in love with the ballerina Carlotta Grisi (1819-1899), whose performances he reviewed, eventually marrying her sister Ernestina Grisi. After the 1848 revolution, Gautier focused on sculpture as the prime medium. In 1854 he joined Le Moniteur universel, leaving La Presse the following year, to write a book on the Exposition Universelle of 1855, Les Beaux-arts en Europe (1855-56). He assumed the editorship of L’Artiste in 1856. The following year his poem “L’Art” appeared. “L’Art” is the most specific statement of his view of sculpture, the naked, idealized body as expressing a metaphor of the primacy of the life (Snell). Gautier became the Second Empire’s chief arbiter of artistic sensibility, both artistic and literary. He framed both Delacroix and Ingres as modern Old Masters. He was instrumental in the official acceptance of Gustav Courbet, though he condemned the artist as a willful, misguided anti-idealist. Gautier did not approve of Impressionism, criticizing Manet’s “Olympia” (1863) because it could not allow a nostalgic interpretation. His later Salon reviews, from the 1860s onward are simple descriptions of paintings, resorting to ghost-writers to handle the ever-increasing size of the shows. He secured a sinecure as the librarian to Princess Mathilde Bonaparte (1820-1904) in 1868. His final Salon review was in 1872. He succumbed to cardiac failure at age 61 and is interred at the Cimetière de Montmartre, Paris. The notion “l’art pour l’art” (art for art’s sake) preceded Gautier’s use. It had been popularized in the early 19th century in De l’Allemagne (1813) by Madame de Staël (1766-1817) and in the philosophy lectures delivered by Victor Cousin (1792-1867) at the Sorbonne, “Du vrai, du beau et du bien” 1816-1818. Gautier however, was the first to publish the phrase in 1833, followed closely by Cousin’s published lectures three years later. Gautier’s art theory views art as a microcosm of an inner world, perceived and translated through the outer world of appearances by the viewer. Art appreciation for Gautier “transported” him to a world of pure emotions, violence and sensations that heightened the dramatic truth of art. This idealism lead to a religious experience of art, which he termed the “temple of art,” a somewhat ironic position for a person who viewed himself as a modern pagan. His interest in 18th-century art led to a reappraisal of the style. His emphasis on the subjective in art appreciation greatly influenced Edmond and Jules de Goncourt as well as the younger Charles Baudelaire (1821-1867). His approach continued its appeal in twentieth century, though it was replaced by other methodologies. Nicos Hadjinicolaou, in his 1978 Art History and Class Struggle provided a strong critique against “l’art pour l’art.” A passionate temperament during revolutionary times, he had caught the imagination of revolutionary young artists and writers and yet balanced his reputation with the cautious bourgeoisie (Licht). Selected Bibliography Mademoiselle de Maupin: double amour. Paris: E. Renduel, 1835-1836; Tra los montes. Paris: G. Charpentier et cie, 1843 [most commonly cited edition is the 2nd, corrected ed. Voyage en Espagne. Paris: G. Charpentier, 1845]; Les Beaux-Arts en Europe, 1855. 2 vols. Paris, Michel Lévy, 1855-1856; L’art moderne. Paris: Michel Lévy Frères, 1856; Abécédaire du Salon de 1861. Paris: E. Dentu, 1861. Sources Richardson, Joanna. Théophile Gautier, his Life & Times. London: Coward-McCann 1959; Spencer, Michael C. The Art Criticism of Theophile Gautier. Geneva: Droz, 1969; Licht, Fred. Goya in Perspective. Engelwood Cliffs, NJ: Prentice-Hall, 1973, p. 170; Snell, Robert. Théophile Gautier, a Romantic Critic of the Visual Arts. New York: Oxford University Press, 1982; Lacoste-Veysseyre, Claudine. La critique d’art de Théophile Gautier. Montpellier: Sup Exam, 1985 [includes an index of artists discussed by Gautier]; Snell, Robert. “Gautier, (Pierre-Jules-)Théophile.” Dictionary of Art.
5097	dbpedia	0	10	https://www.bookey.app/quote-author/theophile-gautier	en	30 Best Theophile Gautier Quotes With Image	https://cdn.bookey.app/w…series/share.png	https://cdn.bookey.app/w…series/share.png	[ "https://cdn.bookey.app/web/deploy/assets/static/logo.c1ef962f.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/logo3.3a93bda5.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/logo3.3a93bda5.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/contetList.55e8a744.png" ]	[]	[]	[ "Theophile GautierQuotes", "Theophile GautierQuotes With Image" ]	null	[]	2023-11-06T10:00:53+08:00	1.To love is to admire with the heart; to admire is to love with the mind.2.Art is the most intense mode of individualism that the world has known.	en	/favicon.ico		https://www.bookey.app/quote-author/theophile-gautier	Theophile Gautier \| Introduction Théophile Gautier was a prominent French poet, novelist, journalist, and critic who lived during the 19th century. Born on August 31, 1811, in Tarbes, France, Gautier was raised in a literary family that nurtured his early interest in the arts. His father was an amateur painter and his mother came from a family of writers and musicians. Gautier's love for literature and poetry emerged at a young age, and he began writing poetry and plays during his adolescence. After completing his education, he moved to Paris in 1829 to pursue a career in writing. In the French capital, Gautier soon became associated with a group of young artists and writers later known as the Romantic Circle, which included Victor Hugo, Alfred de Musset, and Théodore Géricault, among others. Gautier quickly earned a reputation for his poetic talents and began publishing poems and reviews in various literary magazines. His poetic style was characterized by its musicality, rich imagery, and a strong emphasis on aesthetic beauty. He was often inspired by the works of the Romantic poets, and his early poems often explored themes of love, nature, and dreams. In addition to his poetry, Gautier also proved himself as a skillful novelist. His first novel, "Mademoiselle de Maupin," published in 1835, created a stir in the literary circles due to its daring and sensual content. The novel, which tells the story of a young noblewoman who disguises herself as a man, explores themes of gender identity and sexuality, which were considered taboo at the time. Gautier's talent as a critic also played an important role in his literary career. He wrote extensively on art, literature, and theater, and his critical essays were highly regarded for their perceptive analysis and eloquent prose. He was one of the leading advocates of the doctrine of "art for art's sake," arguing that art should be valued purely for its own sake, independent of any moral or educational purpose. Throughout his life, Gautier remained a prominent figure in French literary and cultural circles. He traveled extensively, gathering inspiration from his journeys to places such as Spain, Italy, and Egypt, and incorporating elements of these cultures into his works. He also became a renowned travel writer, sharing his experiences and observations in books and articles. Théophile Gautier's influence on literature and art cannot be overstated. His work greatly contributed to the development of the Romantic movement in France, and his emphasis on sensual beauty and aestheticism paved the way for the Symbolist and Decadent movements that followed. His writing continues to be studied and appreciated for its elegance, creativity, and innovative approaches to form and content. Gautier died on October 23, 1872, leaving a lasting legacy as one of the foremost literary figures of his time. His varied body of work, which includes poetry, novels, plays, and critical essays, showcases his versatility and immense talent, solidifying his place in the pantheon of great French writers. 5 Facts About Theophile Gautier 1. Theophile Gautier was not only a renowned poet and writer, but he was also a passionate painter. He exhibited his artworks at the prestigious Paris Salon, gaining recognition for his skills in the visual arts. 2. Gautier had a fondness for exotic and unusual pets. He owned a pet alligator, which he kept in the bathtub, as well as a monkey that would accompany him on his walks around Paris. 3. Despite his reputation as a poet and dandy, Gautier was an avid traveler and a passionate advocate for exploring the world. He journeyed extensively, visiting places like Spain, Italy, Egypt, and Algeria, which greatly inspired his writings. 4. Gautier was a pioneer of "art for art's sake" movement, which believed that art should be created solely for its own sake, without any moral or didactic purpose. This concept challenged the prevailing notion of art being primarily a tool for social or political commentary. 5. Gautier had a deep fascination with the supernatural and the macabre. He was one of the first writers to explore the theme of vampirism in his short story "La Morte Amoureuse" (The Dead Lover), which later became a significant influence on the vampire genre.
5097	dbpedia	3	45	https://theodora.com/encyclopedia/g/theophile_gautier.html	en	Theophile Gautier - Encyclopedia	https://theodora.com/enc…encyclopedia.jpg	https://theodora.com/enc…encyclopedia.jpg	[ "https://theodora.com/encyclopedia/images/search.png", "https://theodora.com/encyclopedia/images/close_menu.png", "https://theodora.com/encyclopedia/ic_g_translate_white_24px.svg", "https://theodora.com/wfb2008/images/dot_ad.gif", "https://theodora.com/images/spanish_translate.gif", "https://theodora.com/images/chinese_translate.gif", "https://theodora.com/images/french_translate.gif", "https://theodora.com/images/german_translate.gif", "https://theodora.com/images/russian_translate.gif", "https://theodora.com/images/hindi_translate.gif", "https://theodora.com/images/arabic_translate.gif", "https://theodora.com/images/portuguese_translate.gif", "https://theodora.com/encyclopedia/images/facebook_150x65.png", "https://theodora.com/encyclopedia/images/twitter_150x65.png", "https://theodora.com/encyclopedia/images/linkedin.png", "https://theodora.com/rankings/images/dot_ad_3.gif" ]	[]	[]	[ "" ]	null	[]	null		en			https://theodora.com/encyclopedia/g/theophile_gautier.html	GEOGRAPHICAL NAMES THEOPHILE GAUTIER (1811-1872), French poet and miscellaneous writer, was born at Tarbes on the 31st of August 181 1. He was educated at the grammar school of that town, and afterwards at the College Charlemagne in Paris, but was almost as much in the studios. He very early devoted himself to the study of the older French literature, especially that of the 16th and the early part of the 17th century. This study qualified him well to take part in the Romantic movement, and enabled him to astonish Sainte-Beuve by the phraseology and style of some literary essays which, when barely eighteen years old, he put into the critic's hands. In consequence of this introduction he at once came under the influence of the great Romantic cenacle, to which, as to Victor Hugo in particular, he was also introduced by his gifted but ill-starred schoolmate Gerard de Nerval. With Gerard, Petrus Borel, Corot, and many other less known painters and poets whose personalities he has delightfully sketched in the articles collected under the titles of Histoire du Romantisme, &c., he formed a minor romantic clique who were distinguished for a time by the most extravagant eccentricity. A flaming crimson waistcoat and a great mass of waving hair were the outward signs which qualified Gautier for a chief rank among the enthusiastic devotees who attended the rehearsals of Hernani with red tickets marked "Hierro," performed mocking dances round the bust of Racine, and were at all times ready to exchange word or blow with the perruques and grisdtres of the classical party. In Gautier's case these freaks were not inconsistent with real genius and real devotion to sound ideals of literature. He began (like Thackeray, to whom he presents in other ways some striking points of resemblance) as an artist, but soon found that his true powers lay in another direction. His first considerable poem, Albertus (1830), displayed a good deal of the extravagant character which accompanied rather than marked the movement, but also gave evidence of uncommon command both of language and imagery, and in particular of a descriptive power hardly to be excelled. The promise thus given was more than fulfilled in his subsequent poetry, which, in consequence of its small bulk, may well be noticed at once and by anticipation. The Comedie de la mort, which appeared soon after (1832), is one of the most remarkable of French poems, and though never widely read has received the suffrage of every competent reader. Minor poems of various dates, published in 1840, display an almost unequalled command over poetical form, an advance even over Albertus in vigour, wealth and appropriateness of diction, and abundance of the special poetical essence. All these good gifts reached their climax in the first published in 1856, and again, with additions, just before the poet's death in 1872. These poems are in their own way such as cannot be surpassed. Gautier's poetical work contains in little an expression of his literary peculiarities. There are, in addition to the peculiarities of style and diction already noticed, an extraordinary feeling and affection for beauty in art and nature, and a strange indifference to anything beyond this range, which has doubtless injured the popularity of his work. But it was not, after all, as a poet that Gautier was to achieve either profit or fame. For the theatre, he had but little gift, and his dramatic efforts (if we except certain masques or ballets in which his exuberant and graceful fancy came into play) are by far his weakest. It was otherwise with his prose fiction. His first novel of any size, and in many respects his most remarkable work, was Mademoiselle de Maupin (1835). Unfortunately this book, while it establishes his literary reputation on an imperishable basis, was unfitted by its subject, and in parts by its treatment, for general perusal, and created, even in France, a prejudice against its author which he was very far from really deserving. During the years from 1833 onwards, his fertility in novels and tales was very great. Les Jeunes-France (1833), which may rank as a sort of prose Albertus in some ways, displays the follies of the youthful Romantics in a vein of humorous and at the same time half-pathetic satire. Fortunio (1838) perhaps belongs to the same class. Jettatura, written somewhat later, is less extravagant and more pathetic. A crowd of minor tales display the highest literary qualities, and rank with Merimee's at the head of all contemporary works of the class. First of all must be mentioned the ghost-story of La Morte amoureuse, a gem of the most perfect workmanship. For many years Gautier continued to write novels. La Belle Jenny (1864) is a not very successful attempt to. draw on his English experience, but the earlier Militona (1847) is a most charming picture of Spanish life. In Spirite (1866) he endeavoured to enlist the fancy of the day for supernatural manifestations, and a Roman de la momie (1856) is a learned study of ancient Egyptian ways. His most remarkable effort in this kind, towards the end of his life,was Le Capitaine Fracasse (1863), a novel, partly of the picaresque school, partly of that which Dumas was to make popular, projected nearly thirty years earlier, and before Dumas himself had taken to the style. This book contains some of the finest instances of his literary power. Yet neither in poems nor in novels did the main occupation of Gautier as a literary man consist. He was early drawn to the more lucrative task of feuilleton-writing, and for more than thirty years he was among the most expert and successful practitioners of this art. Soon after the publication of Mademoiselle de Maupin, in which he had not been too polite to journalism, he became irrevocably a journalist. He was actually the editor of L' Artiste for a time: but his chief newspaper connexions were with La Presse from 1836 to 18J4 and with the Moniteur later. His work was mainly theatrical and art criticism. The rest of his life was spent either at Paris or in travels of considerable extent to Spain, the Netherlands, Italy, Turkey, England, Algeria and Russia, all undertaken with a more or less definite purpose of book-making. Having absolutely no political opinions, he had no difficulty in accepting the Second Empire, and received from it considerable favours, in return for which, however, he in no way prostituted his pen, but remained a literary man pure and simple. He died on the 23rd of December 1872. Accounts of his travels, criticisms of the theatrical and literary works of the day, obituary notices of his contemporaries and, above all, art criticism occupied him in turn. It has sometimes been deplored that this engagement in journalism should have diverted Gautier from the performance of more capital work in literature. Perhaps, however, this regret springs from a certain misconception. Gautier's power was literary power pure and simple, and it is as evident in his slightest sketches and criticisms as in Emaux et camees or La Morte amoureuse. On the other hand, his weakness, if he had a weakness, lay in his almost total indifference to the matters which usually supply subjects for art and therefore for literature. He has thus been accused of "lack of ideas" by those who have not cleared their own minds of cant; and in the recent set-back of the critical current against form and in favour of "philosophic" treatment, comment upon him has sometimes been unfavourable. But this injustice will, beyond all question, be redressed again. He was neither immoral, irreligious nor unduly subservient to despotism, but morals, religion and politics (to which we may add science and material progress) were matters of no interest to him. He was to all intents a humanist, as the word was understood in the 15th century. But he was a humorist as well, and this combination, joined to his singularly kindly and genial nature, saved him from some dangers and depravations as well as some absurdities to which the humanist temper is exposed. As time goes on it may be predicted that, though Gautier may not be widely read, yet his writings will never cease to be full of indescribable charm and of very definite instruction to men of letters. Besides those of his works which have been already cited, we may notice Une Larme du diable (1839), a charming mixture of humour and tenderness; Les Grotesques (1844), a volume of early criticisms on some oddities of 17th-century literature; Caprices et zigzags (1845), miscellanies dealing in part with English life; Voyage en Espagne (1845), Constantinople (1854), Voyage en Russie (1866), brilliant volumes of travel; Menagerie intime (1869) and Tableaux de siege (1872), his two latest works, which display his incomparable style in its quietest but not least happy form.
5097	dbpedia	0	11	https://academicworks.cuny.edu/gc_etds/257/	en	Musical Landscapes: Theophile Gautier and the Evolution of Nineteenth Century French Poetry			[ "https://academicworks.cuny.edu/assets/md5images/8e240588cf8cd3a028768d4294acd7d3.png", "https://academicworks.cuny.edu/assets/md5images/8f18762a572e95024954a19544613b5d.gif", "https://academicworks.cuny.edu/assets/md5images/7ac160af5f330e163e4133f3bfcba045.png" ]	[]	[]	[ "France", "Gautier", "musical", "poetry" ]	null	[ "Dana Milstein", "Graduate Center" ]	null	Theophile Gautier's first edition of Emaux et camees (1852) marks the juncture at which Romantic, Neoclassical, and nascent Symbolist poetic theories converged under the umbrella ideology of "Parnassianism." Emaux et camees synthesizes the aesthetics promoted by these diverse groups, primarily by 1) using "musical" and "painterly" language, 2) emphasizing correspondences among arts, and 3) paradoxically demanding an attention to form and the artist's labor while also emphasizing art's inutility during a century characterized by Progress. Gautier's Emaux et camees bridges painterly and musical poetics to create a new model for poetry. While the vocabulary of painting captivated many nineteenth century writers, music became increasingly admired by poets because of its freedom from representation, and as an "intention-less language." "Musical" poets indemnified the mantra "art for art's sake" and touted the intermingling of art forms, belief systems, and cultural practices during a time when usefulness, authoritarian rule, and homogeny were staunchly reinforced in the political and public spheres. Emaux et camees appeared in 1852, marking a point of departure for poetry. Gautier preserved earlier poetic principles, but also invested a robust work ethic and a devotion to form in his collection. Numerous offshoot poetic groups arose as a result of Gautier, who had reclaimed music's nuanced, fragmented, performative, and anti-utilitarian nature for poetry and poetics.	en	/favicon.ico	CUNY Academic Works	https://academicworks.cuny.edu/gc_etds/257	Abstract Theophile Gautier's first edition of Emaux et camees (1852) marks the juncture at which Romantic, Neoclassical, and nascent Symbolist poetic theories converged under the umbrella ideology of "Parnassianism." Emaux et camees synthesizes the aesthetics promoted by these diverse groups, primarily by 1) using "musical" and "painterly" language, 2) emphasizing correspondences among arts, and 3) paradoxically demanding an attention to form and the artist's labor while also emphasizing art's inutility during a century characterized by Progress. Gautier's Emaux et camees bridges painterly and musical poetics to create a new model for poetry. While the vocabulary of painting captivated many nineteenth century writers, music became increasingly admired by poets because of its freedom from representation, and as an "intention-less language." "Musical" poets indemnified the mantra "art for art's sake" and touted the intermingling of art forms, belief systems, and cultural practices during a time when usefulness, authoritarian rule, and homogeny were staunchly reinforced in the political and public spheres. Emaux et camees appeared in 1852, marking a point of departure for poetry. Gautier preserved earlier poetic principles, but also invested a robust work ethic and a devotion to form in his collection. Numerous offshoot poetic groups arose as a result of Gautier, who had reclaimed music's nuanced, fragmented, performative, and anti-utilitarian nature for poetry and poetics.
5097	dbpedia	1	9	https://www.britannica.com/summary/Theophile-Gautier	en	Théophile Gautier summary	https://cdn.britannica.c…e.jpg?v=3.124.12	https://cdn.britannica.c…e.jpg?v=3.124.12	[ "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/12/185412-050-6F2208E1/Misty-Copeland-American-Ballet-Theatre-audiences-role-June-24-2015.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/34/114834-050-F5310205/Liberty-Leading-the-People-oil-canvas-Eugene-1830.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/12/29712-050-D2404533/Charles-Baudelaire-photograph-Etienne-Carjat-1863.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/81/11581-004-8016B8D2/woodcut-George-Gascoigne-1576.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/81/98181-050-F79738A1/Poems-poetry-line-International-Festival-of-Poetry.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/20/99420-050-A8C679CA/Dust-jacket-edition-Vanessa-Bell-Virginia-Woolf-1927.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/23/181923-131-76FC0CA5/poet-clothing-poetry-festival-Heian-Kyoto-shrine.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/31/142331-131-EE300AF6/basketball-Orange-background-lighting-Homepage-entertainment-history-2010.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/94/159994-131-8E828D22/Battle-of-New-Orleans-oil-painting-E-1910.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/36/162636-131-E4AA93A0/Colosseum-Rome-Italy.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/45/209245-131-C6D09B32/gray-squirrel-acorn.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/71/196471-131-8FEA8DDD/Daily-Police-Bulletin-Elizabeth-Short-Black-Dahlia-January-1947.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/90/202690-131-1D29B008/colorful-winter-sunset.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/12/185412-050-6F2208E1/Misty-Copeland-American-Ballet-Theatre-audiences-role-June-24-2015.jpg?w=100&h=75&c=crop", "https://cdn.britannica.com/34/114834-050-F5310205/Liberty-Leading-the-People-oil-canvas-Eugene-1830.jpg?w=100&h=75&c=crop", "https://cdn.britannica.com/12/29712-050-D2404533/Charles-Baudelaire-photograph-Etienne-Carjat-1863.jpg?w=100&h=75&c=crop", "https://cdn.britannica.com/81/11581-004-8016B8D2/woodcut-George-Gascoigne-1576.jpg?w=100&h=75&c=crop" ]	[]	[]	[ "britannica", "reference", "online", "encyclopedia", "encyclopaedia", "store", "dictionary", "thesaurus" ]	null	[]	null	Théophile Gautier, (born Aug. 31, 1811, Tarbes, France—died Oct. 23, 1872, Neuilly-sur-Seine), French poet, novelist, critic, and journalist.	en	/favicon.png	Encyclopedia Britannica	https://www.britannica.com/summary/Theophile-Gautier	Théophile Gautier, (born Aug. 31, 1811, Tarbes, France—died Oct. 23, 1872, Neuilly-sur-Seine), French poet, novelist, critic, and journalist. He lived most of his life in Paris, where he initially studied painting. He insisted on the sovereignty of the beautiful in such works as the novel Mademoiselle de Maupin (1835). He developed a poetic technique for recording his exact impressions of works of art, as in the formally perfect poems of Émaux et camées (1852). Travel inspired some of his best poetry, in España (1845), and finest prose, in Voyage en Espagne (1845). He also wrote copious art and drama criticism. His works inspired such poets as Charles Baudelaire, whose Fleurs du Mal was dedicated to him, and his prodigious and varied output influenced literary sensibilities for decades.
5097	dbpedia	2	49	https://ugcnetenglish20.com/french-literature/	en	Important Writers For UGC NET English	https://ugcnetenglish20.…itled-design.jpg	https://ugcnetenglish20.…itled-design.jpg	[ "https://ugcnetenglish20.com/wp-content/uploads/2024/06/Bertolt-Brecht-and-His-Significant-Works-150x150.jpg", "https://ugcnetenglish20.com/wp-content/uploads/2024/06/Evelyn-Waugh-and-His-Significant-Works-150x150.jpg" ]	[]	[]	[ "" ]	null	[ "UGC NET English" ]	2023-07-04T13:33:27+00:00	French Literature-Important Writers For UGC NET English	en		Ugc NET English	https://ugcnetenglish20.com/french-literature/	French authors who have made an impact on English literature have a significant impact on UGC NET. The realm is full of powerful individuals who have influenced the canon. François Rabelais is well known for his humorous classic “Gargantua and Pantagruel,” whereas Jean Racine excelled at tragic theatre with works like “Phèdre.” Voltaire became well-known during the Enlightenment and was praised for his wit and social commentary. A literary great, Victor Hugo gave the world such classics as “Les Misérables” and “The Hunchback of Notre-Dame.” The richness and relevance of French literature were further enhanced by the contributions of modernist authors like Marcel Proust, Albert Camus, and Simone de Beauvoir. Examining these writers will increase one’s comprehension of literary history while offering insightful preparation for the UGC NET English exam. French Literature-Important Writers For UGC NET English 1. Montaigne For the UGC NET English, Montaigne should be studied because of his enormous importance in French literature. In his classic collection “Essais,” Michel de Montaigne, who is frequently credited as the inventor of the modern essay, created a distinctive and introspective writing style. His writings cover a range of topics, including philosophy, morality, his own life, and cultural views. The works of Montaigne capture the spirit of the Renaissance, exhibiting a willingness to question received wisdom as well as intellectual curiosity. Analysing Montaigne’s works helps develop critical thinking skills and provides insightful information on the development of the essay genre. In order to prepare for the UGC NET English, studying Montaigne is essential because it gives students a broader understanding of French literature and its prominent authors. 2. Moliere For the UGC NET English exam, Molière is an important writer to study because of his enormous influence in French literature. Molière, also known as Jean-Baptiste Poquelin, is regarded as one of the finest playwrights in history. His humorous works, such as “Tartuffe,” “The Misanthrope,” and “The School for Wives,” are celebrated for their wit, social criticism, and acute observations of human nature. The plays of Molière skillfully combine humour and satire while addressing issues like hypocrisy, social conventions, and the difficulties of interpersonal relationships. His works continue to be performed and studied widely today, demonstrating their persistent importance. In order to prepare for the UGC NET, it is essential to connect with Molière’s plays because doing so offers insightful understandings into the effectiveness of satire and the long-lasting effects of his contributions to literature. 3. Voltaire A key writer for UGC NET English preparation, Voltaire is a notable character in French literature. Voltaire was a well-known author and philosopher of the Enlightenment whose real name was François-Marie Arouet. His philosophical writings and literary works, like as “Candide” and “Letters Concerning the English Nation,” questioned established wisdom and promoted reason, tolerance, and the right to free speech. Voltaire used sarcasm and his razor-sharp wit as effective instruments to criticise societal inequalities and the widespread religious intolerance of his day. His influence was felt far beyond the realm of literature, making him a crucial author to research for the UGC NET English exam. Investigating Voltaire’s writings offers insightful understandings into the Enlightenment period, the effectiveness of satire, and the ongoing influence of his ideas on modern thought. 4. Eugene Lonesco Studying Eugène Ionesco is recommended for the UGC NET English exam because he is a notable author in French literature. Ionesco, a playwright of Romanian and French descent, was a key figure in the Theatre of the Absurd movement. His well-known pieces, such as “The Bald Soprano,” “Rhinoceros,” and “The Chairs,” explore the absurdity of life, communication failures, and the loss of personal identity. The strange and outlandish features in Ionesco’s works are used to subvert social standards and reveal the absurdity of human nature. Ionesco is a crucial author for UGC NET English preparation since studying his plays can provide insightful understanding of the Theatre of the Absurd genre, the deconstruction of language, and the examination of existential concerns. 5. Gustave Flaubert For UGC NET English applicants, Gustave Flaubert, a famous character in French literature, is extremely important. He is well known for his contributions to the 19th-century literary trend of realism. “Madame Bovary,” Flaubert’s acclaimed masterpiece, is a well-known example of his rigorous attention to detail and profound insight of human psychology. His writing, which was distinguished by exact descriptions and complex characterizations, had a significant influence on the era’s literary scene. The complexity of human nature, social conventions, and the pursuit of individual interests are all explored in Flaubert’s works. For UGC NET English aspirants, learning about Flaubert’s literary legacy can significantly improve their comprehension of French literature. 6. Honare Be Balzac Honore de Balzac is a key author for UGC NET English applicants to research because of his importance to French literature. He is well known for his significant contributions to the realism literary genre. Balzac’s broad body of work, which includes his acclaimed “La Comédie Humaine” series of books, displays his astute social observations, sophisticated character development, and elaborate story structures. His examination of social dynamics, human motivations, and the effects of industrialisation are all still very important today. Reading Balzac’s works in-depth would help aspiring UGC NET English aspirants obtain a profound appreciation of his creative genius and his influence on French literature. 7. Emile Zola Famous French author Émile Zola was a key figure in the Naturalism literary movement. For UGC NET English applicants who are studying French literature, he is extremely important. The literary landscape of the 19th century was significantly influenced by Zola’s writings, which are known for their objective and scientific approach to describing societal reality. His well-known “Les Rougon-Macquart” series of novels covered a variety of facets of French culture, such as politics, class conflicts, and the impact of heredity. Readers are still mesmerised by Zola’s painstaking attention to detail, vivid descriptions, and compelling storytelling. To better grasp Zola’s literary contributions and the larger context of Naturalism, UGC NET English candidates should read his works. 8. Albert Camus For UGC NET English applicants researching existentialism and 20th-century literature, Albert Camus—a significant French philosopher, author, and Nobel laureate—holds a significant place in history. Camus’s writings on existentialism, absurdity, and the human condition, like “The Stranger” and “The Myth of Sisyphus,” explore these topics in depth. He is renowned for the lucidity, reflection, and in-depth philosophical study of life’s purpose in his writing. Readers all across the world are still drawn to Camus’s philosophies and literary works. Candidates for the UGC NET in English should read all of Camus’s works in order to fully comprehend his existentialist philosophy and his distinctive viewpoint on the difficulties of human existence. 9. Charles Baudelaire For UGC NET English applicants researching 19th-century literature and symbolism, the famed French poet and literary critic Charles Baudelaire is of utmost importance. His well-known poetry collection “Les Fleurs du Mal” (The Flowers of Evil), which explored themes of beauty, decay, and the duality of human nature, had a great impact on French literature. The poetry form of Baudelaire, which is characterised by vivid imagery, complex symbolism, and a menacing feeling of sadness, has had a lasting influence on the field of literature. He is an important character for UGC NET English applicants to study and respect due to his profound awareness of the human mind and his capacity to capture the complexity of contemporary urban life. 10. Guy De Maupassant For UGC NET English applicants researching 19th-century literature and naturalism, Guy de Maupassant, a well-known French author, is quite important. The celebrated short stories of Maupassant are recognised for their acute psychological insight, social critique, and exact observations of human behaviour. Works like “The Necklace” and “Bel-Ami” are excellent examples of his profound insight into human nature and his capacity to capture the complexity of daily life. Maupassant’s writing, which is characterised by clear prose and an emphasis on the commonplace, had a significant influence on how the short story form developed. Aspirants for the UGC NET in English can learn a lot by studying Maupassant’s writings on the literary artistry and exploration of the human experience. 11. Jean Paul Satre For UGC NET English applicants studying 20th-century literature, Jean-Paul Sartre, a well-known French philosopher, author, and key figure of existentialism, is extremely important. The focus on personal freedom, responsibility, and choice in Sartre’s philosophical writings, such as “Being and Nothingness” and “Existentialism is a Humanism,” was revolutionary. In his literary works, such as the play “No Exit” and the book “Nausea,” Sartre examines existential themes of anxiety, alienation, and the search for meaning in an absurd world. His writing is known for its academic rigour and self-reflection. Studying Sartre’s writings would help UGC NET English candidates better grasp existentialism and his tremendous influence on both literature and philosophy. 12. Jean Genet French dramatist, novelist, and poet Jean Genet is a key figure for UGC NET English applicants who are interested in existentialism and 20th-century literature. In his writings, such as “The Balcony” and “The Maids,” Genet explores issues of identity, power relationships, and social expectations. Poetic language, evocative imagery, and a concern with outcast individuals and the criminal underworld define his literary style. The complicated relationships between desire and disobedience are explored throughout Genet’s writings, which question social norms. He is recognised as a prominent figure in the literary and theatrical worlds due to his exploration of existential themes and his distinctive viewpoint on the human condition. Engaging with Genet’s plays, novels, and poetry might help UGC NET English aspirants deepen their comprehension of 20th-century literature and existentialist ideas. 13. Alexander Dumas Candidates for the UGC NET in English who are interested in 19th-century literature and historical fiction should pay close attention to the work of renowned French author and dramatist Alexandre Dumas. “The Three Musketeers” and “The Count of Monte Cristo,” two of Dumas’s well-known works, are now considered literary classics. Readers are captured by his vivid characters, complex stories, and exciting experiences, which define his literary style. Themes of honour, loyalty, and justice are explored by Dumas against a rich historical backdrop. In order to appreciate Dumas’s remarkable storytelling and his contributions to the genre of historical fiction and to develop a deeper grasp of 19th-century literature, UGC NET English aspirants would benefit significantly by reading some of his works. 14. Victor Hugo For UGC NET English aspirants who are studying Romanticism and 19th-century literature, Victor Hugo, a well-known French author, is very important. His creative accomplishments, which include “Les Misérables” and “The Hunchback of Notre-Dame,” have left a profound impression on the literary community. The grandeur, emotional heft, and social critique of Hugo’s prose are what set it apart. His writings explore issues of justice, love, and the complexity of the human experience while presenting multidimensional characters and societal conflicts. Hugo’s persuasive words and poetic descriptions stir up strong feelings in his audience. To understand Hugo’s literary prowess and his profound impact on the romantic movement and all of 19th-century literature, UGC NET English candidates should read some of his works. Conclusion In summary, French literature offers a rich tapestry of significant authors that will be of enormous value to UGC NET English candidates. These authors have profoundly influenced numerous literary movements and genres, making a lasting impression on the world of literature. All of these writers provide distinctive viewpoints on the human condition, society, and the complexities of existence. Examples include Gustave Flaubert’s exact realism, Honore de Balzac’s perceptive social commentary, Emile Zola’s influential naturalism, Charles Baudelaire’s evocative symbolism, Guy de Maupassant’s profound short stories, Jean-Paul Sartre’s existentialist philosophy, and Jean Genet’s provocative exploration of identity. Candidates for the UGC NET in English might gain a deeper comprehension of French literature and a greater appreciation for the variety of voices that have influenced it by engaging with their works.
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LibraryThing is a cataloging and social networking site for booklovers		/favicon.ico	LibraryThing.com	https://www.librarything.com/work/766780	Loading... My Fantoms by Théophile Gautier MembersReviewsPopularityAverage ratingMentions22310124,876 (4.28)20 Romantic provocateur, flamboyant bohemian, precocious novelist, perfect poet--not to mention an inexhaustible journalist, critic, and man-about-town--Théophile Gautier is one of the major figures, and great characters, of French literature. In My Fantoms Richard Holmes, the celebrated biographer of Shelley and Coleridge, has found a brilliantly effective new way to bring this great bu too-little-known writer into English. My Fantoms assembles seven stories spanning the whole of Gautier's career into a unified work that captures the essence of his adventurous life and subtle art. From the erotic awakening of "The Adolescent" through "The Poet," a piercing recollection of the mad genius Gérard de Nerval, the great friend of Gautier's youth, My Fantoms celebrates the senses and illuminates the strange disguises of the spirit, while taking readers on a tour of modernity at its most mysterious. "What ever would the Devil find to do in Paris?" Gautier wonders. "He would meet people just as diabolical as he, and find himself taken for some naïve provincial..." Tapestries, statues, and corpses come to life; young men dream their way into ruin; and Gautier keeps his faith in the power of imagination: "No one is truly dead, until they are no longer loved."… (more) ▾Tags ▾LibraryThing Recommendations ▾Lists None ▾Will you like it? Loading... Sign up for LibraryThing to find out whether you'll like this book. ▾Conversations (About links) No current Talk conversations about this book. » See also 20 mentions ▾Other authors » Add other authors (2 possible) ▾Series and work relationships Belongs to Publisher Series ▾Awards and Honors ▾Common Knowledge You must log in to edit Common Knowledge data. For more help see the Common Knowledge help page. Canonical title Original title Alternative titles Original publication date People/Characters Important places Important events Related movies Epigraph Dedication To Robert de Bosmelet First words Quotations Last words Disambiguation notice Publisher's editors Blurbers Original language Canonical DDC/MDS Canonical LCC ▾References References to this work on external resources. Wikipedia in English None ▾Book descriptions Romantic provocateur, flamboyant bohemian, precocious novelist, perfect poet--not to mention an inexhaustible journalist, critic, and man-about-town--Théophile Gautier is one of the major figures, and great characters, of French literature. In My Fantoms Richard Holmes, the celebrated biographer of Shelley and Coleridge, has found a brilliantly effective new way to bring this great bu too-little-known writer into English. My Fantoms assembles seven stories spanning the whole of Gautier's career into a unified work that captures the essence of his adventurous life and subtle art. From the erotic awakening of "The Adolescent" through "The Poet," a piercing recollection of the mad genius Gérard de Nerval, the great friend of Gautier's youth, My Fantoms celebrates the senses and illuminates the strange disguises of the spirit, while taking readers on a tour of modernity at its most mysterious. "What ever would the Devil find to do in Paris?" Gautier wonders. "He would meet people just as diabolical as he, and find himself taken for some naïve provincial..." Tapestries, statues, and corpses come to life; young men dream their way into ruin; and Gautier keeps his faith in the power of imagination: "No one is truly dead, until they are no longer loved." ▾Library descriptions No library descriptions found. ▾LibraryThing members' description Book description Haiku summary LibraryThing Early Reviewers Alum Théophile Gautier's book My Fantoms was available from LibraryThing Early Reviewers. Current Discussions None Popular covers Quick Links Rating Average: (4.28) 0.511.522.53 63.5 24 84.5 35 15 Is this you? Become a LibraryThing Author.
5097	dbpedia	3	52	https://www.fantasticfiction.com/g/theophile-gautier/	en	Théophile Gautier	https://img.fantasticfic…ges/0/1076_1.jpg	https://img.fantasticfic…ges/0/1076_1.jpg	[ "https://static.fantasticfiction.com/img/fflogo.png", "https://img.fantasticfiction.com/images/0/1076_1.jpg", "https://www.fantasticfiction.com/img/_.png", "https://img.fantasticfiction.com/thumbs/n0/n2916.jpg", "https://www.fantasticfiction.com/img/_.png", "https://www.fantasticfiction.com/img/_.png", "https://www.fantasticfiction.com/img/_.png", "https://www.fantasticfiction.com/img/_.png", "https://www.fantasticfiction.com/img/_.png", "https://www.fantasticfiction.com/img/_.png", "https://img.fantasticfiction.com/thumbs/c3/c15309.jpg", "https://www.fantasticfiction.com/img/_.png", "https://www.fantasticfiction.com/img/_.png", "https://www.fantasticfiction.com/img/_.png", "https://www.fantasticfiction.com/img/_.png", "https://www.fantasticfiction.com/img/_.png", "https://www.fantasticfiction.com/img/_.png", "https://www.fantasticfiction.com/img/_.png", "https://www.fantasticfiction.com/img/_.png", "https://www.fantasticfiction.com/img/_.png", "https://www.fantasticfiction.com/img/_.png", "https://www.fantasticfiction.com/img/_.png", "https://www.fantasticfiction.com/img/_.png", "https://www.fantasticfiction.com/img/_.png", "https://www.fantasticfiction.com/img/_.png", "https://www.fantasticfiction.com/img/_.png", "https://www.fantasticfiction.com/img/_.png", "https://www.fantasticfiction.com/img/_.png", "https://www.fantasticfiction.com/img/_.png", "https://www.fantasticfiction.com/img/_.png", "https://www.fantasticfiction.com/img/_.png", "https://img.fantasticfiction.com/bigthumbs/t0/t127.jpg", "https://www.fantasticfiction.com/img/_.png", "https://www.fantasticfiction.com/img/_.png", "https://img.fantasticfiction.com/bigthumbs/t0/t2530.jpg", "https://img.fantasticfiction.com/bigthumbs/t0/t529.jpg", "https://img.fantasticfiction.com/bigthumbs/t0/t802.jpg", "https://www.fantasticfiction.com/img/_.png", "https://img.fantasticfiction.com/bigthumbs/t0/t6.jpg", "https://img.fantasticfiction.com/bigthumbs/t0/t495.jpg", "https://img.fantasticfiction.com/bigthumbs/t0/t558.jpg", "https://www.fantasticfiction.com/trk/pixel.gif?act=noscript&page=a1076" ]	[]	[]	[ "" ]	null	[ "webmaster@fantasticfiction.com - https:", "www.fantasticfiction.com" ]	null	Author Théophile Gautier's list of books and series in order, with the latest releases, covers, descriptions and availability.	en			null	Dracula's Guest (2010) A Connoisseur's Collection of Victorian Vampire Stories edited by Michael Sims Heroic Adventure Stories (1998) Stories from the Golden Age of Greece and Rome edited by Mike Ashley Doubles, Dummies and Dolls (1995) 21 Terror Tales of Replication edited by Leonard Wolf Blood and Roses (1995) The Vampire in 19th Century Literature edited by Adele Olivia Gladwell and James Havoc Fantastic Tales (1993) Visionary and Everyday edited by Italo Calvino The Sophisticated Cat (1992) A Gathering of Stories, Poems, And Miscellaneous Writings About Cats edited by Daniel Halpern and Joyce Carol Oates Great Short Stories of the World (1986) edited by Barrett H Clark and Maxim Lieber Mummy! (1980) A Chrestomathy of Crypt-ology edited by Bill Pronzini Uncanny Tales 1 (1974) (Uncanny Tales, book 1) edited by Dennis Wheatley A Little Night Reading (1974) edited by Dave Allen Demons of the Night (1973) Tales of the Fantastic, Madness, and the Supernatural from Nineteenth-Century France edited by Joan C Kessler The Great Book of Thrillers (1935) edited by H Douglas Thomson
5097	dbpedia	1	30	https://academic.oup.com/fs/article/72/2/291/4934179	en				[]	[]	[]	[ "" ]	null	[]	null					null
5097	dbpedia	0	0	https://www.britannica.com/biography/Theophile-Gautier	en	Théophile Gautier \| French Poet, Novelist & Critic	https://cdn.britannica.c…e.jpg?v=3.124.12	https://cdn.britannica.c…e.jpg?v=3.124.12	[ "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/mendel-resources/3-124/images/shared/default3.png?v=3.124.12", "https://cdn.britannica.com/30/129330-131-2C73ED00/The-Lamb-edition-Songs-of-Innocence-William.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/76/168476-131-42654A68/letter-Sun-Rose-Dickinson-Emily-A-Life.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/91/185691-131-0ACC5DF8/Emily-Dickinson-1847.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/23/181923-131-76FC0CA5/poet-clothing-poetry-festival-Heian-Kyoto-shrine.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/48/195548-131-20D9FBCC/Girl-Reading-Turquoise-Couch.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/89/162489-131-1E685B1B/Dancer-Indian-odissi-dance.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/55/142355-131-EFF621AF/books-Stack-literature-pile-reading-entertainment-society-2010.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/52/242652-050-EB37F33D/summer-reading-bingo-card.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/62/192062-131-96B933EF/mug-shot-Colombia-control-agency-Medellin.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/31/142331-131-EE300AF6/basketball-Orange-background-lighting-Homepage-entertainment-history-2010.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/01/190901-131-2048BEEC/vector-illustration-sport-pentathlon-competition-series-Fencing.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/36/162636-131-E4AA93A0/Colosseum-Rome-Italy.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/58/105358-131-083D7290/Battle-of-Gettysburg-Picketts-Charge-attempts-South-3-1863.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/94/159994-131-8E828D22/Battle-of-New-Orleans-oil-painting-E-1910.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/96/173996-131-3DDAD81A/Fish-Lionfish-Lion-fish-Turkey-fish-Red-lionfish.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/76/168476-131-42654A68/letter-Sun-Rose-Dickinson-Emily-A-Life.jpg" ]	[]	[]	[ "Théophile Gautier", "encyclopedia", "encyclopeadia", "britannica", "article" ]	null	[ "The Editors of Encyclopaedia Britannica" ]	1998-07-20T00:00:00+00:00	Théophile Gautier was a poet, novelist, critic, and journalist whose influence was strongly felt in the period of changing sensibilities in French literature—from the early Romantic period to the aestheticism and naturalism of the end of the 19th century. Gautier lived most of his life in Paris. At	en	/favicon.png	Encyclopedia Britannica	https://www.britannica.com/biography/Theophile-Gautier	Théophile Gautier (born August 31, 1811, Tarbes, France—died October 23, 1872, Neuilly-sur-Seine) was a poet, novelist, critic, and journalist whose influence was strongly felt in the period of changing sensibilities in French literature—from the early Romantic period to the aestheticism and naturalism of the end of the 19th century. Gautier lived most of his life in Paris. At the Collège de Charlemagne he met Gérard de Nerval and began a lasting friendship. He studied painting but soon decided that his true vocation was poetry. Sympathetic to the Romantic movement, he took part in the cultural battle that ensued when Victor Hugo’s play Hernani was first performed in Paris in 1830. He humorously recalled this period in Histoire du romantisme (1874; “History of Romanticism”) and in Portraits contemporains (1874; “Contemporary Portraits”), in which he gave an excellent description of his friend Honoré de Balzac. Gautier satirized his own extravagances, as well as those of other Romanticists, in Les Jeunes-France (1833; “Young France”). Les Grotesques (1834–36) is about more obscure earlier writers whose individualism anticipated that of the Romantics. Britannica Quiz Famous Poets and Poetic Form Gautier’s first poems appeared in 1830. Albertus, a long narrative about a young painter who falls into the hands of a sorcerer, was published in 1832. At this time he turned from the doctrines of Romanticism and became an advocate of art for art’s sake. The preface to Albertus and the novel Mademoiselle de Maupin (1835) express his views, which caused a considerable stir in literary circles by their disregard of conventional morality and insistence on the sovereignty of the beautiful. His pessimism and fear of death were expressed in the narrative poem La Comédie de la mort (1838; “The Comedy of Death”). In 1840 Gautier visited Spain. The colour of the land and people inspired some of his best poetry, in España (1845), and prose, in Voyage en Espagne (1845). After that trip he found traveling to be a welcome escape from the constant pressures of his journalistic work, which he pursued to support himself, two mistresses, and his three children, as well as his two sisters. From 1836 to 1855 he was a weekly contributor to La Presse and Le Moniteur Universel; in 1851, editor of Revue de Paris; and in 1856, editor of L’Artiste. Besides this work he contributed to many other periodicals and papers. Gautier often bemoaned the conditions of his existence; he felt that journalism was draining off the creative energy that should have been reserved for poetry. Traveling, especially in Greece, strengthened his theory of art and his admiration of Classical forms. He felt that art should be impersonal, free from the obligation of teaching moral lessons, and that the aim of the artist is to concentrate on achieving perfection of form. He developed a technique in poetry that he called transposition d’art (“transposing art”), recording his exact impressions when experiencing a painting or other work of art. These poems, published in Émaux et camées (1852; “Enamels and Cameos”), are among his finest, and the book was a point of departure for the writers Théodore de Banville and Leconte de Lisle. Charles Baudelaire paid tribute to Gautier in the dedication of his verse collection Les Fleurs du mal. Gautier’s poetic and fantastic imagination is seen to advantage in his short fiction—e.g., the vampire tale La Morte amoureuse (1836; “The Dead Lover”) and the evocations of ancient Pompeii in Arria Marcella (1852). His literary output was prodigious, but his art and dramatic criticism alone—partly reprinted in Les Beaux-Arts en Europe (1855) and in Histoire de l’art dramatique en France depuis vingt-cinq ans, 6 vol. (1858–59; “History of Drama in France for Twenty-five Years”)—would ensure his reputation. As a ballet critic, he remains unrivaled. He also wrote plays and, in collaboration with Vernoy de Saint-Georges, the popular ballet Giselle.
5097	dbpedia	2	65	https://leoncechenal.com/classic-french-books/	en	The 30 Best Classic French Books of All Time	https://leoncechenal.com…ature_books.webp	https://leoncechenal.com…ature_books.webp	[ "https://www.facebook.com/tr?id=331350241075336&ev=PageView&noscript=1", "https://leoncechenal.com/wp-content/uploads/2020/01/leonce_chenal_logo_1.png", "https://leoncechenal.com/wp-content/uploads/2020/01/leonce_chenal_logo_1.png", "https://leoncechenal.com/wp-content/uploads/2020/01/leonce_chenal_logo_1.png", "https://leoncechenal.com/wp-content/uploads/2021/09/french_classic_literature_books-1110x1065.webp", "https://leoncechenal.com/wp-content/uploads/2021/09/french_designer_bags-e1645520478154-180x180.png", "https://leoncechenal.com/wp-content/litespeed/avatar/ba8d8dc545d74d868588da1860473069.jpg?ver=1723215967", "https://leoncechenal.com/wp-content/uploads/2020/01/leonce_chenal_photo-740x710.webp", "https://leoncechenal.com/wp-content/uploads/2023/05/french_summer_wardrobe_leonce_chenal-180x180.webp", "https://leoncechenal.com/wp-content/uploads/2023/05/white_denim_parisian_style-180x180.webp", "https://leoncechenal.com/wp-content/uploads/2023/11/best_french_clothing_brands-180x180.webp", "https://leoncechenal.com/wp-content/litespeed/avatar/69256f51f18eefa7822383b184e61ab6.jpg?ver=1723564581", "https://leoncechenal.com/wp-content/litespeed/avatar/bd551addf5a31a464c26e402957d1b9f.jpg?ver=1723564582", "https://leoncechenal.com/wp-content/litespeed/avatar/ba8d8dc545d74d868588da1860473069.jpg?ver=1723215967", "https://leoncechenal.com/wp-content/litespeed/avatar/3b839233c201f9d6c2fd1e51d361fb6d.jpg?ver=1723347930", "https://leoncechenal.com/wp-content/uploads/2022/06/best_french_coffee_table_books-1-740x710.jpg", "https://leoncechenal.com/wp-content/uploads/2022/03/best_french_pop_songs-740x710.jpg", "https://leoncechenal.com/wp-content/uploads/2022/03/best_french_feminist_books-740x710.jpg", "https://leoncechenal.com/wp-content/uploads/2021/01/best_french_tv_shows_netflix-740x675.png", "https://leoncechenal.com/wp-content/uploads/2020/03/best_french_movies_set_in_paris-1-740x675.png", "https://leoncechenal.com/wp-content/uploads/2020/01/leonce_chenal_logo_1.png" ]	[]	[]	[ "" ]	null	[ "Leonce Chenal" ]	2021-09-01T06:57:18+00:00	Here are the 30 best classic books from French literature that are a must-read for literature enthusiasts and for all book lovers!	en	https://leoncechenal.com…oeurs-32x32.webp	Leonce Chenal	https://leoncechenal.com/classic-french-books/	Here are the best classic books from French literature that are a must-read for literature enthusiasts! For many centuries, France has had a high reputation in European intellectual culture, and its literature is no exception. French authors have produced works known around the world, pioneered and reinvented genres, and explored everything from marriage to revolution. From Albert Camus to Victor Hugo and Jules Verne, there are a lot of talented writers that France has gifted to the world. Whatever type of book you’re searching for, the world of classic French literature has something for you. These classic French books listed below will take you on a trip down the lane of French history, open up your eyes to French culture and intensify your love affair with the language! Whether you’re looking for a list of the best French books of all time, or you just want to explore French literature, here is my pick of classic French books you should read. Being French, I’ve loved to read ever since I was a young child. And I have so many great memories of curling up with a book and getting swept away by the stories. That’s why it was very difficult for me to narrow down my list to just thirty books. There are so many French classics to choose from! But I think I’ve come up with a great assortment of novels, poetry, and philosophy books from the 18th, 19th, and 20th centuries that you should add to your “to be read” lists. Get ready to take notes…here are my favorite French classics that you definitely need to read! I carefully select and personally love every product featured on Leonce Chenal. If you buy through my links, I may earn an affiliate commission at no extra cost to you. Merci for your support <3 1. Fables, Jean de la Fontaine (1668) La Fontaine’s Fables are considered among the masterpieces of French literature. The Fables were written over a period of more than twenty-five years. The first six books of fables were published in 1668, five more books appeared in 1673-1679, and the twelfth and final book was published in 1694. Almost all fables are written to provide a moral lesson to the reader. Usually written for children, they teach about life through the use of animals that symbolically represent human traits and flaws. 2. Le Malade Imaginaire, Molière (1673) The Imaginary Invalid was Molière’s final play, first performed in February 1673 in Paris. The story is about the hypochondriac Argan, who wants his daughter to marry a doctor so he can save on his medical bills. But she’s in love with someone else. Soon, the whole household joins in her madcap scheme to save true love and give Argan’s doctors a dose of their own medicine. A satire of the medical profession and a comedy-ballet, or a comedy combined with song and dance, the play contains a good deal of farce and was written to amuse King Louis XIV. 3. Candide, Voltaire (1759) The story begins with a young man, Candide, who is living a sheltered life in an Edenic paradise and being indoctrinated with Leibnizian optimism by his mentor, Professor Pangloss. The work describes the abrupt cessation of this lifestyle, followed by Candide’s slow and painful disillusionment as he witnesses and experiences great hardships in the world. In this book Candide, Voltaire ridicules religion, theologians, governments, armies, philosophies, and philosophers. Immediately after its secretive publication, the book was widely banned from the public because it contained religious blasphemy, political sedition, and intellectual hostility hidden under a thin veil of naïveté. 4. Les Liaisons Dangereuses, Choderlos de Laclos (1782) Dangerous Liaisons is the story of the Marquise de Merteuil and the Vicomte de Valmont, two narcissistic rivals (and ex-lovers) who use seduction as a weapon to socially control and exploit others, all the while enjoying their cruel games and boasting about their talent for manipulation. It has been seen as depicting the corruption and depravity of the French nobility shortly before the French Revolution. 5. Le Rouge et le Noir, Stendhal (1830) The Red and the Black chronicles the attempts of a provincial young man to rise socially beyond his modest upbringing through a combination of talent, hard work, deception, and hypocrisy. He ultimately allows his passions to betray him. 6. Le Père Goriot, Honoré de Balzac (1835) Pere Goriot is a pessimistic case study of bourgeois society’s ills after the French Revolution. The story tells the intertwined stories of Eugène de Rastignac, an ambitious but penniless young man, and old Goriot, a father who sacrifices everything for his children. 7. Le Comte de Monte-Cristo, Alexandre Dumas (1844) The Count of Monte Cristo tells the story of Edmond Dantès, a nineteen-year-old Frenchman falsely accused of treason, arrested, and imprisoned without trial in the Château d’If, a grim island fortress off Marseille. A fellow prisoner, Abbé Faria, correctly deduces that his jealous rival Fernand Mondego, envious crewmate Danglars, and double-dealing Magistrate De Villefort turned him in. Faria inspires his escape and guides him to a fortune in treasure. 8. Madame Bovary, Gustave Flaubert (1857) Madame Bovary tells the bleak story of a marriage that ends in tragedy. Charles Bovary, a good-hearted but dull and unambitious doctor with a meager practice, marries Emma, a beautiful farm girl raised in a convent. 9. Les Fleurs du mal, Charles Baudelaire (1857) A confession of hopes, dreams, failures, and sins, The Flowers of Evil attempts to extract beauty from the malignant. Unlike traditional poetry that relied on the serene beauty of the natural world to convey emotions, Baudelaire felt that modern poetry must evoke the artificial and paradoxical aspects of life. One of my favorite French classic books you definitely should read! 10. Les Misérables, Victor Hugo (1862) Les Misérables centers on the character Jean Valjean, an ex-convict in 19th-century France. The story spans many years as it tells of Valjean’s release from prison and reformation as an industrialist while being constantly pursued by the morally strict inspector Javert. 11. Voyage Au Centre de la Terre, Jules Verne (1864) In Jules Verne’s Journey to the Center of the Earth, a geology professor, Otto Lidenbrock, and his nephew Axel discover and decode an ancient document that purports to show that a dormant volcano holds a secret entrance to a series of caverns leading to a subterranean world at the earth’s center. 12. Germinal, Emile Zola (1877) Germinal is the thirteenth novel in Émile Zola’s twenty-volume series Les Rougon-Macquart. Often considered Zola’s masterpiece and one of the most significant novels in the French tradition, the novel is an uncompromisingly harsh and realistic story of a coalminers’ strike in northern France in the 1860s. 13. Bel-Ami, Guy de Maupassant (1885) Bel-Ami chronicles journalist Georges Duroy’s corrupt rise to power from a poor former cavalry NCO in France’s African colonies to one of the most successful men in Paris, most of which he achieves by manipulating a series of powerful, intelligent, and wealthy women. 14. Poésies Complètes, Arthur Rimbaud (1895) Poésies Complètes is the title attributed to the poems of Arthur Rimbaud written between 1869 and 1873. “Le bateau ivre” is probably his best-known poem. 15. Cyrano de Bergerac, Edmond Rostand (1897) Though Cyrano de Bergerac is a fictional play, Rostand based the titular character on a real man, Hercule-Savinien de Cyrano de Bergerac. In the play, Cyrano is a tragic, though larger-than-life figure whose similarly large nose keeps him from openly wooing the woman he loves. 16. Alcools, Guillaume Apollinaire (1913) Alcools is a collection of poems by the French author Guillaume Apollinaire. The first poem in the collection, Zone (an epic poem of Paris), has been called “the great poem of early Modernism” by the scholar Martin Sorrell. 17. Le Blé en Herbe, Colette (1923) Green Wheat recounts the story of Phil and Vinca, two childhood friends who spend all their holidays together by the sea. Though aged only 16, Phil meets a “woman in white” who is much older than him, and he becomes her lover. 18. A la Recherche du Temps Perdu, Marcel Proust (1927) In Search of Lost Time, also translated as Remembrance of Things Past, novel in seven parts by Marcel Proust, published in French as À la Recherche du Temps Perdu from 1913 to 1927. The novel is the story of Proust’s own life, told as an allegorical search for truth. One of my favorite French classic books you need to read! 19. Voyage au bout de la nuit, Céline (1932) Journey to the End of the Night is the first novel by Louis-Ferdinand Céline. This semi-autobiographical work follows the adventures of Ferdinand Bardamu in the First World War, colonial Africa, the United States, and the poor suburbs of Paris, where he works as a doctor. I do love this French classic book! 20. La Nausée, Jean-Paul Sartre (1938) Nausea takes place in “Bouville” (a homophone of “Boue-Ville”, literally, “Mud town”) a town similar to Le Havre, and it concerns a dejected historian, who becomes convinced that inanimate objects and situations encroach on his ability to define himself, on his intellectual and spiritual freedom, evoking in the protagonist a sense of nausea. 21. L’Etranger, Albert Camus (1942) The title character of The Stranger is Meursault, a Frenchman who lives in Algiers (a pied-noir). The novel is famous for its first lines: “Mother died today. Or maybe it was yesterday, I don’t know.” The reader follows Meursault through the novel’s first-person narration to Marengo, where he sits vigil at the place of his mother’s death. Despite the expressions of grief around him during his mother’s funeral, Meursault does not show any outward signs of distress. This removed nature continues throughout all of Meursault’s relationships, both platonic and romantic. 22. Le Petit Prince, Antoine de Saint-Exupéry (1943) The Little Prince follows a young prince who visits various planets in space, including Earth and addresses themes of loneliness, friendship, love, and loss. Despite its style as a children’s book, The Little Prince makes observations about life, adults, and human nature. 23. L’Ecume des Jours, Boris Vian (1947) Froth on the Daydream is a novel that employs surrealism and contains multiple plot lines, including the love stories of two couples, talking mice, and a man who ages years in a week. One of the main plotlines concerns a newlywed man whose wife develops a rare and bizarre illness that can only be treated by surrounding her with flowers. 24. Mémoires d’Hadrien, Marguerite Yourcenar (1951) Memoirs of Hadrian is a novel about the life and death of Roman Emperor Hadrian. The book takes the form of a letter to Hadrian’s adoptive grandson and eventual successor “Mark” (Marcus Aurelius). The emperor meditates on military triumphs, love of poetry and music, philosophy, and his passion for his lover Antinous, all in a manner similar to Gustave Flaubert’s “melancholy of the antique world.” 25. Bonjour Tristesse, Françoise Sagan (1954) Bonjour Tristesse is the story of Cécile, who lives with her rich father, Raymond, on the French Riviera. Their relationship is upended when Anne, a mature and cultured friend of Raymond’s late wife, arrives at the villa. Raymond quickly falls for her, and Cécile worries that their way of life will be disrupted. As Raymond tries to turn away from his past playboy lifestyle, Cécile schemes with Raymond’s mistress, Elsa, to destroy his relationship with Anne, with tragic consequences. 26. La Gloire de mon père, Marcel Pagnol (1957) My Father’s Glory is a novel focusing on the Pagnol family during their summer holidays. The book reveals how each member is affected by their brief stay in a small rural village and hints at tensions growing as a result of differing belief systems. A favorite amongst readers all over the world, author Marcel Pagnol is renowned for his accurate descriptions of rural French life and heartbreaking tales of family. 27. Mémoires d’une jeune fille rangée, Simone de Beauvoir (1958) Memoirs of a Dutiful Daughter is a superb autobiography by one of the great literary figures of the twentieth century: Simone de Beauvoir. This book offers an intimate picture of growing up in a bourgeois French family, rebelling as an adolescent against the conventional expectations of her class, and striking out on her own with an intellectual and existential ambition exceedingly rare in a young woman in the 1920s. Simone de Beauvoir describes her early life, from her birth in Paris in 1908 to her student days at the Sorbonne, where she met Jean-Paul Sartre. 28. La Promesse de l’Aube, Romain Gary (1960) Promise at Dawn begins as the story of a mother’s sacrifice. Alone and poor, she fights fiercely to give her son the very best. Gary chronicles his childhood with her in Russia, Poland, and on the French Riviera. He recounts his adventurous life as a young man fighting for France in the Second World War. 29. Belle du Seigneur, Albert Cohen (1968) Belle du Seigneur is a 1968 novel by the Swiss writer Albert Cohen. Set in Geneva in the 1930s, the narrative revolves around a Mediterranean Jew employed by the League of Nations and his romance with a married Swiss aristocrat. 30. L’amant, Marguerite Duras (1984) The Lover tells the story of a young French girl living in Colonial French Indochina during the early 1930s. As her family’s fortunes decline, she begins a sexual relationship with a much older Chinese man who, in turn, financially supports the family. Et voilà! I hope this guide to the best classic French books will help you explore a little bit more French literature. If you have any questions, please let me know in the comment section below.
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5097	dbpedia	1	88	https://www.studysmarter.co.uk/explanations/french/french-literature/revolution-litteraire/	en	Révolution Littéraire: Context & Impact	https://website-cdn.stud…rter-bg-icon.svg	https://website-cdn.stud…rter-bg-icon.svg	[ "https://www.studysmarter.co.uk/app/themes/studypress-core-theme/dist/assets/images/logos/studysmarter.svg", "https://website-cdn.studysmarter.de/uk/subject-other.svg", "https://website-cdn.studysmarter.de/uk/flashcard-check.svg", "https://website-cdn.studysmarter.de/uk/ai.svg", "https://website-cdn.studysmarter.de/uk/note.svg", "https://website-cdn.studysmarter.de/uk/calendar.svg", "https://website-cdn.studysmarter.de/uk/folder-plus.svg", "https://website-cdn.studysmarter.de/uk/file-question-02.svg", "https://website-cdn.studysmarter.de/uk/Flashcards-Image.jpg", "https://website-cdn.studysmarter.de/uk/Study-Set-Image.jpg", "https://website-cdn.studysmarter.de/uk/Notes-Image.jpg", "https://website-cdn.studysmarter.de/uk/Study-Plan-Image.jpg", "https://website-cdn.studysmarter.de/uk/book-open-01.svg", "https://website-cdn.studysmarter.de/uk/briefcase-01.svg", "https://website-cdn.studysmarter.de/uk/phone-01.svg", "https://website-cdn.studysmarter.de/uk/Magazine-Image.jpg", "https://website-cdn.studysmarter.de/uk/Job-Board-Image.jpg", "https://website-cdn.studysmarter.de/uk/Our-App-Image.jpg", "https://website-cdn.studysmarter.de/uk/subject-other.svg", "https://website-cdn.studysmarter.de/uk/flashcard-check.svg", "https://website-cdn.studysmarter.de/uk/ai.svg", "https://website-cdn.studysmarter.de/uk/note.svg", "https://website-cdn.studysmarter.de/uk/calendar.svg", "https://website-cdn.studysmarter.de/uk/folder-plus.svg", "https://website-cdn.studysmarter.de/uk/file-question-02.svg", "https://website-cdn.studysmarter.de/uk/book-open-01.svg", "https://website-cdn.studysmarter.de/uk/briefcase-01.svg", "https://website-cdn.studysmarter.de/uk/phone-01.svg", "https://www.studysmarter.co.uk/app/themes/studypress-core-theme/dist/assets/images/explanations/welcome-laptop.png", "https://www.studysmarter.co.uk/app/themes/studypress-core-theme/dist/assets/images/explanations/welcome-mobile.png", "https://www.studysmarter.co.uk/app/themes/studypress-core-theme/dist/assets/images/explanations/flashcards-listx2.png", "https://www.studysmarter.co.uk/app/themes/studypress-core-theme/dist/assets/images/explanations/flashcards-list-mobile.png", "https://www.studysmarter.co.uk/app/themes/studypress-core-theme/src/assets/images/va-signup-laptop.png", "https://www.studysmarter.co.uk/app/themes/studypress-core-theme/dist/assets/images/explanations/about.webp", "https://www.studysmarter.co.uk/app/themes/studypress-core-theme/dist/assets/images/explanations/about-logo.png", "https://www.studysmarter.co.uk/app/themes/studypress-core-theme/dist/assets/images/explanations/sidebar-logo.webp", "https://www.studysmarter.co.uk/app/themes/studypress-core-theme/dist/assets/images/tbs/cta-desktop@1x.png", "https://www.studysmarter.co.uk/app/themes/studypress-core-theme/dist/assets/images/footer-logo.svg", "https://website-cdn.studysmarter.de//sites/2/sites/2/2022/08/en-flag.png", "https://website-cdn.studysmarter.de//sites/2/sites/2/2022/08/us-flag.png", "https://website-cdn.studysmarter.de//sites/2/sites/2/2022/08/de-flag.png", "https://website-cdn.studysmarter.de//sites/2/sites/2/2022/08/fr-flag.png", "https://website-cdn.studysmarter.de//sites/2/sites/2/2022/08/es-flag.png", "https://website-cdn.studysmarter.de//sites/2/sites/2/2022/08/it-flag.png", "https://website-cdn.studysmarter.de//sites/2/sites/2/2022/08/m2Xa3iDi-app-store.svg", "https://website-cdn.studysmarter.de//sites/2/sites/2/2021/11/1oY5p3kj-google-play.svg" ]	[]	[]	[ "" ]	null	[]	null	Révolution littéraire: ✓ Evolution ✓ Authors ✓ Influences ✓ Techniques ✓ Movements ✓ StudySmarterOriginal!	en	https://website-cdn.stud…rter-bg-icon.svg	StudySmarter UK	https://www.studysmarter.co.uk/explanations/french/french-literature/revolution-litteraire/	What is the Révolution Littéraire? The Révolution littéraire represents a transformative period in the realm of literature, where traditional forms, themes, and conventions were questioned and redefined. This movement, deeply interwoven with historical, cultural, and social shifts, paved the way for new literary expressions and gave rise to diverse literary genres. Definition of Literary Revolution A literary revolution is a significant shift in literary practices, preferences, and paradigms that deeply influences the production, reception, and interpretation of literature. It often involves the introduction of innovative narrative techniques, stylistic changes, and the challenging of established norms within literature. A Brief Overview of French Literary History French literary history is marked by several revolutionary periods that have significantly contributed to the global literary canon. From the classical elegance of the 17th century to the introspective modernism of the 20th century, French literature has often been at the forefront of literary innovation. Key Periods: The Middle Ages (5th – 15th century): Characterised by chivalric romance, epic poetry, and the influence of the Church. The Renaissance (16th century): Marked by a revival of interest in the classical arts, humanism, and the exploration of new genres. The Enlightenment (18th century): Defined by its focus on reason, science, and the critique of societal norms. Romanticism (late 18th – mid-19th century): Focused on emotion, nature, and individualism. Realism and Naturalism (19th century): Emphasised accurate depictions of everyday life and the influence of environment on people. Modernism (20th century): Characterised by experimental techniques and a focus on the inner workings of the human mind. These periods demonstrate the dynamism and adaptability of French literature, constantly evolving in response to social and philosophical movements.> Key Eras of the French Literature Revolution The journey through France's literary evolution is a fascinating exploration of how societal changes, philosophical ideas, and artistic innovation influenced and shaped literature. Diving into the key eras of the French Literature Revolution offers insight into the dynamic and profound impact of literary movements on French culture and beyond. Pre-Révolution Literary Movements Before the tsunami of change that was the French Literature Revolution, several movements laid the groundwork for the seismic shifts to come. These movements not only influenced literary styles and themes but also reflected changing social attitudes and the intellectual climate of their times. Notable Pre-Révolution Movements: The Renaissance, with its rediscovery of classical antiquity and humanist principles, introduced personal expression in literature, breaking away from the formulaic compositions of the Middle Ages. The Enlightenment brought reason and scientific thought to the forefront, encouraging writers to explore ideas around individual rights, governance, and social contract theory. Romanticism rebelled against the rationalism of the Enlightenment, emphasising emotion, nature, and individualism, setting the stage for the introspective and experimental nature of the literature to come. The Enlightenment, in particular, paved the way for revolutionary ideas by challenging established norms and advocating for freedom of thought and expression. The Height of the French Literary Revolution The peak of the French Literary Revolution was marked by an unprecedented flurry of activity across all genres of writing. This era was characterised by a break with traditional forms, the experimentation with narrative structure, and the exploration of themes such as existentialism, absurdist philosophy, and the complex layers of human consciousness. Authors dared to explore and articulate the human condition in ways previously unimagined. Key Figures and Their Contributions: Victor HugoChampioned Romanticism with works that combined deep emotional expression with social commentary.Gustave FlaubertPushed the boundaries of Realism, meticulously detailing the complexities of human nature in Madame Bovary.Albert CamusExplored the philosophy of the absurd and the existential crisis of modern man in novels like The Stranger. Post-Révolution French Literary Movements Following the vibrancy and dynamism of the French Literary Revolution, post-révolution movements continued to push the boundaries of what literature could achieve. The latter half of the 20th century and the beginning of the 21st saw further diversification in styles and themes, reflecting modern challenges, technological advancements, and a global perspective. Movements like Postmodernism and the Nouveau Roman eschewed linear narratives for fragmented, non-linear storytelling, challenging readers' perceptions and expectations. Examples of Post-Révolution Movements: Existentialism delved into the absurdity of human existence, freedom, and the burden of choice, as evidenced in Jean-Paul Sartre's works. The Nouveau Roman (New Novel) sought to write the novel anew, without relying on traditional plot, characterisation, or narrative perspective, instead focusing on the writing itself as subject. Contemporary movements continue to explore identity, multiculturalism, and the complexities of a rapidly changing world, signalling an ongoing revolution in French literature. Major Themes in the French Literary Revolution The French Literary Revolution brought to the fore several groundbreaking themes that deeply influenced the trajectory of literature in France and the wider world. At the heart of this literary upheaval were ideas around freedom, equality, the impact of politics, and the exploration of new stylistic realms through Romanticism and Realism. These themes not only mirrored the societal upheavals of the time but also shaped the future of narrative expression. The Impact of Politics on French Literary Themes Politics played a pivotal role in shaping the thematic concerns of French literature during this revolutionary period. The intertwining of political events such as the French Revolution, the July Monarchy, and subsequent upheavals with literary production led to a vibrant engagement with political ideologies, governance, and the critique of power. Authors explored the complexities of power, revolution, and the fallout of political turmoil, often using literature as a means to discuss and disseminate political ideas. Political tumult served as both backdrop and muse for many literary works of the era, functioning as a mirror to the society's political landscape and its aspirations for the future. Romanticism and Realism: Defining Themes Romanticism and Realism emerged as defining themes within the French Literary Revolution, each representing contrasting yet complementary responses to the era's rapid changes. Romanticism delved into the realm of emotion, individualism, and the sublime, offering an escape from the encroaching industrialisation and rationalism. In contrast, Realism sought to portray life with unvarnished truth, focusing on the everyday lives of people and the social realities of the time. Comparative Analysis:While Romanticism reached for the ethereal and idealised aspects of human experience, celebrating nature, beauty, and heroic individualism, Realism anchored itself in the tangible and mundane. Realist writers like Gustave Flaubert and Émile Zola depicted the world with a critical eye, refusing to shy away from the harsher aspects of society. This divergence in thematic focus highlights the breadth of experimentation and expression during the French Literary Revolution, showcasing literature's power to reflect and challenge society's norms and values. The dynamic tension between Romanticism and Realism underscores the era's intellectual vibrancy and its relentless questioning of what literature could and should represent. Influential Authors of the Literary Revolution in France The French Literary Revolution, a period brimming with radical changes in literature, was spearheaded by visionary authors whose works defied the conventional norms of their time. These authors not only reshaped the literary landscape with their innovative ideas but also influenced countless generations of writers and thinkers worldwide. Pioneers of French Literary Movements The pioneers of French literary movements introduced groundbreaking concepts and techniques that challenged traditional literature. They explored uncharted territories of the human psyche, society, and the natural world, thereby initiating a series of revolutionary changes in literary form and content. Notable Authors: Victor Hugo: A monumental figure in Romanticism, Hugo’s works such as Les Misérables and The Hunchback of Notre-Dame are celebrated for their exploration of complex societal issues and human emotions. Gustave Flaubert: A leading Realist novelist whose masterpiece, Madame Bovary, critically examines the limits of romanticism through its meticulous depiction of bourgeois discontent. Émile Zola: As a prominent Naturalist, Zola’s narratives, including his Rougon-Macquart series, offer an unflinching observation of French society and the human condition. Charles Baudelaire: A pivotal figure in Modernism and Symbolism, Baudelaire’s Les Fleurs du mal broke literary conventions, blending beauty with decadence. Contributors to the Themes in French Literary Revolution The contributors to the themes in the French Literary Revolution were instrumental in pushing forward the envelope of literary expression. Their thematic explorations reflected and instigated shifts in societal perspectives, philosophical debates, and the arts. Exploring Key Themes: Freedom and IndividualismAuthors like Jean-Jacques Rousseau and Voltaire questioned authority and highlighted the importance of personal freedom and the natural rights of man, laying the groundwork for revolutionary thought.Realism and the Human ExperienceWriters such as Honoré de Balzac and Guy de Maupassant delved into the fabric of French society, portraying the realities of everyday life and character with unprecedented accuracy.Existentialism and AbsurdismPhilosophers-turned-novelists like Albert Camus and Jean-Paul Sartre explored existential crises and absurdity in the face of a seemingly indifferent universe, influencing both narrative and thought. In-Depth Look: The Modernist InfluenceModernism, with its emphasis on breaking away from established conventions in search of new forms of expression, can be seen in the works of Marcel Proust and André Gide. Proust’s In Search of Lost Time redefined the novel through its intricate analysis of memory and time, while Gide’s exploration of moral freedom in The Immoralist challenged societal norms. This period underscored the evolution of literary forms in response to contemporary realities, further enriching French literary culture. The diversity of themes and narrative techniques used by these authors reflects the breadth and depth of the French Literary Revolution, showing its lasting impact on world literature. Révolution littéraire - Key takeaways The Révolution littéraire signifies a period of major transformation in literature, redefining traditional literary forms, themes, and conventions. A literary revolution involves profound shifts in literary paradigms, encompassing new narrative styles, techniques, and the questioning of established norms. French literary history has been marked by several revolutionary periods, such as the Middle Ages, Renaissance, Enlightenment, Romanticism, Realism and Naturalism, and Modernism. The height of the French Literature Revolution saw key figures like Victor Hugo, Gustave Flaubert, and Albert Camus push literary boundaries with their exploration of existentialism, absurdism, and the human condition. Major themes in the French Literary Revolution include freedom, equality, the impact of politics, and the clash between Romanticism and Realism.
5097	dbpedia	2	32	https://languagecollections-blog.lib.cam.ac.uk/2018/02/06/france-and-female-authors/	en	France and female authors	https://languagecollecti…635838.jpg?w=494	https://languagecollecti…635838.jpg?w=494	[ "https://languagecollections-blog.lib.cam.ac.uk/wp-content/uploads/2023/10/libs-logo.png?w=300", "https://languagecollections-blog.lib.cam.ac.uk/wp-content/uploads/2023/10/cropped-header.jpg", "https://languagecollections-blog.lib.cam.ac.uk/wp-content/uploads/2018/01/800px-jane_austen_from_a_memoir_of_jane_austen_1870-e1515584635838.jpg?w=247&h=300", "https://languagecollections-blog.lib.cam.ac.uk/wp-content/uploads/2018/01/christine_de_pisan.jpg?w=227&h=313", "https://languagecollections-blog.lib.cam.ac.uk/wp-content/uploads/2018/01/800px-louise_labc3a9.png?w=233&h=304", "https://languagecollections-blog.lib.cam.ac.uk/wp-content/uploads/2018/01/madame-lafayette-louis-elle.jpg?w=248&h=323", "https://languagecollections-blog.lib.cam.ac.uk/wp-content/uploads/2018/01/friedrich_tieck_-_madame_de_stac3abl_-_disegno.jpg?w=235&h=342", "https://languagecollections-blog.lib.cam.ac.uk/wp-content/uploads/2018/01/800px-george_sand_by_nadar_1864.jpg?w=220&h=279", "https://languagecollections-blog.lib.cam.ac.uk/wp-content/uploads/2018/01/marguerite_duras_1993.jpg?w=196&h=231", "https://0.gravatar.com/avatar/caae325fd16a94af3820d37a463e9e6ab9b87f3303c1c23a01a58c531f89991d?s=60&d=https%3A%2F%2Fs0.wp.com%2Fi%2Fmu.gif&r=G", "https://1.gravatar.com/avatar/ddefc647bafc8b1f664830d61d0462ded89cafaa70266be595909ec41282f9ba?s=60&d=https%3A%2F%2Fs0.wp.com%2Fi%2Fmu.gif&r=G", "https://2.gravatar.com/avatar/80546a26b834853fee773e5a127547c9ad222203af1e6dd3d003d46fabaaa486?s=60&d=https%3A%2F%2Fs0.wp.com%2Fi%2Fmu.gif&r=G", "https://0.gravatar.com/avatar/05562c664b730c16a1ff64c1d4f79013f20180571a6a059d741d41a24c2c1a12?s=60&d=https%3A%2F%2Fs0.wp.com%2Fi%2Fmu.gif&r=G", "https://languagecollections-blog.lib.cam.ac.uk/i/rss/orange-small.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2018-02-06T00:00:00	A few months ago, a colleague, tongue-in-cheek, slammed a newspaper article on my desk with these words: "This doesn’t surprise me about the French at all: so misogynist!". The article was about the French baccalauréat exam and revealed that 2017 was the very first year in which a text by a female author had been included…	en	https://s1.wp.com/i/favicon.ico	Languages across Borders	https://languagecollections-blog.lib.cam.ac.uk/2018/02/06/france-and-female-authors/	A few months ago, a colleague, tongue-in-cheek, slammed a newspaper article on my desk with these words: “This doesn’t surprise me about the French at all: so misogynist!”. The article was about the French baccalauréat exam and revealed that 2017 was the very first year in which a text by a female author had been included in the official syllabus. This doesn’t surprise me either. The French female authors I studied at school and university were indeed very thin on the ground. But I’ve always been uneasy at dismissing it as pure sexism. Could it not be that women have simply been less likely to embrace a literary career in France? When I compare with Britain, I am struck by how many female authors seem to have been around in the 18th and 19th centuries: Ann Radcliffe, Jane Austen, Mary Shelley, George Eliot, Elizabeth Gaskell, Anne, Charlotte and Emily Brontë… You can barely find one or two women writers for the same period on the other side on the Channel. Have they all been forgotten? Or did they simply never exist in the first place? And why would that be? My theory is that religion played a part in this. Protestants, more prevalent in England, were encouraged to study the Bible for themselves and taught to read and interpret the text, whether male or female – whereas Catholics, more prevalent in France, were not. Indeed, five of the British authors I’ve just named were clergymen’s daughters. Maybe having a history with a few ruling queens in it wasn’t harmful either, something that could never have happened in France because of the French interpretation of the Salic law. Or maybe there really were as many female authors in France and we just don’t know about them. I’m not equipped to answer these difficult questions and our extensive holdings on French women authors might tell us a bit more. In any case, it is a bit of an exaggeration on my part to say that you can hardly find a female writer in France; and in order to rehabilitate some of them, let me present here a few of our most famous ones: Christine de Pisan (1364-1431) In the introduction to Le livre de la cité des dames, Christine de Pisan told of the deep sadness and displeasure she felt at reading a book written by a male author that criticized and belittled women. Reflecting that no book she had ever read seemed to give a positive picture of the female character, she began the writing of an allegorical narrative that took the side of women. It is startling to think that this text was penned in the Middle Ages, by a woman who, furthermore, was equally at ease writing essays and fiction on politics, literature and even military strategy. Unsurprisingly, Christine de Pisan has often been considered an early feminist. (UL holdings: 55 works by her, 80 about her) Louise Labé (1526-1566) If you have ever wondered what Petrarchist poetry would look like if Petrarch had been a woman and Laura a man, you need to read Louise Labé’s poetry. Little is known about her life; it is assumed she was the wife of a rich merchant, and she only ever published one collection of poems. The fact that she presented herself as a female warrior trained in the art of weapons handling should very probably not be interpreted as autobiographical – taking her inspiration from a literature written by males, she had to use and subvert their codes. (UL holdings: 20 works by her, 26 about her) Madame de la Fayette (1634-1693) In 2006, Nicolas Sarkozy, then candidate for the presidential election, declared that whoever had decided to include questions about La Princesse de Clèves in the exam to become an administrative clerk was either “a sadist or an imbecile”. Immediately, the small 17th century book started enjoying a wave of popularity it had probably never known until then. Its author, Madame de la Fayette, was a woman of high society, friends with another famous femme de lettres of her time, Madame de Sévigné, and with the moralist François de La Rochefoucauld. La Princesse de Clèves, with its concise writing and its very precise observation of the characters’ psychology, is sometimes considered one of the first modern French novels. (UL holdings: 49 works by her, 73 about her) Madame de Staël (1766-1817) The end of the 18th century was a period of great change, both on the literary and the political scene; Madame de Staël took an active part in both fields. Through the literary salons she held in Paris and Switzerland, she gathered around her some of the greatest minds of her time, politicians or artists, and had them meet and exchange ideas. Although her father worked as a minister for Louis XVI, she favoured the ideals of the French Revolution, and later managed to become such a thorn in Napoleon’s side that he banned her from Paris. The strong, independent-minded women that are the main characters of her novels also highlight her taste for freedom (more about this in the British Library’s excellent blogpost). Last but not least, she is credited for introducing Romanticism to France with her literary and philosophical essay De l’Allemagne. Quite a woman. (UL holdings: 132 works by her, 200 about her) George Sand (1804-1876) George Sand was the female French author of the 19th century; if there ever were others, she has eclipsed them all. She not only took a masculine name but also dressed like a man and – scandalously – smoked cigars in public, was an environmentalist before its time, had a string of famous lovers (Chopin among them) and met with about every tortured artist, composer or writer of her age; one of my teachers used to describe her as “an incarnation of European Romanticism”. It is therefore disappointing that a woman with such a rich life, whose early fiction was influenced by the likes of Hoffmann and Byron, is now mostly remembered in France for her pastoral short stories. (UL holdings: 271 works by her, 273 about her) Marguerite Duras (1914-1996) Marguerite Duras spent her childhood in colonial Indochina. A communist and a résistante during the Second World War, married to a concentration camp survivor that she nursed back to health for a whole gruelling year after his return, she still found the energy to be one of the most significant avant-garde writers of the 20th century. For her, writing was not about telling stories. In fact, several of her novels have exactly the same plot – her affair with a Chinese man twice her age during her teenage years – and yet are all very different. This unique approach to art made her so dissatisfied with cinematographic adaptations of her books that she decided to direct her own films, and started a parallel career in cinema. She was the fifth woman to win the Goncourt prize. (UL holdings: 110 works by her, 221 about her) Anne-Laure Lacour
5097	dbpedia	1	71	https://aithor.com/essay-examples/the-influence-of-shakespeare-on-french-literature	en	The Influence of Shakespeare on French Literature	https://aithor.com/favicon-32x32.png	https://aithor.com/favicon-32x32.png	[ "https://aithor.com/essay-examples/_next/static/media/aithor-logo.f6ed04c1.svg", "https://aithor.com/essay-examples/_next/static/media/aithor-logo-dark.cf26db43.svg" ]	[]	[]	[ "" ]	null	[ "Aithor" ]	2024-07-03T03:41:38+00:00	The Influence of Shakespeare on French Literature – free essay example for studies and students. ✍ Essays & Research Papers for Free from Aithor.com ⭐ Make your own essay	en	/favicon-32x32.png	aithor.com	https://aithor.com/essay-examples/the-influence-of-shakespeare-on-french-literature	1. Introduction For some years we have been looking to our seven sister-tongues besides English (each of which possesses an Academy and a 'Dictionary' which is not merely a jeu d'esprit) to rescue us from the slang which some English purists would have us accept as English, and to retain the French influence at its best, so that an international parlance may at all times offer the emulation of perfect expression. French literature is, in fact, an open book for the lover of English, for his Shakespeare was greatly influenced by French drama—a debt of which he is himself most proud. As a consequence, the resources of the French theater, upon which kingly patronage was constantly lavished, had their influence upon England before the English drama came into being. The play, which, as has been said by a Frenchman, 'defines in itself the entire mystery of the theater,' has been called, like another notable rival of the English (which, technically speaking, is dramatic only in character, and 'silent'), the ballet of action, so constituted as to call into activity all the resources of the stage. It was therefore to be expected that the first great English dramatist in philosophically adopting the play, and employing it as an influence of lives well hid, should have used the arsenal of the theater so often and so greatly. Not that human actions were new with the Christianity that condemned the theater: the philosopher's flights constructed as it were from something almost tangible betokens their own origin. In his day, the other Shakespeare, noted for royal partiality, wrote a treatise on the 'pompant use of the theater, and a defense of the theater against the attacks of some puritans. The true spirit of the theater was already accepted among cultivated people; as wise Claudian had read its ultimate opinions for the poet, and Pierre de, Sir Philip Sidney and Bacon were to transcribe them. We have but to reconstruct the virile concepts to understand the immense influence of the contemporary stage upon the English playwright. 2. Shakespeare's Impact on French Literature In studying the impact of Shakespeare on French literature, one can consider either the plays or the poems of the English writer. Let us begin with his plays. They constitute the most direct form of his influence, that is to say, the form most likely to be diffused outside England. However, even though the translation of Shakespeare's works is clearly an important factor in his influence, it has made less impact on French literature than the plays themselves, which have been imitated, adapted, and imitated, rather than closely translated. The translation of Shakespeare's plays did not really begin until the nineteenth century, for prior to that time it could do little to contribute to the French knowledge of English style or vocabulary. Nevertheless, the appearance of Shakespeare in French translation is an important event which tends to occur as a form of event. A play is performed on the stage or the frameworks of a performance before it may be printed. It is usually staged in a national language. Even though translations of their works are often censored, playwrights have hitherto been spared the task of trying to compose a piece in a foreign language. To ask them to do so is to challenge an unequivocal characteristic of the theatrical genre. In the seventeenth century, for example, foreign plays underwent myriad adventures on the French stage, but the overwhelming majority were written in French. On a practical level, a play intended for the stage must be written by someone who commands the language of the theatre and the public. For many reasons, that author is generally a native. If a foreigner wanted to write for the stage, he or she needed the ability to master the language of the locale where the play would be performed. 3. Key Themes and Motifs in French Literature Inspired by Shakespeare The French attraction to Shakespeare is not only explained by the universal nature of the questions and critical issues raised in the work of the English playwright, but also by the kinship between the great French classical authors and Shakespeare. French and English authors share common themes and motifs vitally linked to their era. They both interact in the domain of intelligence. French tragic authors, especially Jean Racine and Pierre Corneille, represent the crown of the French classical period of literature with their emphasis on the eternal struggle and conflict of the individual torn from his or her own truth. This constant battle of the will likes to compete with psychological perturbations and mischievousness. In addition to that, Racine contemplated all the works of Shakespeare after his last play, and it is very probable that his heroes, his desire to maintain the tragic tension until the end of his plays, the rhythm of his writing and his declamations are inspired by a profound study of the Anglo-Saxon author. In order to distribute so much influence to the English author, Racine must have recognized, through his translations, some of his principal scenes. The same kinship is present with the French classical tragedies from a poetological point of view. By his refusal of anti-theatricalism and the adoption of a redundant bias, complete with the concept of meaning, Racine found, in Shakespeare’s models, the place that he coveted and whose aesthetic beauty he preached. It is in this sense that the recent discovery of the first page of ‘La Peinture’ illustrates this writer’s thought. Racine refuses that the painter is content to represent a beautiful body. In Racine's eyes, reason represents alone the art of the beautiful and must adapt to an intelligible representation and tied up to the human. Consequently, a representation not linked to our everyday studies no longer has any poetic value. So Racine, more than ever, loves intelligent painting and accentuates, in a strange way, the psychological challenges inherent in the work of Shakespeare. 4. Notable French Authors Influenced by Shakespeare Among the authors of the 19th century, the names most generally associated with Shakespeare include those of Chateaubriand, whose mystical imagination found a particular affinity with the romances; Victor Hugo, who at various periods of his inspiration was inspired by Richard III, Henry IV, Othello, Macbeth, Coriolan; Sainte-Beuve, who wrote a comprehensive study of the author that attracted considerable attention in his own day; Victor Hugo’s most distinguished disciple, Theophile Gautier, who wrote a monograph on him; and Francois-Victor Hugo, the poet’s son and literary executor, whose comprehensive edition of The Complete Works of Shakespeare in twelve volumes stands as a landmark in the history of critical editions of this author. Then later, more recent authors, it is worth mentioning the names of Baudelaire, Swinburne, Leconte de Lisle, Heredia, Mallarme, Theophile de Banville, and Paul Valery. The influence of Shakespeare on other great French authors is to be seen both in the numerous novelists and in playwrights and poets. In addition to Victor Hugo, Dumas, at one period of his work, adapted himself to the Shakespearian example and was particularly fond of Antony and Cleopatra. Alexandre, in whom French naturalism reaches the highest point, not only knew Shakespeare’s works by heart but wrote a preface to Antony and Cleopatra. Likewise, Emile Zola was also familiar with the Shakespearian heritage. Concerning Eugène Scribe, a prolific and popular playwright, it is known that he adapted four plays of Shakespeare in collaboration with Pixerect. Henri Becque also quoted Shakespeare’s words: “Une foule de faits choisis avec prudence et dangereusement entrelacé et à moi ne sembleront qu’un songe.” as an example. In addition, Eugène Vermont, Anatole France, Alfred de Musset influenced by Othello, and the Comtesse de Noailles, who was deeply imbued with Shakespeare, often attended performances of his plays in England. 5. Comparative Analysis of Shakespearean Works and French Literary Adaptations We distinguish two categories of French literary works associated with Shakespeare's plays: adaptations-fillets that are followed closely along with the original script and very small modifications, and adaptations-remakes whose influence, references, and evocations are sparser and not coherent in the text. The major difficulty we have encountered while looking for these adaptations is to find a strict French equivalent for the term 'adaptation,' which might also denote a simple title change. Numerous plays have been presented on national stages that use their substantial Shakespearean influence, but which have obviously broken free of any significant reliance on the original text. One can clearly notice that the Coulisses Goupil editions omit the preface in their publications because the editor considers that it contributes to the creation of a literary illusion 'qui nous aveuglent pour nous empêcher de voir que ces drames sont des adaptations, aptes à séduire un public ayant une culture médiocre.' That is the reason why I have trusted adaptation, transferring it to the French versions of Shakespearean works. The frequent productive use of French classics for the creation of new works of literature has facilitated the adaptation of Shakespeare's writings. The history of French classic use is not due merely to the desire to incorporate foreign literary creations in national literature. There are three main theatrical ways through which non-French plays have exerted an influence on dramatists, the first being the adaptations and remakes of these foreign plays, and only secondly the importance of the tradition and of the presence of these models on stage. There are two ways through which the French work becomes an adaptation: either the original text is rewritten with minute changes so that a new play is created, or the foreign source is merged with elements from French works. Some rewriting adaptations can feature the subtitle: a comedy by... after...; others appear under the name of the French adapter. The adapter, having the original play at his disposal, can fully participate in this transcription of text into the national language. The development of types of adaptations indicates that the original is well-known and fairly respected by the French literary world in search of replay schemes and cultural references. The secondary material, the prologue, the epilogue, the list of characters, the indications of scenic material, are adapted in harmony with the French version. With so many fundamental changes to the original, we might say that the reinterpreter has become a transformer, claiming the work as his. 6. Conclusion In conclusion, the reaction of Frenchmen, and those who learned from Frenchmen, toward Shakespeare may well seem to deserve more esteem than it has received. Those few who knew his work early seem to have progressed toward a consideration of it that is less amateurish than many French attitudes toward modern literature - "bad," "pretentious," and other such general terms, or else merely gossipy - would lead us to expect. Perhaps, as the rationalists expect. But people are rational only in fits and starts. A third point worth noting is that the ideas found in Shakespeare are particularly dangerous to men in transition who acknowledge some truths held by other men. Specifically, the Shakespearean ideas have a particular maîtres, both classical and Christian, and the notions of liberty, justice, and fraternity. Finally, some matter belonging to a subsequent article may be suggested by noting that while for other reasons we in our own age would expect to find in the eighteenth-century French almost all of the special quality of a Shakespeare rather than that of a Pope - in classical form though he may be - those who love human beings, then and now, find something immensely reassuring about the well-balanced Pope.
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Voltaire, Albert Camus, Molière and more.	en	https://www.frenchlearne…avicon-32x32.png	FrenchLearner.com - French Word of the Day - Learn French Online	https://www.frenchlearner.com/litterature/french-writers/	French writers have had their works translated and sold around the world, telling stories of romance, bravery, and victory. If you aren’t so familiar with the top French authors, you’ll want to consider having a go at reading one of their great works. Keep reading to discover the top French writers of all time and some of their greatest books which are well worth adding to your French literature collection. List of the top French authors of all time: Victor Hugo Honoré de Balzac Émile Zola Marcel Proust George Sand Voltaire Albert Camus Gustave Flaubert Jean-Paul Sartre Antoine de Saint-Exupéry Guy de Maupassant Alexandre Dumas Simone de Beauvoir Molière Jules Verne Jacques Prevert Top French writers and most famous book titles 1) Victor Hugo When discussing famous French writers, the first author who always comes to mind is Victor Hugo (1802-1865). Victor Hugo’s career lasted over 60 years, with his writing including poetry, essays, and satire. Some of his most popular works include Les Misérables and the Hunchback of Notre Dame, both of which are known around the world today. His books have been translated into over 60 languages, making it easy to access his work wherever you are. 2) Honoré de Balzac Honoré de Balzac (1799-1850) was a great author of both plays and novels. He is best known for La Comédie Humaine, which shares 91 stories and essays. It details many issues that came up during the French Revolution, including discussions on money and power. Also consider reading Pere Goriot, Droll Stories, Lost Illusions and Rise and Fall of Cesar Birotteau. 3) Émile Zola During his career, Émile Zola (1940-1902) wrote a huge number of books, short stories, and essays. He was nominated for the Nobel Prize in Literature in both 1901 and 1902, with some of his must-read works including Germinal, Thérèse Raquin and The Fortune of the Rougons. 4) Marcel Proust During the 20th century, Marcel Proust (1871-1922) was known as one of the top French writers, mainly commentating on the changes within society during this time. We highly recommend reading In Search of Lost Time, but keep in mind this is spread over seven volumes. Also consider reading Swann’s Way or The Fugitive, which are two of his other top pieces of work. 5) George Sand George Sand (1804-1876; née Amantine Lucile Aurore Dupin) is one of the top female French authors of all time. She was known for wearing men’s clothing in public but was very vocal about women’s rights. To understand her work more, we recommend reading Indiana or her Intimate Journal. 6) Voltaire Voltaire (1694-1878) is another name which you would expect to see on any list of the top French writers. He produced work across a range of forms during his career, including essays and plays. Some of his most famous books include Candide and Letters to England, where Voltaire was not afraid to voice his opinions about the 1789 French Revolution. 7) Albert Camus Albert Camus (1913-1960) is still one of the most popular French authors to this date, with works such as the Stranger selling thousands of copies each year. At the young age of 44, he received the 1957 Novel Prize in Literature. The Plague and The Fall are two other top works we recommend checking out and are a good place to start if you aren’t familiar with the author. 8) Gustave Flaubert Gustave Flaubert (1821-1880) was a French novelist who was particularly well known within the literary realism field. To understand more about the author’s work, we recommend reading Madame Bovary or Sentimental Education. 9) Jean-Paul Sartre Jean-Paul Sartre (1905-1980) was known for his liberal mind, which is well demonstrated in his most popular works. The Age of Reason and Nausee are two of his best-selling works, which led to him receiving the Nobel Prize in Literature in 1964. 10) Antoine de Saint-Exupéry Antoine de Saint-Exupéry (1900-1944) is the author of Le Petit Prince, one of the most famous French books in the world today. While you may think this book is aimed at a younger audience, it has a much deeper story than you might expect. Also consider reading Airman’s Odyssey if you are looking to read another book by this incredible author. 11) Guy de Maupassant Guy de Maupassant (1850-1893) was one of the top authors of the 19th century in France. He is best known for his short stories, which have been read around the world to this date. Consider reading Boule de Suif or Une Vie to learn more about his depiction of human life. 12) Alexandre Dumas Alexandre Dumas’ (1802-1870) best known works are The Three Musketeers and the Comte of Monte Cristo. He also worked for the French government during his career, then went on to write many novels across a wide range of genres. 13) Simone de Beauvoir As a French writer and a female activist, Simone de Beauvoir (1908-1986) was another famous female French author who advocated for the rights of women during her life. The Second Sex and The Coming of Age are two of her top books, which helped her to win the Prix Goncourt later on in 1954. 14) Molière Best known by his stage name of Molière, Jean-Baptiste Poquelin (1622-1673) is considered to be one of the top French writers of all time. He wrote a variety of plays during his career, including Tartuffe and The Misanthrope, while also working as an actor himself. 15) Jules Verne Jules Verne (1828-1905) is one of the top French authors of all time, with major works including Journey to the Center of the Earth and Around the World in 80 Days. His science fiction novels have influenced authors to this day and they are still classics which are enjoyed by young and old around the world. 16) Jacques Prevert Jacques Prevert (1900-1977) wrote numerous poems and screenplays during his career. Spectacle and Paroles are two of his most popular works, which are still studied in schools and universities in France today. French writers – conclusion All of these French writers can still be enjoyed to this day, with timeless novels, poems, and plays that are still relevant to the struggles we face in the modern world. We highly recommend checking out some of the recommended works we’ve shared above, which will inspire you to reach outside of your comfort zone when it comes to reading in the future. Discover more: Top 10 most famous French poets of all time 10 most famous French philosophers Best books for learning French List of most famous French people List of Famous French actresses List of Famous French actors Sharing is caring!
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5097	dbpedia	2	53	https://catalog.gmu.edu/mason-core/	en	Mason Core < George Mason University			[ "https://catalog.gmu.edu/images/logo.png", "https://catalog.gmu.edu/images/mason-logo.png" ]	[]	[]	[ "" ]	null	[]	null		en	/favicon.ico		null	Overview Mason Core is Mason’s general education program that builds the foundation for the Mason Graduate – an engaged citizen and well-rounded scholar who is prepared to act. Mason Core is a set of required courses that create the foundation of a student’s undergraduate degree. It provides a breadth of liberal education courses, complementing the depth of knowledge and skills students build in their majors and minors. All undergraduates seeking a baccalaureate degree must complete Mason Core requirements. Foundation Requirements (12 credits) Foundation requirements help ensure that students master the tools and techniques necessary to succeed in college and throughout their lives and careers. These courses emphasize skills—in writing, speaking, and working with numbers and technology—that can be applied to any major field of study and career. Written Communication (lower-level, 3 credits) The Mason Core curriculum offers students a unique opportunity to develop writing competencies across their educational experience that prepares them to participate in academic, professional, and civic communities. It does so in part by providing students with a “vertical” writing curriculum: a carefully sequenced series of courses designed to facilitate the long-term growth of writers as they develop expertise in the production and circulation of knowledge across a range of contexts and Students begin this process at the Foundation level and build higher-level skills at the Integration level in upper-level written communication and in Writing Intensive courses in their majors. Learning Outcomes: As the first course in Mason’s vertical writing curriculum, students learn to see writing as a social, rhetorical act and are taught to effectively analyze and respond to a variety of writing situations in academic and non-academic contexts through analyzing, researching, and producing texts of varying genres that engage a range of Required: One approved course. Course List Code Title Credits ENGH 100Composition for Multilingual Writers (Mason Core)4 ENGH 101Composition (Mason Core)3 ENGH 123Language-Enhanced Composition for Multilingual Writers (Mason Core)4 Oral Communication (3 credits) Oral Communication focuses on developing students’ ability to create and deliver a variety of message types. Students will learn to monitor and ethically practice their own verbal and nonverbal communication to become an effective communicator, demonstrating respect and consideration for a multitude of audiences with whom they will communicate in a range of intercultural, personal, and professional contexts. They will learn to use oral communication as a way of thinking and learning, as well as to share ideas. Learning Outcomes: Upon completing an Oral Communication course, students will be able to: Demonstrate understanding of and proficiency in constructing and delivering multiple message types. Understand and practice effective elements of ethical verbal and nonverbal communication. Develop analytical skills and critical listening skills. Understand the influence of culture in communication and will know how to cope with cultural differences when presenting information to an audience. Required: COMM 101 should be taken by all students unless their degree program specifies a different requirement. Students will be expected to continue developing oral communication skills in additional Mason Core courses as appropriate. Course List Code Title Credits COMM 100Public Speaking (Mason Core)3 COMM 101Fundamentals of Communication (Mason Core)3 DANC 454Methods of Teaching Dance (Mason Core)3 INTS 101Narratives of Identity (Mason Core)6 INTS 202Public Speaking and Critical Thinking Skills (Mason Core)4 Quantitative Reasoning (3 credits) Quantitative Reasoning courses develop critical thinking skills using mathematical and statistical concepts (i.e., formulas, graphs, tables, models, and schematics) to analyze and make sense of data, patterns, and relationships. By learning to evaluate problems using quantitative reasoning, students will be better equipped to make well-supported decisions in personal, academic, and workplace situations. Learning Outcomes: Upon completing a Quantitative Reasoning course, students will be able to: Interpret quantitative information (i.e., formulas, graphs, tables, models, and schematics) and draw inferences from them. Formulate a given problem quantitatively and use appropriate arithmetical, algebraic, and/or statistical methods to solve the problem. Evaluate logical arguments using quantitative reasoning. Communicate and present quantitative results effectively. Required: One approved course. Course List Code Title Credits BUS 210Business Analytics I (Mason Core)3 CDS 292Introduction to Social Network Analysis (Mason Core)3 EDRS 220Introduction to Applied Quantitative Analysis (Mason Core)3 HNRT 125Applied Quantitative Reasoning (Mason Core)3 MATH 106Quantitative Reasoning (Mason Core)3 MATH 108Introductory Calculus with Business Applications (Mason Core)3 MATH 110Introductory Probability (Mason Core)3 MATH 111Linear Mathematical Modeling (Mason Core)4 MATH 113Analytic Geometry and Calculus I (Mason Core)4 MATH 115Analytic Geometry and Calculus I (Honors) (Mason Core)4 MATH 124Calculus with Algebra/Trigonometry, Part B (Mason Core)3 MATH 125Discrete Mathematics I (Mason Core)3 MATH 272Mathematics for the Elementary School Teachers II (Mason Core)3 SOCI 213Statistics for the Behavioral Sciences (Mason Core)4 STAT 250Introductory Statistics I (Mason Core)3 Information Technology and Computing (3 credits) Information technology and computing can significantly augment humans' ability to produce, consume, process, and communicate information. Thus, students need to understand ways to use such technology to enhance their lives, careers, and society, while being mindful of challenges such as security, source reliability, automation, and ethical implications. These factors have made it essential for students to understand how to effectively navigate the evolving technological landscape. IT courses offered in the majors may focus on disciplinary applications and concerns of information technology. Learning Outcomes: Upon completing an Information Technology and Computing course, students will be able to: Understand the principles of information storage, exchange, security, and privacy and be aware of related ethical issues. Consume digital information critically, capable of selecting and evaluating appropriate, relevant, and trustworthy sources of information. Use appropriate information and computing technologies to organize and analyze information and use it to guide decision-making. Choose and apply appropriate algorithmic methods to solve a problem. Required: One approved course that meets all IT requirements or an approved sequence of courses that meet all IT requirements. Courses meeting IT requirements Course List Code Title Credits ANTH 395Work, Technology, and Society: An IT Perspective (Mason Core)3 AVT 110Digital Design Studio (Mason Core)3 AVT 180New Media in the Creative Arts (Mason Core)3 CDS 130Computing for Scientists (Mason Core)3 CS 100Principles of Computing (Mason Core)3 CS 108Intro to Computer Programming, Part A (Mason Core)3 CS 112Introduction to Computer Programming (Mason Core)4 CYSE 130Introduction to Computing for Digital Systems Engineering (Mason Core)3 ELED 257Integrating Technology in PreK-6 (Mason Core)3 ENGH 210Equitable AI (Mason Core)3 GOVT 300Research Methods and Analysis (Mason Core)4 HIST 390The Digital Past (Mason Core)3 INTS 203Inquiry for Action: Facilitating Change (Mason Core)6 INTS 249Digital Literacy (Mason Core)4 IT 104Introduction to Computing (Mason Core)3 MIS 303Introduction to Business Information Systems (Mason Core)3 MUSI 259Music in Computer Technology (Mason Core)3 PHYS 251Introduction to Computer Methods in Physics (Mason Core)3 SOCI 410Social Surveys and Attitude and Opinion Measurements (Mason Core)3 SYST 130Introduction to Computing for Digital Systems Engineering (Mason Core)3 PSYC 300Statistics in Psychology4 PSYC 301Research Methods in Psychology (Mason Core)4 PSYC 372Biopsychology3 Exploration Requirements (22 credits) Exploration requirements help ensure that students become acquainted with the broad range of intellectual domains that contribute to a liberal education. By experiencing subject matter and ways of knowing in a variety of fields, students will be better able to synthesize new knowledge, respond to fresh challenges, and meet the demands of a complex world. Arts (3 credits) Mason courses in the film making, visual, and performing arts stress generative, inquiry based learning through direct aesthetic and creative experience in the studio environment. Art history courses address the intrinsic relationship of personal and cultural creativity, and the manifestation of aesthetics, visual culture, and visual narrative within historical contexts. Learning Outcomes: Demonstrate an understanding of the relationship among artistic process, a work's underlying concept, and, where appropriate, contexts associated with the work. Identify and analyze the formal elements of a particular art form using vocabulary and critique appropriate to that form. Analyze cultural productions using standards appropriate to the form, as well as the works cultural significance and context. Analyze and interpret the content of material or performance culture through its social, historical, and personal contexts. Engage in generative artistic processes, including conception, creation, and ongoing critical analysis. Required: One approved course. Course List Code Title Credits ARTH 101Introduction to the Visual Arts (Mason Core)3 ARTH 102Symbols and Stories in Art (Mason Core)3 ARTH 103Introduction to Architecture (Mason Core)3 ARTH 104Design in the 20th Century (Mason Core)3 ARTH 200History of Western Art I (Mason Core)3 ARTH 201History of Western Art II (Mason Core)3 ARTH 203Survey of Asian Art (Mason Core)3 ARTH 204Survey of Latin American Art (Mason Core)3 ARTH 206Survey of African Art (Mason Core)3 ARTH 303National Traditions (Mason Core)1-3 ARTH 311Design of Cities (Mason Core)3 ARTH 315Modern Architecture (Mason Core)3 ARTH 317The Black Pharaohs: Art and Archaeology of Ancient Nubia (Mason Core)3 ARTH 321Greek Art and Archaeology (Mason Core)3 ARTH 322Roman Art and Archaeology (Mason Core)3 ARTH 324From Alexander the Great to Cleopatra: The Hellenistic World (Mason Core)3 ARTH 333Early Christian and Byzantine Art (Mason Core)3 ARTH 334Western Medieval Art (Mason Core)3 ARTH 335Arts of Medieval England (Mason Core)3 ARTH 340Early Renaissance Art in Italy, 1300-1500 (Mason Core)3 ARTH 341Northern Renaissance Art (Mason Core)3 ARTH 342High Renaissance Art in Italy, 1480-1570 (Mason Core)3 ARTH 343The Art of Venice (Mason Core)3 ARTH 344Baroque Art in Italy, France, and Spain, 1600-1750 (Mason Core)3 ARTH 345Northern Baroque Art, 1600-1750 (Mason Core)3 ARTH 350History of Photography (Mason Core)3 ARTH 360Nineteenth-Century European Art (Mason Core)3 ARTH 362Twentieth-Century European Art (Mason Core)3 ARTH 370Arts of the United States (Mason Core) JS3 ARTH 371American Architecture and Material Culture (Mason Core)3 ARTH 372Studies in 18th- and 19th-Century Art of the United States (Mason Core)3 ARTH 373Studies in 20th-Century Art of the United States (Mason Core)3 ARTH 375Indigenous Arts of the US and Canada (Mason Core)3 ARTH 376Twentieth-Century Latin American Art (Mason Core)3 ARTH 382Arts of India (Mason Core)3 ARTH 383Arts of Southeast Asia (Mason Core)3 ARTH 384Arts of China (Mason Core)3 AVT 103Introduction to the Artist's Studio (Mason Core)3 AVT 104Two-Dimensional Design and Color (Mason Core)3 AVT 105Three-Dimensional Design and Beyond (Mason Core)3 AVT 215Typography (Mason Core)3 AVT 222Drawing I (Mason Core)3 AVT 232Painting I (Mason Core)3 AVT 243Printmaking I (Mason Core)3 AVT 252Darkroom Photography I (Mason Core)3 AVT 253Digital Photography I (Mason Core)3 AVT 262Sculpture I (Mason Core)3 AVT 385EcoArt (Mason Core)3 DANC 101Dance Appreciation (Mason Core)3 DANC 119Dance in Popular Culture (Mason Core)3 DANC 125Modern/Contemporary Dance I (Mason Core)3 DANC 131Beginning Jazz Technique (Mason Core)3 DANC 145Ballet I (Mason Core)3 DANC 161Beginning Tap Dance (Mason Core)3 DANC 225Modern/Contemporary Dance II (Mason Core)3 DANC 231Intermediate Jazz Technique (Mason Core)3 DANC 245Ballet II (Mason Core)3 DANC 301What is Dance? (Mason Core)3 DANC 331Advanced Jazz Dance (Mason Core)3 DANC 390Dance History I (Mason Core)3 DANC 391Dance History II (Mason Core)3 DANC 425Advanced Modern/Contemporary Dance I (Mason Core)1-3 DSGN 102Design in the Modern World (Mason Core)3 ENGH 270Introduction to Screen Cultures (Mason Core)3 ENGH 315Folklore and Folklife (Mason Core) JS3 ENGH 370Documentary and Non-Fiction Film/Media (Mason Core)3 ENGH 371Global TV (Mason Core)3 ENGH 372Introduction to Film (Mason Core)3 ENGH 374Screening the Global City (Mason Core)3 ENGH 396Introduction to Creative Writing (Mason Core)3 FAVS 204Film Art (Mason Core)3 FAVS 225Introduction to World Cinema (Mason Core)3 FAVS 280Writing for the Moving Image (Mason Core)3 GAME 101Introduction to Game Design (Mason Core)3 HIST 316History of Modern Architecture (Mason Core)3 INTS 103Human Creativity: Science and Art (Mason Core)6 INTS 245Visual Culture and Society (Mason Core)4 INTS 346Art as Social Action (Mason Core)4 MUSI 100Fundamentals of Music (Mason Core)3 MUSI 101Introduction to Classical Music (Mason Core)3 MUSI 102Popular Music in America (Mason Core)3 MUSI 106Fundamentals of Rock, Blues, and Jazz (Mason Core)3 MUSI 107Jazz and Blues in America (Mason Core)3 MUSI 280Athletic and Ceremonial Ensemble (Mason Core)0-1 MUSI 301Music in Motion Pictures (Mason Core)3 MUSI 302American Musical Theater (Mason Core)3 MUSI 380Wind Symphony (Mason Core)0-1 MUSI 381University Chorale (Mason Core)0-1 MUSI 382Piano Ensemble (Mason Core)1 MUSI 383Symphonic Band (Mason Core)0-1 MUSI 385Chamber Singers (Mason Core)0-1 MUSI 387Symphony Orchestra (Mason Core)0-1 MUSI 389Jazz Ensemble (Mason Core)0-1 MUSI 485Chamber Ensembles (Mason Core)0-1 PHIL 156What Is Art? (Mason Core)3 RELI 237Religion and Art (Mason Core)3 THR 101Theatrical Medium (Mason Core)3 THR 115Staging Activism (Mason Core)3 THR 150Global Theater Histories I (Mason Core)3 THR 151Global Theater Histories II (Mason Core)3 THR 195Play Production Technical Practicum (Mason Core)3 THR 210Acting I (Mason Core)3 THR 230Fundamentals of Production (Mason Core)3 THR 411Great Film Directors (Mason Core)3 THR 412Great Film Performances (Mason Core)3 Global History (3 credits) By focusing on historical experiences that reflect the diversity of Mason’s student body, students will be able to see how their families and communities fit within, and contribute to, global history from the pre-modern period to our present day. These courses offer a long-term historical perspective on structural issues challenging our world today, including demographic and environmental changes, national and global inequalities, and the underrepresentation of marginalized groups. Students will gain an understanding of how interconnections and inter-dependencies have been forged through the global movement of people, pathogens, goods, and ideas. Learning Outcomes: Upon completing a Global History course, students will be able to: Identify major chronological developments in global history from the pre-modern period (before 1400 CE) to the present. Communicate a historical argument through writing, speech, and/or digital media using a variety of primary and secondary sources. Apply historical knowledge and historical thinking to contemporary global issues. Required: One approved course. Course List Code Title Credits HIST 125Introduction to Global History (Mason Core)3 HIST 394Globalization and History (Mason Core) 13 Global Contexts (3 credits) The goal of the Global Contexts (GC) Mason Core requirement is to enable students to explore global connections through a disciplinary lens and to understand how global systems have created both interdependence and inequalities that engaged citizens must understand in order to work toward an equitable and sustainable future. Learning Outcomes: Required: One approved course. Course List Code Title Credits ANTH 309Peoples and Cultures of India (Mason Core) JS3 ANTH 382Urban Anthropology (Mason Core)3 ARTH 320Art of the Islamic World (Mason Core) JS3 BUS 200Global Environment of Business (Mason Core)3 CEIE 100Environmental Issues and Solutions Around the World (Mason Core) JS3 COMM 305Foundations of Intercultural Communication (Mason Core) JS3 CRIM 405Law and Justice around the World (Mason Core)3 CULT 320Globalization and Culture (Mason Core) JS3 ENGH 270Introduction to Screen Cultures (Mason Core)3 ENGH 374Screening the Global City (Mason Core)3 EVPP 336Tackling Wicked Problems in Society the Environment (Mason Core) JS3 GCH 205Global Health (Mason Core) JS3 GEOC 150International Experience: Global Contexts (Mason Core)0 GGS 101Major World Regions (Mason Core)3 GGS 317Geography of China (Mason Core)3 GLOA 101Introduction to Global Affairs (Mason Core) JS3 GOVT 133Introduction to Comparative Politics (Mason Core)3 GOVT 134Grand Challenges to Human Security (Mason Core)3 HIST 261Survey of African History (Mason Core)3 HIST 262Survey of African History (Mason Core)3 HIST 271Survey of Latin American History (Mason Core)3 HIST 272Survey of Latin American History (Mason Core) JS3 HIST 308Nineteenth-Century Europe (Mason Core)3 HIST 329Modern Russia and the Soviet Union (Mason Core) JS3 HIST 356Modern Japan (Mason Core)3 HIST 357Postwar Japan (Mason Core)3 HIST 377The Vietnam War (Mason Core)3 HIST 384Global History of Christianity (Mason Core) JS3 INTS 390International Internship (Mason Core)1-6 INYO 261Mentoring Multilingual Learners (Mason Core) JS3 NEUR 355Cross-Cultural Studies in Scientific Inquiry (Mason Core)3 RELI 100The Human Religious Experience (Mason Core)3 RELI 211Introduction to Religions of the "West" (Mason Core) JS3 RELI 212Introduction to Religions of Asia (Mason Core) JS3 RELI 310Judaism (Mason Core) JS3 RELI 312Islam (Mason Core)3 RELI 313Hinduism (Mason Core) JS3 RELI 322Religions of Africa (Mason Core)3 RELI 368Islam, Democracy, and Human Rights (Mason Core) JS3 RELI 384Global History of Christianity (Mason Core) JS3 SOCI 320Globalization and Social Change (Mason Core) JS3 SOCI 332The Urban World (Mason Core)3 SPAN 212Intermediate Spanish II: Local and Global Contexts (Mason Core)3 SYST 202Engineering Systems in a Complex World (Mason Core) JS3 TOUR 210Global Understanding through Travel and Tourism (Mason Core)3 WMST 100Global Representations of Women (Mason Core)3 Literature (3 credits) Courses in the Literature category develop students’ abilities to read for comprehension, detail, and nuance; identify specific literary qualities of language as employed in texts they read; analyze the ways specific literary devices contribute to the meaning of a text; identify and evaluate the contribution of the social, political, historical, and cultural contexts in which a literary text is produced; and evaluate a critical argument in others’ and one’s own context. Learning Outcomes: Courses in the Literature category must meet a minimum of three learning outcomes. Upon completing the Literature category, students will be able to: Read for comprehension, detail, and nuance. Identify the specific literary qualities of language as employed in the texts they read. Analyze the ways specific literary devices contribute to the meaning of a text. Identify and evaluate the contribution of the social, political, historical, and cultural contexts in which a literary text is produced. Evaluate a critical argument in others' writing as well as one's own. Required: One approved course. Course List Code Title Credits ARAB 325Major Arab Writers/Stories (Mason Core)3 ARAB 365Black and Minority Cultures in Arabic Literature (Mason Core)3 CHIN 310Survey of Chinese Literature (Mason Core)3 CHIN 311Modern Chinese Literature in Translation (Mason Core)3 CHIN 325Major Chinese Writers (Mason Core)3 CHIN 328Asian American Women Writers (Mason Core)3 CLAS 250Classical Mythology (Mason Core)3 CLAS 260The Legacy of Greece and Rome (Mason Core)3 CLAS 340Greek and Roman Epic (Mason Core)3 CLAS 350Greek and Roman Tragedy (Mason Core)3 CLAS 360Greek and Roman Comedy (Mason Core)3 CLAS 380Greek and Roman Novels (Mason Core)3 ELED 258Children's Literature for Teaching in Diverse Settings (Mason Core)3 ENGH 201Reading and Writing about Texts (Mason Core)3 ENGH 202Texts and Contexts (Mason Core)3 ENGH 203Western Literary Tradition (Mason Core)3 ENGH 204Western Literary Traditions (Mason Core)3 ENGH 206Literature in the Creation of Just Societies (Mason Core)3 FREN 325Major French Writers (Topic Varies) (Mason Core)3 FREN 329Problems of Western Civilization in French Literature (Mason Core)3 FRLN 330Topics in World Literature (Mason Core)3 GERM 325Major Writers (Mason Core)3 HIST 334American Scriptures (Mason Core)3 HIST 381Remembering Histories of Violence: Narrative Engagements with Difficult Pasts (Mason Core)3 INTS 101Narratives of Identity (Mason Core)6 INTS 363Social Justice Narratives (Mason Core)3 ITAL 320Topics in Italian Film and Literature (Mason Core)3 ITAL 325Major Italian Writers (Mason Core)3 JAPA 340Topics in Japanese Literature (Mason Core)3 KORE 311Modern Korean Literature in Translation (Mason Core)3 PHIL 253Philosophy and Literature (Mason Core)3 RELI 235Religion and Literature (Mason Core)3 RELI 333Spiritual Autobiography (Mason Core)3 RELI 334American Scriptures (Mason Core)3 RELI 339The Bible as Literature (Mason Core)3 RUSS 325Major Russian Writers (Mason Core)3 RUSS 32619th-Century Literature in Translation (Mason Core)3 RUSS 32720th-Century Literature in Translation (Mason Core)3 SEED 370Young Adult Literature in Multicultural Settings (Mason Core)3 SPAN 325Major Hispanic Writers (Mason Core)3 Natural Science (7 credits total) Natural Science courses engage students in scientific exploration; foster their curiosity; enhance their enthusiasm for science; and enable them to apply scientific knowledge and reasoning to personal, professional, and public decision-making. Natural Science Lab courses must meet all five learning outcomes. Natural Science Overview (non-lab) courses must meet learning outcomes 1 through 4. Learning Outcomes: Upon completing the Natural Science courses, students will be able to: Understand how scientific inquiry is based on investigation of evidence from the natural world, and that scientific knowledge and understanding: a) evolves based on new evidence, and b) differs from personal and cultural beliefs. Recognize the scope and limits of science. Recognize and articulate the relationship between the natural sciences and society and the application of science to societal challenges (e.g., health, conservation, sustainability, energy, natural disasters, etc.). Evaluate scientific information (e.g., distinguish primary and secondary sources, assess credibility and validity of information). Participate in scientific inquiry and communicate the elements of the process, including: a) making careful and systematic observations, b) developing and testing a hypothesis, c) analyzing evidence, and d) interpreting results. Required: Two approved science courses. At least one course will include laboratory experience. Approved combinations of lecture and lab sections (4 credits): Note: The lecture components of the approved combinations listed below can be taken alone to fulfill 3 credits of the non-lab requirement, or they can be paired with the lab component to fulfill 4 credits of the lab requirement. The lab components of the approved combinations below must be taken after or concurrently with their approved lecture. Course List Code Title Credits Introduction to Biological Anthropology (Mason Core) and Introduction to Biological Anthropology Lab (Mason Core) JS Astronomy (Mason Core) and The Solar System Lab (Mason Core) Astronomy (Mason Core) and Stars, Galaxies, and the Universe Lab (Mason Core) The Solar System (Mason Core) and The Solar System Lab (Mason Core) Stars, Galaxies, and the Universe (Mason Core) and Stars, Galaxies, and the Universe Lab (Mason Core) Introductory Biology II-Survey of Cell and Molecular Biology (Mason Core) and Introductory Biology II Laboratory (Mason Core) Intro Biology II Lecture (Mason Core) and Introductory Biology I Laboratory (Mason Core) Introduction to Computational and Data Sciences (Mason Core) and Introduction to Computational and Data Sciences Lab (Mason Core) General Chemistry I (Mason Core) and General Chemistry Laboratory I (Mason Core) General Chemistry II (Mason Core) and General Chemistry Laboratory II (Mason Core) General Chemistry for Engineers Lecture (Mason Core) and General Chemistry for Engineers Lab (Mason Core) Introduction to the Fundamentals of Atmospheric Science (Mason Core) and Introduction to the Fundamentals of Atmospheric Science Lab (Mason Core) Introduction to the Fundamentals of Atmospheric Science (Mason Core) and Introduction to the Fundamentals of Atmospheric Science Lab (Mason Core) Ecosphere - Introduction to Environmental Science I-Lecture (Mason Core) and Ecosphere- Introduction to Environmental Science I- Lab (Mason Core) Ecosphere: Introduction to Environmental Science II-Lecture (Mason Core) and Ecosphere: Introduction to Environmental Science II–Lab (Mason Core) Physical Geology (Mason Core) and Physical Geology Lab (Mason Core) Historical Geology (Mason Core) and Historical Geology Laboratory (Mason Core) The Changing Ocean (Mason Core) and The Changing Ocean Laboratory (Mason Core) Introduction to the Fundamentals of Atmospheric Science (Mason Core) and Introduction to the Fundamentals of Atmospheric Science Lab (Mason Core) Introduction to the Fundamentals of Atmospheric Science (Mason Core) and Introduction to the Fundamentals of Atmospheric Science Lab (Mason Core) University Physics I (Mason Core) and University Physics I Laboratory (Mason Core) Introductory and Modern Physics I (Mason Core) and University Physics I Laboratory (Mason Core) College Physics I (Mason Core) and College Physics I Lab (Mason Core) College Physics II (Mason Core) and College Physics II Lab (Mason Core) University Physics II (Mason Core) and University Physics II Laboratory (Mason Core) University Physics III (Mason Core) and University Physics III Laboratory (Mason Core) Introductory and Modern Physics II (Mason Core) and University Physics II Laboratory (Mason Core) Natural Science Overview (non-lab) (3 credits): Note: For additional Natural Science Overview (non-lab) options, please see the list above. The lecture components of the approved course pairings can be taken alone for non-lab credit. Course List Code Title Credits ASTR 302Foundations of Cosmological Thought (Mason Core)3 ASTR 303Black Holes (Mason Core)3 BIOL 140Plants and People (Mason Core)3 CHEM 101Introduction to Modern Chemistry (Mason Core)3 CHEM 102Chemistry for Changing Times (Mason Core)3 CLIM 101Global Warming: Weather, Climate, and Society (Mason Core)3 COS 301Great Ideas in Science (Mason Core)3 EVPP 201Environment and You: Issues for the Twenty-First Century (Mason Core)3 FRSC 101Principles of Forensic Science (Mason Core)3 GEOC 151International Experience: Natural Science Non-lab (Mason Core)0 GEOL 134Evolution and Extinction (Mason Core)3 GGS 102Physical Geography (Mason Core) JS3 INTS 103Human Creativity: Science and Art (Mason Core)6 INTS 210Sustainable World (Mason Core)4 INTS 211Introduction to Conservation Studies (Mason Core)3-6 INTS 301Science in the News (Mason Core)3 INTS 410Contemporary Health: Intersections in Science and Society (Mason Core)4 NEUR 101Introduction to Neuroscience (Mason Core)3 NUTR 295Introduction to Nutrition (Mason Core)3 PHIL 271How Science Works (Mason Core)3 PHYS 106The Quantum World: A Continuous Revolution in What We Know and How We Live (Mason Core)3 Natural Science with Lab (4 credits): Note: For additional options, see the list above for approved course pairings. Course List Code Title Credits ASTR 115Finding New Worlds (Mason Core)4 BIOL 102Introductory Biology I-Survey of Biodiversity and Ecology (Mason Core)4 BIOL 213Cell Structure and Function (Mason Core)4 CHEM 103Chemical Science in a Modern Society (Mason Core)4 CHEM 104Chemistry for Changing Times (Mason Core)4 CHEM 155Introduction to Environmental Chemistry I (Mason Core)4 CHEM 156Introduction to Environmental Chemistry II (Mason Core)4 CLIM 102Introduction to Global Climate Change Science (Mason Core)4 GGS 121Dynamic Atmosphere and Hydrosphere (Mason Core)4 INTS 311The Mysteries of Migration: Consequences for Conservation (Mason Core)6 INTS 401Conservation Biology (Mason Core)4 INTS 403Conservation Behavior (Mason Core)4 PHYS 103Physics and Everyday Phenomena I (Mason Core)4 PHYS 104Physics and Everyday Phenomena II (Mason Core)4 Social and Behavioral Sciences (3 credits) Students will develop the ability to explain how individuals, groups, or institutions are influenced by contextual factors; demonstrate awareness of changes in social and cultural constructs; and use appropriate methods and resources to apply social and behavioral science concepts, terminology, principles, and theories in analysis of significant human issues, past or present. Learning Outcomes: Upon completing a Social and Behavioral course, students will be able to: Explain how individuals, groups, or institutions are influenced by contextual factors. Demonstrate awareness of changes in social and cultural constructs. Use appropriate methods and resources to apply social and behavioral science concepts, terminology, principles, and theories in the analysis of significant human issues, past or present. Required: One approved course. Course List Code Title Credits AFAM 200Introduction to African American Studies (Mason Core)3 ANTH 114Introduction to Cultural Anthropology (Mason Core)3 ANTH 120Unearthing the Past: Prehistory, Culture and Evolution (Mason Core)3 ANTH 121People of the Earth: Humanity's First Five Million Years (Mason Core)3 ANTH 135Introduction to Biological Anthropology (Mason Core) JS3 ANTH 363Humans, Disease, and Death (Mason Core)3 ANTH 365Scientific Racism and Human Variation (Mason Core) JS3 ANTH 396Issues in Anthropology: Social Sciences (Mason Core)3 BUS 100Business and Society (Mason Core)3 CONF 101Conflict and Our World (Mason Core)3 CONS 410Human Dimensions in Conservation (Mason Core)3 CRIM 100Introduction to Criminal Justice (Mason Core)3 ECON 100Economics for the Citizen (Mason Core)3 ECON 103Contemporary Microeconomic Principles (Mason Core)3 ECON 104Contemporary Macroeconomic Principles (Mason Core)3 ECON 105Environmental Economics for the Citizen (Mason Core)3 ECON 367Money, Markets, and Economic Policy (Mason Core)3 EDEP 110Academic Success Through Self-Regulated Learning (Mason Core)3 EDEP 350Perspectives on Achievement Motivation (Mason Core)3 EDSE 203Disability in American Culture (Mason Core)3 EDUC 200Introduction to Education: Teaching, Learning and Schools (Mason Core)3 GCH 325Stress and Well-Being (Mason Core)3 GGS 103Human Geography (Mason Core)3 GGS 301Political Geography (Mason Core) JS3 GOVT 101Democratic Theory and Practice (Mason Core)3 GOVT 103Introduction to American Government (Mason Core) JS3 GOVT 150Introduction to Technology Policy (Mason Core) JS3 GOVT 367Money, Markets and Economic Policy (Mason Core)3 HDFS 200Individual and Family Development (Mason Core)3 HEAL 230Introduction to Health Behavior (Mason Core)3 HIST 121Formation of the American Republic (Mason Core)3 HIST 122Development of Modern America (Mason Core)3 HIST 314History of Germany (Mason Core)3 INTS 203Inquiry for Action: Facilitating Change (Mason Core)6 INTS 300Law and Justice (Mason Core)3 INTS 304Social Movements and Community Activism (Mason Core)4 INTS 316Introduction to Childhood Studies (Mason Core)4 INTS 317Issues in Family Relationships (Mason Core)4 INTS 319Contemporary Youth Studies (Mason Core) JS3 INTS 321Parent-Child Relations (Mason Core)4 INTS 331The Nonprofit Sector (Mason Core)4 INTS 334Environmental Justice (Mason Core)4 INTS 336Poverty, Wealth and Inequality in the US (Mason Core)3 INTS 347Gender Representation in Popular Culture (Mason Core)3-6 INTS 362Social Justice and Human Rights (Mason Core)3 INTS 371Food Systems and Policy (Mason Core)3 INTS 434Research for Social Change (Mason Core)3 INTS 436Social Justice Education (Mason Core)4 INTS 437Critical Race Studies (Mason Core)3 INTS 438Representations of Race (Mason Core)4 LING 100Human Language (Mason Core)3 LING 306Introduction to Linguistic Analysis (Mason Core)3 PSYC 100Introduction to Psychology (Mason Core)3 PSYC 211Lifespan Development (Mason Core)3 PSYC 231Social Psychology (Mason Core)3 PSYC 333Psychology in the Workplace (Mason Core)3 SOCI 101Introductory Sociology (Mason Core) JS3 SOCI 308Race and Ethnicity in a Changing World (Mason Core)3 SOCI 315Contemporary Gender Relations (Mason Core)3 SOCI 352Social Problems and Solutions (Mason Core)3 SOCI 355Social Inequality (Mason Core)3 SOCI 360Youth Culture and Society (Mason Core)3 SOCI 371The Individual and Society (Mason Core)3 SOCW 200Introduction to Social Work (Mason Core)3 SPAN 430Spanish in the United States (Mason Core)3 TOUR 311Women and Tourism (Mason Core)3 UNIV 381Foundations for Building a Just Society (Mason Core)3 WMST 200Introduction to Women and Gender Studies (Mason Core)3 WMST 208Introduction to Lesbian, Gay, Bisexual, Transgender, and Queer Studies (Mason Core) JS3 Just Societies (optional) Exploration-level courses that are marked with a Just Societies "flag" are specifically designed to help students learn how to interact effectively with others from all walks of life, including those with backgrounds and beliefs that differ from their own. These courses focus on understanding key terms commonly used in society and the workplace today, engaging with peers effectively while using these terms, and collaboratively identifying processes for change when warranted. Courses marked with the Just Societies flag are available for students starting in Fall 2024. Students admitted prior to the Fall of 2025 are not required to take courses with a Just Societies flag but may wish to do so to increase their knowledge and skills in this important area. Students interested in this approach to completing their Mason Core Exploration requirements should consult the list below and work closely with their advisor to identify the appropriate Just Societies-flagged courses. Learning Outcomes: Upon completing a Just Societies course, students will be able to demonstrate the following competencies: a) Define key terms related to justice, equity, diversity, and inclusion as related to this course’s field/discipline and b) Use those terms to engage meaningfully with peers about course issues. Articulate obstacles to justice and equity, and strategies for addressing them, in response to local, national, and/or global issues in the field/discipline. Course List Code Title Credits ANTH 135Introduction to Biological Anthropology (Mason Core)3 ANTH 309Peoples and Cultures of India (Mason Core)3 ANTH 365Scientific Racism and Human Variation (Mason Core)3 ARTH 370Arts of the United States (Mason Core)3 CEIE 100Environmental Issues and Solutions Around the World (Mason Core)3 COMM 305Foundations of Intercultural Communication (Mason Core)3 CULT 320Globalization and Culture (Mason Core)3 ENGH 206Literature in the Creation of Just Societies (Mason Core)3 ENGH 315Folklore and Folklife (Mason Core)3 EVPP 336Tackling Wicked Problems in Society the Environment (Mason Core)3 GCH 205Global Health (Mason Core)3 GGS 102Physical Geography (Mason Core)3 GGS 301Political Geography (Mason Core)3 GLOA 101Introduction to Global Affairs (Mason Core)3 GOVT 103Introduction to American Government (Mason Core)3 GOVT 150Introduction to Technology Policy (Mason Core)3 HIST 272Survey of Latin American History (Mason Core)3 HIST 329Modern Russia and the Soviet Union (Mason Core)3 HIST 384Global History of Christianity (Mason Core)3 INTS 319Contemporary Youth Studies (Mason Core)3 INYO 261Mentoring Multilingual Learners (Mason Core)3 RELI 211Introduction to Religions of the "West" (Mason Core)3 RELI 212Introduction to Religions of Asia (Mason Core)3 RELI 310Judaism (Mason Core)3 RELI 313Hinduism (Mason Core)3 RELI 368Islam, Democracy, and Human Rights (Mason Core)3 RELI 384Global History of Christianity (Mason Core)3 SOCI 101Introductory Sociology (Mason Core)3 SOCI 320Globalization and Social Change (Mason Core)3 SYST 202Engineering Systems in a Complex World (Mason Core)3 WMST 208Introduction to Lesbian, Gay, Bisexual, Transgender, and Queer Studies (Mason Core)3 Integration Requirements (9 credits) Integration requirements represent the culmination of knowledge and skills learned throughout a student's undergraduate career at Mason, both through the Foundation and Exploration levels of Mason Core and through the coursework within their majors. Within a disciplinary context, students further refine the communication, critical thinking, and problem-solving skills that are imperative for their careers, for engaging in the world around them, and for life-long learning. Written Communication (upper-level, 3 credits) Learning Outcomes: As the second course in Mason’s vertical writing curriculum, students build on their understanding of rhetorical and genre awareness and writing processes begun in Foundation-level Written Communication through advanced rhetorical analysis, inquiry-based research into a variety of scholarly and public perspectives, and writing oriented toward investigating, engaging with, and responding to meaningful disciplinary questions in a variety of academic and non-academic writing Writing Intensive Required: One approved course. Course List Code Title Credits ENGH 302Advanced Composition (Mason Core)3 Writing Intensive (usually 3 credits) Learning Outcomes: Upon completing a Writing Intensive Course, students will be able to: Required: One approved course. Note: Students MUST select the course approved for their major. See specific degree program for details. Course List Code Title Credits ACCT 461Assurance and Audit Services (Mason Core)3 ACCT 493Financial Planning and Wealth Management Capstone (Mason Core)3 ANTH 490History of Anthropological Theory (Mason Core)3 ARAB 331Reading and Conversation II (Mason Core)3 ARTH 400Historiography and Methods of Research in Art History (Topic Varies) (Mason Core)3 ARTH 420Advanced Studies in Ancient Art (Mason Core)3 ARTH 430Advanced Studies in Medieval or Islamic Art (Mason Core)3 ARTH 440RS: Advanced Studies in Renaissance and Baroque Art (Mason Core)3 ARTH 460RS: Advanced Studies in 20th-Century European Art (Mason Core)3 ARTH 471Advanced Studies in Art of the United States (Mason Core)3 ARTH 472RS: Advanced Studies in 20th-Century Latin American Art (Mason Core)3 ARTH 474Advanced Studies in Contemporary Art (Mason Core)3 ARTH 482RS: Advanced Studies in Asian Art (Mason Core)3 ARTH 495RS: Curating an Exhibit (Mason Core)3 ARTH 499Advanced Studies in Art History (Mason Core)3 ASTR 402RS: Methods of Observational Astronomy (Mason Core)4 AVT 395Writing for Artists (Mason Core)3 AVT 396Writing for Designers (Mason Core)3 BENG 360Biomedical Imaging (Mason Core)3 BIOL 308Foundations of Ecology and Evolution (Mason Core)5 BIOL 338Lab for Fundamentals of Ecology and Evolution (Mason Core)2 BIS 390The Research Process (Mason Core)3 CDS 302Scientific Data and Databases (Mason Core)3 CEIE 301Engineering and Economic Models in Civil Engineering (Mason Core)3 CHEM 336Physical Chemistry Lab I (Mason Core)2 CHEM 465Biochemistry Lab (Mason Core)2 CHIN 480Fourth-Year Chinese I (Mason Core)3 CLIM 408Senior Research (Mason Core)3 COMM 300Rhetorical Theory and Criticism (Mason Core)3 CONF 302Culture, Identity, and Conflict (Mason Core)3 CRIM 495Capstone in Criminology, Law and Society (Mason Core)3 CS 306Synthesis of Ethics and Law for the Computing Professional (Mason Core)3 CS 321Software Engineering (Mason Core)3 CYSE 491Engineering Senior Seminar (Mason Core)3 DANC 390Dance History I (Mason Core)3 DANC 391Dance History II (Mason Core)3 ECE 333Linear Electronics I (Mason Core)3 ECED 411Assessment of Diverse Young Learners (Mason Core)3 ECON 355The Political Economy of Nonprofit Institutions (Mason Core)3 ECON 365Topics in Economic History (Mason Core)3 ECON 395Effective Writing in Economics (Mason Core)3 ECON 435Economics of Energy (Mason Core)3 ECON 470Economics of Regulation (Mason Core)3 ECON 485Smithian Political Economy I (Mason Core)3 EDSE 452Intersectionality and Disability (Mason Core)3 ELED 459Researching Problems of Practice in Elementary Education3 ENGH 305Dimensions of Writing and Literature (Mason Core)3 EVPP 337Environmental Policy Making in Developing Countries (Mason Core)3 FAVS 304Film Forms (Mason Core)3 FAVS 380TV Writing (Mason Core)3 FAVS 496Advanced Visual Storytelling (Mason Core)3 FAVS 498Development for Senior Project (Mason Core)3 FNAN 477Student Managed Investment Fund (Mason Core)3 FNAN 493Financial Planning and Wealth Management Capstone (Mason Core)3 FNAN 498RS: Contemporary Topics in Finance (Mason Core)3 FREN 309Reading and Writing Skills Development (Mason Core)3 FRSC 302Forensic Trace Analysis (Mason Core)3 FRSC 304Forensic Chemistry (Mason Core)3 GAME 332RS: Story Design for Computer Games (Mason Core)3 GCH 411Health Program Planning and Evaluation (Mason Core)3 GCH 611Health Program Planning and Evaluation (Mason Core)3 GEOL 305Environmental Geology (Mason Core)3 GEOL 317Geomorphology (Mason Core)4 GEOL 334Vertebrate Paleontology (Mason Core)4 GGS 415Seminar in Geographic Thought and Methodology (Mason Core)3 GOVT 490Synthesis Seminar (Mason Core)3 GOVT 491Honors Seminar (Mason Core)3 GOVT 492Computing Ethics, Law and Policy Seminar (Mason Core)3 HAP 465Integration of Professional Skills and Issues (Mason Core)3 HIST 300Introduction to Historical Method (Mason Core)3 HIST 499RS: Senior Seminar in History (Mason Core)3 INTS 321Parent-Child Relations (Mason Core)4 INTS 334Environmental Justice (Mason Core)4 INTS 491Senior Capstone (Mason Core)3 IT 343IT Project Management (Mason Core)3 KINE 450Research Methods (Mason Core)3 KORE 370Advanced Korean Writing (Mason Core)3 LAS 499Research Seminar in Latin American Studies (Mason Core)3 MATH 300Introduction to Advanced Mathematics (Mason Core)3 ME 444Mechanical Design II (Mason Core)3 MGMT 313Organizational Behavior (Mason Core)3 MIS 330Systems Analysis and Design (Mason Core)3 MIS 431Data Mining for Business Applications (Mason Core)3 MKTG 471Marketing Management (Mason Core)3 MLAB 300Science Writing (Mason Core)2 MUSI 332Music History in Society II (Mason Core)3 MUSI 438Music History in Society B (Mason Core)3 NEUR 410Current Topics in Neuroscience (Mason Core)3 NEUR 411Seminar in Neuroscience (Mason Core)3 NURS 465Examination and Integration of Professional and Health Care Issues (Mason Core)3 NURS 480Professional Issues in Nursing (Mason Core)3 NUTR 326Food Systems (Mason Core)3 OSCM 456Quality Management (Mason Core)3 PHED 340Social and Cultural Issues in Physical Education (Mason Core)3 PHIL 421Seminar (Mason Core)3 PHIL 422Honors Seminar (Mason Core)3 PHYS 407Senior Laboratory in Modern Physics (Mason Core)4 PHYS 410Computational Physics Capstone (Mason Core)4 PSYC 301Research Methods in Psychology (Mason Core)4 PSYC 304Principles of Learning (Mason Core)4 PSYC 309Sensation, Perception, and Information Processing (Mason Core)4 RELI 420Capstone Seminar in Studies of Religion (Mason Core)3 RUSS 325Major Russian Writers (Mason Core)3 SOCI 303Methods and Logic of Inquiry (Mason Core)3 SOCI 412Contemporary Sociological Theory (Mason Core)3 SOCI 485RS: Sociological Analysis and Practice (Mason Core)3 SOCW 471Research in Social Work (Mason Core)3 SPAN 370Spanish Writing and Stylistics (Mason Core)3 SRST 450Research Methods (Mason Core)3 STAT 489Pre-Capstone Professional Development (Mason Core)3 SYST 489Senior Seminar (Mason Core)3 THR 350Script Analysis (Mason Core)3 THR 351Dramatic Theory and Criticism (Mason Core)3 THR 482Advanced Screenplay Workshop (Mason Core)3 Mason Apex (minimum 3 credits) Mason Apex courses or in some cases, sequence of courses, will provide Mason students with a high-impact culminating experience, requiring students to utilize critical thinking skills and preparing them for life-long learning. Students are challenged to draw connections across their Mason undergraduate academic experience. Mason Apex courses provide students opportunities to apply and communicate their knowledge, and involve integrative, applied or experiential projects. Learning Outcomes: Upon completing a Mason Apex course, students will be able to: Integrate skills, abilities, theories, or methodologies gained across a Mason student’s undergraduate education to explore complex issues in original ways. Communicate effectively the results of the student’s work with awareness of audience, purpose, and context using an appropriate modality (for example: written, oral, visual, material, embodied, multimodal). Required: A minimum of 3 credits at the 400-level. It is suggested that students enroll after completing 85 credits. These courses maintain a faculty/instructor/mentor-to-student ratio of no more than 1:35. Note: Existing 300-level courses designated as Mason Apex within the current catalog will continue to meet the category requirements.
5097	dbpedia	1	5	https://www.encyclopedia.com/people/literature-and-arts/french-literature-biographies/theophile-gautier	en	Theophile Gautier			[ "https://www.encyclopedia.com/themes/custom/trustme/images/header-logo.jpg" ]	[]	[]	[ "Get information", "facts", "and pictures", "about Theophile Gautier", "at Encyclopedia.com", "Make", "research", "projects", "and school reports", "about Theophile Gautier", "easy", "with credible", "articles", "from our FREE", "online encyclopedia and dictionary" ]	null	[]	null	Théophile Gautier (tāôfēl´ gōtyā´), 1811–72, French poet, novelist, and critic. He was a leading exponent of art for art's sake—the belief that formal, aesthetic beauty is the sole purpose of a work of art.	en	/sites/default/files/favicon.ico		https://www.encyclopedia.com/people/literature-and-arts/french-literature-biographies/theophile-gautier	Théophile Gautier BORN: 1811, Tarbes, France DIED: 1872, Paris, France NATIONALITY: French GENRE: Fiction, poetry, drama MAJOR WORKS: Mademoiselle de Maupin (1835) Enamels and Cameos and Other Poems (1852) History of Romanticism (1874) Overview Gautier's extraordinary worship of beauty—physical, tangible, intellectual, and even moral—colors his work across a multitude of genres. Gautier's importance as a writer comes from his strong belief that an artist should concern himself or herself only with portraying, to the best of his or her ability, the beauties of the art form itself. That belief became known in English as “art for art's sake” and influenced an entire movement of writers in the mid-to-late nineteenth century. Works in Biographical and Historical Context Boarding School, Artistic Studies, and Meeting Victor Hugo Gautier was born in Tarbes, in southwestern France, on August 30, 1811. When he was three years old, the family relocated to Paris, where his father, Pierre, took a post as a government official. At the age of eleven, the boy enrolled in the Collège Louis-le-Grand; then, after an unhappy experience as a boarding student there, he moved as a day student to the Collège Charlemagne. There, he met Gérard Labrunie, later known by his pen name, Gérard de Nerval, who became his lifelong friend. During this period, Gautier began to study painting and to write poetry. In 1829, Gérard introduced Gautier to the already-famous Victor Hugo. Dazzled by Hugo's presence and position as leader of the new Romantic school, Gautier enthusiastically supported Hugo's theatrical endeavors with his flamboyant behavior at the premiere of Hugo's play Hernani (1830), a performance that marked victory in the campaign to gain critical respect for Romantic drama. Shocking the Bourgeoisie Gautier was now part of the Parisian literary and artistic bohemia. With Nerval, Pétrus Borel, and other would-be artists and writers, Gautier formed the Petit Cénacle, delighting in a boisterously defiant campaign to “shock the bourgeoisie.” This group gradually merged into the so-called Groupe du Doyenné. New members joined in their free-living ways, their eager quest for critical recognition—on their own terms—and their continuing efforts to unsettle the middle class. Gautier was not above exploiting his bohemian associations. In The Young-France, Stories in Jesting Manner (1933), he evoked their escapades and their assaults on middle-class values, all the while poking fun at their more absurd eccentricities. Career as a Critic In 1836, having already displayed a solid knowledge of art and artistic technique in occasional critical articles, Gautier found a post as an art critic for Emile de Girardin's new daily newspaper, the Presse. In 1837, with Nerval, he also began to share the duties of theater reviewer for the Presse. Gautier soon took over full responsibility for the theater column; every week for nineteen years, except for periods of absence now and then from Paris, he turned in to Girardin a review of current theatrical offerings. Every spring, he produced a series of articles in which he critiqued the paintings and sculptures being exhibited in the annual Salon. Gautier held the two positions on the Presse until 1855, when he left his sometimes bumpy association with Girardin to take over the art and drama columns of the Moniteur Universel, the official newspaper of the French government. Here he remained until 1869, when he joined the new government-sanctioned daily, the Journal Officiel. His tenure there was short. With the German victory in the Franco-Prussian War in 1870, the French empire fell and the Journal Officiel ceased publication. Two independent dailies, however, the Gazette de Paris and the Commonweal, were happy to employ Gautier; he was able to pursue his journalistic work until a few months before his death in 1872. Strained Familial Relations, Civil Strife, and Nostalgia During Gautier's last years, journalism became ever more tiresome. His refusal to approve his daughter Judith's marriage in 1866 resulted in severely strained relations in his family. The Prussian siege of Paris in 1870 and the subsequent civil strife in 1871 brought physical trials, domestic displacements, fears for the safety of family members, and uncertainties in his professional life. His health was deteriorating. He sought escape not in exoticism, but in a nostalgic return to his festive days as a young partisan of the Romantic cause. He was writing his recollections of this happy time when he died on October 23, 1872. The unfinished History of Romanticism (1874) remains one of Gautier's most precious legacies. Works in Literary Context Gautier holds an important place in French letters as a transitional figure between Romanticism and realism. Beginning his career as an impassioned partisan of Victor Hugo, he ended his career as a close friend of Gustave Flaubert. Gautier's proximity to other artists within the Groupe du Doyenné and other literary circles significantly influenced the trajectory of his work. “Art for Art's Sake” Gautier's rejection of an ideological mission in art and his call for a nonutilitarian outlook in the artist made him recognized as a leader in the “art for art's sake” movement. His preface to Mademoiselle de Maupin stands as the principal manifesto of l'art pour l'art, with its uncompromising claim that art in whatever form has no other aim and no other morality than the creation of beauty. Exoticism in Attention to Detail Indeed, one of the most evident features in Gautier's writings is exoticism defined by an incredible attention to detail. It may be contemporary, as in his evocations of the countries that he visited, or may involve an imaginative reconstruction of earlier times, like the world of ancient Greece or the age of Louis XIII. Whatever the time or place, Gautier situates his reader in a palpable world. He uses his background as an artist to describe cities, with their buildings, their monuments, and their street scenes, in minute detail. He celebrates ceremonies, processions, and crowd scenes, not forgetting to pay close attention to the smallest seam on his characters' clothing. In his language, he is careful to correctly employ the technical vocabulary particular to the specific time, milieu, or activity he is trying to effectively represent. Influence of Art for Art's Sake Gautier's collection Enamels and Cameos and Other Poems went through an exceptional six editions in twenty years. Because of its visual inclination—its dedication to art for art's sake—the collection inspired Charles Baudelaire to write his famous Flowers of Evil, released in 1909. Baudelaire dedicated his collection of poems to Gautier: “To the impeccable poet, to the perfect magician in letters, to my dear and revered master and friend Théophile Gautier, with the deepest humility I dedicate these sickly flowers.” When, at Gautier's death, the editor Alphonse Lemerre invited contributions to a memorial volume honoring the author of Enamels and Cameos and Other Poems, no fewer than eighty contemporaries sent poems, among them the acknowledged greats of the day—Hugo, Charles-Marie-René Leconte de Lisle, Stéphane Mallarmé, and the English poet Algernon Charles Swinburne. Further, his doctrine of ‘l'art pour l'art’—art for art's sake—is probably better known than Gautier himself. Works in Critical Context Because of his exceptional flair for language, Gautier became one of the best-known authors of his day; his work, on the whole, was well-received and appreciated by his contemporaries for its artistic merit. French poet and critic Charles Baudelaire praised Gautier for his imagination, style, and passion for beauty, calling him finally “a perfect man of letters.”. Gautier put his heart into his creative works. Though sometimes criticized for ignoring plot and character, he was acknowledged as a stylist for whom the evocation of natural beauty was paramount. “I am one for whom the visible world exists,” he said, and for many modern critics this statement defines the limits of his artistic vision: His narrative coherence often suffers in order that he may give an exact description of a setting. LITERARY AND HISTORICAL CONTEMPORARIES Gautier's famous contemporaries include: Mark Twain (1835–1910): American author, best known for his novels The Adventures of Huckleberry Finn (1884) and The Adventures of Tom Sawyer (1876). Victor Hugo (1802–1885): French novelist and dramatist known for works like The Hunchback of Notre Dame (1832) and Les Misérables (1862). Emily Brontë (1818–1848): English novelist whose Wuthering Heights (1847) remains a popular choice for film adaptation. Alexis de Tocqueville (1805–1859): French historian who documented and commented upon the rise in equality among the classes and focused specifically on democracy in America. John Stuart Mill (1806–1873): British philosopher who championed the rights of women, in addition to writing extensively in defense of his philosophical system, utilitarianism, which emphasizes the importance of providing the greatest amount of happiness for the greatest number of people. Gregor Mendel (1822–1884): Austrian chemist whose study of pea plants ultimately led to our understanding of genetics. Modern Criticism: Gautier's Dehumanization of Art Critic Raymond Giraud finds that Gautier's dedication to art for art's sake, distances the writer from some of the mundane and even painful realities of life. In his article “Gautier's Dehumanization of Art” (1963), published in L'Esprit Createur he writes, “The [art for art's sake] doctrine of impassiveness has its positive side, its strong conviction of the intrinsic value of art; but it also could be a doctrine of retreat from the painfulness of life.” Similarly, critic Hilda Nelson argues that Gautier's handling of past and present in his fantastical novels serve to neutralize time, decay, and death, thus preserving in art the “dreams that men create for their salvation and happiness.” In her article “Theophile Gautier: The Invisible and Impalpable World: A Demi-Conviction” (1972), published in The French Review, Nelson writes, “Gautier, too, became aware that desires and fears, the limitations of time and space, death and disintegration, could be resolved in the creative act, art, and that art alone was capable of reproducing, in permanent form, the dreams men create for their salvation and happiness.” Responses to Literature Gautier's work is often criticized for losing track of plot and action and, instead, favoring beautiful descriptions. Read Mademoiselle de Maupin. To what extent does this criticism apply to this novel? Explain your response in a short essay. In a discussion with a group of peers, compare Gautier's expression of art for art's sake with David Lynch's in his film Eraserhead. How do the different media used to fulfill the doctrine of art for art's sake affect the artists' interpretation of the doctrine? In other words, what can Lynch do with film that Gautier cannot do with either his poetry or fiction, and vice versa? Proponents of the art for art's sake movement felt that there was something disingenuous about expecting a piece of art to convey social, moral, or religious messages. Yet, many of our oldest and most revered stories contain just such morals—consider Aesop's “The Tortoise and the Hare.” Using the Internet and the library, research the art for art's sake movement and some of the criticisms leveled against it. Then, in a short essay, briefly describe the opposing positions and offer your opinion about the disagreement. Contrast the success of Gautier's poetic works with that of his theater criticism. Describe your emotional reactions to both. COMMON HUMAN EXPERIENCE The art for art's sake movement in literature was a reaction against the then-popular belief that art, both visual and literary, must contain some kind of moral or religious message to be meaningful. The adherents of the doctrine believe that art should be produced simply for the sake of art itself and emphasize the beauty of the art form over its social usefulness. Gautier's extensive critical and creative output helped popularize this view, but he was neither the first nor the greatest producer of art created for art's sake. Here are a few examples of work produced by likeminded artists: “The Poetic Principle” (1850, posthumous), an essay by Edgar Allan Poe. In this work, Poe argues that what people respond to most in poetry is not its message but the beauty of the poem itself, and that the best poem is written only for the poem's sake—a kind of precursor for the broader assertion that art should be produced for art's sake only. Flowers of Evil (1857), a poetry collection by Charles Baudelaire. In this collection of poetry, as with many Baudelaire pieces, he conveys not the beauty of the world around him but rather vividly describes some of the vilest aspects of his subjects. As such, the text represents a different understanding of art for art's sake, one which strays into an overlapping literary movement called Decadence. Whistler's Mother (1871), a painting by James Whistler. Whereas Gautier was often criticized for the excessive nature of his descriptions, this painting by Whistler, a strong proponent of art for art's sake, shows that beauty can consist of a simple portrait of one's mother. “The Soul of Man Under Socialism” (1891), an essay by Oscar Wilde. In this work, Wilde argues that when an artist attempts to conform to what is expected from his or her art form—in this context, the moral or religious—rather than following his or her own muse, he or she thereby loses the title “artist.” Eraserhead (1977), a film directed by David Lynch. This cult film utilizes the peculiar ability of film to seamlessly move between the dream world and the “real” world of its main character and, like Gautier's work, focuses on the images it presents over its narrative. The film represents a distinctively modern interpretation of the art movement that Gautier and Poe started over a century before its creation. BIBLIOGRAPHY Books Dillingham, Louise Bulkley. The Creative Imagination of Théophile Gautier. Albany, N.Y.: Psychological Review Co., 1927. Ganut, William. The Aesthetic Adventure. New York:Harcourt, 1945. George, Albert J. Short Fiction in France, 1800–1850. Syracuse, N.Y.: Syracuse University Press, 1964. Palache, John Garber. Gautier and the Romantics. New York: Viking, 1926. Richardson, Joanna. Théophile Gautier: His Life and Times. London: Reinhardt, 1958. Smith, Albert B. Ideal and Reality in the Fictional Narratives of Théophile Gautier. Gainsville: University of Florida Press, 1969.
5097	dbpedia	1	47	https://www.poetryfoundation.org/poets/charles-baudelaire	en	Charles Baudelaire	https://s3-us-east-2.ama…mtime=1715886111	https://s3-us-east-2.ama…mtime=1715886111	[ "https://cdn-test.poetryfoundation.org/cdn-cgi/image/w=10,h=16,q=50,fit=contain,blur=3/content/images/951f8f89e8d91c142ace81a5d1624d1173fc8dbc.jpg", "https://cdn-test.poetryfoundation.org/cdn-cgi/image/w=10,h=16,q=50,fit=contain,blur=3/content/images/june2024-poetry-cover.jpg", "https://cdn-test.poetryfoundation.org/cdn-cgi/image/w=10,h=16,q=50,fit=contain,blur=3/content/images/951f8f89e8d91c142ace81a5d1624d1173fc8dbc.jpg", "https://cdn-test.poetryfoundation.org/cdn-cgi/image/w=10,h=16,q=50,fit=contain,blur=3/content/images/june2024-poetry-cover.jpg", "https://www.poetryfoundation.org/assets/images/logo-print.png", "https://cdn-test.poetryfoundation.org/cdn-cgi/image/w=10,h=10,q=50,blur=3/content/images/a1efffbc14d7b2b8d9954cae389c4865dad7d5a7.jpeg" ]	[]	[]	[ "" ]	null	[]	null	Poems, readings, poetry news and the entire 110-year archive of POETRY magazine.		/favicon.ico?v2.0.0	The Poetry Foundation	https://beta.poetryfoundation.org/poets/charles-baudelaire	Charles Baudelaire is one of the most compelling poets of the 19th century. While Baudelaire’s contemporary Victor Hugo is generally—and sometimes regretfully—acknowledged as the greatest of 19th-century French poets, Baudelaire excels in his unprecedented expression of a complex sensibility and of modern themes within structures of classical rigor and technical artistry. Baudelaire is distinctive in French literature also in that his skills as a prose writer virtually equal his ability as a poet. His body of work includes a novella, influential translations of the American writer Edgar Allan Poe, highly perceptive criticism of contemporary art, provocative journal entries, and critical essays on a variety of subjects. Baudelaire’s work has had a tremendous influence on modernism, and his relatively slim production of poetry in particular has had a significant impact on later poets. More than a talent of 19th-century France, Baudelaire is one of the major figures in the literary history of the world. The extent of the influence of Baudelaire’s family background on his life and work has been the subject of some interest to critics. In his life-story there are classic ingredients for neurosis, and his adult life was shaped by a triangle of family relations that some believe explains his complicated psyche. Baudelaire’s father, François Baudelaire (1759–1827), came from a family of woodworkers, winegrowers, farm laborers, and craftsmen who had lived near the Argonne forest since the 17th century. He went to Paris on a scholarship and in the course of a long career there became a priest; worked as a tutor for the children of Count Antoine de Choiseul-Praslin, even composing a manual to teach Latin; resigned his priesthood during the Reign of Terror; married Rosalie Janin, a painter, and had a son, Alphonse Baudelaire (1805–1862); earned a living as a painter; and from the age of thirty-eight until retirement worked his way up the ranks of the civil service. François Baudelaire was 60 when he married the 26-year-old Caroline Dufayis (1793–1871) in 1819; Charles was their only child, born in Paris on April 9, 1821. Caroline was an orphan: her mother, who came from a family of solicitors from the same part of France as the Baudelaires, died in England, where she had emigrated for unknown reasons; little is known about Caroline’s father except that his name was Charles Dufayis and that he was supposed to have died in July 1795 at Quiberon Bay in southern Brittany when Revolutionary forces put down a peasant revolt aided by émigrés. It is not known whether or not the difference in his parents’ ages affected their son, but Baudelaire was just six when his father died, so he had no opportunity to know his father well. The death of François Baudelaire, though, set the scene for several major dramas in Baudelaire’s life: his inheritance at 21 of a respectable fortune; the establishment of a board of guardians that was to control Baudelaire’s financial fortunes for most of his adult life; and the remarriage of his mother to Jacques Aupick, a man with whom Baudelaire could not get along. Aupick (1779?–1857), like Caroline Dufayis, was an orphan. His father was an Irishman who died in the military service in France; his mother, who might or might not have been his father’s legal wife, died shortly afterward. The young Aupick made his way successfully in the military: with no real family advantages, he was a general by the end of his life, and he had served as the head of the École Polytechnique (Polytechnic School) in Paris, as ambassador to Constantinople as well as to Spain, and as a senator. Caroline Dufayis Baudelaire met Aupick at the beginning of 1828, a year into her widowhood, and they were married rather precipitously on November 8, 1828, probably because of the stillborn child born a month later. Aupick was transferred to Lyon in December 1831, and in January 1836 he was transferred back to Paris, where he stayed until 1848, when he was sent as a diplomat to Constantinople. It is understandable that Baudelaire might be jealous of his mother’s new husband, as he was deeply attached to his mother both materially and emotionally. Their close relationship was of enduring significance, for during the course of his life he borrowed from his mother an estimated total of 20,473 francs and much of what is known of his later life comes from his extended correspondence with her. Although quite possibly Baudelaire’s attachment to his mother did lead to his resentment and dislike of his stepfather, it is interesting to note that he did not manifest resentment early on. As a schoolboy in Lyons from 1832 to 1836 Baudelaire’s letters to his parents were mostly affectionate and he referred to Aupick as his father. Easy relations within the family persisted through Baudelaire’s high-school years at Louis-le-Grand in Paris, where Colonel Aupick had been transferred. Far from being “maudit” (cursed) in the tradition of his later legend, Baudelaire was actually a prize student of whom both parents were proud. Even when he was expelled from Louis-le-Grand in 1839 for refusing to give up a note passed him by a classmate, stepfather and stepson appeared to be on good terms. Baudelaire began referring to his stepfather as “the General” (Aupick had been promoted in 1839) in 1841, around the time his family contrived to send the young man on a voyage to the Indian Ocean. After passing the “bac,” or baccalauréat (high-school degree), in 1839, several months after his expulsion from the lycée, Baudelaire spent two years in the Latin Quarter pursuing a literary career and, of particular concern to Aupick, accumulating debts. To save Baudelaire from his debts, a family council was called in which it was decided to send him on a long voyage in June of 1841, paid for from his future inheritance (the parents later agreed to pay for it themselves as a gesture of goodwill). Baudelaire did not want to go, and in fact he jumped ship at the Ile Bourbon, returning to Paris in February of 1842. If the stiff forms of address in his letters of this time are any indication, Baudelaire resented his family’s intervention in his way of life and held his stepfather responsible for it. Familial censure only became more institutionalized. By June of 1844 Baudelaire had spent nearly half of the capital of the 99,568 francs he had inherited two years before. The family decided that it was necessary to seek a conseil judiciaire (legal adviser) to protect the capital from Baudelaire, and on September 21, 1844 the court made Narcisse Désirée Ancelle, a lawyer, legally responsible for managing Baudelaire’s fortune and for paying him his “allowance.” The sum paid him was enough for a single young man to live on comfortably, but Baudelaire had expensive tastes and he was bitter about this intervention for the rest of his life. Relations among family members soured. Baudelaire could no longer bear to be around “the General” and there were long periods of time when Mme Aupick was not permitted to see her son. For the next 15 years Baudelaire’s letters to his mother are laced with reproach, affection, and requests for money, and it was only after her husband’s death—in 1857, the year of the publication of Les Fleurs du mal (The Flowers of Evil)—that relations between mother and son began to improve. Financial constraint, alienation, and complex emotions defined Baudelaire’s life, and it is against this backdrop of complicated family relations that some of the best poetry in the French language was written. Though Baudelaire’s interest in verse was manifest as early as his days in the lycée, his public emergence as a poet was slow and complicated by many sideline activities through the early 1850s. Baudelaire began making literary connections as soon as he passed the bac, at the same time that he was amassing debts. From 1839 to 1841, while he was living in the Latin Quarter, he became associated with the École Normande (Norman School), a group of student-poets centered around Gustave Levavasseur, Philippe de Chennevières, and Ernest Prarond. None of these people became major poets, but they were involved in Baudelaire’s first ventures with poetry. Prarond claims to have heard Baudelaire recite as early as 1842 some of the poems that were later published in Les Fleurs du mal. Baudelaire considered participating in a collective publication with Levavasseur, Prarond, and another person named Dozon. He withdrew his contribution, however, because Levavasseur wanted to correct the “idiosyncrasies” in his work. Baudelaire was never without literary acquaintances. His professional social activity continued throughout his life, and in the course of his literary career he became acquainted with writers such as Victor Hugo, Charles-Augustin Sainte-Beuve, and Théophile Gautier. As his rejection of Levavasseur’s corrections suggested, though, Baudelaire—like the speakers in his poetry—was always an individual within the crowd. Baudelaire’s first publications of poetry were probably disguised, for reasons known only to himself. 11 poems published between 1844 and 1847 in L’Artiste under the name of Privat d’Anglemont—another friend in Baudelaire’s literary circle—have been attributed to Baudelaire, and in fact nine of these poems have been included in the definitive Pléiade edition of Baudelaire’s collected works published 1975–1979. The first poem published under Baudelaire’s own name appeared in L’Artiste on May 25, 1845; Baudelaire probably wrote the sonnet “A Une Dame Créole” (To a Creole Lady), which celebrates the “pale” and “hot” coloring of the lovely Mme Autard de Bragard, on his trip to the Indian Ocean. The poem is not a prodigious showing for someone who was already establishing a reputation for himself in Parisian circles as a poet, and Baudelaire’s next official publication of verse did not take place until a full six years later, in 1851. In De quelques écrivains nouveaux (On Some New Writers, 1852) Prarond described Baudelaire as a poet who had achieved a certain reputation without having published a verse. Although the statement was not technically accurate in 1852, it illustrates a facet of Baudelaire’s reputation. Even though he had no record of solid achievements, Baudelaire, with his compelling personality, had the ability to impress others, and he was already deliberately cultivating his image with eccentric stories designed to shock and test his acquaintances. For example, he liked to recite to friends his poem “Nightmare,” which features a man who witnesses the rape of his mistress by an entire army. Early in his career Baudelaire’s reputation was more solidly based on his nonpoetic publications. In 1847 he published his only novella, La Fanfarlo, an autobiographically based work that features a tortured hero named Samuel Cramer. He wrote a handful of essays and reviews for various journals, notably Le Corsaire Satan; these works—including Le Musée classique du bazar Bonne-Nouvelle (The Classical Museum of the Bonne-Nouvelle Bazaar) and Comment on paie ses dettes quand on du génie (How to Pay Your Debts When You’re a Genius)—were collected in Curiosités esthétiques (Esthetic Curiosities, 1868) as well as L’Art romantique (Romantic Art, 1868), the second and third volumes in the posthumously published Oeuvres complètes (Complete Works, 1868–1873). Baudelaire also wrote two of the Salons that contribute to his reputation as a discerning, sometimes prophetic, and often amusing critic. Although Salon de 1845 (1845) went unnoticed by critics, the next year his Salon de 1846 made a good impression on a small circle. Although he does not develop an aesthetic theory in Salon de 1845, Baudelaire does launch his idea that heroism can exist in life’s ordinary details. The essay notably displays a particularly charming feature of Baudelaire’s critical writing: the sharp and colorful illustration of points. The works of one painter, for example, are witheringly dismissed: “chaque année les ramène avec leurs mêmes désespérantes perfections” (each year brings them back with the same depressing perfections); another painter’s works, writes Baudelaire, recall the pictures of travel brochures and evoke a China “où le vent lui-même, dit H. Heine, prend un son comique en passant par les clochettes;—et où la nature et l’homme ne peuvent pas se regarder sans rire” (where the wind itself, says H. Heine, sounds comical as it blows through bells; and where nature and man cannot look at each other without laughing). In the important Salon de 1846 Baudelaire critiques particular artists and in a more general way lays the groundwork for the ideas about art that he continued to develop in his “Salon de 1859,” first published in Revue française in June and July of that year, and up until his essay “Le Peintre de la vie moderne” (The Painter of Modern Life), which appeared in Le Figaro in November and December of 1863. As Baudelaire defines it in Salon de 1846, art represents an ideal for Baudelaire: “L’art est un bien infiniment précieux, un breuvage rafraîchissant et réchauffant, qui rétablit l’estomac et l’esprit dans l’équilibre naturel de l’idéal” (Art is an infinitely precious thing, a warming and refreshing drink which reestablishes stomach and spirit in the natural equilibrium of the ideal). Although art leads to an abstraction, “l’idéal,” the references to stomach and drink indicate that for Baudelaire the ideal is built on concrete particulars. Indeed, as he goes on to explain in Salon de 1846 “Ainsi l’idéal n’est pas cette chose vague, ce rêve ennuyeux et impalpable qui nage au plafond des académies; un idéal, c’est l’individu redressé par l’individu, rconstruit et rendu par le pinceau ou le ciseau à l’éclatante vérité de son harmonie native” (Thus the ideal is not the vague thing, that boring and intangible dream which swims on the ceilings of academies; an ideal is the individual taken up by the individual, reconstructed and returned by brush or scissors to the brilliant truth of its native harmony). At the time he wrote Salon de 1846 Baudelaire believed that Romanticism represented the ideal, and he presents the painter Eugène Delacroix as the best artist in that tradition. Baudelaire, though, also articulates principles that later took him beyond Romanticism to a more radical view of art. He propounds that beauty must contain the absolute and the particular, the eternal and the transitory, and in a section of Salon de 1846 titled “De l’Héroïsme de la Vie Moderne,” (The Heroism of Modern Life) he elaborates that the “particulier” can be found in contemporary and ordinary urban life: “Le spectacle de la vie élégante et des milliers d’existences flottantes qui circulent dans les souterrains d’une grande ville,—criminels et filles entretenues,—la Gazette des Tribuneaux et le Moniteur nous prouvent que nous n’avons qu’à ouvrir les yeux pour connaître notre héroïsme” (The spectacle of elegant life and of the thousands of existences which float in the underground of a big city—criminals and kept women—the Gazette des Tribuneaux and the Moniteur prove that we have only to open our eyes in order to recognize our heroism). Modern life as inspiration for art is an idea that Baudelaire develops in “Le Peintre de la vie moderne” with reference to the artist Constantin Guys. As Baudelaire observes in 1846, Delacroix works in the grand tradition, and a new tradition has not yet come into being. Despite several halfhearted attempts to indulge his parents’ desire for his settled employment, throughout the 1840s Baudelaire was committed to his vocation as a poet, and as an artist he did his best to absorb the “spectacle” of Parisian life by living the life of a bohemian and a dandy. After the naming of the conseil judiciaire he affirmed a new identity by changing his name to Baudelaire-Dufayis, adding his mother’s maiden name to his father’s family name (this gesture lasted until the Revolution of 1848). He was particular about his dress, and virtually every contemporary description of him describes his changing hairstyles, from flowing locks to a shaved head to short, clipped hair. Early in the decade he took up with Jeanne Duval, the mixed-race mistress with whom he had a long and complicated affair; in the late 1840s he met Marie Daubrun, the second inspiration for the three love cycles of his poetry. He had already had a bout with gonorrhea by this time and had picked up syphilis, the disease that was probably the cause of his death. Baudelaire attempted suicide once, on June 30, 1845. He cultivated an interest in art and painting, which fueled his continued accumulation of debts—he was a generally unlucky but enthusiastic collector. He began a pattern of moving from hotel to hotel to escape creditors and was well acquainted with the seamy side of Paris, a familiarity that is evident in his poems. The year 1848 marked the beginning of a strange period in Baudelaire’s life, one that does not quite fit with his life as a dandy, and which he himself later labeled “Mon ivresse de 1848” (My frenzy in 1848) in his Journaux intimes (Intimate Journals, 1909). Baudelaire—the product of a bourgeois household, the elitist poet of refined and elegant dress, the man who in the 1850s embraced Count Joseph de Maistre, an ultra-royalist aristocrat, and who had already expressed admiration for the aristocratic views of Edgar Allan Poe—participated in the French Revolution of 1848 that lead to the overthrow of the constitutional monarchy. As Richard Burton documents extensively in Baudelaire and the Second Republic: Writing and Revolution (1988), Baudelaire did have strong revolutionary sympathies during this period. He was influenced by thinkers such as François Marie Charles Fourier, Félicité Lamennais, and Emanuel Swedenborg. His dedication of Salon de 1846 to the “bourgeois” may well have been intended as ironic. Baudelaire wrote a positive and approving preface for Pierre Dupont’s Chant des ouvriers (Song of the Workers, 1851), which praises the working man. He sought out Pierre-Joseph Prudhon, one of the great writers and thinkers of the 1848 revolution. With Champfleury, a journalist, novelist, and theoretician of the realist movement, he started a short-lived revolutionary newspaper after the provisional government was established. Most dramatically, he physically participated in the revolutions of February and June, actually fighting on a barricade and, according to some contemporaries’ accounts, apparently shouting, “Il faut aller fusiller le général Aupick” (We must go shoot General Aupick). Although a school of criticism has grown up in which Baudelaire is labeled a revolutionary, it would be a mistake to reduce the life and thought of this complex man to political dogma. Baudelaire was undeniably fervent, but this fervor must be seen in the spirit of the times: the 19th-century Romantic leaned toward social justice because of the ideal of universal harmony but was not driven by the same impulse that fires the Marxist egalitarian. It is also possible, given Baudelaire’s relationship with his stepfather and his famous cry on the barricades, that at least part of his zeal was motivated by personal feelings. Furthermore, even during this heady period Baudelaire never lost his critical acumen and spirit of contradiction. He rose repeatedly during speeches for the May 4 elections to interrupt idealistic speakers with pointed, embarrassing questions. In Mon coeur mis à nu et Fusées; journaux intimes (My Heart Laid Bare and Fusées; Intimate Journals, 1909) he elaborates on the “ivresse de 1848”: “De quelle nature était cette ivresse? Goût de la vengeance. Plaisir naturel de la démolition (What was the nature of this drunkenness? A desire for vengeance. A natural pleasure in destruction). After Louis-Napoleon Bonaparte’s coup d’état in 1851, Baudelaire ceased all political activity. To the extent that he considered politics in his later years, his outlook was anti-egalitarian and anti-activist—reminiscent of the aristrocratic conservatism represented by Poe and de Maistre, in other words: “There is no form of rational and assured government save an aristocracy. ... A monarchy or a republic based upon democracy are equally absurd and feeble.” For the most part, though, Baudelaire’s Intimate Journals reveal his relative lack of interest in politics, his disillusionment with mankind and all of its institutions, and his ultimate faith in the classless aristocracy of the “Dandy.” After a long period of incubation, of familial reproaches that he had wasted his life, and of a reputation based on potential, a few publications, and force of personality, Baudelaire came into his own as a literary personage in the 1850s. On 9 April 1851 eleven poems were published in the Messager de l’Assemblée under the title “Les Limbes” (Limbo); these poems were later included in Les Fleurs du mal. In March and April 1852 Baudelaire’s first major study of Poe was published in Revue de Paris. In “Edgar Allan Poe, sa vie et ses ouvrages” (Edgar Allan Poe, His Life and His Works) Baudelaire notes views that were probably influenced by de Maistre as well as brought out by Poe: belief in original sin; faith in the imagination, which Baudelaire called “la reine des facultés” (the queen of faculties); approval of the cult of Beauty and of poetry for its own sake; and hatred for progress and nature. In 1854 and 1855 Baudelaire’s first translations of Poe’s writings were published in Le Pays. A meticulous translator, Baudelaire was known to hunt down English-speaking sailors for maritime vocabulary. His translations of Poe culminated in Histoires extraordinaires (1856; Tales of Mystery and Imagination), which included “Edgar Allan Poe, sa vie et ses ouvrages” as a preface; Nouvelles Histoires extraordinaires (1856; New Tales of Mystery and Imagination); Aventures d’Arthur Gordon Pym (1858; originally published as The Narrative of Arthur Gordon Pym, 1838); Eureka (1863; originally published 1848); and Histoires grotesques et sérieuses (1865; originally published as Tales of Grotesque and Arabesque, 1840). Also in 1855 the Revue des deux mondes published eighteen poems with the title of Les Fleurs du mal. Two of Baudelaire’s prose poems were published for the first time that same year in a festschrift, “Hommage à C. F. Denecourt.” The festschrift publication is particularly interesting because the prose poems were published alongside two poems in verse, so that “Crépuscule du Soir” (Dusk) appeared in verse and in prose. In June of 1857 the first edition of Les Fleurs du mal was published by the fine letter press of Auguste Poulet-Malassis. Although Baudelaire considered publishing Les Fleurs du mal with the large printing house of Michel Lévy, which published his translations of Poe, he chose the smaller press of Poulet-Malassis out of a concern for quality. A tyrannical author, Baudelaire took rooms near the offices of his publishers so that he could better supervise the placement of every comma. The press was solicitous of Baudelaire’s corrections, and Poulet-Malassis became a devoted friend: he lent Baudelaire large sums of money though he himself eventually went bankrupt and to debtor’s prison for his own debts; he tended to Baudelaire during his last days in Brussels, though the writer had signed over Poulet-Malassis’s legal rights on some works to the publisher Hetzel; and when on his deathbed Baudelaire chose Lévy to publish his Oeuvres complètes , Poulet-Malassis loyally rallied to the cause, ceding his legally exclusive rights to Baudelaire’s works and doing what he could to help produce a satisfactory edition. About one month after Les Fleurs du mal went on sale in July 1857, a report was drawn up by the Sûreté Publique (Public Safety) section of the Ministry of the Interior stating that the collection was in contempt of the laws that safeguard religion and morality. Thirteen poems were singled out and put on trial. In contrast with the last time he went to court, when he acquiesced to the imposition of a conseil judiciaire, Baudelaire fought this battle to the last. The proceeding betrays some of the misunderstandings that have infected views of his poetry ever since. To intercede with the government on his behalf Baudelaire made the unfortunate choice of Aglaé Sabatier, “la Présidente,” a woman to whom he had been sending anonymous and admiring poems since 1852. The third muse for the trilogy of love cycles in Les Fleurs du mal, “Apollonie” (as she was also known) was without great political influence, and her dubious social standing probably did not lend credibility to Baudelaire’s claims for morality. Baudelaire’s defense at the trial was threefold: that he had presented vice in such a way as to render it repellent to the reader; that if the poems are read as part of the larger collection, in a certain order, their moral context is revealed; and that his predecessors—Alfred de Musset, Pierre-Jean Béranger, George Sand, Honoré de Balzac—had written far more scandalously and gotten away with it. Baudelaire’s lawyer unwisely emphasized the last point, which was easily dismissed: that others have gotten away with transgression does not justify one’s own. Six of the poems were condemned—the ban on them was not lifted until after World War II, on 31 May 1949—and both Baudelaire and his editors were fined. Though the trial was an ordeal and certainly did not help improve the poet’s relations with his mother (General Aupick was dead by this time), the trial was not ultimately detrimental to Baudelaire. The condemned poems were excised, and the book went back on sale. Baudelaire subsequently achieved a certain notoriety, for better and for worse. For the better, Les Fleurs du mal got good reviews from critics that counted. Emile Deschamps, a founding father of 1830s Romanticism, published a poem in praise of the collection in Le Présent . Gustave Flaubert, who had endured a similar trial for Madame Bovary (1857), wrote to Baudelaire on 13 July 1858 that “Vous avez trouvé moyen de rajeunir le romantisme. Vous ne ressemblez à personne (ce qui est la première de toutes les qualités). ... Vous êtes résistant comme le marbre et pénétrant comme un brouillard d’Angleterre” (You have found a way to inject new life into Romanticism. You are unlike anyone else [which is the most important quality]. ... You are as resistant as marble and as penetrating as an English fog). On 30 August 1887 Hugo wrote to Baudelaire that his flowers of evil were as “radiant” and “dazzling” as stars. In contrast, the influential Sainte-Beuve maintained a significant silence. There were many negative reviews by lesser critics, but none that affected Baudelaire’s reputation. For the worse, Baudelaire’s legend as a poète maudit (cursed poet) exploded at this time, and Baudelaire, as always, contributed to this reputation by shocking people with elaborate eccentricities. He invited people over to see riding breeches supposedly cut from his father’s hide, for example, or in the middle of a conversation casually asked a friend, “Wouldn’t it be agreeable to take a bath with me?” It is difficult to sort out which stories about Baudelaire are true and which are fictive—later on someone apparently thought that Baudelaire had actually gotten unreasonably angry with a poor window-glazier, misconstruing the prose poem “Le Mauvais Vitrier” (The Bad Glazier) as reality. Baudelaire’s legend as a poète maudit obscured his profound complexity, and Charles Asselineau’s preface to Charles Baudelaire, sa vie et son oeuvre (Charles Baudelaire, His Life and Work, 1869), the first biography of the poet, only sealed his notorious image by passing on the more infamous anecdotes. Another effect of the condemnation of Les Fleurs du mal is that the excision of six poems probably prompted Baudelaire to write the new and wonderful poems published in the collection’s second edition of 1861. After the trial he experienced a surge of creative activity. In Baudelaire in 1859 (1988) Burton posits that this rebirth of energy had to do with a reconciliation with his mother. General Aupick had died in April of 1857, and in 1858 Baudelaire switched from the formal vous to the more intimate tu in addressing his mother. He wrote several of the important poems in the second edition—including “Le Voyage” (The Voyage) and “La Chevelure” (The Head of Hair)—in 1859, during a long stay at Honfleur in the “Maison Joujou” (Playhouse) of his mother. Whatever the reason for this literary activity, Baudelaire wrote thirty-five new poems between 1857 and 1861, adding “Tableaux Parisiens” to the already existing sections of Les Fleurs du mal and creating more or less the definitive version of the collection. Baudelaire’s only collection of verse is composed of six sections: “Spleen et Idéal” (Spleen and the Ideal), “Tableaux Parisiens” (Parisian Tableaus), “Le Vin” (Wine), “Fleurs du mal” (Flowers of Evil), “Révolte” (Revolt), and “La Mort” (Death). In the trial of his poems Baudelaire had argued that there was an “architecture” that organized the meaning of his work, and this organizing principle has been the subject of debate among critics. There is certainly a progression from “Au lecteur” (To the Reader), the poem that serves as the frontispiece, to “Le Voyage,” the final poem. “Au lecteur” invites the reader into the collection by portraying regretful yet irresistible corruption and ennui while forcing the reader into complicity with its well-known conclusion: “—Hypocrite lecteur,—mon semblable,—mon frère!” (Hypocritical reader, my mirror-image, my brother!). Intervening poems explore various facets of the poet’s experience, many of which represent struggles with what Blaise Pascal called the “gouffre” (the abyss). “Le Voyage” surveys the disappointed hopes of speakers who have traveled far and wide only to find what “Au lecteur” had promised, “Une oasis d’horreur dans un désert d’ennui” (An oasis of horror in a desert of tedium). The final cry of this poem, “Nous voulons ... / Plonger ... / Au fond de l’Inconnu pour trouver du nouveau” (We want ... / To plunge ... / To the bottom of the Unknown in order to find something new), is addressed to death and is ambiguous: it either launches the collection’s journey on a new course from that set in “Au lecteur,” thus possibly concluding Les Fleurs du mal on a note of optimism, or it ends the poem’s quest in death. In either case, there is clearly a movement toward closure, and perhaps resolution, in Les Fleurs du mal. Reading the poems by following too rigorous a system would do injustice to them, however. Although there is a general sense of progression in Les Fleurs du mal, individual works do not always fit the pattern assigned to their part in the collection. In similar fashion, though Baudelaire’s legend glossed him as the satanic poet of ennui, sordid details, and forbidden sensuality, in fact his poetry treats a variety of themes with a range of perspectives. He does deal with topics that fueled his scandalous reputation. As “Au lecteur” promised, the collection is dominated by the poet’s Catholic sense of original sin. “Le Mauvais Moine” (The Bad Monk), in the section “Spleen et Idéal,” describes the poet as a “mauvais cénobite” (a bad monk) who is trapped in the “odious” grave of his soul. Redemption, given this situation, appears hopeless: “‘ moine fainéant! Quand saurai-je donc faire / Du spectacle vivant de ma triste misère / Le travail de mes mains et l’amour de mes yeux? (O lazy monk! When will I ever know how to turn / the living spectacle of my sad misery / into the work of my hands and love of my eyes?) Many poems echo this expression of futility for man’s spiritual condition, especially in “Spleen et Idéal” and notably in the four “Spleen” poems (LXXV, LXXVI, LXXVII, LXXVIII) within that section. While some poems end without hope, however—“Spleen LXXVIII” concludes with “atrocious” Anxiety staking the poet’s skull with a black flag—others betray the desire to break out of imprisonment in sin. “Le Mauvais Moine” concludes by expressing that wish (“When will I ever know how ... ?”), though it is in the tenuous form of a question. For Baudelaire, the love of Beauty and sensual love are two specific examples of man’s capacity for original sin. In Les Fleurs du mal Beauty is a compelling but often terrible phenomenon described in terms of hard, lifeless matter. Even the woman of “Le Serpent qui danse” (The Snake Which Dances), a poem about movement, has eyes that are “deux bijoux froids où se mêle / L’or avec le fer” (two cold jewels where / Gold mixes with iron), and Beauty of “La Beauté” (Beauty) is like “un rêve de pierre” (a dream of stone) that inspires love “éternel et muet ainsi que la matière” (as eternal and mute as matter). The power of this inhuman Beauty is terrible. “La Beauté” reduces the poet to a “docile” lover who is virtually chained to his idol. “Hymne à la Beauté” (Hymn to Beauty) concludes with the same helpless devotion to Beauty’s powers of distraction and more explicitly articulates Beauty’s dual nature: her look is “infernal et divin” (infernal and divine), and the poet is so addicted that he does not care whether She comes from Heaven, Hell, or both. Baudelaire does not just treat Beauty as an abstract phenomenon; he also writes about individual women. Baudelaire’s three love cycles reflect his experiences with three different women—Duval, Daubrun, and Mme Sabatier—and discussions of his love poems are often organized around the poems associated with each woman. It is not always clear, however, which poems are associated with whom. Jeanne Duval was a mixed-race person and a sometime actress who, according to Baudelaire, did not understand and in fact undermined his poetry and whose attraction was powerfully physical. Baudelaire met Duval in the early 1840s and lived with her periodically, but by the late 1840s he was writing to his mother that life with her had become a duty and a torment. Nonetheless, it was not until 1856 that they broke up; the rupture was at her instigation, and even afterward Baudelaire continued to support her financially: as usual, his was not the conventional response to a situation. Baudelaire’s relations with Marie Daubrun were less extended. She was a blonde, Rubenesque actress who seems never seriously to have reciprocated Baudelaire’s fascination for her. Baudelaire had met her in the late 1840s or early 1850s but probably did not become intimately involved with her until around 1854. Their sporadic connection ended when Marie left Baudelaire to go back to Théodore de Banville. Apollonie Sabatier represented a different sort of attraction from that of Jeanne and Marie. “La Présidente” had been a model and the mistress of various men, one of whom left her a stipend that secured her independence. Her position as an independent woman who had a history with men placed her in the demimonde, the “half-world” that is neither part of “le monde,” the world of social acceptability and prominence, nor part of the underworld of prostitutes. She was much admired as a tasteful, witty, intelligent woman, and her social evenings were attended by artists such as Théophile Gautier, Maxime Du Camp, Ernest Feydeau, and Flaubert. Baudelaire’s feelings for Mme Sabatier started as admiration from afar: he sent her anonymous letters accompanied by poems. Eventually he revealed his identity to her. When she finally responded to him, however, he dropped her with a letter in which he tells her that her capitulation, whether it was physical or emotional, had turned her from a Goddess into “a mere woman.” Despite the direct stares of Nadar’s famous photographs, Baudelaire’s was a complex personality. On the one hand he experienced animal love and a sense of duty with Jeanne; on the other hand he felt platonic love for Mme Sabatier and yet he betrayed her. His relations with women were far from entirely pleasant. Baudelaire’s complicated experiences with these women and with others undoubtedly shaped his poetry about them. Some readers view Baudelaire as a mere sensualist and in some poems he certainly does celebrate the sensuality of women, of scent, and of sensation, but it is important to note that his poetic descriptions of women are multidimensional. Although there are extremely sensual poems, such as “Parfum Exotique” (Exotic Perfume), “La Chevelure” (The Head of Hair), and “L’Invitation au Voyage” (Invitation to a Voyage), Baudelaire also wrote poems, such as those dedicated to Beauty, in which a woman is admired as a hopelessly unattainable object of art—” Je t’adore à l’égal de la voûte nocturne” (I Adore You as the Vaulted Night Is High), for example, or “Avec ses vêtements ondoyants et nacrés” (With Her Undulating and Pearly Garments). Indeed, contrary to the stereotype of Baudelaire as a lustful idolater, in many of his sensual poems he alchemizes the physical elements of the woman into an ethereal substance. The ultimate importance of “la chevelure” is as a source of memories, and in “Parfum Exotique” the initial scent of the woman’s breast becomes the exotic perfume of an imaginary island. When Baudelaire idolizes the woman as a form of art, similarly, by the end of most poems the woman’s body is conspicuous by its removal. In “Je t’adore à l’égal de la voûte nocturne” the speaker tells the woman that he loves her “d’autant plus, belle, que tu me fuis” (all the more, beautiful one, when you flee me). The image of “la froide majesté d’une femme stérile” (the cold majesty of a sterile woman) in “Avec ses vêtements ondoyants et nacrés” does not invite embraces. For Baudelaire, as for the English metaphysical poets, the human struggle starts with the flesh but ultimately takes place on the metaphysical plane. Woman, on this level, represents good or evil. Some poems portray the woman as demonic, in the tradition of “Hymne à la Beauté.” In “Sed non Satiata” (But she is Not Satisfied), the speaker cries to the woman: “‘ démon sans pitié! verse-moi moins de flamme” (O pitiless demon! Throw me less fire). “Le Vampire” (The Vampire) is about the symbiosis of the vampire woman and the enslaved poet. Other poems—these are usually the ones associated with Mme Sabatier—represent the woman as a redemptive angel against a somber background. The play between light and dark in these poems ranges from the simple to the complex. In “Reversibilité” (Reversibility) there is a simple counterpoint between the “Ange plein de bonheur, de joie et de lumières” (Angel full of happiness, of joy, and of lights) and the tortured speaker. A more complex interplay between light and dark occurs in “Aube Spirituelle” (Spiritual Dawn) when the monstrance-like memory of the woman shines against a backdrop of the sun drowning in its congealing blood. Such complexity is again evident in “Confession,” when the “aimable et douce femme” (amiable and sweet woman) confesses her “horrible” lack of faith in humanity. Behind Baudelaire’s struggles with sin and ennui is an articulated awareness of Satan, notably in the section “Révolte.” “Le Reniement de Saint Pierre” (St. Peter’s Denial) concludes with the speaker congratulating Peter for denying Jesus. In “Abel et Caïn” the narrative voice urges Cain to ascend to heaven and throw God to earth. “Les Litanies de Satan” (The Litanies of Satan) is addressed to Satan and has the refrain “‘ Satan, prends pitié de ma triste misère!” (O Satan, have pity on my sad misery!). These are strong poems, understandably shocking to the readers of his day, but Baudelaire’s struggles with evil do not ally him with Satan. In his poetry Baudelaire represents himself as trapped and cries out in a despair that suggests his awareness of sin as a burden. Baudelaire is not a diabolic preacher; with C. S. Lewis, he would point out that Satan is part of the Christian cosmology. Baudelaire’s “Doctrine of Correspondences” suggests a belief of sorts in a pattern for the world and in relationships between the physical world and a spiritual one. This view, probably influenced by Emanuel Swedenborg and viewed as an antecedent to symbolism, is presented in the poem “Correspondances.” Nature is presented as a “temple” whose living pillars speak to man and whose “forest of symbols” (forêt de symboles) observe him. Baudelaire writes that “Les parfums, les couleurs, et les sons se répondent” (Perfumes, colors, and sounds interact with each other) like echoes in a “ténébreuse et profonde unité” (dark and deep unity). Although he does not include a direct expression of faith in God or gods in the poem, Baudelaire’s profoundly mystical belief in the world’s fundamental unity is clear. “Correspondances” epitomizes Baudelaire’s complicated spirituality. Indeed, the subject of Baudelaire’s faith has been much debated. The references to God and to Satan in his poems, letters, and intimate journals have been counted; the validity of his last rites has been weighed; his confession of faith to Nadar has been examined. Most critics agree that Baudelaire’s preoccupations are fundamentally Christian but that in Les Fleurs du mal he fails to embrace entirely Jesus Christ and his power of redemption. Debates about Baudelaire’s Christianity have not resolved the matter, though, nor is a label for Baudelaire’s faith necessarily desirable for reading his poetry. Les Fleurs du mal is best read on its own terms, with a respect for its complexity. The constant thrust of the collection is to impart to the reader an awareness of tension between the physically real and the spiritually ideal, of a hopeless but ever-renewed aspiration toward the infinite from an existence mired in sin on earth. This thrust is evident in poems in which the speaker bemoans enslavement to the soul’s “gouffre” (abyss) or to Beauty’s fascinations, in which he cries out to Satan in rage, in which he delves into the sensual to escape the physical world, and in which he articulates a feeble hope in love’s redemptive capacity and the possibility of unity. Baudelaire’s ambiguous relationship with the material world and his desire for another world are evident in his poems about the city of Paris. While some critics, notably Edward Kaplan, have argued that “Tableaux Parisiens,” the section added to the edition of 1861, shows a “conversion to the real world as it exists,” critics such as F. W. Leakey have pointed out that in these poems Baudelaire treats the city the way he treats the female body in “Je t’adore à l’égal de la voûte nocturne,” that is, by moving away from it as a physical presence. “Paysage” (Landscape) invokes concrete details of Paris—”Les tuyaux, les clochers, ces mâts de la cité” (the pipes, the bells, the masts of the city)—but the poem concludes with the poet behind closed shutters, his head on his desk, resolving to make “de mes pensers brûlants une tiède atmosphère” (a warm atmosphere from my burning thoughts). In “Le Soleil” (The Sun) the poet walks the streets of Paris, but he appears to see the city as a literary text rather than on its physical terms. He goes “Flairant dans tous les coins les hasards de la rime, / Trébuchant sur les mots comme sur les pavés” (Seeking out the hazards of rhyme in all corners / Stumbling on words as on cobblestones). “Le Cygne” (The Swan) is a magnificent poem that records the changes wrought in Paris by the Baron Georges-Eugène Haussmann. Although he accumulates concrete details, Baudelaire again removes himself from the physical presence he is recording by recasting what he sees: “Je ne vois qu’en esprit tout ce camp de baraques . . .” (I see all these barracks ... only in spirit) and “tout pour moi devient allégorie” (everything becomes an allegory for me). Baudelaire’s reputation as the father of modern poetry about cities is largely based on the “Tableaux Parisiens,” which describe the streets of Paris in such gritty detail; the importance of these street scenes for the poet, though, is that he usually plunges into them with the desire to transcend them. Baudelaire’s theory of correspondences and his introduction of such topics as the city and the ugly side of man’s nature to poetry in verse are responsible for the modern quality of Les Fleurs du mal. Baudelaire also deals with a variety of themes in the Romantic tradition, however, including solitude; the mal de siècle, which in Baudelaire’s terms becomes ennui; the special plight of the poet; introspection; yearnings for the infinite; and romance. Furthermore, Baudelaire’s prosody is traditional: his alexandrines are no more loosened than those of the Romantics, and he uses a wide variety of classical forms. Even in his treatment of Romantic themes, however, Baudelaire is radical for his time. He imagines solitude not as a state of nature but as it happens in cities, presenting it in counterpoint to city crowds. The person who experiences ennui, as opposed to mal de siècle, is mercilessly self-aware and is troubled by original sin and a divided self. For Baudelaire the poet is endowed with special powers but is also a clumsy albatross (“L’Albatros”) or slothful sinner (“Le Mauvais Moine”). No longer mournful meditation in picturesque settings, introspection turns ugly with Baudelaire, a guilty pleasure to be squeezed like “une vieille orange” (an old orange), as Baudelaire asserts in “Au Lecteur.” The infinite is no longer the divine perceived in stars; it is found in the expansiveness of scents, in the imagination, in poetry, in cold-hearted Beauty, in the desire to escape. To traditional forms and traditional themes Baudelaire brought imagery and situations that had never before existed in French poetry. “Une Charogne” (A Cadaver) provides an excellent example of how Baudelaire uses Romantic and even classical themes to go beyond them. The poet takes a walk with his beloved and concludes that, although time passes, his poetry will immortalize her. Unlike Pierre de Ronsard’s poem on that classical theme, “Quand tu seras bien vielle” (When You Are Very Old), however, Baudelaire’s meditation is prompted by a human cadaver whose guts spill across the page, the poem graphically detailing the flies, vermin, and stink. The speaker instructs his beloved that when she, too, is a rotting corpse, she should tell the vermin—who will eat her with kisses—that “j’ai gardé la forme et l’essence divine / De mes amours décomposés!” (I have maintained the form and divine essence / Of my decomposed loves!). Just as he exploits grotesque physical details only to extract from them an “essence divine,” so Baudelaire uses poetic convention while transforming it. Similarly, Baudelaire’s use and mastery of traditional technique revolutionized French poetry by so clearly representing a unique sensibility. In “Le Cygne,” a poem detailing the poet’s thoughts as he walks through a changing Paris, Baudelaire sensitively communicates modern anxiety and a modern sense of displacement. The poem begins with an abrupt exclamation, “Andromaque, je pense à vous!” (Andromache, I am thinking of you!). A series of repetitions compounds the initial sense of urgency. The frequent recurrence of the verb je pense à (I am thinking about), though, also indicates the meditative nature of the poem; the repetition of words such as là (there)—along with a myriad of sharp descriptions—show that meditation interacts with the speaker’s close observations. Syntax broken across stanzas conveys the reach of the poet’s thoughts and observations as well as a sense of breathless haste. The speaker returns to the same thoughts—notably, a swan escaped from a zoo and Andromache, the wife of the Trojan hero Hector—and the use of exclamation points is heavy: he is obsessed and slightly frantic. The gist of the speaker’s meditations is that he is haunted by absences: by Paris as it is no longer, by the swan who has lost his native soil, by Andromache’s losses. Those absences are present in this poem by virtue of Baudelaire’s prosody. Andromache’s fall into destitution is represented in the space caused by the enjambment between stanzas: “ … et puis [je pense] à vous / Andromaque, des bras d’un grand époux tombée” (And I think of you, / Andromache, fallen from the arms of a great husband). The lament of all who have suffered losses is emphasized by an enjambment that forces a quick draw of breath right before the end of the sentence and that accents the finality of “jamais” (never) at the beginning of the next sentence: “Je pense . . . . . . . . . . . . . . . À quiconque a perdu ce qui ne se retrouve Jamais, jamais!” (I think . . . . . . . . . . . . . . Of whomever has lost that which can Never, never be found again!). In Les Fleurs du mal traditional prosody and themes combine with novel thoughts and inspiration to create works of supreme originality. Although there were not many reviews of the second edition of Les Fleurs du mal and not all of those published were favorable, Baudelaire became an established poet with its publication. Saint-Beuve—though he never did review Les Fleurs du mal—ranked him grudgingly among the leaders of a new generation of poets as he remarked that poets coming along seemed to be in the style of Hugo, Gautier, Banville, and “even Baudelaire.” Younger poets started to dedicate poems to Baudelaire. Charles Asselineau in Charles Baudelaire: Sa vie et son oeuvre (1869) describes Baudelaire as accepted and blossoming with success after 1861. On the strength of that success, in fact, Baudelaire attempted an application to the Académie Française in 1861, seeking—many thought ironically—the place of Henri Lacordaire, a Roman Catholic priest. The taint of the trial and of his reputation was too strong, though, and Baudelaire thought it prudent to let his candidacy drop before he met with certain failure. In the 1860s Baudelaire diversified from poetry in verse to literary activity in several different spheres. He wrote Les Paradis artificiels, Opium et Haschisch (The Artificial Paradise, Opium and Hashish, 1860), in which he resumes the interest in drugs that he had first explored in 1851 with Du Vin et du haschisch (On Wine and Hashish), an article published in Le Messager del’Assemblée. He also wrote seven articles for Jacques Crépet’s Les Poètes Français (French Poets, 1862), including pieces on Hugo, Gautier, and Marceline Desbordes-Valmore. These essays were published later along with others in Curiosités esthétiques . The note on Baudelaire in Crépet’s volume, written by Gautier, was fairly positive. This anthology established contact between Baudelaire and his first major biographer, Crépet. Baudelaire also continued with essay projects on topics of miscellaneous artistic interest, for example, the expression of his admiration for Wagner in 1861, Richard Wagner et “Tannhäuser” à Paris, and a valedictory tribute to Delacroix in 1863. The most significant of these essays was his definitive article on modern art. Around 1859 Baudelaire met the sketch artist Constantin Guys and began writing “Le Peintre de la vie moderne” (The Painter of Modern Life). This essay, ultimately published in Le Figaro in 1863, brings to fruition his ideas about “l’héroïsme de la vie moderne” (the heroism of modern life) first expressed in Salon de 1845 and Salon de 1846. Where in the Salon de 1846 Baudelaire discusses the duality of art in general terms, in “Le Peintre de la vie moderne” that duality specifically defines art’s modernity: “La modernité, c’est le transitoire, le fugitif, le contingent, la moitié de l’art, dont l’autre moitié est l’éternel et l’immuable” (Modernity is the transitory, the fugitive, the contingent, half of art, the other half of which is eternal and immutable). Art is composed of the eternal and the contingent; modernity—which can occur in every historic era—is a function of finite particulars “qui sera, si l’on veut, tour à tour ou tout ensemble, l’époque, la mode, la morale, la passion” (which, if you like, will be one by one or simultaneously the era, fashion, morals, passion). Baudelaire illustrates these principles by discussing in detail the interests and techniques of “CG,” his designation for the artist who wished to remain anonymous, from his brush stroke to his Crimean War drawings for the Illustrated London News. Central to Baudelaire’s estimation of Guys is that Guys is not an artist but is, rather, a man of the world. For Baudelaire, a broad interest in the world as opposed to the restricted perspective that he associates with most “artistes” is crucial to interesting art. Along with this line of thought Baudelaire elaborates his notion of the dandy, who is not only the elegant dresser of usual associations but also a man of the world who lives according to the highest aesthetic principles. Baudelaire also develops his ideas about “la foule,” the crowd, which is the solitary artist’s domain “as water is for the fish.” He devotes an entire section to the aspects of modern life that the true artist must absorb: military life, the dandy, cars, women, prostitutes, and even makeup. In that last section, “Eloge du Maquillage” (In Praise of Makeup), Baudelaire makes explicit two more concepts that are important to his ethos. First, true to the metaphysical import of flesh already described in his poetry, Baudelaire makes it clear that for him there is a spiritual dimension to physical rituals: he speaks of “la haute spiritualité de la toilette” (the high spirituality of the toilet) and states that fashion must be considered “un symptôme du goût de l’idéal” (a symptom of a taste for the ideal). Second, as a corollary to the importance he attaches to fashion, makeup, and the codes of the dandy, Baudelaire touches on his unromantic distaste for the natural. Everything beautiful is beautiful by calculation, he opines. Art is necessary to correct the natural state of man, which on the physical level is unattractive and on the spiritual level is a state of original sin. By the early 1860s Baudelaire had found a model for his ideals in the person of Guys, and he gave full expression to his artistic aesthetic in “Le Peintre de la vie moderne.” Baudelaire continued with scattered publications of poetry in the 1860s. In 1862 he published 20 prose poems in La Presse . This landmark year marks a shift in his creative endeavors from poetry in verse to poetry in prose: thereafter most of his creative publications are prose poems. Baudelaire managed to write only fifty of the one hundred prose poems he had projected. These poems were posthumously collected in 1869 as Petits poèmes en prose (Little Poems in Prose) and published with Les Paradis artificiels; later they were published by the better known title Le Spleen de Paris, petits poèmes en prose (The Spleen of Paris, Little Poems in Prose, 1917). Le Spleen de Paris is, as Baudelaire would say, a “singular” assemblage of works that represents an extremely ambitious literary project. In his correspondence he refers to the prose poems as a “pendant” (a completion of) to Les Fleurs du mal. He explains in what senses Le Spleen de Paris completes Les Fleurs du mal when he articulates his ambitions for the prose poems in “A Arsène Houssaye,” a letter that became the preface to the collection. Houssaye was the editor of L’Artiste and La Presse , which published some of the prose poems individually. In “A Arsène Houssaye” Baudelaire is careful to point out that the main predecessor for the genre of prose poetry was Aloysius Bertrand’s Gaspard de la Nuit (Gaspard of the Night, 1842), a relatively little-known work about gothic scenes in Paris. Bertrand did not label his short pieces “prose poems,” though: Baudelaire is the first poet to make a radical break with the form of verse by identifying nonmetrical compositions as poetry. Baudelaire offered a tantalizing statement about his goals for the new form: “Quel est celui de nous qui n’a pas, dans ses jours d’ambition, rêvé le miracle d’une prose poétique, musicale sans rythme et sans rime, assez souple et assez heurtée pour s’adapter aux mouvements lyriques de l’âme, aux ondulations de la rêverie, aux soubresauts de la conscience?” (Who among us has not, in his days of ambition, dreamed the miracle of a poetic prose, musical without rhythm or rhyme, supple and agile enough to adapt to the lyrical movements of the soul, to the undulations of daydreams, to the leaps of consciousness?). Having mastered the forms of traditional verse, Baudelaire wanted to do nothing less than create a new language. Unlike Bertrand’s “picturesque” topics, Baudelaire associates his new language with the modern topic of the city. In “A Arsène Houssaye” he states that the ideal that obsesses him is born “surtout de la fréquentation des villes énormes, ... du croisement de leurs innombrables rapports” (especially from frequenting large cities, ... from the interconnection of their innumerable points of relationship). In contrast with the “architecture” of Les Fleurs du mal, these interconnections are presented without order. The work has “ni queue ni tête, puisque tout, au contraire, y est à la fois tête et queue, alternativement et réciproquement” (neither tail nor head because, on the contrary, everything is at once head and tail, alternately and reciprocally). Le Spleen de Paris is modern in that it represents a break with traditional form, is about urban life, and is consciously without order. It is worth noting that in his preface Baudelaire refers to the form of the work as “prose lyrique.” He does not in the collection refer to the works as poems in prose, and the title, Le Spleen de Paris, petits poèmes en prose was chosen after Baudelaire’s death by editors and critics. It is true that critics chose this title from titles that Baudelaire considered in his correspondence, and that in his correspondence Baudelaire most often refers to his endeavours as “poèmes en prose.” Among the most significant challenges posed by Le Spleen de Paris, though, are the questions surrounding its form: is this poetry? Did Baudelaire succeed in his ambition to forge a new poetic language? In her classic tome on prose poetry Le Poème en prose du Baudelaire jusqu’à nos jours (The Prose Poem from Baudelaire to the Present, 1959) Suzanne Bernard defined the important characteristics of the genre: “l’unité, la gratuité, la brièveté (unity, gratuitousness, and brevity). Most critics have tended to discuss the themes of the poems rather than their form, however, accepting poetry in Baudelaire’s wake as an attitude rather than a set of rules. This collection, which has been growing in popularity among critics, still contains much to be explored. Baudelaire’s poems in prose are short anecdotes, bitter satires, and reveries about unusual topics, including dogs, mud, aged tumblers, windows, widows, and poor people standing outside fancy eating establishments. Several critics, notably Pierre Emmanuel, have noted that there is more compassion in these works than in Baudelaire’s poetry in verse. This compassion can take strange forms—the speaker of “Les Yeux des pauvres” (The Eyes of the Poor) is so moved by a family of poor people that he hates the companion he had loved for her lack of sympathy. “Assommons les Pauvres” (Let’s Knock Out the Poor) concludes with the speaker sharing his purse with a beggar, but it is after having beaten him like “cooks who want to tenderize a steak.” It is true, though, that whereas Baudelaire most often offers visions of beauty in Les Fleurs du mal, he commonly and sympathetically treats the poor in Le Spleen de Paris. In fact, the speaker in “Mademoiselle Bistouri” concludes by praying to God—as opposed to the devil—to have pity on crazy people. Furthermore, while many of the prose poems are about ugliness, they often accept and possibly even transcend ugliness. “Un cheval de race” (A Thoroughbred) is about a woman well past her prime who is “bien laide” (very ugly) but “délicieuse pourtant” (nonetheless beautiful). In “Perte d’auréole” (The Lost Halo) the speaker loses his “halo” in the mud, but concludes that he is better off without it and that the halo is actually much better suited to “some bad poet.” While the speaker in the poems of Les Fleurs du mal sought escape, in the prose poem “Déjà!” Baudelaire describes a speaker who had escaped on a boat that then returned to shore. At first he alone among the passengers is regretful, but in the last paragraph of the poem he celebrates “la terre avec ses bruits, ses passions, ses commodités, ses fêtes;” (earth with its sounds, its passions, its conveniences, its celebrations). As with Les Fleurs du mal, it would be a mistake to pigeonhole the poems in this collection, which unlike his first has no headings. There are some harsh, disturbing poems in Le Spleen de Paris —“Le Gâteau” (The Cake), for example, which is about a fratricidal war between two natives over a piece of cake. As critics have noticed from the very beginning, however, the prose poems address banalities and travails of life quite differently from Les Fleurs du mal. It is not coincidental that Baudelaire’s departure from traditional form and his exploring new themes occurred in chronological conjunction with “Le Peintre de la vie moderne.” Certainly, Baudelaire’s break with traditional notions of poetry had a far-reaching effect on subsequent poetry, from Arthur Rimbaud’s Les Illuminations (1886) to modernist experimentation with form. In fact, Henri Peyre, an eminent scholar of French poetry, argues in Connaissance de Baudelaire (1951) that Le Spleen de Paris has had a greater influence on poetry than Les Fleurs du mal. This conclusion is surprising because it is only relatively recently that Baudelaire’s prose poetry has attracted critical attention, but few critics have disagreed with Peyre. Le Spleen de Paris undoubtedly has had a significant influence on modern poetry. During the period in which he was seriously exploring prose poetry, Baudelaire experienced a series of financial disasters. He had sold his writings to Poulet-Malassis, who had gone bankrupt in 1862. La Presse stopped publishing his poetry in prose. He had signed over to Michel Lévy sole ownership for his translations of Poe for 2,000 francs, so he lost a regular income; furthermore, he could not get Lacroix and Verboeckhoven, another printing house based in Brussels, interested in his work. These circumstances led Baudelaire to travel to Brussels, where he hoped to earn money with a lecture series and to make contact with Victor Hugo’s publisher, Lacroix et Verboeckhoven. Baudelaire arrived in Brussels on April 24, 1864 and checked into the Hotel du Grand Miroir, where he stayed, enduring a miserable sojourn, until his stroke in 1866. His lecture series was a failure: he got less money for the lectures than he was expecting, and though his first lecture got a good review, the rest were described by those who attended as disasters because of Baudelaire’s stage fright. Baudelaire describes his last attempt to lecture in excruciating terms: there were three enormous drawing rooms, lit with chandeliers and candelabras, decorated with superb paintings, a “profusion” of cake and wine—and all for 10 or 12 people. He did not even bother to deliver the entire talk. In addition to the disappointment of the lecture series, Baudelaire did not make contact with Lacroix, who never accepted his invitations. Also, Baudelaire found the culture and climate of Belgium stifling, so stifling that while there he began writing a vitriolic indictment of the country titled “Pauvre Belgique!,” which was pubblished in Oeuvres posthumes et correspondances inédites (1887). Despite his unhappy situation, Baudelaire stayed on in Belgium, perhaps because he was hoping for a satirical book to come out of the stay, perhaps because he did not want to return to France without something to show for the trip, or perhaps because he could not pay his hotel bill. His time in Belgium was not in fact wasted: Poulet-Malassis had emigrated there to escape creditors in France, and with his help Baudelaire published Les Épaves (The Wreckage, 1866), in which he assembled the condemned poems and other pieces left out of the French edition of Les Fleurs du mal. Baudelaire also became acquainted with Mme Hugo, even becoming a regular visitor at her home, and made contacts with local artists, notably with the engraver Félicien Rops. While visiting the Rops family, Baudelaire collapsed during a trip to the Eglise Saint-Loup on March 15, 1866. Baudelaire’s health had been deteriorating for some time. There was no effective cure for syphilis in his day, and so although he thought he was cured of it in the early 1840s, his disease erupted in 1849, and again in the spring of 1861. In letters from January 1862 he describes recurrent and distressing symptoms. The doctors never mentioned syphilis in connection with his final illness, but it seems very likely that the cerebral hemorrhage of March 15 was caused by the debilitating effects of the disease. The Rops took Baudelaire back to Brussels, and by March 31 paralysis had set in. He was transported to the Clinique Saint-Jean et Sainte Elisabeth on April 3. By April 4, Baudelaire was incapable of speaking coherently. Madame Aupick arrived in Brussels on April 14 and returned with Baudelaire to Paris at the end of June. Baudelaire was eventually moved into a hydrotherapeutic establishment, and it was there that he died on August 31, 1867. The terrible irony of Baudelaire’s story is that this supremely articulate man spent the last 17 months of his life reduced to incoherent monosyllables. This aphasic state was special torture for him because he seemed to understand what was going on around him but was unable to express himself. A particularly sad example of this situation touches on the publication of Baudelaire’s complete works. He had wanted to find a publisher for them before his stroke, and his friends organized themselves to bring about what had become a last wish. Baudelaire conveyed with signs that he wanted Lévy as publisher, and this request was arranged. Ever the perfectionist, Baudelaire wanted to oversee the production of the manuscript. He knew, however, that he was in no condition to do so. In the hopes that he would eventually recover, Baudelaire used a calendar and a book published by Lévy to indicate that he wanted the process to wait until March 31. This date came with no improvement in Baudelaire’s health, and his collected works had to be prepared without his supervision; the seven-volume Oeuvres complètes (Complete Works) were not published until after his death, between 1868 and 1873. Biographies were also quickly available: Asselineau’s anecdotal Charles Baudelaire, sa vie et son oeuvre was published two years after the poet’s death; the first scholarly biography of Baudelaire was written by Jacques Crépet in 1887 and completed by his son Eugène in 1907: Baudelaire. Étude biographique revue et complétée par Jacques Crépet. Baudelaire had achieved an important reputation in the literary world by the time of his death; writers such as Stéphane Mallarmé, Paul Verlaine, and Rimbaud openly sang his praises. In his correspondence Rimbaud called him a “génie, un voyant” (genius, a visionary). In articles written for the journal L’Art in November and December 1865 Verlaine credited Baudelaire with writing poetry about modern man. Mallarmé celebrated Baudelaire in essays and took up many of his themes (Poe, escape from the physical world, and desire for the infinite). Baudelaire’s influence has carried over into the 20th century and to other countries in the work of such writers as Pierre-Jean Jouve, Pierre Emmanuel, and T.S. Eliot. Though Baudelaire was accepted as a poet during his lifetime, his status with 19th-century critics was tenuous. Of 1500 books, 700 copies of Crépet’s biographical study remained in 1892. Lurid articles that exaggerated Baudelaire’s legendary eccentricities attended his death. Important scholars such as Ferdinand Brunetière and Gustave Lanson remained relatively ignorant of Baudelaire’s achievements. Toward the end of the 19th century small magazines began to perceive Baudelaire’s work more clearly and to free him of the myth of decadence that had grown up around him. Baudelaire’s importance was not fully recognized by the world of criticism until the 20th century, though. In 1926 Paul Valéry’s “Situation de Baudelaire” (The Situation of Baudelaire) was published as an introduction to Les Fleurs du mal; in 1927 Marcel Proust published the influential “A propos de Baudelaire” (On the Subject of Baudelaire). These essays and others brought about a renaissance for Baudelaire’s fortunes in France, and by World War II his work was regularly anthologized and used in schools. Baudelaire’s writings have also come to be greatly appreciated abroad, notably in England, where he was introduced by the critic Arthur Symons and where the American poet Eliot subsequently introduced him to American and English modernist poetry. Baudelaire is now an important figure in the literary canon. Critical articles and books about him abound; the W.T. Bandy Center for Baudelaire Studies at Vanderbilt University is devoted to recording all major publications on the author and his work. In the 1980s and 1990s the prose poems seem to have become a particularly appealing topic for scholars of Baudelaire. Baudelaire’s poetry has gone beyond what was once selective appreciation on the one hand and widespread notoriety on the other to general acclaim. Unlike Hugo, who cultivated his relationship with the public, Baudelaire in his career set himself apart by cultivating an eccentric image, by living an unconventional life, by writing poetry in verse that used Romantic topoi to upset them, and by launching a new form. While he did seek recognition, Baudelaire and his poetry are defined by their distinct individuality.
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5097	dbpedia	2	69	https://www.myfrenchlife.org/2018/09/14/french-writers-bedrooms/	en	Famous French writers’ bedrooms: Proust, Balzac and Hugo	https://www.myfrenchlife…mbre-dhugo-1.jpg	https://www.myfrenchlife…mbre-dhugo-1.jpg	[ "https://www.myfrenchlife.org/wp-content/uploads/mfllogo.png", "https://www.myfrenchlife.org/wp-content/uploads/chambre-dhugo.3.png", "https://www.myfrenchlife.org/wp-content/uploads/Proust-chambre-700x400.jpg", "https://www.myfrenchlife.org/wp-content/uploads/bureau-de-balzac-700x400.jpg", "https://www.myfrenchlife.org/wp-content/uploads/chambre-dhugo.jpg", "https://www.myfrenchlife.org/wp-content/uploads/avatars/12385/58beb40e58112-bpfull.jpg", "https://www.myfrenchlife.org/wp-content/uploads/Screenshot-2024-07-05-at-1.54.13 PM-e1723081977613.jpg", "https://www.myfrenchlife.org/wp-content/uploads/Screenshot-2024-06-27-at-8.32.59 AM-e1722376170830.jpg", "https://www.myfrenchlife.org/wp-content/uploads/Miss.Tic-1-e1722293583223.jpg", "https://www.myfrenchlife.org/wp-content/uploads/avatars/12105/5c87e292a3e51-bpfull.jpg", "https://www.myfrenchlife.org/wp-content/uploads/avatars/12385/58beb40e58112-bpfull.jpg", "https://www.myfrenchlife.org/wp-content/uploads/avatars/12105/5c87e292a3e51-bpfull.jpg", "https://www.myfrenchlife.org/wp-content/uploads/avatars/12385/58beb40e58112-bpfull.jpg", "https://www.myfrenchlife.org/wp-content/uploads/Screenshot-2023-04-09-at-1.41.56-pm-376x300.png", "https://www.myfrenchlife.org/wp-content/uploads/logo-afpif-2012-pour-fond-blanc-white.jpg", "https://www.myfrenchlife.org/wp-content/uploads/logo-we-teach-french_color-small.jpg", "https://www.myfrenchlife.org/wp-content/uploads/nomador_logo_trasparent_bg-1.png" ]	[]	[]	[ "" ]	null	[ "Jessica Rushton" ]	2018-09-14T00:00:00	I’m looking at 3 famous French writers' bedrooms to see if they can be the key to inspiring my own bedroom arrangements and maybe even improve my writing!	en	https://www.myfrenchlife…2010/05/logo.png	My French Life™ - Ma Vie Française®	https://www.myfrenchlife.org/2018/09/14/french-writers-bedrooms/	As a writer, I’ve always taken a passion in organisation across my work. Sadly, this has never stretched as far as to include my bedroom. French writer bedrooms: a room of my own When living in student accommodation, a good friend advised me to start with my own mess before tidying elsewhere – very logical advice that can also apply to everyday life, too. I was told to stay away from cleaning my shared kitchen until:“you have fresh flowers in your room; “your bedroom floor is completely tidy, with NOTHING in the corners; your books are all nicely arranged; you’ve taken a bag of unwanted stuff to the charity shop and you’ve browsed through a design magazine to gain ideas for your bedroom.” The last piece of advice made me think that maybe my inspiration for a clean and tidy bedroom was hiding in a literary kind of design magazine; in the French writers I spent so much time studying. I’ve chosen to look into 3 famous French writer’s bedrooms to see if they can be the key to inspiring my own bedroom arrangements, colour schemes, furniture choices and maybe even improving my writing! French writers’ bedrooms: la chambre de Proust Famous French writer Marcel Proust wrote, as we know, A la recherche du temps perdu, a world-record breaking set of works in terms of both length and number of characters. He was said to often be a recluse in his bedroom during the later years of his life. As a final year student, I understand the need for comfort and recluse during essay writing periods. I feel that a Proustian armchair in my room would help to ponder over essay paragraphs – or simply have a break from them – in a comfy yet stylish way Unfortunately, the colour scheme is far from my taste. I would prefer something far brighter, or even minimalistic with brighter furniture. However, the bedside table, would definitely be effective for those writing snacks, books I am working on, or even just a vase of fresh flowers to brighten the room. Like Proust, my bed takes precedence in my university room, yet it often gets covered with clothes, books, papers and pens. Although this photo is captured in Proust’s museum in Paris, it would seem unlikely Proust would write, as I often do, on my bed surrounded by clutter. I feel inspired to tidy my things, as a great French writer would! French writers’ bedrooms: la chambre de Balzac Honoré de Balzac, the creator of La Comedie humaine , was also labelled the father of Realism in the nineteenth-century. His bedroom is found in La Maison de Balzac, now a museum in Paris, too! I could imagine no desk to a finer standard than that of Balzac. I can almost picture myself sitting in his large armchair, with a wonderful view from his bedroom window. Enabling me to gaze out when needing time for self-reflection. Balzac’s room confirms my need for a clean desk, with a minimalist lamp and shade to gain the perfect atmosphere when writing. I feel inspired to move all the trinkets on my desk into a draw; to have a clear work space and hopefully a clear mind for writing ideas! I thought Balzac’s wallpaper was also an interesting idea for my own room. Perhaps I could create a feature wall with a soft colour to add to the calm atmosphere! French writers’ bedrooms: la chambre de Victor Hugo Victor Hugo, one of France’s most famous writers for Les Misérables and for his poetry, has to be admired for the style of his room. The colour choice is a deep red and allows his bedsheets, table cloth, and chairs to all match. Maybe I could match my curtains, sheets, and desk with a similar styled colour scheme? I also think the bedframe would be perfect if I were to have more space. Who wouldn’t want to feel like a queen in their own room?! The use of candles can also relate to the modern use of scented candles, which can be purchased with almost whatever aroma you desire for your bedroom… if only there was a fresh book aroma! This museum is also found in Paris, although Victor Hugo does have his house in exile in Guernsey, a British Channel Island! To find out more about where these incredible French writers’ bedrooms are located, why not read untapped city’s article. Have you felt inspired to decorate your room like a famous writer/artist? What would you include in your ideal bedroom? We’d love to hear your thoughts and comments in the bow below!
5097	dbpedia	0	27	https://books.google.com/books/about/Honor%25C3%25A9_de_Balzac.html%3Fid%3DFqfeEAAAQBAJ	en	Google Books			[]	[]	[]	[ "" ]	null	[]	null					https://books.google.com/	Search the world's most comprehensive index of full-text books. My library
5097	dbpedia	1	84	https://bookaroundthecorner.com/2011/12/28/arria-marcella-by-theophile-gautier/	en	Arria Marcella by Théophile Gautier	https://bookaroundthecor…pompei.jpg?w=105	https://bookaroundthecor…pompei.jpg?w=105	[ "https://bookaroundthecorner.com/wp-content/uploads/2011/12/exposition-pompei.jpg?w=105&h=150", "https://bookaroundthecorner.com/wp-content/uploads/2011/12/corps_pompei.jpg?w=300&h=225", "https://2.gravatar.com/avatar/8c8a535ba8ed161f34efc09ac035bcdf927148c08bc36bbd8303ad982b12d0da?s=32&d=identicon&r=G", "https://0.gravatar.com/avatar/3b6e11eded69511e3b1fb36385038f08f1493f3051a7fb4a34a1c67b5e4028c9?s=32&d=identicon&r=G", "https://0.gravatar.com/avatar/0c8e0e537ed9c0f9ce7a314f20e6234272fed3dd7d7f072f4f3bd5c4a7e68656?s=32&d=identicon&r=G", "https://0.gravatar.com/avatar/3b6e11eded69511e3b1fb36385038f08f1493f3051a7fb4a34a1c67b5e4028c9?s=32&d=identicon&r=G", "https://0.gravatar.com/avatar/0c8e0e537ed9c0f9ce7a314f20e6234272fed3dd7d7f072f4f3bd5c4a7e68656?s=32&d=identicon&r=G", "https://0.gravatar.com/avatar/3b6e11eded69511e3b1fb36385038f08f1493f3051a7fb4a34a1c67b5e4028c9?s=32&d=identicon&r=G", "https://0.gravatar.com/avatar/67cb323ad1768d682f5ad5970884862a856e6cc8aee52dd80906c346ee0a7c95?s=32&d=identicon&r=G", "https://0.gravatar.com/avatar/3b6e11eded69511e3b1fb36385038f08f1493f3051a7fb4a34a1c67b5e4028c9?s=32&d=identicon&r=G", "https://0.gravatar.com/avatar/fa1f4ccfd7034b3d922aa37f2004d24945c7976da58dc927a80905fd77ce3af1?s=32&d=identicon&r=G", "https://0.gravatar.com/avatar/3b6e11eded69511e3b1fb36385038f08f1493f3051a7fb4a34a1c67b5e4028c9?s=32&d=identicon&r=G", "https://0.gravatar.com/avatar/9a2070d33d04b768c23a681c1bc9a08d34c786fddf2cf2cbe098544bbd7ceb54?s=32&d=identicon&r=G", "https://0.gravatar.com/avatar/3b6e11eded69511e3b1fb36385038f08f1493f3051a7fb4a34a1c67b5e4028c9?s=32&d=identicon&r=G", "https://2.gravatar.com/avatar/b4ce7fca18e9154bb2cb01778391e37979b0b7d3f7b1a58075d0e93e8780529e?s=32&d=identicon&r=G", "https://0.gravatar.com/avatar/3b6e11eded69511e3b1fb36385038f08f1493f3051a7fb4a34a1c67b5e4028c9?s=32&d=identicon&r=G", "https://2.gravatar.com/avatar/b4ce7fca18e9154bb2cb01778391e37979b0b7d3f7b1a58075d0e93e8780529e?s=32&d=identicon&r=G", "https://0.gravatar.com/avatar/3b6e11eded69511e3b1fb36385038f08f1493f3051a7fb4a34a1c67b5e4028c9?s=32&d=identicon&r=G", "https://0.gravatar.com/avatar/9a2070d33d04b768c23a681c1bc9a08d34c786fddf2cf2cbe098544bbd7ceb54?s=32&d=identicon&r=G", "https://0.gravatar.com/avatar/3b6e11eded69511e3b1fb36385038f08f1493f3051a7fb4a34a1c67b5e4028c9?s=32&d=identicon&r=G", "https://bookaroundthecorner.com/wp-content/uploads/2020/04/cropped-mafalda_avatar.jpeg?w=50", "https://bookaroundthecorner.com/wp-content/uploads/2020/04/cropped-mafalda_avatar.jpeg?w=50", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[ "Guy Savage", "Max Cairnduff" ]	2011-12-28T00:00:00	Arria Marcella. Souvenir de Pompéi by Théophile Gautier. 1852 Cela produit un singulier effet d'entrer ainsi dans la vie antique et de fouler avec des bottes vernies des marbres usés par les sandales et les cothurnes des contemporains d'Auguste et de Tibère. It produces a strange impression to penetrate thus into the life of antiquity, and…	en	https://bookaroundthecor…avatar.jpeg?w=32	Book Around the Corner	https://bookaroundthecorner.com/2011/12/28/arria-marcella-by-theophile-gautier/	Arria Marcella. Souvenir de Pompéi by Théophile Gautier. 1852 Cela produit un singulier effet d’entrer ainsi dans la vie antique et de fouler avec des bottes vernies des marbres usés par les sandales et les cothurnes des contemporains d’Auguste et de Tibère. It produces a strange impression to penetrate thus into the life of antiquity, and to walk in patent-leather boots upon the marble pavement worn by the sandals and cothurns of the contemporaries of Augutus and Tiberius. I’ve been to the exhibition Pompeii, an art of living in Paris. It shows frescoes, mosaics, vases, statues and objects from everyday life in a Roman city of the 1st Century. Before visiting the exhibition, I had listened to an interview with an archeologist on France Inter; she explained that we’d rather live in a Roman house than in an 18thC mansion. Why? Because in Pompeii rich houses (that can be compared to mansions) had tap water, bathrooms and sewers. The Roman idea of hygiene was closer to ours than in Voltaire’s times—at least in France. I’ve always marveled at the Roman way of life, even if it was also brutal and cruel. Their civilization crumbled and disappeared within a few centuries and lots of their techniques were lost. I understand that the Christian societies fought against the ancient beliefs. What I don’t understand is why they needed to discard engineering, medicine and other useful knowledge as well. It makes me think about our civilization. Could it fall apart that easily? I guess it could. Apart from the beautiful and so modern objects, the public could also see moldings of humans and dogs. In 1863, Giuseppe Fiorelli managed to pour plaster into the cavities left in the lava ashes by disintegrated bodies. We see the shapes of these men and dogs during their last moment, writhing with agony. It’s really moving. I’m often more touched by statues than by paintings. But this is totally different. It looks like a statue but it’s not, the model didn’t walk away. They died. It’s the three dimensional picture of agonies. Chilling. I stared for a while, unable to move, knowing I was gazing at the negative of people who had died in a catastrophe in 79. Then I stumbled upon a sign explaining that Théophile Gautier had been so upset by the same kind of moldings that he wrote a short-story, Arria Marcella, Souvenir de Pompeii. I had to read it. Three friends, Fabio, Max and Octavien visit a museum in Napoli. Among the vestiges from Pompeii, Octavien comes across a molding of a beautiful woman. He feels a connection with her and stays there, bewitched and upset. The three friends go to Pompeii, visit the site with a guide and come back to their lodgings. Sleepless, Octavien decides to pay a nightly visit to Pompeii. When he arrives in the ancient city, it seems intact and he’s taken back into 79. He goes to the theatre, hears Latin spoken as a living language, watches a play by Plautus, walks in the street and finds the woman from the museum. Alive. Octavien has a Roman name, which reinforces the feeling he can only be connected to this ancient civilization. The usual French name is more Octave than Octavien. Théophile Gautier describes this time-travel experience with many details. It’s a pretext to resurrect Pompeii to our eyes and he manages extremely well. I was there. Perhaps my imagination was fueled by other readings and documentaries; perhaps it’s just his literary gift. Of course, in Gautier’s time, educated people knew a lot about Ancient Rome and Ancient Greece. They learnt Latin, knew the writers and the history. But still, he captures the feeling we have when we visit old places, the conscience that men long times gone used to live there.
5097	dbpedia	3	7	https://www.getty.edu/art/collection/object/1044ZD	en	Théophile Gautier (The J. Paul Getty Museum Collection)	https://media.getty.edu/…00/0/default.jpg	https://media.getty.edu/…00/0/default.jpg	[]	[]	[]	[ "Getty Museum collections", "artworks", "art works", "art history", "video", "interpretation of art", "acquisitions", "artists", "Getty art", "collections Getty", "collezioni Getty", "colecciones Getty", "Sammlung Getty", "Getty exhibits", "Getty current exhibitions", "Getty Museum exhibits", "los angeles collections", "antiquities", "decorative arts", "sculpture", "manuscripts", "photography", "paintings", "drawings" ]	null	[]	null	Explore the collection of the J. Paul Getty Museum at the Getty Center and the Getty Villa.	en	/art/collection/favicon.ico	The J. Paul Getty Museum Collection	https://www.getty.edu/art/collection/object/1044ZD
5097	dbpedia	0	31	https://www.thegreatcat.org/cats-19th-century-part-16-theophile-gautier/	en	Cats in the 19th Century (Part 16 -Théophile Gautier)	https://www.thegreatcat.…ER-THÉOPHILE.jpg	https://www.thegreatcat.…ER-THÉOPHILE.jpg	[ "https://www.thegreatcat.org/wp-content/uploads/2014/05/Theophile-Gautier.jpg", "https://www.thegreatcat.org/wp-content/uploads/2014/05/Theophile-Gautier.jpg", "https://thegreatcat.org/wp-content/uploads/2014/05/Tomb-of-Theophile-Gautier.jpg", "https://thegreatcat.org/wp-content/uploads/2014/05/Tomb-of-Theophile-Gautier.jpg", "https://www.thegreatcat.org/wp-content/uploads/2016/05/Front-2.jpg", "https://www.thegreatcat.org/wp-content/uploads/2016/05/Front-2.jpg", "https://www.thegreatcat.org/wp-content/plugins/digiproveblog/dp_seal_trans_16x16.png", "https://www.thegreatcat.org/wp-content/plugins/digiproveblog/dp_seal_trans_16x16.png", "https://www.thegreatcat.org/wp-content/uploads/2019/07/Logo-7-500x500.png", "https://www.paypalobjects.com/en_US/i/scr/pixel.gif", "https://www.thegreatcat.org/wp-content/uploads/2016/05/Front-2.jpg", "https://www.thegreatcat.org/wp-content/uploads/2018/01/Front-Cover-2-386x500.png", "https://www.thegreatcat.org/wp-content/uploads/2018/01/EX6Irises_Painting-cover-for-cats-and-flowers.png", "https://www.thegreatcat.org/wp-content/uploads/2016/05/Medieval-Cats-Coloring-Book-for-Cat-Lovers.jpg", "https://www.thegreatcat.org/wp-content/uploads/2017/02/Front-Cover-3b.png", "https://www.thegreatcat.org/wp-content/uploads/2016/05/Ancient-Egyptian-Cats-A-Coloring-Book-for-Adults-and-Children-1.jpg" ]	[]	[]	[ "" ]	null	[ "LA Vocelle" ]	2014-05-16T10:04:42+00:00	The French poet and writer Théophile Gautier (1811-1872), truly adored cats. Many of his poems include them, and they were his beloved companions.	en	https://www.thegreatcat.…greatcatlogo.png	THE GREAT CAT	https://www.thegreatcat.org/cats-19th-century-part-16-theophile-gautier/	The French poet and writer Théophile Gautier (1811-1872), truly adored cats. Many of his poems include them, and they were his beloved companions. An excerpt from the Daily Telegraph of 1895, describes his passionate affection for his felines. “Theophile Gautier, one of the most famous and artistic French authors of the present century, had an especial fondness of all animals, but cats were his particular favorites. In his book called ‘La Menagerie Intime or My Private Menagerie’ he describes his household pets. One of the first was Childebrand, a short-haired, fawn colored beauty, striped with black velvet, like the clown in Hugo’s ‘Roi s’Amuse’. He had great green eyes, almond-shaped, and surrounded by bands of black. Madame Theophile was another favorite, reddish and white breasted, pink-nosed and blue-eyed. She dwelt with him on terms of great intimacy, sleeping with him, sitting on the arm of his chair when he wrote, following him on his walks through the garden and always present at meals, when she sometimes stole attractive bits from his plate. He tells an amusing tale about her and a parrot left in his charge for a short time by an absent friend. Madame Theophile had never beheld a parrot, and it astonished her greatly by its gyrations and beak and claw and the strange motions of its awkward green body. She sat for a long time as still as an Egyptian mummied cat, watching it with meditation, for she had never seen such a peculiar example of natural history. Finally she seemed to say: ‘I have it now; it is a green chicken!’ Meanwhile the parrot watched the cat with increasing alarm, ruffling its feathers and whacking its beack uneasily against its cage. Presently the cat seemed to say: ‘Well, even if it is a green chicken, very likely it is good to eat.’ ‘I watched the scene,’ says Gautier. ‘Her paws gradually spread and contracted, she gave alternative purrs and growls, and prepared for a spring. The parrot, perceiving the danger, said in a deep bass voice: ‘Have you breakfasted, Jacquot?’ The blare from a trumpet, a pistol shot, an earthquake, could not have frightened her more. All her ornithological ideas were upset. ‘What more,’ said the parrot, ‘the king’s roast beef?’ The cat’s face expressed terror. ‘He is not a bird; he is a monsieur,’ she seemed to say. The green creature then sang a French couplet about good wine, and the cat, fleeing for her life, took refuge under the bed. Madame Theophile had all the tastes of a great French lady, being especially fond of perfumes, but patchouli and vertivert would throw her into ecstasies. She liked music, too, but sharp, high notes affected her and she would put her paw upon a singer’s lips when such a high note distressed her. A third favorite was brought to Gautier from Havana by a friend. This was an Angora, as white as a swan, the founder of the ‘White Dynasty.’ He received the name of Pierrot, and as he grew older and more dignified this was extended to Don Pierrot de Navarre. He always loved to be with people, adored Gautier’s literary friends, and used to sit silently when they discussed great questions, sometimes putting his head on one side and occasionally making a little cry. He used to play with the books, turning over the leaves with his paws and going to sleep on top of them. Like Childebrand, he used to sit by the author when he was at work and watch his pen move across the paper with intense interest. He never went to bed until Gautier returned home, and no matter how late it was he would bound out in the dark to greet him, and as soon as the candle was lit scamper ahead like a page. His companion was a beautiful puss, as white as snow, and owing to her celestial purity she was named ‘Seraphita,’ for Balzac’s romance. (Singleton, 1895 Daily Telegraph)” The first line of his work, My Private Menagerie states,” I have often been caricatured in Turkish dress seated upon cushions, and surrounded by cats so familiar that they did not hesitate to climb upon my shoulders and even upon my head. The caricature is truth slightly exaggerated, and I must own that all my life I have been as fond of animals in general and of cats in particular as any Brahmin or old maid.“ Gautier is famous for many cat quotes. Visit our page on Cat Quotes for more information. Want to know more about the cat in literature, art and history? Then Revered and Reviled is the book for you. Now available on Amazon in both paperback and Kindle formats. Copyright secured by Digiprove © 2014 Laura Vocelle
5097	dbpedia	0	82	https://www.scribd.com/document/359200860/An-Introduction-to-Nineteenth-Century-French-Literature	en	An Introduction To Nineteenth-Century French Literature	https://imgv2-2-f.scribdassets.com/img/document/359200860/original/a0a681122e/1723700484?v=1	https://imgv2-2-f.scribdassets.com/img/document/359200860/original/a0a681122e/1723700484?v=1	[ "https://s-f.scribdassets.com/webpack/assets/images/shared/gr_table_reading.9f6101a1.png" ]	[]	[]	[ "" ]	null	[ "Roberta Fitzpatrick" ]	null	An Introduction to Nineteenth-Century French Literature - Free ebook download as PDF File (.pdf), Text File (.txt) or read book online for free. Everyone knows something of nineteenthcentury France or do they? "Les Miserables", "The Lady of the Camelias" and "The Three Musketeers", "Balzac" and "Jules Verne" live in the popular consciousness as enduring human documents and cultural icons. Yet, the French nineteenth century was even more dynamic than the stereotype suggests. This exciting new introduction takes the literature of the period both as a window on past and present mindsets and as an object of fascination in its own right. Beginning with history, the century's biggest problem and potential, it looks at narrative responses to historical, political and social experience, before devoting central chapters to poetry, drama and novels all genres the century radically reinvented. It then explores numerous modernities, ways nineteenthcentury writing and mentalities look forward to our own, before turning to marginalities subjects and voices the canon traditionally forgot. No genre was left unchanged by the nineteenth century. This book will help to discover them anew.	en	https://s-f.scribdassets.com/scribd.ico?f6c17a141?v=5	Scribd	https://www.scribd.com/document/359200860/An-Introduction-to-Nineteenth-Century-French-Literature
5097	dbpedia	2	74	https://www.bbc.com/culture/article/20180619-romain-gary-the-greatest-literary-bad-boy-of-all	en	Romain Gary: The greatest literary conman ever?	https://ychef.files.bbci…351/p06bjmk1.jpg	https://ychef.files.bbci…351/p06bjmk1.jpg	[ "https://www.bbc.com/bbcx/grey-placeholder.png", "https://ichef.bbci.co.uk/images/ic/160xn/p06bjmk1.jpg.webp 160w,https://ichef.bbci.co.uk/images/ic/240xn/p06bjmk1.jpg.webp 240w,https://ichef.bbci.co.uk/images/ic/320xn/p06bjmk1.jpg.webp 320w,https://ichef.bbci.co.uk/images/ic/480xn/p06bjmk1.jpg.webp 480w,https://ichef.bbci.co.uk/images/ic/640xn/p06bjmk1.jpg.webp 640w,https://ichef.bbci.co.uk/images/ic/800xn/p06bjmk1.jpg.webp 800w,https://ichef.bbci.co.uk/images/ic/1024xn/p06bjmk1.jpg.webp 1024w,https://ichef.bbci.co.uk/images/ic/1376xn/p06bjmk1.jpg.webp 1376w,https://ichef.bbci.co.uk/images/ic/1920xn/p06bjmk1.jpg.webp 1920w", "https://www.bbc.com/bbcx/grey-placeholder.png", "https://ichef.bbci.co.uk/images/ic/160xn/p06bjk6c.jpg.webp 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800w,https://ichef.bbci.co.uk/images/ic/1024x576/p0jhbwpw.jpg.webp 1024w,https://ichef.bbci.co.uk/images/ic/1376x774/p0jhbwpw.jpg.webp 1376w,https://ichef.bbci.co.uk/images/ic/1920x1080/p0jhbwpw.jpg.webp 1920w" ]	[]	[]	[ "" ]	null	[ "Hephzibah Anderson" ]	2018-06-19T13:18:51.933000+00:00	Romain Gary was a decorated war hero – and hoaxer, inventing a writer who penned the bestselling French novel of the 20th Century. Why isn’t he better known, asks Hephzibah Anderson.	en	/bbcx/apple-touch-icon.png		https://www.bbc.com/culture/article/20180619-romain-gary-the-greatest-literary-bad-boy-of-all	He was a hero of the French resistance – and hoaxer extraordinaire, inventing a writer who went on to pen the bestselling French novel of the 20th Century. So why isn’t Romain Gary better known around the world, asks Hephzibah Anderson. Hemingway was a philandering bear-slayer who chased wars and crashed planes. Hunter S Thompson, a gun-loving druggy, had his ashes fired from a fist-shaped cannon. Heroin addict William Burroughs accidentally killed his second wife in a drunken game of ‘William Tell’. And then there’s Romain Gary. War hero, film director, hoaxer extraordinaire – he makes those other testosterone-drunk scribblers look like they were simply trying too hard. Of all the 20th Century’s literary bad boys – and yes, it’s a category that’s almost quaintly masculine – Gary is the most intriguing. A Lithuanian Jew born in Vilna in 1914, he was fluent in six languages. He became a master of multiple literary personae, a decorated hero of the French resistance, and two-times winner of the Prix Goncourt (technically impossible according to the award’s rubric). In between, he forged a more-than-respectable career in the French diplomatic service, eventually becoming consul general in Los Angeles (essentially the French ambassador to Hollywood) – where he left his English wife, author Lesley Blanch, for nouvelle vague queen Jean Seberg. He even challenged Clint Eastwood to a duel. Gary died, one December afternoon in 1980, from a self-inflicted gunshot wound. More like this: - Why tyrants love to write poetry - The ancient ‘Arabic Kama Sutra’ - The Irish novel that seduced the USSR In photographs Gary can be seen with a fountain pen in one hand and a smouldering cigar held between the ring-covered fingers of the other, or else he’s relaxing at home on a sofa covered with animal hides, dressed in leather pants, a double-breasted blazer and John Lennon specs. In middle age, he even became the focus of a Sports Illustrated picture story about his daily workout routine. Though his tallest tales were those he passed off as the truth, he was as popular as he was prolific At this point you might be wondering why Gary isn’t better known in the Anglophone world. It’s not as if he wasn’t widely translated. In fact, when he was living in LA, he wrote in English, rebelling against slyly anti-Semitic criticism that he used the French language improperly. Nor is it the case that his writing fails to live up to his off-the-page exploits – he counted Jean-Paul Sartre and Charles de Gaulle as fans. Though his tallest tales were those he passed off as the truth, he was as popular as he was prolific, producing more than 30 volumes of prize-winning essays, plays, memoir and fiction, including La Vie devant soi, the bestselling French novel of the 20th Century. But his star faded as he aged and was further dimmed by posthumous revelations that he’d duped the Parisian literary establishment, publishing some of his most rapturously received works (La Vie among them) under a fake name. High flyer In the past decade, his reputation has shown signs of renewed vigour. First came a portrait by heavyweight biographer David Bellos, then a translation of a previously untranslated novel, Hocus Bogus (Pseudo in the French original). Now, his final novel, The Kites (Les Cerfs-volants), has been translated into English for the first time and published as a Penguin Modern Classic. Lauded as one of the 20th Century’s most acclaimed works of French fiction, The Kites was written shortly before Gary’s suicide, and tells the story of two young lovers – one an orphan raised by his uncle, a gentle French kite-maker, the other a Polish aristocrat – separated by the chaos and carnage of World War Two. Epic and empathetic, it’s rich in Gary’s signature themes and preoccupations, such as idealism, the loss of innocence, and the ways in which less than heroic choices can still be moral choices. My mother always saw me as a combination of Lord Byron, Garibaldi, d’Annunzio, d’Artagnan, Robin Hood and Richard the Lion-hearted – Romain Gary And yet for all that novel’s merits, nothing quite compares to Gary’s autobiography, Promise at Dawn (La Promesse de l’aube), which is also to be published by Penguin later this year. Chronicling Gary’s early life and coming of age, it describes how he was raised by Nina, a devoted single mother and former actress. Fond though she was of dressing her princeling in silk and velvet, Nina had to conjure up ever more outlandish ways of simply keeping a roof over his head: she designed fake Parisian hats and ball gowns; she peddled jewellery as a supposed White Russian on the Riviera; she opened a boarding kennel for dogs, cats and birds – in their apartment. Above all, it’s an extraordinary love story, describing not just a mother’s admittedly ‘overpowering’ adoration of her only child, but also her devotion to an ideal – the ideal that she nurtured of France, a concept not to be confused with (or indeed undermined by) the reality that greeted the duo when they finally emigrated to Nice in 1928. As Gary writes, “She spoke to me of France as other mothers speak to their children of Snow White and Puss in Boots.” The ultimate ‘momager’, she was determined that her ‘Romouchka’ would attain artistic greatness. “My mother always saw me as a combination of Lord Byron, Garibaldi, d’Annunzio, d’Artagnan, Robin Hood and Richard the Lion-hearted,” he recalls. Only in France, she was certain, could his potential be fully realised. Heroic failure War interrupted Nina’s plans for her son’s creative destiny, although she was convinced that even in this squalid arena, he would triumph. Despite failing to qualify as a pilot (for no reason other than his Jewishness), he flew with the RAF for the Free French, and sure enough was awarded the Croix de Guerre and the Légion d’honneur, and became one of just a thousand Compagnons de la Libération. A still more startling figure is this: of all those airmen he enlisted with, Gary was among just five survivors come D-Day. As he writes, their deaths left “emptiness […] a densely populated place”. For three and a half years her breath breathed life into me, and I was sustained by a will stronger than my own – Romain Gary Burdensome though it was, Nina’s unswerving belief in her son functioned as a charm. “Nothing could happen to me because I was her happy ending,” he recalls. Her tragedy was that, aside from his youthful victory in a ping-pong contest, she didn’t live to taste any of Gary’s success. She died while he was still fighting abroad but left behind a cache of nearly 250 letters to be mailed at intervals to her son. “For three and a half years her breath breathed life into me, and I was sustained by a will stronger than my own: the umbilical cord fed my blood with the fighting courage of a heart more gallant than mine,” he recalled. He didn’t discover she had gone until he returned to Nice at the war’s end. It’s a story so potent it feels mythical, so maybe it shouldn’t come as a surprise to learn that large portions of Promise were indeed made up. For a start, Nina’s name was Mina. And those letters? They didn’t exist. In 2004, a biography written by Myriam Anissimov, who also happened to be one of Gary’s former lovers, pinned down some of the details of this arch fabulist’s life. He was born Roman Kacew, and though he often alluded to Tartar and Cossack blood, his parents were Russian Jews, Mina and Lebja Kacew – not the actor Ivan Mosjoukine, as his memoir teases. As a teenager, he tried on multiple noms de plumes, using them to sign a ream of ambitious manuscripts now lost. It wasn’t until 1935 that he changed his first name to Romain, trading his surname for Gary five years later. Explaining his choice in an interview with his friend, Francois Bondy, in 1974, he noted that in Russian ‘Gari’ means burn. He was setting himself a trial by fire, “so that my I is burned off”. Multiple personalities In addition to Kacew and Gary, he published under the names Fosco Sinibaldi and Shatan Bogat. Then, in 1973, having already notched up one Goncourt Prize, two divorces and 22 published books, he invented his most famous alter ego. Émile Ajar was a 34-year-old Algerian who’d performed a botched abortion on a Parisian while still a medical student. To escape prison – and to explain his absence – he’d had to flee to Brazil, from where he began his literary career. A friend in Rio helped mail the manuscripts and Gary’s cousin, Paul Pavlowitch, was roped in to play Ajar himself, fielding demands for telephone interviews and photographs. The instant success of Ajar’s first novel, Gros-Calin, was eclipsed only by the triumph of his second, La Vie devant soi (The Life Before Us). Though there were suspicions that Ajar and Gary might be one and the same, the judges of the 1975 Goncourt Prize paid them no heed. Strict rules stipulate that an author may win the award only once but when Gary instructed Ajar’s lawyer to turn the prize down, he was told this was impossible. Suddenly, Gary’s playful, pointed ruse took on a more serious aspect. On the subject of untruths, Gary has this to say in Promise: “I do not often indulge in lying, because, for me, a lie has a sickly flavour of impotence: it leaves me too far away from the mark.” Well, he would say that, yet his myriad falsehoods tend to express emotional truths of such undeniable clarity that fact checking feels grubby. And maybe this accounts for the renewed interest in his life and work. Yes, he was a sensualist whose attitudes sometimes scream political incorrectness, and no, his prose hasn’t aged all that gracefully. As Adam Gopnik put it in The New Yorker, “No good writer ever wrote less well.” But at the same time, he was possessed of a tolerant, humane, grown-up moral vision, and this is what drives his best work – fiction, non-fiction and everything in between. It also makes him the perfect antidote to our polarised, hysterical times, to safe spaces and trigger warnings and no-platform policies. Gary owned up to the Ajar hoax only posthumously, leaving behind instructions for the publication of a confession titled Vie et mort d’Émile Ajar (The Life and Death of Émile Ajar). It was his great loss that he wasn’t able to take credit for his strongest work, condemned to be spoken of as a has-been while his alter ego conquered French letters. All the same, Vie’s closing lines are joyous. They make an apt epitaph for a compulsive storyteller who couldn’t resist authoring his own end – and Ajar’s with it: “I had a lot of fun. Au revoir et merci.” Facebook page or message us on Twitter. 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5097	dbpedia	2	23	https://www.britannica.com/art/short-story/French-writers	en	Short story - French Writers	https://cdn.britannica.c…th-crab-1888.jpg	https://cdn.britannica.c…th-crab-1888.jpg	[ "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/29/125329-138-6F215062/Clifton-Fadiman-anthologist-American-elements-short-story-1980.jpg?w=400&h=225&c=crop", "https://cdn.britannica.com/68/85368-138-8B4F125F/Author-professor-Blake-Nevius-My-Old-Man-1970.jpg?w=400&h=225&c=crop", "https://cdn.britannica.com/69/147869-004-D0CDC726/fable-Illustration-Panchatantra-bird-Thomas-North-crab-1888.jpg", "https://cdn.britannica.com/31/85431-138-CFF3894A/dramatization-Dr-Heideggers-Experiment-two-nature-consequences-1969.jpg?w=400&h=225&c=crop", "https://cdn.britannica.com/98/85398-138-F5F3F857/man-Bartleby-dramatization-duties-story-film-production-1969.jpg?w=400&h=225&c=crop", "https://cdn.britannica.com/94/85394-138-EA5FA8B9/Bartleby-the-Scrivener-production-Herman-Melville-Charles-1969.jpg?w=400&h=225&c=crop", "https://cdn.britannica.com/13/125313-138-28271CA3/man-The-Crocodile-dramatization-Fyodor-Dostoyevsky-crocodile-1973.jpg?w=400&h=225&c=crop", "https://cdn.britannica.com/26/125326-138-31504C9C/example-John-Barnes-dramatization-problems-Encyclopaedia-Britannica-1977.jpg?w=400&h=225&c=crop", "https://cdn.britannica.com/63/186463-138-08F71400/Katherine-Mansfield-writing.jpg?w=400&h=225&c=crop", "https://cdn.britannica.com/52/135752-004-331922E8/Depiction-scene-The-Pit-and-the-Pendulum.jpg", "https://cdn.britannica.com/52/135752-050-939FDF39/Depiction-scene-The-Pit-and-the-Pendulum.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/56/142356-131-A563F1D0/books-Row-bookshelf-pile-Stack-literature-reading-2010.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/51/218751-131-DA6446CB/American-author-Pearl-S-Buck-1962.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/88/166488-131-0AC9B8AF/Alexander-Hamilton-Aaron-Burr-duel-July-11-1804.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/56/198256-131-63923156/Chapter-header-The-Adventures-of-Tom-Sawyer-1884.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/23/181923-131-76FC0CA5/poet-clothing-poetry-festival-Heian-Kyoto-shrine.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/39/71439-131-F9B51B49/banner-Nazis-Tod-dem-Marxismus.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/55/164555-131-D8A6E6C8/rat-glass-table.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/45/189145-131-45FF672E/Secret-Service-Agent-Earpiece.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/47/71447-131-D3FA964C/soldiers-Red-Army.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/28/188528-131-D58974EF/Marie-Antoinette-Louis-XVI-unrest-monarchy-overthrow-France-August-1792.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/30/172930-131-2E39C6FB/surgeon-incisin-forearm-patient-abscess-trocar-knife.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/67/148867-131-66A70C25/Selma-March-Alabama-March-1965.jpg?w=200&h=200&c=crop" ]	[]	[]	[ "short story", "encyclopedia", "encyclopeadia", "britannica", "article" ]	null	[ "Arlen J. Hansen" ]	1999-07-26T00:00:00+00:00	Short story - French Writers: The new respect for the short story was also evident in France, as Henry James observed, “when [in 1844 Prosper] Mérimée, with his handful of little stories, was elected to the French Academy.” As illustrated by “Columbia” (1841) or “Carmen” (1845), which gained additional fame as an opera, Mérimée’s stories are masterpieces of detached and dry observation, though the subject matter itself is often emotionally charged. Nineteenth-century France produced short stories as various as 19th-century America—although the impressionist tale was generally less common in France. (It is as if, not having an outstanding impressionist storyteller themselves, the French adopted Poe,	en	/favicon.png	Encyclopedia Britannica	https://www.britannica.com/art/short-story/French-writers	The new respect for the short story was also evident in France, as Henry James observed, “when [in 1844 Prosper] Mérimée, with his handful of little stories, was elected to the French Academy.” As illustrated by “Columbia” (1841) or “Carmen” (1845), which gained additional fame as an opera, Mérimée’s stories are masterpieces of detached and dry observation, though the subject matter itself is often emotionally charged. Nineteenth-century France produced short stories as various as 19th-century America—although the impressionist tale was generally less common in France. (It is as if, not having an outstanding impressionist storyteller themselves, the French adopted Poe, who was being ignored by the critics in his own country.) The two major French impressionist writers were Charles Nodier, who experimented with symbolic fantasies, and Gérard de Nerval, whose collection Les Filles du feu (1854; “Daughters of Fire”) grew out of recollections of his childhood. Artists primarily known for their work in other forms also attempted the short story—novelists like Honoré de Balzac and Gustave Flaubert and poets like Alfred de Vigny and Théophile Gautier. One of the most interesting writers of 19th-century France is Alphonse Daudet, whose stories reflect the spectrum of interest and techniques of the entire century. His earliest and most popular stories (Lettres de mon moulin, 1866; “Letters from My Mill”) create a romantic, picturesque fantasy; his stories of the Franco-Prussian War (Les Contes du Lundi, 1873; “Monday Tales”) are more objectively realistic, and the sociological concern of his last works betrays his increasing interest in naturalistic determinism.
5097	dbpedia	3	80	https://www.theoldie.co.uk/article/a-french-view-of-ascot-th%25C3%25A9ophile-gautier	en	A French view of Ascot	https://www.theoldie.co.…033_Oldie401.jpg	https://www.theoldie.co.…033_Oldie401.jpg	[ "https://www.theoldie.co.uk/assets/images/theoldie_logo_22.png", "https://www.theoldie.co.uk/media/issues/Screenshot-2024-08-15-at-14.06.54.png?h=184&auto=format", "https://www.theoldie.co.uk/media/articles/_img750x470/033_Oldie401.jpg", "https://www.theoldie.co.uk/assets/images/icons/icon-features.png?w=120&h=120&auto=format", "https://www.theoldie.co.uk/media/articles/_img165x100/BarryCryerAward-cover-v3.jpg", "https://www.theoldie.co.uk/media/articles/_img165x100/PS-019_Oldie406.jpg", "https://www.theoldie.co.uk/media/articles/_img165x100/087-Marbella-Club-Hotel-420-FINAL_converted.jpg", "https://www.theoldie.co.uk/media/articles/_img165x100/063-commonplaces-rant-small-418-3.jpg", "https://www.theoldie.co.uk/media/articles/_img165x100/Colche.jpg", "https://www.theoldie.co.uk/media/articles/_img165x100/TWG8K2.jpg", "https://www.theoldie.co.uk/media/issues/Screenshot-2024-08-15-at-14.06.54.png?h=184&auto=format", "https://www.theoldie.co.uk/media/issues/Screenshot-2024-08-15-at-14.06.54.png?h=184&auto=format", "https://www.theoldie.co.uk/media/sign-up.png" ]	[]	[]	[ "" ]	null	[ "Barry Cryer", "Richard Godwin", "Anne Robinson", "Liz Hodgkinson", "Harry Mount", "Jeremy Walker" ]	null	As Royal Ascot returns, French poet Théophile Gautier (1811-72) recalls the same enchanting meeting in 1849	en	/assets/images/favicon.ico	The Oldie	https://www.theoldie.co.uk/article/a-french-view-of-ascot-théophile-gautier	As Royal Ascot returns, French poet Théophile Gautier (1811-72) recalls the same enchanting meeting in 1849 There was racing that day at Ascot, London’s Chantilly, and all else gives way to that great national source of pleasure. It’s an occasion when the snows of English coldness melt and, seeing their furious animation, you wouldn’t say you were among the most phlegmatic people in the world. Horses and ships alone can impassion the British people, and whoever has not observed the English at sea and on the turf does not know them. ... I’m afraid this isn’t one of our six free articles available in full, which are set out in the first two rows of the ‘Magazine’ page. Please click here to find them.
5097	dbpedia	2	35	https://oxfordsummercourses.com/articles/famous-female-writers-in-history/	en		https://oxfordsummercour…56eb12e3b567c6b6	https://oxfordsummercour…56eb12e3b567c6b6	[ "https://res.cloudinary.com/oxford-summer-courses/image/upload/v1687273084/static/favicon_iaayxh.png", "https://res.cloudinary.com/oxford-summer-courses/image/upload/v1687273084/static/favicon_iaayxh.png", "https://oxfordsummercourses.com/static/6db81f115a7d48958667248306d7940c/2e781/Blog_Image_2022_02_08_T094936_623_b3e4610b53.webp", "https://oxfordsummercourses.com/static/6db81f115a7d48958667248306d7940c/2e781/Blog_Image_2022_02_08_T094936_623_b3e4610b53.webp", "https://res.cloudinary.com/oxford-summer-courses/image/upload/if_iw_gt_1801/c_scale,w_1800/if_end/q_20/dpr_auto/v1706092198/B-Corp-Logo-White-RGB_quikm6.png", "https://res.cloudinary.com/oxford-summer-courses/image/upload/v1705476030/icons8-tiktok-50_1_mdfp5n.png" ]	[]	[]	[ "" ]	null	[]	null			/favicon-32x32.png?v=97100cf19039830156eb12e3b567c6b6		https://oxfordsummercourses.com/articles/famous-female-writers-in-history/	Throughout history, some of the most influential women have been writers, poets, and essayists; breaking social barriers, challenging the status quo, and questioning the rules through the art of their writing. Their literary contributions have not only enriched cultural landscapes but also sparked important conversations about gender, identity, and societal norms. At Oxford Summer Courses, where we offer writing courses led by expert tutors, we delve into the lives and works of these pioneering female authors, exploring their profound impact on literature and beyond. Where are Oxford Summer Courses Hosted? For ages 9-12, our junior summer courses are hosted at renowned boarding schools including Harrow School, Eton College, and St. John's Beaumont. For ages 13-24, our summer courses are hosted in Cambridge and Oxford University colleges. Apply now to secure your spot in one of our prestigious summer courses. From the pioneering voices of the late 18th and early 19th Century through to modern day feminist contemporaries in the literary sphere, women have long shaped the landscape of literature, of cultures around the world, and of history with their ingenious creative writing talents. Here is just a small selection of the most pioneering female writers in history. 1. Jane Austen (1775 - 1817) Jane Austen was one of the earliest female writers to produce works that critiqued and commented on the British landed gentry, Austen was a writer who focused on plots which explored the dependence of women on marriage, or women who were in the pursuit of economic security. As such, many of Austen’s works were published anonymously, meaning that she enjoyed little fame during her life. It was after her death that she gained far more status as a writer, with her six full-length novels rarely having been out of print. There have also been several film adaptations of her works, with a number of critical essays and anthologies accompanying them. Some of Jane Austen’s famous works: Sense and Sensibility (1811) - First published anonymously by ‘A Lady,’ it tells the story of the Dashwood sisters, Elinor and Marianne as they come of age and are forced to move with their widowed mother from the estate on which they grew up. Pride and Prejudice (1813) - A novel following the character Elizabeth Bennet, who learns about the repercussions of hasty decision-making and the difference between superficial goodness and actual goodness. Emma (1815) - A comedy of manners, depicting the concerns of genteel women living in Georgian-Regency England, focusing on issues of marriage, sex, age and social status. 2. Mary Shelley (1797 - 1851) Second on our list of famous female writers in history is famous Gothic fiction writer, Mary Shelley. Recognised as one of the early creators of science fiction, she was also a prominent editor, working mainly on the works of her husband, the Romantic poet and philosopher, Robert Bysshe Shelley. Born to political philosopher William Godwin and feminist activist, Mary Wollstonecraft, Shelley was raised solely by her father after her mother’s premature death. Having been provided a rich yet informal education, with her father promoting a lifestyle of anarchism, Shelley married early and pursued a life predominantly dedicated to promoting her husband’s works but also towards writing fiction. Some of Mary Shelley’s famous works: Frankenstein; or, The Modern Prometheus (1818) - Written when Shelley was just 18 years old, the story follows young scientist Victor Frankenstein who accidentally creates a sapient creature during an unorthodox experiment. Valperga (1823) - A historical novel set amongst the wars of the Guelphs and Ghibellines which retells the adventures of Castruccio Castracani - a real historical figure who became the Lord of Lucca and conquered Florence, Italy. Rambles in Germany and Italy (1844) - A travel narrative published in two volumes that describes two European trips Shelley took with her son, Percy, and several of his university friends. 3. Emily Brontë (1818 - 1848) Emily Brontë was another famous female writer of the Victorian era who is best known for her only novel, Wuthering Heights (which also features on our list of classic books to read for students!) Publishing her work under the pen name, Ellis Bell, Brontë was also a prolific poet, with her writing at the time and still today regarded as ‘genius.’ Her most famous collection of works, Poems by Currer, Ellis and Acton Bell, was a collection of pieces published with her sisters Charlotte and Anne under their pseudo-names. Emily Brontë’s famous works Poems by Currer Ellis, and Acton Bell (1846) - A volume of poetry published jointly by the three Brontë sisters, Charlotte, Emily and Anne. It was their first work to ever go to print. Wuthering Heights (1847) - A prime influence of Romantic and Gothic fiction which concerns two families of the landed gentry living on the West Yorkshire moors - the Earnshaws and the Lintons - the book follows their turbulent relationships with Earnshaw’s adopted son, Heathcliff. 4. Charlotte Brontë (1816 - 1855) Charlotte Brontë, sister to Emily, is best known for her novels, including Jane Eyre (1847). Although her first novel, The Professor, was initially rejected by publishers, it was her second novel, Jane Eyre which was well-received by critics and has gone on to become a capsule piece in the history of British literature. Charlotte Brontë’s famous works Jane Eyre (1847) - This coming-of-age novel follows the journey of its eponymous heroine, including her love for Mr Rochester and his home at Thornfield Hall. Shirley (1849) - Set in Yorkshire during the industrial depression of the early 19th Century, the story follows characters during the Luddite uprisings in the Yorkshire textile industry. Villette (1853) - Follows the protagonist, Lucy Snowe, as she flees a family disaster and travels to the fictional city of Villette in France to teach at a girls’ school, where she’s drawn into adventure and romance. 5. Louisa May Alcott (1832 - 1888) American novelist, short story writer and poet, Louisa May Alcott, may be best known as the author of Little Women, but has made a much larger literary contribution than you may have first thought. Raised in New England by her parents and Abigail and Amos, Alcott was one of four daughters in the family. Just like the four sisters in her famous novel do, Alcott worked hard to support her family’s struggling financial situation, using writing as an outlet when she had the time. Published in 1868, Little Women was her first major literary success, after having written for the Atlantic Monthly from 1860. In the early 1860s, she also published a number of lurid short stories for adults under her pen name, A. M. Barnard, in an attempt to break onto the literary scene. Once a popular household name with her debut novel, Alcott became an active member of various abolitionist and feminist reform movements, including working towards women’s suffrage, which she continued to support throughout her life until her passing in 1888. Louisa May Alcott’s famous works: Moods (1864) - Alcott’s first novel which tells the story of passionate tomboy, Sylvia Yule, who embarks on a camping trip with her brother and his two friends, both of whom fall in love with her. Little Women (1868) - Coming-of-age novel following the lives of four sisters and their journey through genteel poverty as children into womanhood. Little Men (1871) - Sequel to Alcott’s famous Little Women, reprising characters from the original - Jo Bhaer, her husband, and the various children at Plumfield Estate School. 6. Gertrude Stein (1874 - 1946) Pioneering American novelist, poet, playwright and art collector, Gertrude Stein was a key figure in early twentieth century feminism - both in a literal and literary sense - who rose to mainstream attention thanks to her ‘quirky’ lifestyle and modernist writing style. Her experimental creative styles included the use of broken grammar and illogical writing flows, as featured in her 1914 novel Tender Buttons: Objects, Food, Room, as well as repetition to emphasise and re-shape traditional concepts in her later works like, The Making of Americans. Although born in Pittsburgh, Pennsylvania and then raised in California, it was Paris, that Stein moved to as an adult that she called home for the remainder of her life. During her time here, she hosted a salon in Paris, where leading figures in literature and art would meet and share their work. Notable attendees included Pablo Picasso, Ernest Hemingway and F. Scott Fitzgerald. Gertrude Stein’s famous works: Three Lives (1909) - Separated into three separate stories following three different lives of working-class women living in Baltimore. Tender Buttons (1914) - Consisting of three separate sections; ‘Objects,’ ‘Food,’ and ‘Rooms,’ the book consists of poems about the mundanities of everyday life, whilst experimental language keeps the subjects unfamiliar and engaging. The Making of Americans: Being a History of a Family’s Progress (1925) - A novel which traces the genealogy, history, and psychological development of members of two fictional families. 7. Virginia Woolf (1882 - 1941) Adeline Virginia Woolf was an early 20th-century writer from England. Considered to be one of the most modernist authors of her period, Woolf not only challenged the social injustices on women in the early 1900s, but also tested and embedded different literary devices into our modern lexicon of creative writing. Woolf is considered a pioneer in the use of stream of consciousness as a narrative device, especially in one of her more famous novels, A Room of One’s Own. Encouraged by her father, Woolf began writing professionally in 1900, eventually moving to the more bohemian Bloomsbury area of London, where she was part of the formation of the famous Bloomsbury Group. Virginia Woolf’s famous works: Mrs Dalloway (1925) - Fictional high-societal Clarissa Dalloway living in post-First World War England shares the details of a day in her life. To the Lighthouse (1927) - A philosophical introspection novel which centres on the Ramsay family and their visits to the Isle of Skye in Scotland between 1910 and 1920. A Room of One’s Own (1929) - An extended essay, based on two lectures Woolf delivered in October 1928 at Newnham College and Girton College (both constituent colleges at the University of Cambridge) about social injustices against women. 8. Agatha Christie (1890 - 1976) Detective crime writer Dame Agatha Christie is recognised by the Guinness World Records as the best-selling fiction writer of all time, with her novels having sold more than two billion copies around the world. Famed for creating the fictional detectives Hercule Poirot and Miss Marple, she also wrote the longest-running play, The Mousetrap, which has been running in the West End since 1952. Christie’s works remain popular amongst detective fiction fans, (with her even featuring on our list of classic authors to read!), with several of her works having been transformed into TV and film adaptations. Agatha Christie’s famous works: Murder on the Orient Express (1934) - During Poirot’s trip home to London from the Middle East on the Orient Express, snowfall brings the train to a halt. A murder is discovered, and detective Poirot is forced to solve the case. The A.B.C. Murders (1936) - Featuring crime detective Poirot, Arthur Hastings and Chief Inspector Japp - the characters are forced to contend with a series of killings by a mysterious murderer known only as “A.B.C.” The Mousetrap (1952) - The longest-running West End show, this murder mystery play was written as a birthday present for Queen Mary, the consort of King George V. The plot is still unknown amongst those who have not seen the stage play, with the audience asked not to reveal the twist at the end when they leave the theatre. 9. Harper Lee (1926 - 2016) Pulitzer prize-winning novelist, Harper Lee, was an American writer best known for her 1960 novel, To Kill a Mockingbird. The book went on to win her the Prize in 1961 and pushed her into literary success as an acclaimed writer. Lee’s childhood in Monroeville, Alabama, is what inspired her idea for the novel. Her father, a former newspaper editor, businessman and lawyer, served in the Alabama State Legislature from 1926 to 1938. During his time in this role, he defended two black men accused of murdering a white storekeeper. Both men were found guilty of the act and hanged - setting the plot of Harper Lee’s famous novel. Thanks to the book’s widespread success, Lee has received numerous awards and honorary degrees, including the Goodreads Choice Awards Best Fiction in 2015, and the Presidential Medal of Freedom in 2007 for her contributions to literature. Today, Harper Lee’s works are widely taught in schools in the United States, encouraging students to learn more about how to empathise tolerance and dissipate prejudice towards others. In 2006, British librarians even ranked the book ahead of the Bible, calling it a novel that “every adult should read before they die.” Harper Lee’s famous works: To Kill a Mockingbird (1960) - A novel about justice, that deals with the serious issues of rape and racial inequality. Loosely based on Lee’s observations of an event that occurred near her hometown when she was a child. Go Set a Watchman (2015) - The second of only two novels published by Harper Lee. First published as a sequel to To Kill a Mockingbird, it is now widely accepted that Go Set a Watchman was a first draft of the aforementioned book, drawing parallels with the original plot. 10. Toni Morrison (1931 - 2019) Born and raised in Lorain, Ohio, Toni Morrison was an American novelist and editor, made famous by her ability to depict the Black American experience in her writing with such authenticity; in an unjust society, her characters typically struggle to find themselves and their cultural identity; while her use of poetic style and often fantastical style of writing give her stories great strength and texture. Morrison was incredibly successful as an author, receiving several awards and accolades for her work. In 2012, President Barack Obama presented her with the Presidential Medal of Freedom; in 2016, she received the Saul Bellow Award for Achievement in American Fiction; and in 2020, Morrison was inducted into the National Women’s Hall of Fame. Toni Morrison’s famous works: The Bluest Eye (1970) - Morrison’s first novel tells the story of a young African-American girl named Pecola who grew up following the Great Depression. Sula (1973) - Morrison’s second novel focuses on a young black girl named Sula as she comes of age during a period of harsh adversity and distrust, even hatred, within the black community that she lives in. Beloved (1987) - Set after the American Civil War, Beloved tells the story of former slaves who Cincinnati home is haunted by a malevolent spirit. The novel is inspired by an event that actually happened in Kentucky: when an enslaved person, Margaret Garner, escaped and fled to the free state of Ohio in 1856. 11. Margaret Atwood (1939 - ) Canadian-born poet and novelist, Margaret Atwood, is most famous for creating the dystopian novel, The Handmaid’s Tale in 1985, which has subsequently led to tremendous success - including a hit US TV series adaptation of the original book. Atwood has won numerous awards for her writing, including two Booker Prizes, the Arthur C. Clarke Award, and the PEN Center USA Lifetime Achievement Awards, amongst many others. Margaret Atwood’s famous works: The Handmaid’s Tale (1985) - Dystopian novel set in a near-future New England in a strongly patriarchal, totalitarian state which has overthrown the United States government. The central character and narrator, Offred, is one of a group of ‘handmaids’ who are forcibly assigned to produce children for ‘commanders’ - the ruling class of men in the state. Alias Grace (1996) - A novel of historic fiction which re-tells the notorious 1843 murders of Thomas Kinnear and his housekeeper Nancy Montgomery in Canada, where two of the servants in the household were convicted of the crime. The Testaments (2019) - A sequel to ‘The Handmaid’s Tale’ set 15 years after the events of the original. Narrated by Aunt Lydia, a character from the previous novel; Agnes, a young woman living under state control; and Daisy, a young woman living in the free country of Canada. 12. Alice Walker (1944 - ) Although all the female writers on our list are very much accomplished in their own right, Alice Walker certainly stands out as one of the most successful in female literary history. In 1982, she became the first African-American woman to win the Pulitzer Prize for Fiction for her novel The Color Purple. Since then, she’s also been awarded over 15 different awards for her fiction work and social activism, including the Domestic Human Rights Award from Global Exchange (2007) and being inducted into both the Georgia Writers Hall of Fame (2001) and the California Hall of Fame for History, Women and the Arts (2006). During her career, she has also published seventeen novels and short stories, twelve non-fiction works, and various collections of essays and poetry. Alice Walker’s famous works: Meridian (1976) - Described as Walker’s “meditation on the modern civils right movement,” ‘Meridian’ follows a young black woman in the late 1960s who is attending college at a time when the civil rights movement begins to turn volatile. The Color Purple (1982) - This epistolary novel follows the life of Celie, a poor, uneducated 14-year-old girl living in the Southern United States in the early 1900s who shares her story through a series of letters to God. Possessing the Secret of Joy (1992) - Follows the story of Tashi, a minor character who features in Walker’s earlier novel, ‘The Color Purple.’ Now in the US we watch her battle an internal conflict between her new culture and the heritage she’s entrenched in. 13. Octavia E. Butler (1947 - 2006) Acclaimed for her sharp prose, strong protagonists and social commentaries on society from the distant past through to the far future, she also frequently wrote on themes of racial injustice, global warming, women’s rights and political disparity. Butler’s writing received a tremendous amount of attention, making her a multiple recipient of the Hugo and Nebula awards and a recipient of the PEN West Lifetime Achievement Award. In 1995, she also became the first science fiction writer to receive a MacArthur Fellowship. Today, many of her books remain a common choice for high school and college syllabi. Octavia E. Butler’s famous works: Kindred (1979) - Incorporating time travel and slave narratives, the book follows a young African-American woman writer, Dana, who finds herself stuck in time between her LA home in 1976 and a pre-Civil War Maryland plantation. Parable of the Sower (1993) - A New York Times Notable Book of the Year, this apocalyptic science fiction novel provides commentary on climate change and social inequality. It follows central protagonist Lauren Olamina in her quest for freedom. Parable of the Talents (1998) - Winner of the Nebula Award for Best Novel, the novel consists of journal entries from Lauren Olamina (previous protagonist in Parable of the Sower) and her husband Taylor Bankole after having founded a new community called Acorn. 14. J. K. Rowling (1965 - ) Joanne Rowling OBE, better known by her pen name J. K. Rowling, is a British author, film producer and screenplay writer, best known for being the author of the bestselling Harry Potter book series. For seven years, Rowling worked on the first book draft, which was initially rejected by twelve different publishers before being eventually purchased by Barry Cunningham - giving her the platform she needed to launch her fantastical book series. Having won multiple awards and having sold more than 500 million copies of her works, Rowling is the best-selling living author in Britain and recognised as the best-selling children’s author in history. J. K. Rowling’s famous works: Harry Potter and the Philosopher’s Stone (1997) - The first book in the series; Harry is a wizard who lives with his non-magical (muggle) relatives until his eleventh birthday when he is invited to attend Hogwarts School of Witchcraft and Wizardry. The book followed with six sequels, following Harry’s adventuress at Hogwarts with friends Hermione and Ron and his attempts to defeat Lord Voldemort, who murdered Harry’s parents when he was a child. The Casual Vacancy (2012) - Rowling’s first book for adult readership is a mature murder mystery which explore complex themes such as class, politics and adult social issues. The novel was the fastest-selling in the UK in three years and had the second best-selling opening week for an adult novel ever. 15. Zadie Smith (1975 - ) Sadie Adeline Smith is an English novelist, essayist and short story writer who rose to fame back in the year 2000 after her debut novel, White Teeth became an international bestseller. This initial success has since led her to win a number of awards, including the James Tait Black Memorial Prize and the* Betty Trask Award*. Since Smith’s early successes, she has gone on to enjoy a lifelong career in the literary world. She began serving as writer-in-residence at the Institute of Contemporary Arts in London, before teaching fiction at Columbia University School of the Arts. Since 2010, she has been a tenured professor in the Creative Writing faculty of New York University while also being a regular contributor to The New York Review of Books. Zadie Smith’s famous works: White Teeth (2000) - Centred on Britain’s relationship with immigrants from the British Commonwealth, Smith’s debut novel focuses on the later lives of two wartime friends and their families in London. On Beauty (2005) - Smith’s third novel won the Women’s Prize for Fiction tells the story of two families - each set between New England and London - with events spurred on by a long-time professional rivalry of the two protagonists. Grand Union (2019) - This is a collection of 11 new and previously unpublished short stories, as well as snippets of work from The New Yorker and other renowned publications. How did the personal experiences and backgrounds of these famous female writers influence their writing styles and thematic choices in their works? The personal experiences and backgrounds of these renowned female writers played a significant role in shaping their writing styles and thematic choices. For example, authors like Louisa May Alcott drew from their own upbringing and struggles, such as financial hardships, to create relatable characters and narratives. Alice Walker, drawing from her experiences as an African-American woman, infused her works with themes of racial identity and social injustice. Similarly, Mary Shelley's unconventional upbringing and exposure to radical philosophical ideas influenced her exploration of themes like ambition and the consequences of scientific innovation in "Frankenstein." These personal connections to their writing subjects allowed these authors to create deeply resonant and impactful works that continue to captivate readers today. Can you provide insights into any lesser-known challenges or obstacles these female writers faced during their careers, particularly regarding societal norms and expectations of their time? Many of these female writers faced significant challenges and obstacles throughout their careers, often due to societal norms and expectations of their time. For instance, Jane Austen and the Brontë sisters initially published their works under male pseudonyms or anonymously to navigate the male-dominated literary landscape. Virginia Woolf, while celebrated for her innovative writing style, grappled with mental health issues and the constraints imposed by gender roles in early 20th-century England. Additionally, authors like Octavia E. Butler and Zadie Smith encountered barriers in the predominantly white and male-dominated science fiction and literary fiction genres, respectively. Despite these challenges, these writers persevered, leaving behind enduring legacies that continue to inspire generations of readers. How did the literary contributions of these female writers impact broader social and cultural movements, such as feminism, civil rights, and environmental awareness? The literary contributions of these female writers had a profound impact on broader social and cultural movements, serving as catalysts for change and inspiring generations of activists. Writers like Mary Shelley and Margaret Atwood explored themes of power, autonomy, and gender dynamics, sparking conversations about feminism and women's rights. Octavia E. Butler's science fiction works addressed issues of race, identity, and social justice, contributing to discussions on civil rights and equality. Additionally, authors such as Toni Morrison and Alice Walker shed light on the African-American experience, challenging societal norms and advocating for racial equality. Furthermore, environmental themes present in the works of writers like Margaret Atwood and Rachel Carson helped raise awareness about ecological issues and the importance of conservation. Overall, these female writers used their literary talents to engage with pressing social and cultural issues, leaving a lasting impact on society. Ready to Join Oxford Summer Courses?
5097	dbpedia	0	7	https://en.wikipedia.org/wiki/19th-century_French_literature	en	century French literature	https://upload.wikimedia…A7aise_19e_s.jpg	https://upload.wikimedia…A7aise_19e_s.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/50px-Question_book-new.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/e/e1/Mosa%C3%AFque_portraits_-_litt%C3%A9rature_fran%C3%A7aise_19e_s.jpg/250px-Mosa%C3%AFque_portraits_-_litt%C3%A9rature_fran%C3%A7aise_19e_s.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4b/Books-aj.svg_aj_ashton_01.svg/21px-Books-aj.svg_aj_ashton_01.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2005-08-23T08:31:47+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/19th-century_French_literature	Literature-related events in France during the 19th century French Language and Literature Authors • Lit categories French literary history Medieval 16th century • 17th century 18th century • 19th century 20th century • Contemporary Literature by country France • Quebec Postcolonial • Haiti Franco-American Portals France • Literature 19th-century French literature concerns the developments in French literature during a dynamic period in French history that saw the rise of Democracy and the fitful end of Monarchy and Empire. The period covered spans the following political regimes: Napoleon Bonaparte's Consulate (1799–1804) and Empire (1804–1814), the Restoration under Louis XVIII and Charles X (1814–1830), the July Monarchy under Louis Philippe d'Orléans (1830–1848), the Second Republic (1848–1852), the Second Empire under Napoleon III (1852–1871), and the first decades of the Third Republic (1871–1940). Overview [edit] French literature enjoyed enormous international prestige and success in the 19th century. The first part of the century was dominated by Romanticism, until around the mid-century Realism emerged, at least partly as a reaction. In the last half of the century, "naturalism", "parnassian" poetry, and "symbolism", among other styles, were often competing tendencies at the same time. Some writers did form into literary groups defined by a name and a program or manifesto. In other cases, these expressions were merely pejorative terms given by critics to certain writers or have been used by modern literary historians to group writers of divergent projects or methods. Nevertheless, these labels can be useful in describing broad historical developments in the arts. Romanticism [edit] Main article: Romanticism French literature from the first half of the century was dominated by Romanticism, which is associated with such authors as Victor Hugo, Alexandre Dumas, père, François-René de Chateaubriand, Alphonse de Lamartine, Gérard de Nerval, Charles Nodier, Alfred de Musset, Théophile Gautier and Alfred de Vigny. Their influence was felt in theatre, poetry, prose fiction. The effect of the romantic movement would continue to be felt in the latter half of the century in diverse literary developments, such as "realism", "symbolism", and the so-called fin de siècle "decadent" movement. French romanticism used forms such as the historical novel, the romance, the "roman noir" or Gothic novel; subjects like traditional myths (including the myth of the romantic hero), nationalism, the natural world (i.e. elegies by lakes), and the common man; and the styles of lyricism, sentimentalism, exoticism and orientalism. Foreign influences played a big part in this, especially those of Shakespeare, Sir Walter Scott, Byron, Goethe, and Friedrich Schiller. French Romanticism had ideals diametrically opposed to French classicism and the classical unities, but it could also express a profound loss for aspects of the pre-revolutionary world in a society now dominated by money and fame, rather than honor. Key ideas from early French Romanticism:[citation needed] "Le vague des passions" (vagueness, uncertainty of sentiment and passion): Chateaubriand maintained that while the imagination was rich, the world was cold and empty, and civilization had only robbed men of their illusions; nevertheless, a notion of sentiment and passion continued to haunt men. "Le mal du siècle" (the pain of the century): a sense of loss, disillusion, and aporia, typified by melancholy and lassitude. Romanticism in England and Germany largely predate French romanticism, although there was a kind of "pre-romanticism" in the works of Senancour and Jean-Jacques Rousseau (among others) at the end of the 18th century. French Romanticism took definite form in the works of François-René de Chateaubriand and Benjamin Constant and in Madame de Staël's interpretation of Germany as the land of romantic ideals. It found early expression also in the sentimental poetry of Alphonse de Lamartine. The major battles of romanticism in France were in the theater. The early years of the century were marked by a revival of classicism and classical-inspired tragedies, often with themes of national sacrifice or patriotic heroism in keeping with the spirit of the Revolution, but the production of Victor Hugo's Hernani in 1830 marked the triumph of the romantic movement on the stage (a description of the turbulent opening night can be found in Théophile Gautier). The dramatic unities of time and place were abolished, tragic and comic elements appeared together and metrical freedom was won. Marked by the plays of Friedrich Schiller, the romantics often chose subjects from historic periods (the French Renaissance, the reign of Louis XIII of France) and doomed noble characters (rebel princes and outlaws) or misunderstood artists (Vigny's play based on the life of Thomas Chatterton). Victor Hugo was the outstanding genius of the Romantic School and its recognized leader. He was prolific alike in poetry, drama, and fiction. Other writers associated with the movement were the austere and pessimistic Alfred de Vigny, Théophile Gautier a devotee of beauty and creator of the "Art for art's sake" movement, and Alfred de Musset, who best exemplifies romantic melancholy. All three also wrote novels and short stories, and Musset won a belated success with his plays. Alexandre Dumas, père wrote The Three Musketeers and other romantic novels in an historical setting. Prosper Mérimée and Charles Nodier were masters of shorter fiction. Charles Augustin Sainte-Beuve, a literary critic, showed romantic expansiveness in his hospitality to all ideas and in his unfailing endeavour to understand and interpret authors rather than to judge them. Romanticism is associated with a number of literary salons and groups: the Arsenal (formed around Charles Nodier at the Arsenal Library in Paris from 1824-1844 where Nodier was administrator), the Cénacle (formed around Nodier, then Hugo from 1823–1828), the salon of Louis Charles Delescluze, the salon of Antoine (or Antony Deschamps), the salon of Madame de Staël. Romanticism in France defied political affiliation: one finds both "liberal" (like Stendhal), "conservative" (like Chateaubriand) and socialist (George Sand) strains. Realism [edit] Main article: Literary realism The expression "Realism", when being applied to literature of the 19th century, implies the attempt to depict contemporary life and society. The growth of realism is linked to the development of science (especially biology), history and the social sciences and to the growth of industrialism and commerce. The "realist" tendency is not necessarily anti-romantic; romanticism in France often affirmed the common man and the natural setting, as in the peasant stories of George Sand, and concerned itself with historical forces and periods, as in the work of historian Jules Michelet. The novels of Stendhal, including The Red and the Black and The Charterhouse of Parma, address issues of their contemporary society while also using themes and characters derived from the romantic movement. Honoré de Balzac is the most prominent representative of 19th century realism in fiction. His La Comédie humaine, a vast collection of nearly 100 novels, was the most ambitious scheme ever devised by a writer of fiction—nothing less than a complete contemporary history of his countrymen. Realism also appears in the works of Alexandre Dumas, fils. Many of the novels in this period, including Balzac's, were published in newspapers in serial form, and the immensely popular realist "roman feuilleton" tended to specialize in portraying the hidden side of urban life (crime, police spies, criminal slang), as in the novels of Eugène Sue. Similar tendencies appeared in the theatrical melodramas of the period and, in an even more lurid and gruesome light, in the Grand Guignol at the end of the century. Gustave Flaubert's great novels Madame Bovary (1857)—which reveals the tragic consequences of romanticism on the wife of a provincial doctor—and Sentimental Education represent perhaps the highest stages in the development of French realism, while Flaubert's romanticism is apparent in his fantastic The Temptation of Saint Anthony and the baroque and exotic scenes of ancient Carthage in Salammbô. In addition to melodramas, popular and bourgeois theater in the mid-century turned to realism in the "well-made" bourgeois farces of Eugène Marin Labiche and the moral dramas of Émile Augier. Naturalism [edit] From the 1860s on, critics increasingly speak of literary "Naturalism". The expression is imprecise, and was frequently used disparagingly to characterize authors whose chosen subject matter was taken from the working classes and who portrayed the misery and harsh conditions of real life. Many of the "naturalist" writers took a radical position against the excesses of romanticism and strove to use scientific and encyclopedic precision in their novels (Zola spent months visiting coal mines for his Germinal, and even the arch-realist Flaubert was famous for his years of research for historical details). Hippolyte Taine supplied much of the philosophy of naturalism: he believed that every human being was determined by the forces of heredity and environment and by the time in which he lived. The influence of certain Norwegian, Swedish and Russian writers gave an added impulse to the naturalistic movement. The novels and short stories of Guy de Maupassant are often tagged with the label "naturalist", although he clearly followed the realist model of his teacher and mentor, Flaubert. Maupassant used elements derived from the gothic novel in stories like Le Horla. This tension between portrayal of the contemporary world in all its sordidness, detached irony and the use of romantic images and themes would also influence the symbolists (see below) and would continue to the 20th century. Naturalism is most often associated with the novels of Émile Zola in particular his Les Rougon-Macquart novel cycle, which includes Germinal, L'Assommoir, Nana, Le Ventre de Paris, La Bête humaine, and L'Œuvre (The Masterpiece), in which the social success or failure of two branches of a family is explained by physical, social and hereditary laws. Other writers who have been labeled naturalists include: Alphonse Daudet, Jules Vallès, Joris-Karl Huysmans (later a leading "decadent" and rebel against naturalism),[1] Edmond de Goncourt and his brother Jules de Goncourt, and (in a very different vein) Paul Bourget. Parnasse [edit] Main article: Parnassianism An attempt to be objective[clarification needed] was made in poetry by the group of writers known as the Parnassians—which included Leconte de Lisle, Théodore de Banville, Catulle Mendès, Sully-Prudhomme, François Coppée, José María de Heredia and (early in his career) Paul Verlaine—who (using Théophile Gautier's notion of art for art's sake and the pursuit of the beautiful) strove for exact and faultless workmanship, and selected exotic and classical subjects which they treated with a rigidity of form and an emotional detachment (elements of which echo the philosophical work of Arthur Schopenhauer whose aesthetic theories would also have an influence on the symbolists). Modern science and geography were united with romantic adventure in the works of Jules Verne and other writers of popular serial adventure novels and early science-fiction. Symbolism and the birth of the Modern [edit] Main article: Symbolism (arts) The naturalist tendency to see life without illusions and to dwell on its more depressing and sordid aspects appears in an intensified degree in the immensely influential poetry of Charles Baudelaire, but with profoundly romantic elements derived from the Byronic myth of the anti-hero and the romantic poet, and the world-weariness of the "mal du siècle", etc. Similar elements occur in the novels of Jules Barbey d'Aurevilly. The poetry of Baudelaire and much of the literature in the latter half of the century (or "fin de siècle") were often characterized as "decadent" for their lurid content or moral vision. In a similar vein, Paul Verlaine used the expression "poète maudit" ("accursed poet") in 1884 to refer to a number of poets like Tristan Corbière, Stéphane Mallarmé and Arthur Rimbaud who had fought against poetic conventions and suffered social rebuke or had been ignored by the critics. But with the publication of Jean Moréas Symbolist Manifesto in 1886, it was the term symbolism which was most often applied to the new literary environment. The writers Stéphane Mallarmé, Paul Verlaine, Paul Valéry, Joris-Karl Huysmans, Arthur Rimbaud, Jules Laforgue, Jean Moréas, Gustave Kahn, Albert Samain, Jean Lorrain, Rémy de Gourmont, Pierre Louÿs, Tristan Corbière, Henri de Régnier, Villiers de l'Isle-Adam, Stuart Merrill, René Ghil, Saint-Pol-Roux, Oscar-Vladislas de Milosz, Albert Giraud, Emile Verhaeren, Georges Rodenbach and Maurice Maeterlinck and others have been called symbolists, although each author's personal literary project was unique. The symbolists often share themes that parallel Schopenhauer's aesthetics and notions of will, fatality and unconscious forces. The symbolists often used themes of sex (often through the figure of the prostitute), the city, irrational phenomena (delirium, dreams, narcotics, alcohol), and sometimes a vaguely medieval setting. The tone of symbolism is highly variable, at times realistic, imaginative, ironic or detached, although on the whole the symbolists did not stress moral or ethical ideas. In poetry, the symbolist procedure—as typified by Paul Verlaine—was to use subtle suggestion instead of precise statement (rhetoric was banned) and to evoke moods and feelings by the magic of words and repeated sounds and the cadence of verse (musicality) and metrical innovation. Some symbolists explored the use of free verse. The use of leitmotifs, medieval settings and the notion of the complete work of art (blending music, visuals and language) in the works of the German composer Richard Wagner also had a profound impact on these writers. Stéphane Mallarmé's profound interest in the limits of language as an attempt at describing the world, and his use of convoluted syntax, and in his last major poem Un coup de dés, the spacing, size and position of words on the page were important modern breakthroughs that continue to preoccupy contemporary poetry in France. Arthur Rimbaud's prose poem collection Illuminations are among the first free verse poems in French; his biographically inspired poem Une saison en enfer (A Season in Hell) was championed by the Surrealists as a revolutionary modern literary act (the same work would play an important role in the New York City punk scene in the 1970s). The infernal images of the prose poem Les Chants de Maldoror by Isidore Ducasse, Comte de Lautréamont would have a similar impact. The crisis of language and meaning in Mallarmé and the radical vision of literature, life and the political world in Rimbaud are to some degree the cornerstones of the "modern" and the radical experiments of Dada, Surrealism and Theatre of the Absurd (to name a few) in the 20th century.[citation needed] See also [edit] History of France
5097	dbpedia	2	62	https://newporthistory.org/about/newport-history/	en	Newport Historical Society A Brief History of Newport	https://newporthistory.o…icon-196x196.png	https://newporthistory.o…icon-196x196.png	[ "https://newporthistory.org/wp-content/uploads/2018/06/logo.svg", "https://newporthistory.org/wp-content/uploads/2018/06/logo-text.svg", "http://newporthistory.wpengine.com/wp-content/uploads/2018/11/94_4_1-300x242.jpg", "http://newporthistory.wpengine.com/wp-content/uploads/2018/11/blaskowitz-300x279.jpg", "http://newporthistory.wpengine.com/wp-content/uploads/2018/11/P739-300x174.jpg", "http://newporthistory.wpengine.com/wp-content/uploads/2018/11/P8073-300x221.jpg", "https://newporthistory.org/wp-content/themes/figpress-child/src/img/footer-logo2.svg" ]	[]	[]	[ "" ]	null	[]	null	Since its founding by English settlers in 1639, Newport has bustled with diversity. The policy of liberty of conscience and religion embodied in the Newport Town Statutes of 1641 was a result of the religious beliefs of its founders and their frustration over political intervention in their religious life in Boston. This policy was a …	en	https://newporthistory.o…icon-196x196.png	Newport Historical Society	https://newporthistory.org/about/newport-history/	Since its founding by English settlers in 1639, Newport has bustled with diversity. The policy of liberty of conscience and religion embodied in the Newport Town Statutes of 1641 was a result of the religious beliefs of its founders and their frustration over political intervention in their religious life in Boston. This policy was a beacon to settlers with wide-ranging religious beliefs, who came primarily from other colonies at first, and co-existed in the rapidly growing settlement, unaware that their town’s religious diversity was a prototype of the America to come. However, a central paradox in Newport and Rhode Island’s early history was the combination of a commitment to liberty in the religious realm with a willingness to participate in the practice of enslaving other human beings. This contradiction was recognized from the earliest days by many, but it took over 100 years for the abolition movement to gain prominence in the community. The first English settlers arrived on Aquidneck Island in 1638 following a remarkable woman named Anne Hutchinson. She had been driven out of Boston for her religious beliefs which challenged the very foundations of Puritanism. She and her band of supporters followed the path taken by Roger Williams when he, too, was banished from Massachusetts for religious reasons. After consulting with Williams, her group arranged with the native Americans to settle on Aquidneck Island. What the English settlers found on their arrival was hardly an empty wilderness. Native people had been in the area for at least 5,000 years, and had established sophisticated land management and fishing practices. Current evidence points to the existence of a large summer settlement in what is now downtown Newport, and the work these native people had done clearing the land was one of the factors that made this area attractive to English settlers. Ann Hutchinson’s group settled at the northern end of the island in an area known as Pocasett. In just over a year, however, that settlement split in two. A group lead by William Coddington and Nicholas Easton moved south to form Newport in 1639. By the time they arrived in Newport, many of these settlers were becoming Baptists and embraced a belief that was central for the Baptists of Europe at the time – the separation of church and state. These early settlers founded their new town on the basis of liberty of conscience and religion and Newport became one of the first secular democracies in the Atlantic world. The founders’ commitment to religious freedom had a profound impact on all aspects of the town’s subsequent history. Among the religious groups attracted to this haven in a world of threatening intolerance were Quakers and Jews. Their presence, along with their international trade connections, helped transform the town from a small agricultural outpost to one of colonial America’s five leading seaports (along with Boston, New York, Philadelphia, and Charleston). Although the Jews came to Newport in the 1650s, their real contribution to the cultural and economic life came in the 1750s. The Quakers also came to Newport in the late 1650s. The Society of Friends flourished and grew, and, by 1700, over half of Newport’s population were members of the Society of Friends. The Quakers became the most influential of Newport’s numerous early congregations, influencing the political, social and economic life of the town into the 18th century, and their “plain style” of living was reflected in Newport’s architecture, decorative arts and early landscape. The Quaker’s neighborhood on Easton’s Point was home to some of the most highly skilled craftsman in colonial America. Among the best known of these were the Townsend and Goddard families, who made extraordinarily fine and beautiful furniture. Trade and the export of rum, candles, fish, furniture, silver, and other goods were the main engines of economic growth during the 18th century, activities inexorably linked to Newport’s participation in the slave trade and widespread ownership of slaves by families throughout the city. During this time the waterfront bustled with activity with over 150 separate wharves and hundreds of shops crowded along the harbor between Long Wharf and the southern end of the harbor. As Newport’s trade throughout the Atlantic basin grew, the city became an epicenter in the development of modern American capitalism. During the 17th century the cornerstones of Newport’s architectural heritage were laid. The buildings that survive from that period – the Old Stone Mill, the Wanton-Lyman-Hazard House, and the White Horse Tavern – are part of Newport’s rich, architectural tapestry that today also includes the great “cottages” along Bellevue Avenue. By the 1760s, economic growth spurred a building boom which included hundreds of houses and many of the internationally important landmarks that survive today, such as Trinity Church, the Colony House, Redwood Library, and the Brick Market (now home to the Museum of Newport History). Newport helped lead the way toward the Revolution and independence. Because the city was such a well-known hot-bed of revolutionary fervor, and because of its long history of disdain for royal and parliamentary efforts to control its trade, the British occupied Newport from 1776 to 1779, and over half of the town’s population fled. The British remained in Newport despite efforts to drive them out by patriot forces in partnership with the French for the first time in the Revolution. Eventually the British did withdraw and the French, under the leadership of Admiral deTiernay and General Rochambeau, began a sojourn in Newport that lasted until 1781 when they left Newport on their historic march with General Washington to Yorktown to assist in the decisive victory there. The British occupation had done irreparable damage to Newport’s economy. Faced with a bleak future, Newport in the early 19th century was forced to re-invent itself. Newport had been bypassed by industrialization and its landscape became frozen in time. Ironically, this became an asset for the town as it transformed itself into a summer resort and used its picturesque qualities to advantage in attracting summer visitors. In the antebellum period, Newport became a center for an influential group of artists, writers, scientists, educators, architects, theologians, and landscape designers. These men and women reshaped the cultural underpinnings of American life, and included Henry and William James, Thomas Wentworth Higginson, Julia Ward Howe, William Ellery Channing, William Barton Rogers (the founder of M.I.T.), Alexander Agassiz, and many more. Later summer colonists during the Gilded Age included elite familes from South Carolina, the King and Griswold families of New York, and later the Vanderbilts. These families and many more whose presence here helped transform Newport into the Queen of the Resorts, built the mansions for which Newport has become famous, employing architects Richard Morris Hunt, McKim Mead and White, Peabody and Stearns, and others. Several of these mansions have become major tourist attractions. Newport’s history has always been tied to the sea. During the colonial period the city’s harbor teemed with trading ships. With the arrival of the Summer Colony and the New York Yacht Club, Newport was on its way to becoming a yachting capital. The Yacht Club brought the famed America’s Cup to Newport in the 1930s where it stayed until lost to the Australians in 1983. The fishing industry is still a vital part of Newport’s economy, as is the United States Navy. The US Navy has roots in Newport’s early colonial fleet, and has been a significant presence in Newport since the 1860s. Its major components were Naval War College and the Torpedo Station (now Naval Undersea Warfare Center) both of which were founded immediately after the Civil War. The Navy presence on Aquidneck Island grew and eventually included the Naval Education Training Center and the North Atlantic Destroyer Squadron which had its home port at the Newport Naval base until the 1970s. Despite the loss of the fleet, the Navy is still the largest employer in the area, bringing many industry and service businesses to the area as well. In the late 19th and 20th centuries various groups such as the Irish, Greeks, Italians, Portuguese, Filipinos, Cambodians, and Hispanics joined groups such as Jews, African Americans, and Native Americans who had been in Newport for some time, enriching the ethnic diversity of the town. African Americans from Virginia and other areas moved to Newport and joined a thriving community that continues to be a vital part of Newport’s history. The Irish came to Newport in the 1820s, drawn here by the work available to them at Fort Adams. Despite laws from 1719 that discriminated against Catholics by denying them the right to become “freemen”, Catholics who immigrated to Aquidneck Island found a relatively tolerant haven from the virulent anti-Catholic and Irish sentiments in Boston and other towns at the time. Many of the Irish families who made Newport home during the early 19th century still live and prosper in Newport, maintaining close links with the land of their ancestors. After World War II, one of the most successful historic preservation movements in the country saved hundreds of structures throughout Newport County. That effort began in the 1840s when George Champlin Mason, writer and editor of the Newport Mercury (a weekly newspaper still published today by the Newport Daily News) fought to save Trinity Church. He helped found the Newport Historical Society, which preserved the Seventh Day Baptist Meeting House in 1884, and later acquired and restored the Wanton-Lyman-Hazard House, and the Great Friends Meeting House. Other groups who have taken the preservation movement to heroic levels include the Preservation Society of Newport County, the Newport Restoration Foundation, and several grassroots organizations such as Operation Clapboard. With the success of the preservation movement, Newport began to recover from the economic downturn that came when the destroyer fleet was pulled out of Newport. The Navy continued, and a new kind of tourism – now refered to as “Heritage Tourism”- began to develop slowly. Visitors to Newport now come to learn about the area’s remarkable history as well as to enjoy the beauty and the hospitality of the City by the Sea. There is, of course, more than mansions for visitors to see in Newport. There are beautifully restored colonial landmarks for visitors to explore along with, fine small museums, such as the Museum of Newport History in the Brick Market which is a perfect place to begin a visit to the area where visitors can get an overview of the city’s history. The Newport Art Museum, the Tennis Hall of Fame, Audrain Automobile Museum, Fort Adams, Redwood Library, Touro Synagogue, Trinity Church, and many other attractions offer the visitors an unrivaled opportunity to explore aspects of this country’s history. Music festivals, such as the Jazz and Folk Festivals and the Newport Music Festival are all major events drawing thousands to Newport every summer. The stereotype of Newport solely as a playground for the wealthy during and after the Gilded Age is in contrast with local reality. While Newport continues to be home to summer visitors of dazzling wealth, and while some of them have made Newport their year round home, most of the residents of the City by the Sea continue to be middle and working class. Given Newport’s image, it is ironic that the city also has the largest number of low-income housing units in the state of Rhode Island. Newport’s history is remarkable in many ways, but perhaps the most unique aspect is the fact that so much of its history is still visible on the landscape in an unparalleled concentration of preserved architecture. It continues its commitment to liberty of conscience and religion and Newport’s resilience and creativity in meeting the economic changes that have overtaken it offers strong proof that diversity works in keeping the city alive and vibrant.
5097	dbpedia	2	19	https://tertulia.com/article/12-books-by-french-contemporary-authors-you-should-read-now	en	12 Books by French Contemporary Authors You Should Read Now	https://images.ctfassets…rench_lead_2.png	https://images.ctfassets…rench_lead_2.png	[ "https://tertulia.com/images/IconMenu.svg", "https://tertulia.com/images/IconCloseWhite.svg", "https://tertulia.com/images/IconArrowRight.svg", "https://tertulia.com/images/IconArrowRight.svg", "https://tertulia.com/images/IconArrowRight.svg", "https://tertulia.com/images/IconArrowRight.svg", "https://tertulia.com/images/IconArrowRight.svg", "https://tertulia.com/images/IconArrowRight.svg", "https://tertulia.com/images/IconArrowRight.svg", "https://tertulia.com/images/IconArrowRight.svg", "https://tertulia.com/images/icon_facebook.svg", "https://tertulia.com/images/IconX.svg", "https://tertulia.com/images/icon_instagram.svg", "https://tertulia.com/images/app_store.svg", "https://tertulia.com/images/TertuliaLogo.svg", "https://tertulia.com/images/IconSearchWhite.svg", "https://tertulia.com/images/IconCart.svg", "https://tertulia.com/images/IconCart.svg", "https://tertulia.com/images/IconSearchWhite.svg", "https://tertulia.com/images/IconShareWhite.svg", "https://images.ctfassets.net/dqfxe6p06j9z/54kH86kiYz9HKKhVqvVHa7/1a53d25b08da7cbe30b490d4b4c84f47/452198161-huge__1__1.png", "https://images.ctfassets.net/dqfxe6p06j9z/54kH86kiYz9HKKhVqvVHa7/1a53d25b08da7cbe30b490d4b4c84f47/452198161-huge__1__1.png", "https://tertulia.com/images/TertuliaLogoWhite.svg", "https://tertulia.com/images/IconFacebookWhite.svg", "https://tertulia.com/images/IconXWhite.svg", "https://tertulia.com/images/IconInstagramWhite.svg", "https://tertulia.com/images/IconTikTokWhite.svg", "https://tertulia.com/images/app_store.svg" ]	[]	[]	[ "" ]	null	[]	null	We’ve compiled a list of 12 books by French authors that give readers a window into the current moment in France, while also featuring sublime storytelling, craft or formal innovation. Bonne Fête Nationale!	en	/favicon.ico	Tertulia	https://tertulia.com/article/12-books-by-french-contemporary-authors-you-should-read-now	Reading the headlines about the recent protests and riots in France, we can get the facts about how the killing of teenager Nahel M. has sparked nationwide fury, debate and violence. But reading the literature of a place is where we actually grasp the underlying shifts and tension points of any society. Our list of 12 books by French authors to read now includes books published in translation mainly over the past few years that give readers a window into the current moment in France. The books featured here have made waves in France for keying into the mood, social movements or politics of our time, but also for their sublime storytelling, craft or formal innovation. Bonne Fête Nationale! At Night All Blood Is Black by David Diop France is recovering from weeks of being rocked by protests and riots born of long-simmering tensions over police brutality and systemic racism. A stand-out in the body of fiction that reckons head-on with the colonial history underlying these tensions is the work of novelist and academic David Diop. Diop was the first French author to win the International Booker Prize in 2021 for At Night All Blood Is Black about a Senegalese soldier recruited to fight alongside the French army in World War I. At Night All Blood Is Black was translated by Anna Moschovakis. “From the very first pages, there is something beguiling about this slim, delicate novel… By the time we reach its shocking yet ultimately transcendent ending, the story has turned into something mystical, esoteric; it takes a cyclic shape... More than a century after World War I, a great new African writer is asking these questions in a spare yet extraordinary novel about this bloody stain on human history.” — Chigozie Obioma in The New York Times Simple Passion by Annie Ernaux Of course no survey of contemporary French literature would be complete without Nobel laureate Annie Ernaux. Her mostly autobiographical work resonates deeply with readers for its raw, direct and sometimes brutal treatment of personal and sensitive subjects — her love affairs, abortion, ambivalence about motherhood, to name a few. In Happening, Ernaux recounts her traumatic, near-depth experience with attempting to get an abortion 40 years earlier. Many American readers first became familiar with her after her Nobel win, and were drawn to her work in the midst of a year in which abortion rights have been rapidly receding. Where to start with Ernaux? We’d recommend Simple Passion, the story of her all-consuming, two-year love affair with a married man. Simple Passion was translated by Tanya Leslie. “Annie Ernaux’s Simple Passion is a cathartic manifesto outlining the appeal of fleeting dalliances. While the affair Ernaux describes might seem superficial to many, it portrays a very basic emotion that has become very elusive: raw passion.” — Sonal Chaturvedi in Vogue Yoga by Emmanuel Carrère Carrère is one of France’s most celebrated writers for both his novels and his literary non-fiction. From the true story of one of France’s most notorious murderers in The Adversary (2000) to the recounting of his experience of a catastrophic tsunami while on vacation in Sri Lanka in Lives Other Than My Own (2009), his books elude categorization. His most recent acclaimed book Yoga is a deeply personal account of his efforts to live a more intentional life while struggling with a mental health crisis. It caused a scandal in France when his ex-wife accused Carrère of breaking an agreement not to write about her. Yoga was translated by John Lambert. ”Here, anatomised, is the white western capitalist everyman – wandering the aisles of the spiritual supermarket, shopping for garishly packaged bliss, in terror of a threat from without, blind to the threat from within, and wholly, tragically incapable of incorporating into his reality the very subject of all the diluted eastern spirituality with which he is so enamoured: the truth of suffering, the crushing inevitability of loss... Carrère offers no easy answers. He doesn’t need to. His singular, ever-expanding work, in which one pain need never obscure another, in which truths and half-truths are held not in opposition but in delicate, precarious balance, is an answer in itself.” — Sam Byers in The Guardian UK The Anomaly by Hervé Le Tellier Hervé Le Tellier is a French writer and core member of the literary group Oulipo, founded back in 1960 to investigate the possibility of verse written under structural constraints. His book The Anomaly became a bestselling phenomenon in Paris during the dark days of the pandemic lockdown and it was subsequently awarded The Goncourt Prize, one of the most prestigious literary prizes in the world. In disparate story lines, the book follows several characters who have one thing in common: they all were on the same turbulent flight that has profoundly affected them. The Anomaly was translated by Adriana Hunter. It’s a measure of Le Tellier’s masterful storytelling that he makes us wait all the way to Page 151 to find out what bizarre thing has befallen the plane in question, Air France Flight 006 from Paris to New York…his writing, well served by Adriana Hunter’s graceful translation from the French, is nimble and versatile. And it’s impossible not to feel tenderness toward the bewildered characters, with their valiant efforts to make sense of the unfathomable and to rewrite their stories according to the new reality. — Sarah Lyall in The New York Times In the Country of Others by Leïla Slimani Franco-Moroccan author Leïla Slimani is a literary celebrity not only for her acclaimed novels but for her role as an emissary of Francophone affairs for President Macron. She won the Goncourt Prize for her wildly popular book The Perfect Nanny, which turns racial stereotypes on their head with a story about a murderous white French caregiver employed by a North African mother. She has since turned to writing a trilogy loosely based on her own grandparents’ and parents’ history during the post-World War II era in Morocco and France. The first book in the trilogy, In the Country of Others, was released in English to acclaim in 2021 and the second book Watch Us Dance has just been released. Slimani’s trilogy was translated by Sam Taylor. “In The Country of Others is a morally difficult, slow-burn story about lives being suffocated by circumstance, one that’s carried off with greater sympathy and realism than anything Slimani has done before.” —John Phipps in The Times (UK) The Postcard by Anne Berest Actor and writer Anne Berest was already celebrated for co-authoring How to Be Parisian Wherever You Are and Gabriële (the biography of her great-grandmother who was Marcel Duchamp’s lover and muse). But her star has risen dramatically since the publication of her fictionalized memoir The Postcard that takes a captivating look into a family's past and secrets. The Postcard follows the author's family after the arrival of a cryptic postcard that includes the names of four ancestors who were victims of the Holocaust. Controversy in the French literary world swirled around The Postcard when it was panned in a review by a juror of the prestigious Goncourt Prize, who was also a romantic partner to another finalist for the prize. The book has since won the first annual U.S. Goncourt Prize Selection last year. The Postcard was translated by Tina Kover. "With bracing prose, smoothly translated by Kover, Berest takes an unflinching look at antisemitism past and present... The more Anne learns of her family, the more powerful her story of reclaiming her ancestry becomes. This is brilliant." — Publishers Weekly The Mad Women's Ball by Victoria Mas Victoria Mas, the only debut author on our list, made waves with her historical thriller, The Mad Women’s Ball (and its subsequent adaptation for Amazon Studios), and we can only hope to see more from this author. Set in 19th-century Paris, the book tells the dramatic story of a nurse and patient who meet at an infamous psychiatric asylum where women are subject to dehumanizing experiments. The Mad Women’s Ball was translated by Frank Wynne. “There is a bit of history, of both the hospital, its famous doctor, and one of its more famous patients, included within the novel, explained in footnotes, which may intrigue some readers enough to spur them to further research. With a theme that could have been a dramatic Gothic novel, The Mad Women’s Ball glosses over any sensationalism and opts for a character study of one woman’s humanity and sacrifice.” — Toni V. Sweeney in New York Journal of Books The Elegance of the Hedgehog by Muriel Barbery We encourage you to check out this backlist gem that was a veritable publishing phenomenon when it came out in 2006. Novelist and former philosophy teacher Muriel Barbery’s break-out bestseller is the fabulously named The Elegance of the Hedgehog. The story takes place in a posh Parisian apartment inhabited by the upper crust of French society, and sucks readers in with the revealing perspectives of the building’s concierge and of a troubled 12-year-old girl tenant. (Barbery’s most recent novel, One Hour of Fervor, comes out in English next year.) The Elegance of the Hedgehog was translated by Alison Anderson. “Despite its cutesy air of chocolate-box Paris, The Elegance of the Hedgehog is, by the end, quite radical in its stand against French classism and hypocrisy. It's intriguing that her compatriots have bought into it so enthusiastically. Clever, informative and moving, it is essentially a crash course in philosophy interwoven with a platonic love story. Though it wanders in places, this is an admirable novel which deserves as wide a readership here as it had in France.” — Viv Groskop in The Observer Fresh Water for Flowers by Valérie Perrin Screenwriter and photographer Valérie Perrin first came to publishing bestselling novels in her late 40s. Several of her books have been translated into English, but we refer you to her most popular book, Fresh Water for Flowers, which follows the life of a cemetery caretaker in small-town France. Her quotidian routine is disrupted when the police chief comes to leave his mother’s ashes on the grave site, which begins to unravel some painful family secrets of fraught marriages and mysterious deaths. Fresh Water for Flowers was translated by Hildegarde Serle. “Perrin’s eye is so compassionate, her characters so many-faceted, and the various mysteries she poses so intriguing that most readers will happily go along for the long ride toward a pleasingly romantic conclusion tempered by one last funeral.” — Kirkus The End of Eddy by Édouard Louis At age 30, Édouard Louis is the youngest author on this list but he looms large as one of France’s most widely read authors. His novels, which have recounted his experience growing up poor and gay in a small village in France’s post-industrial northern region, deal with themes of poverty, alcoholism and racism. He taps into the psychic reality of the gilets jaunes with his characters who are disenfranchised and furious with the government. Louis is heavily influenced by French philosophy and sociology, and even released an edited volume on the work of sociologist of class Pierre Bourdieu. His highly autobiographical first novel, The End of Eddy, is a great introduction to his work. We also recommend Who Killed My Father, a searing indictment of the French political system for its abandonment of the working class, which reflects the author’s own father’s life as an example of alienation caused by this neglect. The End of Eddy was translated by Michael Lucey. “...a brief, poetic telling of the myriad ways societal contempt, homophobia, and poverty can kill a man… Capturing the macro and micro culprits in Who Killed My Father, Louis serves as both raconteur and son, expressing deep and considered empathy for a man whose absence looms large.” — Martha Anne Toll in NPR
5097	dbpedia	0	57	https://olh.openlibhums.org/article/id/7687/	en	The Cataleptic Novel: Living on with George Sand	https://olh.openlibhums.org/article/id/7687/file/120603/	https://olh.openlibhums.org/article/id/7687/file/120603/	[ "https://olh.openlibhums.org/media/cover_images/d9ffd7d0-627d-4d30-87b3-0f7bc736ec15.png", "https://olh.openlibhums.org/article/id/7687/file/120603/", "https://orcid.org/sites/default/files/images/orcid_16x16.png" ]	[]	[]	[ "" ]	null	[ "James Illingworth" ]	null	This article considers the representation of catalepsy—a trance-like nervous condition characterised by rigidity of the limbs that resembles death—in the literature of 19th-century France. It begins with an overview of the medical literature on catalepsy and its influence on the literature of the period, which reveals a particularly gendered aspect to the fate of the cataleptic, before turning to its primary case study: George Sand’s Consuelo novels (1842–44). These two texts provide Sand’s most sustained engagement with catalepsy, but they also set Sand’s depiction of the condition apart from how her (male) contemporaries represented it. While in the work of writers like Honoré de Balzac (1799–1850), Jules Barbey d’Aurevilly (1808–89), Théophile Gautier (1811–72), and Émile Zola (1840–1902) the cataleptic is generally an unstable male genius whose tale ends in death, madness, or oblivion, Sand elaborates an alternative model that allows these superior individuals to find self-actualisation (irrespective of their gender). The occult knowledge associated with the cataleptic is not to be feared in Sand’s texts; rather, it provides personal fulfilment and offers new purpose that benefits society. Catalepsy in Sand’s texts is thus endowed with political significance, representing the potential for new beginnings and a move beyond traditional ways of being. Drawing on the Consuelo novels as a model, this article then turns to Sand’s wider oeuvre to posit the poetics of the ‘cataleptic novel’ as inherent to Sand’s literary enterprise.Featured Image: A photograph of Marie 'Blanche' Wittman in a cataleptic pose taken around 1880, in Iconographie photographique de la Salpêtrière: service de M. Charcot / par Bourneville et P. Regnard, volume 3. Public domain, via Wikimedia Commons {{PD-US}}.	en	/media/cover_images/420523ea-bb65-48be-852d-3b50616b6e89.ico	Open Library of Humanities	https://olh.openlibhums.org/article/id/7687/	As the recent Routledge Companion to Death and Literature reminds us, death has provided an object of literary fascination since the dawn of literature itself, transcending genre, era, and culture (Wang, Jernigan and Murphy, 2021). If literature has long offered ways of thinking through the inevitability of death, it has also had to contend with its unknowability. Philippe Ariès locates the 18th and 19th centuries as moments of new explorations of our relationship to death in Western societies (1974: 55–56), and this manifests itself in the literature of the period, which routinely presents death scenes. Yet, as Elisabeth Bronfen cautions, death can never be anything more than a cultural construct since it lies beyond the realm of any living person’s experience (1992: 54). In this light, catalepsy, as a form of living death, presents a peculiar aberration. Catalepsy is a neurological condition in which the sufferer’s muscles become rigid and they cease responding to external stimuli. As such, catalepsy resembles death, and literary depictions dwell on the possible forms of knowledge such an apparent return from death might entail: as we will see, catalepsy is frequently associated with almost occult access to the beyond. The literary potential of such possible knowledge seems to have been irresistible to 19th-century writers in the West: despite the relative rarity of the condition, it holds a particular place in the literary imagination of the period. The evolving representations and imaginative engagements with death in the literature of 19th-century France were accompanied by another crucial development that contributed to catalepsy’s status in the period: the 19th century was also the golden age of French psychiatric science (Goldstein, 1987: 1). This article will offer a survey of the representations of catalepsy in 19th-century French texts to establish the various representational practices with which catalepsy was associated in the period, before focusing on the work of the century’s foremost female novelist, George Sand, pseudonym of Amantine Aurore Lucile Dupin (1804–76). In scholarship on Sand, catalepsy is typically considered in passing, if at all, in relation to her Consuelo novels (Consuelo and its sequel, La Comtesse de Rudolstadt [The Countess of Rudolstadt], both published serially in La Revue indépendante between 1842 and 1844), and usually evoked as a mere plot device. Placing Sand’s cataleptics alongside those of her (male) contemporaries reveals that Sand’s use of catalepsy is indicative of a wider narrative practice on her part; one that subverts expected approaches to death in the 19th-century novel. In his articulation of a literary masterplot, Peter Brooks asserts that literary texts, and especially 19th-century realist texts, are underpinned by a structure that resembles Freud’s death drive (1992: 90–112), an impulse Freud posited as a means of understanding our desire to repeat traumatic experiences even though this seemingly contradicts our desire for pleasure. The satisfaction associated with repeating these traumatic experiences suggested to Freud that, in truth, what we hoped for was death. Brooks identifies a similar urge at work in the 19th-century death scene: Whatever their specific content, and whatever their degree of tragic awareness or melodramatic enunciation, all such scenes offer the promise of a significant retrospect, a summing-up, the coming to completion of a fully predicated, and readable, sentence (1992: 96). Death, in Brooks’s formulation, provides novels with a satisfying sense of finality, one that Sand’s cataleptic texts playfully undermine. More recently, Enda McCaffrey and Steven Wilson have suggested that French literature shifted in the 20th century to explore more fully the experience of dying, a shift they identify as part of a broader socio-cultural turn. They contrast this with the representation of death in the 19th century, when it figured ‘more often than not as a trope allowing for the ultimate neat ending, or a commentary on the fate of a seemingly subversive protagonist’ (2021: 3). If the novel is indeed organised around the death drive, an analysis of Sand’s cataleptics contrarily suggests that her novels offer a determined resistance to such narrative superstructures. This resistance has a gendered dynamic, shifting away from the tradition of death and marriage as the typical endings for women in fiction. Catalepsy, in Sand’s configuration, is doubly political: the Sandian cataleptic usually returns from their ‘death’ to engage in acts of political resistance, but Sand’s use of catalepsy itself also subverts dominant 19th-century narrative tropes by destabilising traditional narrative endings: endings that replicate models of masculine domination. This article will suggest, therefore, that catalepsy is far more than a mere plot device in Sand’s texts, and that it offers a useful way of thinking through Sand’s poetics and ideology, such that we might even consider her texts to be ‘cataleptic novels’. Notes Acknowledgements I would like to extend my thanks to Kit Yee Wong, the general editor of this Special Collection, for her support of this article and her helpful comments at the various stages of its production. I am also grateful to the anonymous reviewers for their constructive and insightful feedback. Competing Interests The author has no competing interests to declare. References
5097	dbpedia	2	58	https://www.theatticoneighth.com/blog/2019/7/8/introducing-eight-francophone-authors	en	Introducing Eight Francophone Authors — The Attic On Eighth	http://static1.squarespace.com/static/5a46b819a9db097eb2dd143f/5a46bfc688199e3d9aca41cc/5d2353afce6c260001b16a87/1566832100586/IMG_0340.JPG?format=1500w	http://static1.squarespace.com/static/5a46b819a9db097eb2dd143f/5a46bfc688199e3d9aca41cc/5d2353afce6c260001b16a87/1566832100586/IMG_0340.JPG?format=1500w	[ "https://images.squarespace-cdn.com/content/v1/5a46b819a9db097eb2dd143f/1588469274968-TWCCE0HR6XSYXXG9P3Y0/Attic_Logo_2020.jpg", "https://images.squarespace-cdn.com/content/v1/5a46b819a9db097eb2dd143f/1588469274968-TWCCE0HR6XSYXXG9P3Y0/Attic_Logo_2020.jpg", "https://images.squarespace-cdn.com/content/v1/5a46b819a9db097eb2dd143f/1562596401540-NIDG63HAMD2IS5LKDOTX/Introducing+Eight+Francophone+Authors+Milena+Le+Fouill%C3%A9+The+Attic+on+Eighth", "https://images.squarespace-cdn.com/content/v1/5a46b819a9db097eb2dd143f/1589313412699-C2ZBKNWOI7YW4RJRMZNJ/Radio+and+Pocast+Roundup.JPG", "https://images.squarespace-cdn.com/content/v1/5a46b819a9db097eb2dd143f/1586995759674-KIG8QM75ZQ3BVWDCQK6P/15BEF660-E658-472C-B8FA-8DFAFD434E88.jpeg", "https://images.squarespace-cdn.com/content/v1/5a46b819a9db097eb2dd143f/1581467446105-KGTS5CQAFJUYADTVCPEP/IMG_5399.jpeg", "https://images.squarespace-cdn.com/content/v1/5a46b819a9db097eb2dd143f/1580318346303-SRBFV6U2OS23COG5GZ9J/44DD9ED9-7D91-4CA6-A49C-F5BAFF26BF13.jpeg", "https://images.squarespace-cdn.com/content/v1/5a46b819a9db097eb2dd143f/1578907942640-LIUCSTV5YDYTM2B7KCLB/Discussing+Little+Women+The+Attic+on+Eighth.JPG", "https://images.squarespace-cdn.com/content/v1/5a46b819a9db097eb2dd143f/1576264590162-MXGUTK7TQQLMEO0MDEUA/46D44AE8-F071-4C85-888B-FFAFD8C6D931.jpeg", "https://images.squarespace-cdn.com/content/v1/5a46b819a9db097eb2dd143f/1573856667189-CP8B42L4KJRVTXP419DO/Galignani+Olivia+G%C3%BCnd%C3%BCz-Willemin+The+Attic+on+Eighth.JPG", "https://images.squarespace-cdn.com/content/v1/5a46b819a9db097eb2dd143f/1571926437721-SK2NZ880VLTLDK0YOE8S/public.jpeg", "https://images.squarespace-cdn.com/content/v1/5a46b819a9db097eb2dd143f/1571108862707-LS6GITMRFRRPO6QIOLSI/public.jpeg", "https://images.squarespace-cdn.com/content/v1/5a46b819a9db097eb2dd143f/1569698921622-99LII0S3GACEZAHJUK0S/Margaret%2BAtwood%2BThe%2BTestaments%2BReview%2BMilena%2BLe%2BFouill%25C3%25A9%2BThe%2BAttic%2Bon%2BEighth.jpg" ]	[]	[]	[ "" ]	null	[ "Milena Le Fouillé" ]	2019-07-08T00:00:00	Freeing the Francophonie of its clichés and old white men, Milena Le Fouillé shares her favorite Francophone writers to know.	en	https://images.squarespace-cdn.com/content/v1/5a46b819a9db097eb2dd143f/1588469298670-E64VGXI88IKZ6K0HISFD/favicon.ico?format=100w	The Attic On Eighth	https://www.theatticoneighth.com/blog/2019/7/8/introducing-eight-francophone-authors	1. Andrée Chedid Andrée Chedid navigates between her multiple cultural influences to create a poetic imaginary oscillating between the Eastern and the Western worlds. Born in Cairo, where she learned English and French, she moved to Europe at fourteen before returning to attend the American University in Cairo. Later in life, she married a Lebanese physician and included the denunciation of the Lebanese civil war in her novels, that explore the timeless themes of love and loss in her direct and insightful prose. Her poetry is also wonderful and makes for a great first approach of her work. You can find the major English translations of her works here. Where do I begin? Andrée Chedid is the kind of writer that will make you believe in True Love like you haven't since you were a young teenager, without ever being mawkish about it. In The Message, a young woman named Marie is wounded in the middle of the street in an unnamed country at war. She cannot die, though, not until she is reunited with Steph, the love of her life, for she has a message for him. Along the way, she'll find hope for human kind in the strangers willing to stop by and help her. 2. Romain Gary Romain Gary's life itself is a novel. Of Jewish and Lithuanian origins, pilot in the French resistance during the Second World War, married to the American actress Jean Seberg, Gary barely had to make any effort of imagination to find the stuff of his novels. One of his most famous fait d'arme is his revelation as a literary impostor: in 1956, Gary received the Goncourt Prize for his novel The Roots of Heaven, the highest literary recognition in France, theoretically awarded once in a lifetime. However, later in his life, Gary created an alter ego, Émile Ajar, writing in a fairly different style from his earliest works, and managed to snatch the prize a second time in 1975 for his novel The Life Before Us, forging its legend and making him to this day the only French author to receive this award twice. Where do I begin? I've never met anyone who did not fall head over heels in love with his autobiographical tale Promise at Dawn. Gary recalls his childhood and his earliest literary ambitions, or, more precisely, the literary ambitions his mother — passionate, larger than life, overbearing mother — had for him, and the terrible pressure that he was put under. If the mark of a great book is that it can make you laugh at loud and shed a few tears between the beginning of a sentence and its end, then Promise at Dawn is one of the greatest classics of French literature. If you're looking for a book more American-oriented, try White Dog: in this autobiographical story, Gary recalls his life in the United States where he lived for a short period of time with Jean Seberg. One day, they stumbled across a stray dog, and took him in. Everything seemed perfectly normal until they realized that the dog systematically attacked the Black people around it. Probably trained by the police and abandoned, the story of this particular white dog is a first hand testimony on the Civil Rights movement from the inside — Seberg was an influent activist — as well as a reflexion on the possibility of ever overcoming racism. Gary and Seberg were in Washington the night Martin Luther King was killed, and his description of the moment the news is made public alone makes the book worthwhile. 3. Amhadou Kourouma Kourouma is one of the greatest francophone writers as well as one of the most famous Ivorian authors, and yet, too few people have heard of him outside of the African continent. I realize that my endorsement of his work is akin to me talking to an English major only to tell them "Have you ever heard of Dickens? This guy is pretty good", but it's no secret that African literature is cruelly underserved by academic syllabi all around the world, so I'm going ahead and telling you anyway: read Kourouma. Fans of Chinua Achebe's work will particularly like his take on Ivorian independence and the loss of illusions of the African continent. His humor, his stylistic maestria and the gripping stories he choses to tell will take you on a fantastic literary journey. Where to begin: The Suns of Independence is largely considered to be a masterpiece of modern African literature and is a great place to start exploring Kourouma's themes and highly original style. The story centers around Fama and Salimata, husband and wife, struggling both together and separately to adapt when traditional and modern cultures collide after the Ivorian declaration of independence. This is a tale of hierarchies upset and gender roles put to the test, narrated in a colorful prose, intertwining traditional French with tales and proverbs from the ancient Malinke. 4. Emmanuel Carrère Emmanuel Carrère is considered to be one of the great names of the autofiction genre — that is to say, novelized autobiographical stories. Carrère rarely talks directly about his life but intertwines compelling stories of people around him with glimpses of his own existence, and doing so, he explores the notion of empathy itself, of perception, and of reality and delusion. Where to begin? In 2000, Carrère published The Adversary, the chilling true crime story of Jean-Claude Roman (a name that incidentally means "novel" in French), a seemingly insignificant doctor who killed his entire family when they found out that the life he pretended to lead — that of a respectable medical researcher, working for the World Health Organization in Switzerland — was entirely based on a lie. Roman had never even passed his medical degree. He simply pretended to leave for work every morning and spent his days aimlessly wandering around the Swiss forest. Carrère finds his literary trademark with this terrifying story tackling the nature of lie and Evil itself — "the Adversary" of the title is a direct reference to Satan. One of my favorite books of his, Lives Other Than My Own (sometimes translated as Other Lives But Mine), tells the story of two judges specialized in helping over-indebted people, a situation often caused by the unethical practices of microcredit societies. Does this sound boring to you? Think again. I literally had to stop reading this book in public places because I was crying too hard. Carrère's work encourages you to reconsider your relationship with the world surrounding you — the sign of a great novelist. 5. Amélie Nothomb Amélie Nothomb is weird. I'm not passing any kind of judgment here: in fact, Amélie Nothomb has built her entire literary persona on her eccentricities. She wears huge hats, she walks through Parisian cemeteries to find inspiration, she's a graphomaniac, she publishes one book a year, always in September (for what is called the "rentrée littéraire", after the word rentrée, the start of the school year), that you can immerge yourself into and finish in an afternoon. It's a pleasant ritual. To be fair, Amelie Nothomb does have interesting stories to tell. Her early life epitomizes the cosmopolitanism that would later come to characterize her work: born in Japan from a Belgian diplomat father, Amelie Nothomb then moved to China, then to New York, then to Bangladesh, then to Burma, then to the United Kingdom, then to Laos, before settling down in Europe. Where do I begin? Her first book, Hygiene of the Assassin, tells the story of a mysterious writer recluse and of the young female reporter who comes to interview him — to the peril of her life. Loving Sabotage tells the story of a little five-year-old girl falling madly in love with a cruel femme fatale (Elena, six-years-old) and literally unleashing a Third World War for her. Fear and Trembling is a satirical novel about corporate culture in Japan. But to tell the truth, it does not really matter which Nothomb you pick: no matter its subject, you have to be willing to be taken on a strange, slightly surrealist literary adventure. 6. Virginie Despentes Virginie Despentes made a name for herself when she wrote her first novel in 1994, Baise-moi ("Fuck Me") where she directly addresses the question, inspired by her own experience, of the women working in the sex industry and pornography. Coming fresh from the punk scene, Virginie Despentes shook the rather conservative literary scene on its base with the novels that followed, before finding her place in it, since she was named a member of the Goncourt Academy in 2016 (yes, everything here turns around the Goncourt, one way or another). Where do I begin? Although it remains a controversial read more than thirteen years after its publication, King Kong Theory is a thought-provoking feminist manifesto that I would strongly recommend to anyone. If you're looking for a novel, you can also dive into the immersive world of Vernon Subutex, the story of a washed out, but charismatic disc-seller trying to find his place in a society always more unforgiving of its misfits. Vernon crosses every layer of Parisian society and gather around him an eclectic group of people dreaming of a better world. 7. Marie NDiaye Marie NDiaye came early on the literary scene, when her first novel was published in the prestigious publishing house Les Éditions de Minuit when she was only seventeen, and then never stopped writing. She has since proven the depth of her political engagement, choosing to move to Berlin in 2009 after the election of the right-wing president Nicolas Sarkozy. She's also one of the only two female playwrights whose work features in the repertory of the Comédie Française, the French National Theater (yes, in case you're still wondering, the French literary scene has a pressing issue with diversity). Where do I begin? Marie NDiaye was awarded the Goncourt Prize in 2009 for her novel Three Strong Women, which, like its title suggests, intertwines three storylines going back and forth between Senegal and France and presents the fates of Norah, Fanta, and Khady Demba, three women mistreated or abandoned by men but never giving up on their sense of self-worth. 8. Riad Sattouf I don't read graphic novels very often, and that's a shame because I do think that the genre is turning into one of the great forms of art of the twenty-first century. Riad Sattouf is one of the most acclaimed cartoonists of the moment, discovered by the same publishing house than Marjane Satrapi, the author of Persepolis. In 2016, Riad Sattouf was one of the few male authors to publicly denounce the absence of women shortlisted for the Prize for Best Album at the Angoulême International Comics Festival — the highest form of recognition for comic writers. Where do I begin? Sattouf's turned into an underground icon after the publication of his series The Secret Life of Youthin the satirical paper Charlie Hebdo, a hilarious recollection of the most surrealistic, yet completely plausible pieces of dialogue he overheard among high school students around Paris. But it is with his wonderful autobiographical memoir The Arab from the Future: A Childhood in the Middle East that Sattouf achieved the ultimate bestseller status, outselling the far-right columnist Éric Zemmour, which was perhaps the most satisfying editorial moment of the last few years. Sattouf's dark and funny account of his childhood, spent between his father's native Syria and his mother's native Brittany feels even more poignant today, nearly ten years after the beginning of the civil war.
5097	dbpedia	2	97	https://www.forbes.com/sites/entertainment/article/best-historical-fiction-books/	en	The 25 Top Historical Fiction Books Of All Time	https://imageio.forbes.c…=1600&fit=bounds	https://imageio.forbes.c…=1600&fit=bounds	[]	[]	[]	[ "Margaret Mitchell", "Homegoing", "Scarlett O'Hara", "Toni Morrison", "Amazon" ]	null	[ "Sughnen Yongo" ]	2024-03-17T12:00:00-04:00	From WW2 novels to historical romance novels, our guide to the best historical fiction books will transport you through time.	en	https://i.forbesimg.com/48X48-F.png	Forbes	https://www.forbes.com/sites/entertainment/article/best-historical-fiction-books/	For history enthusiasts, historical fiction serves as a cornerstone that vividly resurrects the ways of life from bygone eras. The genre, often characterized by its immersive storytelling and attention to detail, has produced some best-selling literary works that span decades. While this genre has historically been dismissed as trite, there is now a surge in its popularity, and whether their storylines explore the World War II era or other important historical epochs, readers have remained intrigued. Top Historical Fiction Novels To celebrate this genre, here is a curated list of some of the most remarkable historical fiction novels ever. 25. Gone with the Wind By Margaret Mitchell Margaret Mitchell created a cultural masterpiece when she penned Gone with the Wind. The historical fictional novel was published in 1936 and set against the backdrop of Clayton County and Atlanta, Georgia amid the tumultuous American Civil War. The book is not only a popular part of American literature, it was one of the leading novels to comfortably acknowledge the heaviness of complex issues like social class, race, war, gender and slavery in a way that stuck in the minds of consumers. To achieve this, Mitchell introduced readers to Scarlett O'Hara, whose character evolves as she navigates multiple changes and difficulties within the story. Scarlett is considered one of literature's most memorable and complex heroines, and Gone with the Wind is a monumental piece of literary art in American history. The work earned Mitchell a Pulitzer Prize for Fiction in 1937. Lovers of history, culture and classics can find this book on Simon & Schuster’s website. 24. Homegoing By Yaa Gyasi Yaa Gyasi’s Homegoing is a thematic masterpiece published in 2016 that explores difficult topics like slavery, freedom and strength. Gyasi blurs the boundaries of time and space by adapting a multigenerational narrative into the dark and burdensome legacy of slavery. The many characters in Gyasi’s Homegoing are multi-dimensional, making the story even more intriguing. Although Homegoing is Gyasi's debut book, it immediately cemented her role among her peers as a writer with the chops to approach intersecting characters, plots and places with seamless expertise. This book is a good read for anyone who is curious about slavery and the historical implications of it. The novel earned Gyasi an Audie Award for Literary Fiction & Classics and a PEN/Hemingway Award at the PEN Awards. The book is available for purchase at Penguin Random House. 23. Beloved By Toni Morrison Toni Morrison is revered as one of the 21st century's most respected writers and intellectuals, and Beloved is one of her most decorated pieces of work. In Beloved, Morrison tells the gut-wrenching story of Sethe, a freed woman who escapes her haunting days as a slave in Kentucky to live in Cincinnati, Ohio with her children. Although Sethe and her children are free, she is still haunted by the memories of her time as a slave. Her worst fears come true when her former slave master seeks her out, finds her and attempts to place her back into slavery. In a fit of panic, Sethe kills one of her children in the hopes of saving them from going back into the agony of slavery. Beloved touches on painful cultural touchstones that have helped to shape conversations on race, trauma and grit. Beloved was published in 1987, and won a Pulitzer Prize in 1988. It can be purchased at Penguin Random House. 22. Things Fall Apart By Chinua Achebe Nigeria’s Chinua Achebe has a distinct style of writing that is poetic yet profoundly impactful. In his 1958 novel Things Fall Apart, Achebe delves into the intricate nature of Nigerian society in the pre-colonial era, employing Okonkwo, the protagonist, as a guide. Achebe is not only a master at his craft, he is able to explain emblems of Nigerian traditions in ways that are both fascinating and compelling. The book explores the dichotomy of Okonkwo’s two worlds and his journey from being one of his village’s most respected men, to being exiled for accidentally murdering someone. Achebe takes readers on a journey from Nigeria in the pre-colonial era, through how the way of life in Nigeria’s Igboland undertook a seismic shift after colonialism took off in the late 19th century. Achebe manages the duality of both eras well without losing the reader. This book is a go-to for curious minds of other cultures and traditions. Things Fall Apart is available at Penguin Random House. 21. A Midwife’s Tale By Laurel Thatcher Ulrich Pulitzer Prize winner A Midwife's Tale strays away from the typical depiction of historical books. Instead, the book, released in 1990, immerses readers in a compelling true story drawn directly from the diary of an extraordinary woman, Martha Ballard. Martha, who is an eighteenth-century Maine midwife, gives readers cryptic details of her daily life and the scandals in her neighborhood, most of which would be befitting headlines for juicy gossip tabloids in modern times. The diary, which spans 27 years, was reimagined by Laurel Thatcher Ulrich, who carefully re-packaged the story without sacrificing its core essence. The book also won a Bancroft Prize, and the Joan Kelly Memorial Prize in Women's History, among others. This book is a good fit for people who are intrigued by true stories that have been re-imagined. It can be purchased at Penguin Random House. 20. Les Misérables By Victor Hugo Victor Hugo's magnum opus, Les Misérables, is considered a literary titan, and was so monumental that it was later adapted into a stage musical and a film. Hugo’s core objective with Les Misérables was to show the timeless and multifaceted elements of the human experience. Published in 1862, the epic novel delves into the complex web of themes, including social class, wealth, poeverty morality and injustice. Set against the tumultuous backdrop of post-revolutionary France in the early 19th century, Les Misérables follows troubled protagonist Jean Valjean, a former convict who seeks redemption after serving an extended prison sentence for a desperate minor theft. Through Jean, Hugo validates the marginalized members of society forced into lives of petty crime, not because they are morally incompetent, but because they are in dire circumstances. The powerful French classic can be purchased on Simon & Schuster’s website. The Best Historical Fiction Romance Novels There are several widely acclaimed historical fiction romance novels that have garnered a lot of praise for their aptness, well-researched historical settings and rich romantic storylines. Many of these books have gone on to be timeless classics in literature. Here are some of the best historical fiction romance novels of all time. 19. Pride and Prejudice By Jane Austen Set in rural England at the turn of the 19th century, Jane Austen’s Pride and Prejudice is an iconic English classic, celebrated for its wit, social commentary and exploration of love and social class in the Regency era. Austen introduces readers to a spirited set of characters in the Bennet family, which consists of five fascinating sisters with a range of interests and personalities. Austen hones in on Elizabeth, the novel's heroine, a quick-witted and independent young woman who meets Fitzwilliam Darcy, a wealthy yet initially aloof gentleman who eventually strikes a romantic relationship with Elizabeth. Like its name denotes, the book explores societal expectations and the intersection of personal prejudices, which can show up in romantic relationships regardless of the era. Pride and Prejudice is currently available for purchase at Dover Publications. 18. Outlander By Diana Gabaldon Diana Gabaldon's 1991 book series, Outlander, offers the mysterious story of Claire Beauchamp, a 20th-century British combat nurse who becomes an accidental time traveler when she finds herself transported back to 18th-century Scotland. Claire’s journey soon becomes an odyssey of romance, mystery and adventure when she crosses paths with a charming Scottsman, Jamie Fraser. Gabaldon’s effective storytelling prowess, characterized by meticulous historical attention to detail and engaging narrative, worked like a charm on readers, and the book has now sold over 50 million copies worldwide. The Outlander series is available to purchase on Penguin Random House. 17. Persuasion By Jane Austen Jane Austen’s Persuasion marks the pinnacle of her legacy as a writer who is acutely aware of prose and has the skills to direct a story. The book was released posthumously in 1817 alongside Northanger Abbey in a four-volume set. The storyline hinges on Anne Elliot's love affair with Captain Frederick Wentworth, with whom she rekindles a relationship eight years after her family convinced her not to marry him. After Captain Wentworth achieves significant social status, he is deemed an acceptable suitor for Anne. As only Austen knows how to do best, she underscores the themes of social class, love, jealousy and how all of these realities can exist within society’s rigid expectations. The vintage classic is available on the Penguin Random House website. 16. The Grand Sophy By Georgette Heyer Georgette Heyer created The Grand Sophy by tapping into the English Regency era, where society had very stiff expectations. Like most of Heyer’s work, The Grand Sophy has a riveting component to it: the ability to whisk readers away to a different world, where manners were as rigid as corsets and societal norms dictated every move. Heyer’s skillful storytelling follows the story of Sophy Stanton-Lacy, a strong-willed and unconventional young woman, and Charles Rivenhall, a wealthy heir. The two have different worldviews, but fall in love eventually. The Grand Sophy, which was published in 1950, is a classic tale of love's rebellion against societal expectations. It is available on its official publisher website, Sourcebooks. 15. The Verdun Affair By Nick Dybek Some of the most powerful war stories also have interweaving themes of romance and human sorrow. In The Verdun Affair, Dybek ushers his readers into the aftermath of Europe’s World War I by following the story of Chicago natives Tom and Sarah Hagen, two Americans struggling to wrap their minds around the devastation of the war, but gradually developing an illicit affair. Dybek’s directorial approach to the book uncovers overarching topics of morality, love, loss and the haunting impact of war on humanity. For fans of historical fiction, this 2018-published book is undoubtedly a page-turner. Simon & Schuster currently carries the book. 14. Seduce Me at Sunrise By Lisa Kleypas Set in the evocative landscape of 19th-century England, Lisa Kleypa’s Seduce Me at Sunrise is a fictional commentary on forbidden love, passion, longing and emotional depth. At the heart of the story are Win Hathaway and Kev Merripen, whose lives become entwined in an unexpected web that defies the conventional ideas of their environment. Win, a wealthy heiress, and Kev, a Romani man with a checkered past, have diametrically opposed lives which influence the love they are trying to navigate against the conventions of their time. Seduce Me at Sunrise was published in the fall of 2008 and is available on Macmillan Publishers. 13. The Nightingale By Kristin Hannah Kristin Hannah’s The Nightingale is a historical exploration of northwestern France during World War II. The popular book dives into the story of Vianne Mauriac and Isabelle Rossignol, two daring sisters who take divergent paths in response to German’s invasion of France. Determined to fight for a just cause, the two sisters actively joined the French Resistance, embodying the spirit of defiance against the Nazi regime. This powerful move helped them to protect Jewish children and lead a revolution. The book was published in 2017 and is currently available to buy on the Macmillan Publishers website. 12. Beneath a Scarlet Sky By Mark T T . Sullivan Based on the remarkable true story of an unsung hero, Beneath a Scarlet Sky is a powerful epic that showcases the extraordinary courage and resilience of Pino Lella, a spirited Italian young man trying to navigate life as a teenager. His life takes a sharp turn when his family home in Milan is blown up by Nazis. This sets him on a trajectory to take the war more seriously and do something meaningful about it. As the plot unfolds, he falls in love with Anna, a woman six years older than him. This complicates things a bit. Beneath a Scarlet Sky was inspired by a true story and highlights themes of courage, love and grit. It was published in 2017 by Lake Union Publishing, where it is currently being sold. 11. City of Thieves By David Benioff In City of Thieves, David Benioff offers readers a gripping coming-of-age story set against the backdrop of the Nazis’ siege of Leningrad. Benioff zeros in on Lev Beniov, the book’s main character and an ordinary guy whose life swiftly becomes extraordinary overnight when he gets arrested for stealing. While behind bars, he meets Kolya, who adds an unexpected twist to their fates, and instead of facing the firing squad, they're hit with a seemingly mundane, yet significant challenge — getting a dozen eggs for a high-ranking Soviet colonel’s daughter’s wedding cake. Due to siege-driven food shortages, their quest for eggs turns into a dangerous escapade through chaotic streets and enemy territory. The book was published in 2008 by Penguin Radom House where it is currently available for sale. The Best Young Adult Historical Fiction Novels Authors of young adult historical fiction novels are tasked with the responsibility offering a diverse range themes that are both engaging and compelling. These books are perfect for young readers who are intrigued by history and fiction. 10. The Fountains of Silence By Ruta Sepetys Set in post-World War II Spain, Ruta Sepetys delves into the hidden history of General Francisco Franco’s regime with her 2019 book The Fountains of Silence. Sepetys tells the story through the lens of Daniel, an 18-year-old American photojournalist, and Ana, a Spanish hotel maid. Against the backdrop of a country grappling with its dark political past, the novel explores forbidden love, political intrigue and the enduring impact of war on a broader society. Sepetys’ meticulous research and powerful storytelling bring to life a chapter of history that often remains hidden. Penguin Random House currently carries the book. 9. Code Talker: A Novel About the Navajo Marines of World War Two By Joseph Bruchac In his 2005 novel, Joseph Bruchac sheds light on a lesser-known aspect of World War II — the invaluable contribution of the Navajo Code Talkers. The historical novel provides an angular insight on the war, focusing on the Navajo Nation’s important role in developing an unbreakable code based on their native language. Through 16-year-old Ned Begay's perspective, readers get a front-row seat into the resilience and determination of the Navajo people during this precarious period in history. The book lauds Ned’s bravery well, but also highlights the challenges that Native Americans who were serving in the U.S. military encountered. Bruchac approaches these issues with sensitivity, addressing themes of identity, patriotism and the clash between tradition and the demands of war. Code Talker is currently available on Penguin Random House. 8. The Girl with the Red Balloon By Katherine Locke Katherine Locke’s novel, The Girl with the Red Balloon, skillfully transports readers to post-World War II East Berlin, where historical fiction collides with a hint of realism. Published in 2017, the book tells the story of 16-year-old Ellie Baum, who time-travels with a magical red balloon to 1988 East Berlin, where she embarks on an unexpected journey, unearthing a mysterious tale that stretches across the vast boundaries of 20th-century Europe. Locke’s acute blend of historical accuracy with a creative element provides readers with a whimsical lens through which to explore the aftermath of war. The story is rich with historical nuances, capturing the atmosphere of a city still struggling to come to terms with the scars of conflict, divided by political ideologies and the tragic impact of wartime experiences. This book is currently being sold on Albert Whitman & Co. 7. The Boy in the Striped Pajamas By John Boyne Through the innocent eyes of eight-year-old Bruno, who is The Boy in the Striped Pajamas, Boyne invites readers into a world where the dark realities of the Holocaust are filtered through the lens of childhood naiveté. Unaware of the grim circumstances around him, Bruno forms a genuine bond with Shmuel, a Jewish boy separated from him by the cruel confines of the camp. This unlikely friendship becomes a focal point, revealing the stark contrast between the innocence of childhood and the profound tragedy of historical events. The Boy in the Striped Pajamas was published in 2006. David Fickling Books currently carries the teen fiction book. 6. All the Light We Cannot See By Anthony Doerr Anthony Doerr’s Pulitzer Prize-winning All the Light We Cannot See is a masterpiece of historical fiction, immersing readers in the exploration of the resilience of the human mind and revisiting World War II’s impact. Doerr invites readers to observe the disparate yet interconnected stories of two protagonists: a blind French girl, Marie-Laure, and a young German boy, Werner. The 2014-published novel underscores the complexities of war, unraveling the ways in which conflict shapes the lives of individuals on opposing sides. Marie-Laure’s journey, marked by her blindness and the refuge of a miniature model of her city, and Werner’s trajectory, powered by his impressive talent for radio technology, converge in unexpected ways. All the Light We Cannot See is available on Simon & Schuster’s website. 5. Iqbal By Francesco D'Adamo Francesco D'Adamo’s Iqbal is a gripping true story inspired by the real-life story of Iqbal Masih, as told through the voice of Fatima, a young Pakistani girl whose life is forever altered by Iqbal’s extraordinary courage. The book tells a story of children who are forced to work in a carpet factory, under grueling conditions, to repay their parents’ debt. It is Iqbal who not only exposes the grim reality of their situation, but also becomes a source of hope and strength for the other children, igniting a spark of collective defiance against the oppressive chains that keep them. Iqbal, a 13-year-old boy, successfully becomes a leader of hope, helping other children navigate their grim reality and push for their freedom. Iqbal was first published in 2001 and is available at Simon & Schuster. 4. Rose Under Fire By Elizabeth Wein Elizabeth Wein’s book Rose Under Fire follows the story of Rose, an American pilot whose fate takes an swift turn when she becomes a prisoner of war in Nazi Germany's arduous Ravensbrück concentration camp. Wein’s words guide young readers through the harsh realities of life within the confines of the concentration camp, showing the abject conditions that Rose and her fellow prisoners face. Like many outstanding authors, Wein shows that even in the depth of despair, beautiful human connections can be formed in the darkest corners of pain and adversity. The book was published in 2001. Rose Under Fire is now available at Hachette Book Group. 3. Orphan Monster Spy By Matt Killeen Matt Killeen's thrilling depiction of World War II is an espionage novel that follows the courageous story of Sarah, a Jewish teenager turned British spy infiltrating a Nazi elite boarding school. The book is a thriller in and of itself, and is rife with themes of danger, courage and identity complexities in the face of extreme adversity. The hours of research that Killeen pours into this are evident because he explores the gripping challenges of each character, plot and setting with acute attention to historical accuracy and emotional depth, offering readers the compelling and thought-provoking offering that is Orphan Monster. Killeen released the book in 2018 and it is now available at Penguin Random House. 2. I Must Betray You By Ruta Sepetys Too often, writers find themselves having to dig into the ancestral history of an era and time to strike storytelling gold. If anyone is equal to this task, it is Ruta Sepetys, who makes this list for the second time with her 2022 release I Must Betray You. Like other notable pieces of work she has created, Sepetys guides readers through a harrowing 1980s of Communist Romania, ruled by Nicolae Ceaușescu; an era defined by intimidation, fear and secrecy. The protagonist, 17-year-old Cristian Florescu, is an ambitious young man who has big plans for his future — plans that are stifled by the mounting hostility in his country. Determined to stand up to oppression and demand change for other citizens, Florescu weighs the odds and comes to a gut-wrenching, yet brave conclusion in this incredible story. The book is available at Penguin Random House. 1. The War That Saved My Life By Kimberly Brubaker Bradley Kimberly Brubaker Bradley’s 2015 novel takes a different approach to wartime storytelling by inviting readers to a poignant exploration of wartime England. Bradley guides readers through the story with Ada, a young girl with a deformed foot whose mother keeps her confined to their one-bedroom home all her life. Eventually, when little brother Jamie is sent to London to escape the war, Ada uses the opportunity to escape too, only to find herself in the English countryside. The book intricately weaves themes of resilience, self-discovery and the power of love as Ada learns to overcome her physical and emotional scars. Bradley's portrayal of the impact of war on the lives of children adds a touching layer to this emotionally charged story. The War That Saved My Life is also available at Penguin Random House. Bottom Line Gripping storylines require a careful analysis of history in a way that makes readers care. The authors of these stories have struck that fine balance by highlighting the relevant themes while honing in on elements of history. While these stories may be fiction, they all contain relics of lived and learned human experiences.
5097	dbpedia	2	78	https://www.blurb.com/blog/what-is-a-novella/	en	What is a Novella? – Definition, Length, History & More	https://www.blurb.com/bl…0x1080_v1_QD.jpg	https://www.blurb.com/bl…0x1080_v1_QD.jpg	[ "https://www.blurb.com/blog/wp-content/uploads/2024/02/BlurbBlog-Lockup-200px.png", "https://www.blurb.com/blog/wp-content/uploads/2020/01/20191204_SEO_319_1920x1080_v1_QD.jpg", "https://www.blurb.com/blog/wp-content/uploads/2020/01/20191204_SEO_319_Novella_Inline_Images_v1_QD_3.jpg", "https://www.blurb.com/blog/wp-content/uploads/2020/01/20191204_SEO_319_Novella_Inline_Images_v1_QD_1.jpg", "https://www.blurb.com/blog/wp-content/themes/calafate-child/upload/facebook.svg", "https://www.blurb.com/blog/wp-content/themes/calafate-child/upload/twitter.svg", "https://www.blurb.com/blog/wp-content/themes/calafate-child/upload/instagram.svg", "https://www.blurb.com/blog/wp-content/themes/calafate-child/upload/pinterest.svg", "https://www.blurb.com/blog/wp-content/themes/calafate-child/upload/youtube.svg" ]	[]	[]	[ "" ]	null	[ "Holly Head" ]	2020-01-14T17:27:32+00:00	A novella is the middle ground between a novel and a short story. Learn more about the history and evolution of novellas with examples, publishing tips, and more.	en	https://www.blurb.com/bl…ogo@2x-48x48.png	Blurb Blog	https://www.blurb.com/blog/what-is-a-novella/	In the world of creative fiction, great stories come in all sizes and styles. You’ve probably read best-selling novels and breezed through some action-packed short stories. But did you know there is a beautiful middle ground? Poke around the book stacks and you are bound to find a story that fits in between these two genres. Enter: the novella. Let’s take a look at what defines a novella, and what makes them so unique. The length of a novella A novella is defined as a work of narrative fiction that runs between 20,000 and 50,000 words (the average is around 30,000). Once a story exceeds 50,000 words, it is entering novel territory. On the flip side, anything between 10,000 and 20,000 words would be considered a novelette (it sounds too cute to be real, but it is an actual category of fiction writing). What is the difference between a short story, a novella, and a novel? If the short story had a big sister, it would be the novella. Short stories are usually only a few thousand words long and are designed to be read in one sitting, whereas novellas require more time and attention. Fiction genres are typically distinguished by word count, but you can also think of the average short story as 10 to 25 pages, and the average novella as 100 to 150 pages. That makes a novella short enough to get through in an afternoon, with a break or two. A standard novel is 250 to 300 pages, so you may need a few days to get cover to cover. In terms of structure, a novella features more conflicts and plot development than a short story, but fewer subplots than a novel. Even though novellas may follow a traditional story arc and create the same kind of unifying effect that short stories are known for, they often lack the complexity and multiple perspectives found in novels. The history of the novella The term “novella” comes from the Italian word for “new.” From the Middle Ages to the Renaissance (1350 – 1600), Italian and French authors published collections of 70 to 100 tales and dubbed these individual stories novellas (the first volume was Boccaccio’s Decameron). These early works did not resemble the novella as we know it today, but the genre continued to evolve. By the 18th and 19th centuries, German writers had a new definition of the novella—a fictional narrative that revolves around a single conflict or dramatic event, with a clear turning point and a logical yet unexpected ending. Many classic European novellas that are used in today’s classrooms emerged during this era: Voltaire’s Candide, Charles Dickens’ A Christmas Carol, Leo Tolstoy’s The Death of Ivan Ilyich, and Edith Wharton’s Ethan Frome. Different types of novellas and examples Similar to novels and short stories, novellas may be written in a variety of styles, on a range of subject matter or themes. These are just a few prominent examples of novellas. Gothic literature: The Strange Case of Dr. Jekyll and Mr. Hyde, Robert Louis Stevenson (1886) Science fiction: The Time Machine, H.G. Wells (1895) Political satire/allegory: Animal Farm, George Orwell (1945) Mystery: We Have Always Lived in the Castle, Shirley Jackson (1962) Historical fiction: One Day in the Life of Ivan Denisovich, Alexander Solzhenitsyn (1962) Children’s literature: The Little Prince, Antoine de Saint-Exupéry (1943) Autobiographical: The Lover, Marguerite Duras (1984) Publishing a novella Novellas present a unique challenge for writers and editors. They are typically too long to publish in a literary journal, and too short to compete alongside more substantial novels on the new release shelf. Even though Joseph Conrad saw his 1899 novella, Heart of Darkness, first appear as a three-part serial in a magazine, today’s authors are rarely so lucky. Commercial publishers often shy away from novellas, because readers will not pay hardcover prices for a slim volume of work. A great solution is to self-publish a novella. That way you can have complete creative control over the design process, set your own deadlines, and make your own decisions about distributing your book locally or internationally. Well-known and famous novellas The Metamorphosis, Franz Kafka (1915) Of Mice and Men, John Steinbeck (1937) The Stranger, Albert Camus (1942) The Old Man and the Sea, Ernest Hemingway (1952) Giovanni’s Room, James Baldwin (1956) The House on Mango Street, Sandra Cisneros (1983) Home, Toni Morrison (2012)
5097	dbpedia	0	77	https://www.oxfordbibliographies.com/abstract/document/obo-9780199799558/obo-9780199799558-0002.xml	en	Aestheticism	https://www.oxfordbibliographies.com/cover/default	https://www.oxfordbibliographies.com/cover/default	[ "https://www.oxfordbibliographies.com/assets/images/cfbb42d/logo_obo.gif", "https://www.oxfordbibliographies.com/obo/moduleimage/victorian-literature", "https://ouptag.scholarlyiq.com/ntpagetag.gif?js=0" ]	[]	[]	[ "" ]	null	[ "Ruth Livesey" ]	null	"Aestheticism" published on by null.	en	/skin/392b937afcf1fb1aa9df125635c9eaede6d88e2f/favicon.ico	obo	https://www.oxfordbibliographies.com/display/document/obo-9780199799558/obo-9780199799558-0002.xml	Introduction Aestheticism can be defined broadly as the elevation of taste and the pursuit of beauty as chief principles in art and in life. In the context of British literature there is considerable controversy about when and where aestheticism occurs; but a line can be traced from the art criticism of John Ruskin in the 1850s, through the artists and writers of the Pre-Raphaelite movement and the writings of Walter Pater, to the works of Oscar Wilde and the flowering of decadent poetry of the 1890s. The movement drew upon the formula of “l’art pour l’art”—art for art’s sake—articulated most memorably by the French novelist Théophile Gautier in his 1836 preface to Mademoiselle de Maupin. Gautier was one of a number of French writers and artists of the period who argued that art should be evaluated with reference to its own criteria. In aestheticism the subjective view of beauty becomes the primary means of judging value: when considering whether a poem or a painting is good, aestheticism merely asks if it is beautiful or meaningful as a work of art in itself. This forms a stark contrast to the long-standing custom of judging art and literature either on the basis of the moral lessons it might teach to readers or viewers (its social usefulness) or in terms of its correspondence to real life (its realism). It is this refusal to acknowledge the primacy of morality within art that made aestheticism such a controversial movement from the mid 19th century onward: its proponents were the subjects of vituperative attacks from mainstream writers and critics and were consistently satirized throughout this period. The category of aestheticism is a notoriously slippery one and can overlap with and encompass the categories of Pre-Raphaelitism, decadence, symbolism, and early modernism. The section Defining Aestheticism thus aims to orient readers in this controversy before moving on to examine the many spheres in which studies in aestheticism have expanded at the end of the 20th and beginning of the 21st centuries: from the improvement of life of the urban working classes to the literary modernism that so strenuously disavowed its debt to the aestheticism of the 1880s and 1890s.
5097	dbpedia	2	81	https://www.en-vols.com/en/inspirations-en/culture-en/must-read-french-classics-novels/	en	Here are 10 French classics that you need to read at least once	https://www.en-vols.com/…VX8-unsplash.jpg	https://www.en-vols.com/…VX8-unsplash.jpg	[ "https://www.en-vols.com/wp-content/themes/afcore/assets/img/fontawesomeicones/angle-down.svg", "https://www.en-vols.com/wp-content/themes/afmm/assets/img/search.svg", "https://www.en-vols.com/wp-content/themes/afcore/assets/img/LogoEnvols-bleuRVB.svg", "https://www.en-vols.com/wp-content/themes/afcore/assets/img/menu_burger.svg", "https://www.en-vols.com/wp-content/themes/afcore/assets/img/LogoEnvols-bleuRVB.svg", "https://www.en-vols.com/wp-content/themes/afmm/assets/img/search.svg", "https://www.en-vols.com/wp-content/themes/afcore/assets/img/LogoEnvols-bleuRVB.svg", "https://www.en-vols.com/wp-content/themes/afcore/assets/img/fontawesomeicones/angle-down.svg", "https://www.en-vols.com/wp-content/themes/afcore/assets/img/fontawesomeicones/angle-down.svg", "https://www.en-vols.com/wp-content/themes/afmm/assets/img/search.svg", "https://www.en-vols.com/wp-content/themes/afcore/assets/img/fontawesomeicones/envelope.svg", "https://www.en-vols.com/wp-content/themes/afcore/assets/img/fontawesomeicones/loop.svg", "https://www.en-vols.com/wp-content/themes/afcore/assets/img/envolsPlaceholder.jpg", "https://www.en-vols.com/wp-content/uploads/afmm/2024/08/orlando-unsplash-784x445.jpg", "https://www.en-vols.com/wp-content/themes/afmm/assets/img/timer.svg", "https://www.en-vols.com/wp-content/themes/afcore/assets/img/envolsPlaceholder.jpg", "https://www.en-vols.com/wp-content/uploads/afmm/2024/05/©-Shutterstock-Michal-Balada-Praia-Da-Marinha-le-plus-bel-endroit-du-Portugal-784x445.jpg", "https://www.en-vols.com/wp-content/themes/afmm/assets/img/timer.svg", "https://www.en-vols.com/wp-content/themes/afcore/assets/img/envolsPlaceholder.jpg", "https://www.en-vols.com/wp-content/uploads/afmm/2024/08/The-Library-Terrace-Chawton-House-784x445.jpg", "https://www.en-vols.com/wp-content/themes/afmm/assets/img/timer.svg", "https://www.en-vols.com/wp-content/themes/afcore/assets/img/envolsPlaceholder.jpg", "https://www.en-vols.com/wp-content/uploads/afmm/2023/09/jezael-melgoza-KbR06h9dNQw-unsplash-784x445.jpg", "https://www.en-vols.com/wp-content/themes/afmm/assets/img/timer.svg", "https://www.en-vols.com/wp-content/themes/afcore/assets/img/envolsPlaceholder.jpg", "https://www.en-vols.com/wp-content/uploads/afmm/2023/09/diego-gennaro-cmYjQ30PbWk-unsplash-784x445.jpeg", "https://www.en-vols.com/wp-content/themes/afmm/assets/img/timer.svg", "https://www.en-vols.com/wp-content/themes/afcore/assets/img/envolsPlaceholder.jpg", "https://www.en-vols.com/wp-content/uploads/afmm/2023/08/shutterstock_761752348-1-784x445.jpg", "https://www.en-vols.com/wp-content/themes/afmm/assets/img/timer.svg", "https://www.en-vols.com/wp-content/themes/afcore/assets/img/envolsPlaceholder.jpg", "https://www.en-vols.com/wp-content/uploads/afmm/2023/05/GettyImages-1126237810_edito_HEADER_Villages_Corfou_MED-784x445.jpg", "https://www.en-vols.com/wp-content/themes/afmm/assets/img/timer.svg", "https://www.en-vols.com/wp-content/themes/afcore/assets/img/envolsPlaceholder.jpg", "https://www.en-vols.com/wp-content/uploads/afmm/2023/11/gaufres-784x445.jpeg", "https://www.en-vols.com/wp-content/themes/afmm/assets/img/timer.svg", "https://www.en-vols.com/wp-content/themes/afcore/assets/img/LogoEnvols-blanc-bleed.svg", "https://www.en-vols.com/wp-content/themes/afcore/assets/img/fontawesomeicones/facebook.svg", "https://www.en-vols.com/wp-content/themes/afcore/assets/img/fontawesomeicones/instagram.svg", "https://www.en-vols.com/wp-content/themes/afcore/assets/img/fontawesomeicones/pinterest.svg", "https://www.en-vols.com/wp-content/themes/afcore/assets/img/fontawesomeicones/tiktok.svg", "https://www.en-vols.com/wp-content/themes/afcore/assets/img/fontawesomeicones/youtube.svg" ]	[]	[]	[ "french classics", "books", "novels" ]	null	[ "Charline Bouzon" ]	2023-01-18T11:01:47+01:00	ENVOLS HAS PUT TOGETHER A LIST OF TEN FRENCH CLASSICS TO READ, OR REREAD, DURING YOUR SUMMER GETAWAYS	en	https://www.en-vols.com/…2x32-1-32x32.png	EnVols	https://www.en-vols.com/en/inspirations-en/culture-en/must-read-french-classics-novels/	Dangerous Liaisons by Pierre Choderlos de Laclos This epistolary novel, published in 1782, is one of the major literary works of the 18th century. It recounts the perverse alliance between the Marquise de Merteuil and her friend and former lover the Viscount de Valmont. Using each other for their own purposes and deceiving their respective companions, the Machiavellian duo plays with the high society of which they are part. This book mixes intrigue with manipulation, recounting the libertine lifestyle of the time. I may have fallen into oblivion during the 19th century but took its place as a classic of French literature in the early 1940s. Bel–Ami by Guy de Maupassant Bel-Ami, a realist book published in 1885, recounts the adventures of Georges Duroy in his quest for power. As a young railway employee, he climbed the social ranks thanks to his many mistresses and mocked the codes of his society. Maupassant used his own experience to establish the close links between capitalism, politics and the press of the time in his novel. Even today, Bel-Ami is considered one of the greatest works in French literature. Le Père Goriot by Honoré de Balzac This novel is part of the immense collection La Comédie Humaine, which brings together 90 works by Honoré de Balzac. Le Père Goriot recounts the daily life of the residents of the Maison Vauquer boarding house. Eugène de Rastignac, a student among them, is eager to make a place in Parisian high society and can be found in several of the author’s novels. Through the hand dealt to him by fate, the young man finds himself linked to a bankrupt widower and fellow boarder, Jean-Joachim Goriot. The story highlights the unreasonable paternal love of the latter along with the boundless ambition of de Rastignac, depicting Parisian society through its different social strata. The Three Musketeers by Alexandre Dumas The Three Musketeers, a legendary cloak and dagger tale, was published in 1844. The adventures of Athos, Porthos, Aramis and d’Artagnan, famous musketeers of King Louis XIII who try to thwart the Machiavellian plans of Cardinal Richelieu, and the mysterious Lady de Winter, have fascinated readers for centuries. This novel uses real historical characters, thus blurring the boundaries between reality and fiction. Alexandre Dumas adapted his literary work into a play after the novel’s success. Almost 200 years after its publication, The Three Musketeers continues to inspire readers today. The Red and the Black by Stendhal This novel is undoubtedly one of the greatest books in the history of literature. The Red and the Black recounts Julien Sorel’s two-part journey. The first part takes place during his younger years while he lived in the Franche-Comté region of France. In the second part, he goes to Paris and becomes secretary to the Marquis de la Mole, whose daughter entangles him in a game of passion. The novel paints a portrait of France during the Restoration in the 1830s. Stendhal himself subtitled his novel “A Chronicle of the 19th Century.” The Ladies’ Paradise by Émile Zola The Ladies’ Paradise is the 11th novel in the Rougon-Macquart series by Émile Zola. This naturalist novel published in 1883 tells of the arrival of department stores in a Paris undergoing Haussmann reconstruction at the beginning of the Third Republic. It is the story of a time when small neighbourhood merchants fought to survive in the face of large stores who were stealing the affluent Parisian clientele. Émile Zola describes the beginnings of capitalist society, where the weakest needed to find their place. Around the World in Eighty Days by Jules Vernes Do you want to travel around the whole world in just 300 pages? Jules Verne invites readers to participate in a crazy race across the globe in this adventure novel published in 1872. The London gentleman Phileas Fogg bets half of his fortune that he can go around the world in 80 days. Accompanied by his servant Jean Passepartout, he set off on a unique trip while racing against the clock. Jules Verne gives us an exotic work mixing fiction and true scientific data set in the Industrial Revolution. The Princess of Cleves by Madame de La Fayette Published anonymously in 1678, The Princess of Cleves is a foundational classic. It depicts Mademoiselle de Chartres’ affairs of the heart after arriving at the court of Henri II at only 15 years old. Between illegitimate romances and heartbreak, it is counted as one of the first modern psychological novels. The book was an immediate success when it was published, and it took months to get a copy. Madame de La Fayette, who frequented the same circles as Madame de Sévigné, inspired some of the greatest authors with her work, such as Balzac and Jean Cocteau. Madame Bovary by Gustave Flaubert Madame Bovary is considered one of the first works in literary realism and shocked readers as soon as it was published. It tells the story of Emma, a young wife who tries to escape the boredom caused by her new marital life in a small French town. This story of a country doctor’s wife who lived beyond her means and had adulterous relationships was quickly considered immoral, and author Gustave Flaubert was put on trial by the public prosecutors. Once he was acquitted in 1857, he published his novel which became a resounding success that carries on today. Candide by Voltaire
5097	dbpedia	3	59	https://encyclopedia2.thefreedictionary.com/Gautier%252C%2BTh%25C3%25A9ophile	en	Gautier%2C+Th%C3%A9ophile	http://img.tfd.com/TFDlogo1200x1200.png	http://img.tfd.com/TFDlogo1200x1200.png	[]	[]	[]	[ "" ]	null	[]	null	Looking for Gautier%2C+Th%C3%A9ophile? Find out information about Gautier%2C+Th%C3%A9ophile. Explanation of Gautier%2C+Th%C3%A9ophile		https://img.tfd.com/favicon.ico	TheFreeDictionary.com	null
5097	dbpedia	2	15	https://www.ranker.com/list/famous-novelists-from-france/reference	en	Famous Novelists from France	https://imgix.ranker.com/list_img_v2/10006/1070006/original/famous-novelists-from-france-u3	https://imgix.ranker.com/list_img_v2/10006/1070006/original/famous-novelists-from-france-u3	[ "https://sb.scorecardresearch.com/p?c1=2&c2=10600724&cv=3.6&cj=1", "https://static.ranker.com/img/brand/ranker-logo.svg?v=1&auto=format&q=60&fit=crop&fm=png&dpr=2&w=104", "https://static.ranker.com/img/brand/wordmark.svg?v=1&auto=format&q=60&fit=crop&fm=png&dpr=2&w=210", "https://imgix.ranker.com/img/icons/menuSearch.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=30&w=30", "https://imgix.ranker.com/img/icons/vote-on-pill.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=24&w=105", "https://imgix.ranker.com/user_img/1/1/original/reference?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=40&w=40", "https://imgix.ranker.com/img/icons/chevronExpand.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=13&w=71", "https://imgix.ranker.com/user_node_img/64/1275679/original/jean-paul-sartre-photo-u11?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/node_img/76/1515184/original/marcel-proust-writers-photo-1?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/node_img/102/2034030/original/simone-de-beauvoir-writers-photo-1?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/user_node_img/22/421553/original/421553-photo-u-1339341432?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/user_node_img/64/1275471/original/jean-jacques-rousseau-photo-u5?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/user_node_img/67/1332271/original/1332271-photo-u-1652432283?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://v3api.ranker.com/api/px?lid=1070006" ]	[]	[]	[ "" ]	null	[ "Reference" ]	2013-12-10T00:00:00	List of notable or famous novelists from France, with bios and photos, including the top novelists born in France and even some popular novelists who ...	en	/img/icons/touch-icon-iphone.png	Ranker	https://www.ranker.com/list/famous-novelists-from-france/reference	List of notable or famous novelists from France, with bios and photos, including the top novelists born in France and even some popular novelists who immigrated to France. If you're trying to find out the names of famous French novelists then this list is the perfect resource for you. These novelists are among the most prominent in their field, and information about each well-known novelist from France is included when available. The list of famous French novelists, authors, and writers include everyone from Simone de Beauvoir to Jean Genet. Use this list of renowned French novelists to discover some new novelists that you aren't familiar with. Don't forget to share this list by clicking one of the social media icons at the top or bottom of the page.
5097	dbpedia	1	17	https://www.nybooks.com/articles/2008/08/14/the-fantoms-of-theophile-gautier/	en	The Fantoms of Théophile Gautier \| Richard Holmes	https://www.nybooks.com/…ocial-1600px.png	https://www.nybooks.com/…ocial-1600px.png	[ "https://www.nybooks.com/wp-content/uploads/2024/07/nyrb081524.jpg?w=360", "https://www.nybooks.com/wp-content/uploads/2024/07/nyrb081524.jpg?w=652", "https://www.nybooks.com/wp-content/uploads/2008/08/2008-08-14.png?w=165", "https://www.nybooks.com/wp-content/uploads/2008/08/2008-08-14.png?w=165", "https://www.nybooks.com/wp-content/uploads/2024/07/Art_ParisRevNYRoB_Sum2024.png" ]	[]	[]	[ "" ]	null	[ "RICHARD HOLMES" ]	2008-08-14T00:00:00	1. In 1857 Charles Baudelaire dedicated his collection of poems, Les Fleurs du Mal, to his "friend and master" Théophile Gautier. Following a trial for	en	https://www.nybooks.com/wp-content/themes/nyrb_2020/img/favicon.ico	The New York Review of Books	https://www.nybooks.com/articles/2008/08/14/the-fantoms-of-theophile-gautier/	1. In 1857 Charles Baudelaire dedicated his collection of poems, Les Fleurs du Mal, to his “friend and master” Théophile Gautier. Following a trial for obscenity (guilty on six counts), The Flowers of Evil rightly became the most famous book of erotic poetry published in nineteenth-century France, and the wording of Baudelaire’s dedication to Gautier became equally celebrated: “Au poète impeccable, au parfait magicien ès lettres françaises” (“To the irreproachable poet, perfect magician of French literature”). The significance of this flamboyant dedication to Gautier, and especially that unexpected word magicien, has puzzled readers ever since. But a forgotten sequence of Gautier’s bizarre short stories, never collected in his own lifetime but now known as Les Contes fantastiques, may throw some light—perhaps a blue, phosphorescent, erotic moonlight—on this intriguing question. In 1857 Théophile Gautier was forty-six, and at the height of his reputation as a poet and critic. Having started his career as an art student in Paris, he had fallen spectacularly under the influence of Victor Hugo and enlisted as one of the shock troops of Romanticism, sporting shoulder-length hair and scarlet waistcoats, and publishing ultra-Romantic poetry (Albertus, 1832) and a scandalous novel, Mademoiselle de Maupin (1836), whose heroine spends much of her time dressed as a man. Gautier was immediately snapped up by one of the new breed of newspaper magnates, Émile de Girardin (the Rupert Murdoch of his day), put on a large salary, and employed to write a column, or feuilleton, every week for the next thirty years, first on the popular mass-circulation newspaper La Presse and later on the government-sponsored Le Moniteur universel. The rapid, mandarin brilliance of Gautier’s prose was widely recognized and admired, together with his famous facility. “It’s all a question of good syntax,” he would say. “I throw my sentences into the air…and like cats I know they will always land on their feet.” He was also known for his adventurous travel books (dashed off during summer vacations), his love of Mediterranean cooking, his interest in opium, and his uninhibited love of the female nude (ideally in marble, but if necessary in the bath), as typically appears in his glistening “Le Poème de la Femme” from Émaux et Camées: …Elle semblait, marbre de chair, En Vénus Anadyomène Poser nue au bord de la mer.1 He featured frequently in the humorous cartoons and caricatures of the day, usually bearded and cross-legged in the Oriental manner, and surrounded by amorous cats, entwining hookahs, and plump, faintly suggestive cushions. He was endlessly pictured by the most renowned Parisian photographer of his generation, Félix Nadar (see illustration on page 62), who was fascinated by his large, amiable, crumpled face, once compared to a double bed on a Sunday morning. The ever-grateful Baudelaire subsequently wrote a long essay on Théophile Gautier in 1859. In this he analyzed the master’s limpid prose style, praised his poetry—now changed into the finely “chiseled” Parnassian style of Émaux et Camées—and acknowledged his huge impact as a drama and art critic. Yet he insisted that the real Gautier was still a virtually unknown writer for the general public—“Gautier inconnu,” as he repeatedly called him. Some 150 years later, when most of his journalism and travel writing has been long forgotten, and his Parnassian poetry has fallen out of fashion, the same remains true for English-speaking readers, and even more remarkably for the French themselves. It was not until 2002 that any of Gautier’s work was accepted for publication in the Éditions Pléiade, that ritual (almost religious) acceptance into the national literary canon, even though his contemporaries like Hugo, Nerval, Balzac, and Baudelaire himself were all “canonized” in the famous severe green and gold livery of the Pléiade many years ago. For French university students as well as general readers, the standard judgment of Théophile Gautier has remained the lordly dismissal of the critical panjandrum Émile Faguet, written over a century ago but still quoted in all the textbooks: Gautier entered into our literature absolutely without having anything to say to us. His intellectual foundations were null and void. He had not a single idea in his head…. He was a second-rate poet, pleasant enough to be sure, but with-out psychological insight, or the least understanding of the human heart. It was only when I chanced upon some of Gautier’s contes fantastiques, picked up in various battered nineteenth-century paper editions (smelling so oddly of cigar smoke and cinnamon) from the green secondhand book-boxes along the quais in Paris, that I began to wonder about the magicien. 2. This happy encounter with Théophile Gautier took place over thirty years ago. In 1974, I had gone to live in Paris, just after completing Shelley: The Pursuit. I was aged twenty-nine, living in a fifth-floor attic room near the Gare du Nord on £100 ($150) a month and supporting myself by freelance journalism, most of it published by The Times in London. At least once a fortnight, well after midnight, I used to walk down to the all-night Bureau de Poste near the Bourse, anxiously carrying my new article in a brown manila envelope. Advertisement In the cavernous hall of the Bureau, pleasantly perfumed with Gitanes and cow gum and lino polish, I would stick on the big blue Priorité label and gingerly slide the envelope through the grill, surreptitiously watching till the Existentialist night clerk had actually put it in the Special Delivery canvas bag, hung on a brass hook behind his seat. Then our eyes would meet and occasionally I would get a reassuring greeting along the lines of “Ça va, vous, heh?” Then came the triumphant stride back up the boulevard Magenta and the sharp left turn into the steep, narrow, cobbled, and deserted Marché Cadet (where Gautier’s friend Gérard de Nerval was once arrested for removing his trousers in public), now smelling faintly of crushed peaches. Next a quick lateral diversion past Gautier’s own tall, shadowy house at 14, rue de Navarin (with a salute to his mistress in the house opposite, no. 27), and finally several congratulatory ballons de rouge at a quiet little café I knew near the place Anvers off Pigalle, which always remained open until 4 AM. I had set myself to research the life of the poet Gérard de Nerval, who was driven mad by an unhappy love affair and committed suicide in 1855, as vividly recounted by Gautier in an obituary for Le Moniteur. In many ways this became an increasingly lonely and terrifying project, as I have recounted in my book Footsteps (1985). Gradually I began to feel closer to Gautier, himself a working journalist and, when he was twenty-five in 1836, just having finished his novel Mademoiselle de Maupin and starting out on his career with the newspaper La Presse. The shy, elusive Nerval, it seemed to me, was the victim; while the lumbering and genial Gautier was the survivor. He once brilliantly described himself as such, in a mischievous little poem entitled “L’Hippopotame,” which begins: L’Hippopotame au large ventre Habite aux Jungles de Java Où grondent, au fond de chaque antre Plus de monstres qu’on n’en rêva….2 Slowly it was Gautier who became the benign, reassuring presence in my attic room. As an act of friendship, almost of personal gratitude, I began to translate his strange stories, very few of which (except La Morte amoureuse) had ever appeared in English before. Translating him—with my coffee-stained Petit Robert between us—became very like talking to him. The fact that he cordially disliked England, thought the English deeply uncivilized (“everyone there lives on steamed potatoes”), and once described London in one of his wonderful throwaway phrases as “la ville natale du spleen” seemed more of a refreshment than an insult. (And how could you translate that phrase? “London, the home town of depression” or “London, birthplace of the blues”?) In a certain sense Gautier taught me both the French language and something of the French savoir-vivre; as well as welcoming me with a wink into the salons of the Second Empire. Thanks also to the forbearance of my landlord, to whom my translations are still dedicated, I survived in Paris for the best part of two years. I went back to London in spring 1976, with the typescript of seven contes fantastiques and twelve multicolored exercise books, ritually purchased month by month from Gibert Jeune at place Saint-Michel and filled with Nerval materials. Besides these, I had copied out three hundred pages of Gautier’s (then) unpublished letters from the Chantilly Archives. A thirteenth exercise book (deep purple) was filled with Gautier’s suppressed erotic writings, including many poems and the notorious Rabelaisian “Lettre à la Président” (once “published in Belgium” but immediately banned). This was written to his beloved friend and confidante Madame Apollonie Sabatier, about his sexual adventures on his Italian journey in 1850, and forms the secret background to his story “The Tourist” (“Arria Marcella”), about a young man waylaid by a beautiful but voracious woman in the ruins of Pompeii. I meticulously copied out this salacious “Lettre à la Président” from the manuscript, sitting primly at a high, isolated desk in the restricted section of the Bibliothèque Nationale, known in those days as “L’Enfer” (Hell, or perhaps, the Infernal Regions). It was staffed only by male assistants of a certain age, who were all required to wear (fantastic as this now sounds) scarlet rubber aprons reaching from the chin to well below the knee. I modestly quoted a short passage from the Lettre in my original postscript to My Fantoms when it was first published in 1976. It is not very long or shocking, but caused a certain amount of surprise to readers familiar only with the Parnassian poet.3 Advertisement All this material was packed into a respectable blue hold-all bought in the Marché aux Puces, and successfully carried through customs at Dover, who merely wondered if I might be importing cannabis in the carrying case of my Olivetti portable. Well, I was certainly carrying Gautier’s delightful story “La Pipe d’Opium” (“The Opium Smoker”), which has a lot to say about intoxication, and a young woman’s ankle coming through the ceiling. My postscript to his stories, originally drafted in my Paris attic in 1976, is retained in the new edition of My Fantoms.4 It was perhaps my attempt at a prose version of Gautier’s poem “Le Château du Souvenir,” his recollections of his first bachelor rooms in Paris, a tiny two-room apartment in a semi-derelict seventeenth-century building overlooking the old Louvre Palace at the impasse du Doyenné. It was here that he was visited by the very first of his fantômes, a sophisticated young lady (in fact a marquise) who steps down from a decorative silken tapestry and advances alarmingly toward his bed, as recounted in “The Adolescent” (“Omphale: Histoire Rococo”). 3. Strong autobiographical elements run right through all Gautier’s stories. Sainte-Beuve was the first to suggest that his fiction might hide a secret confession, like Musset’s Confession d’un enfant du siècle. Three early stories—“The Adolescent,” “The Priest,” and “The Painter”—evidently reflect Gautier’s bohemian life in the impasse du Doyenné. These years were also described in Nerval’s heartbreaking essay Petits châteaux de Bohème, and much later in Arsène Houssaye’s worldly Confessions (1885). The later stories arise from Gautier’s work as a journalist and travel writer for La Presse; and especially his journeys to Spain in 1840 and to Italy in 1850. The final story, “The Poet,” was based on his obituary of his old friend Nerval, whose suicide profoundly shook Gautier and brought the bohemian phase of his own life to an end. It was the same year he moved to the government newspaper Le Moniteur universel. All the women in these stories—even Nerval’s imaginary and ultimately lethal muse-figure “Aurélia” (who was the actress Jenny Colon)—have their originals in real life, but are transformed into Gautier’s fictional fantômes. Though the biographical source of these hauntings was suggested—and partly guessed at—in my original postscript to My Fantoms, I did not then realize how literally they could be traced. All Gautier’s letters and stories have since been published, finally rendering my notebooks redundant (except for the purple one). The letters reveal much more fully than before what an immensely turbulent emotional life Gautier lived until his late forties, an inner life which he had successfully deflected into his poetry and above all his fictions. His Correspondance Générale,5 occupying no less than twelve volumes, is a true labor of love and forensic investigation by his superb, gallant, and (in all the circumstances) forgiving editor, Claudine Lacoste-Veysseyre. The letters display a tough, professional author who always, touchingly, saw himself as a dreaming poet. A man who worked hard but also played hard in the manner of the times (food, travel, sex); and so was much loved—“le bon Théo“—by an extraordinarily wide circle of gifted male friends: Nerval, Hugo, Dumas, Baudelaire, Flaubert, Delacroix, and Gustave Doré. He appears a cynical but tender and sentimental lover, and perhaps for that reason always immensely attractive to women; and a critic always valiantly prepared to use his journalism to launch a new poet, painter, or actor (or, of course, actress). There is a whole series of letters to Gautier’s overlapping lovers, several of them known only by their noms d’amour or (when things got rough) their noms de guerre. They include his first teenage affair with a local bookshop owner, Madame Damarin (reputed to have lasted twelve years); the doomed romance with “La Cydalise,” a pale young seamstress with a tiny wasp-waist, who took up permanent residence in the Doyenné, but tragically died there from consumption; a long-lasting liaison with “La Victorine,” a gorgeous but hot-tempered and domineering young widow; Mlle Eugénie Fort, a girl of good family and striking Spanish looks (“when she came to my bedroom she turned it into the Alhambra palace”) who suddenly presented him with an illegitimate son; the actress Alice Ozy, famous for her long legs, with whom Gautier would take baths; and Marie Mattei, a Corsican adventuress who dressed in tight waistcoats and rolled him cigarettes in bed after lovemaking, as recalled in his poem “Une Ange chez Moi.” In 1843, another typical (but unknown) admirer wrote to him on publication of his Spanish travel book: “How I love your long deep velvet glances, oh my Spaniard!” From the start, Gautier was leading a double life. He was an immensely hard-working writer by day, who was already proclaiming the purity of Art for Art’s sake in 1832 (“As a general rule, when something becomes useful, it ceases to be beautiful,” Preface to Albertus). But by night he was a gallant, a charming but opportunist adventurer, almost of the Byronic type. This double existence is brilliantly described in perhaps the most original of Gautier’s early stories, “The Priest” (“La Morte amoureuse”). It was written for Balzac’s monthly magazine, La Chronique de Paris, in 1836. Here a young priest, fresh from the seminary, is pursued by a worldly and sensual female vampire. But conventional (“bourgeois”) moral values are stood on their head. The beautiful vampire Clarimonde shows herself to be a truly generous and protective spirit, almost angelic; while the priest’s saintly spiritual adviser, the solemn, glowering Father Serapion, is slowly revealed to be a cruel and possibly demonic figure, intent on the destruction of all human happiness. The idea of necrophilia, also deliberately and provokingly introduced by Gautier, is subtly disarmed and turned into what is probably an elegy for the consumptive seamstress La Cydalise. This masterly story of mirror images and moral reversals provides a mocking but curiously accurate self-portrait of Gautier’s own double life in these years. Clarimonde (despite her early resemblance to La Cydalise) soon becomes largely a portrait of La Victorine, whose violence and sensuality dominated Gautier for nearly a decade. They set up house together in the rue Navarin, and when their fights became too violent, Gautier took rooms on the opposite side of the street. There is a letter from Balzac inviting them both to supper at Passy in 1836, and another from Arsène Houssaye, volunteering to prevent them from “tearing each other’s hair out” after a supper party in 1837. Gautier described Clarimonde/Victorine years later in his poem “Le Château du Souvenir”: Sa bouche humide et sensuelle Semble rouge du sang des coeurs, Et, plein de volupté cruelle, Ses yeux ont des défis vainqueurs….6 Houssaye conjured a suitably melodramatic picture of her in his Confessions: A beautiful girl with dark brown hair, a big scarlet mouth, and hell-fire eyes…she was the woman whom we all simply called “la Victorine,” and who pounced on Théo like some lioness, and subdued him with her great mane of hair and her terrible claws. (Perhaps it is not surprising that Houssaye later became director of the Comédie-Française.) This kind of haunted, doubled, or divided love life continued right to the end of Gautier’s career. The tantalizing picture The Two Sisters, painted by Théodore Chassériau in 1843 and reproduced on page 60, expresses a profound truth about Gautier’s schizophrenic desires, his mirror-image romances, and his looking-glass longings. A distinguished man of letters in his fifties, living an apparently solid bourgeois life in a charming house in the leafy suburbs of Neuilly, at 32, rue de Longchamps (which still exists, a ten-minute métro ride from the Étoile), his heart was still utterly divided between two women. They were the two famous Grisi sisters: Italians, artistically gifted, and astonishingly beautiful. One was an opera singer, the other a ballet dancer. Ernesta Grisi was stormy and passionate, and Carlotta Grisi was tranquil and utterly dedicated to her art. Ernesta lived under his roof at Neuilly and bore Gautier two daughters, while organizing his domestic life, singing under the trees in his garden, and cooking him risottos. Carlotta danced in all the capitals of Europe, exchanged love letters with Gautier for thirty years, and only once kissed him on the lips. All this, one may say, was predicted in My Fantoms. 4. The French Enlightenment had always encouraged erotic writing, of the kind found in Voltaire, Diderot, and Laclos (Les Liaisons dangereuses). It was looked on as an elegant proof of sophisticated manners and civilized values. Sex, after all, was a form of witty conversation. But ghost-story writing, by contrast, had been seen as essentially vulgar and childish: a strange, alien northern tradition belonging to the barbarous English like “Monk” Lewis, or the unhinged Germans like the Brothers Grimm or E.T.A. Hoffmann. It was regarded as the unfortunate product of bad lighting, long winters, and Protestantism. The defeat of Napoleon and the arrival of Romanticism in France changed all that. When Shakespeare was brought to the Odéon theater in 1827, it was Hamlet, Prince of Denmark that took Parisian audiences by storm, opening with the memorable ghost scenes on the battlements of Elsinore. The new postwar generation of bohemian Romantics, bored with French classicism, proclaimed the genius of Shakespeare, Byron, Walter Scott, Goethe, and Hoffmann—all writers who used ghosts, demons, and hauntings in their work. (Byron was wrongly credited with Dr. Polidori’s The Vampire.) Nerval’s translation of Faust, published in 1828, with its ghostly scenes on the Brocken mountain, suddenly brought him fame when he was only twenty. Hoffmann’s sinister The Sandman (1816) became a best seller, and his Tales were so popular that they were eventually the source for an opera by Jacques Offenbach. Charles Nodier, friend of Hugo and the fashionable director of the Bibliothèque de l’Arsenal in Paris, began translating Hoffmann into French in the 1820s and started to publish his own strange ghost stories with titles such as Smarra, ou les démons de la nuit (1821). His most outlandish fiction, Histoire du Roi de Bohème et ses sept châteaux (1830), was the most influential of these, and its title became a sort of watchword for both Gautier and Nerval. Nerval was always announcing which of Nodier’s seven mystical châteaux he had currently arrived at in his increasingly disturbed and peripatetic life. Gautier published a brilliantly funny and perceptive essay on the vogue for Hoffmann, contrasting the naive devils of Germany with the super-sophisticated devils of Paris, in the August 1836 edition of the Chronique de Paris. He took over the cult of Hoffmann in his own early story “Onuphrius Wphly” (“The Painter”), which was teasingly subtitled “The fantastical vexations of a Hoffmann admirer.” Onuphrius (Gautier himself as an art student) is put through every Hoffmannesque torture, including being buried alive in a coffin, and having the top of his skull sliced open “like a pie crust,” and finding all his ideas bursting out into the room “like budgerigars fluttering from an open birdcage door,” while the devil (naturally) steals his very beautiful mistress. But Gautier soon achieved something much more daring by combining the German ghost story with the French erotic tale. He can claim to have created, in Clarimonde, one of the earliest female vampires: a distinguished line that stretches right down to the engaging, slinky cartoon-character Vampirella (created in 1969); and in the story of Arria Marcella in “The Tourist” to have released a whole generation of beautiful and concupiscent corpses, mummies, revenants, dolls, femmes mécaniques, and libidinous statues. It was a tradition that quickly took root in nineteenth-century France, already blossoming in Prosper Mérimée’s masterpiece La Vénus d’Ille (1837), in which a vast, gleaming Roman bronze Aphrodite climbs off her plinth and slips into bed with her trembling human bridegroom. In fact Gautier never provided a collective title for his stories, and in France they are known generically as his Contes fantastiques.7 Yet in them he repeatedly used the collective term fantômes, to mean specifically female spirits. His fantômes are all seductresses, ravishing mischief-makers, softhearted vampires, generous courtesans, fatal temptresses, or simply ardent thousand-year-old muses. What they have in common is that all of them come back from the dead, seeking human lovers. Indeed the contemporary cinema word undead might be used now. One can imagine a Grand Guignol title like Those Undead Dolls. But in the end I invented the decorous, slightly arch word Fantoms for the title. 5. Gautier’s female spirits are of very varied kinds and intentions, though they are nearly always dazzlingly beautiful. This also poses delicate problems of rendering Gautier’s precise, highly pictorial, and suggestive prose. His original training as an art student always shows in the slightly heightened visual emphasis of his descriptive writing. But the gross, lubricious cartoons of the “Lettre à la Présidente” are transformed in the Fantoms into a quite different kind of eroticism. Here, for example, the tourist Octavian first lays eyes on the antique beauty Arria Marcella, come back to life after being buried in the volcanic eruption of Vesuvius at Pompeii nearly two thousand years before: Something like a powerful, electrical shock passed through his heart, and as the woman turned to look at him, he had the sensation that his chest released a shower of crackling sparks…. Her mouth was curled at the corners with a hint of mockery, and the smoldering energy of those inflamed and scarlet lips seemed to cry out against the calm, mask-like pallor of the face…. Her arms were naked to the shoulder, her nipples pressed up against the dark pink material of her tunic, and her proud breasts beneath descended in two curves that could have been cut in marble by Phidias or Cleomen. Nor was Gautier content to present Arria as some lascivious, animated mummy. She falls genuinely and passionately in love with Octavian, and through her desperation to escape from death, Gautier achieves one of the great declarations of his fiction: “No one is truly dead until they are no longer loved….” The concept of the conjuration of love, which the young woman expressed in this way, entered into Octavian’s system of philosophy. It is a system that I am much inclined to share with him…. Nothing, in fact, actually dies: everything goes on existing, always. No power on earth can obliterate that which has once had being. Every act, every word, every form, every thought, falls into the universal ocean of things, and produces a ripple on its surface that goes on enlarging beyond the furthest bounds of eternity. This indeed is one of Gautier’s most haunting and seductive ideas, which drives and animates (in its fullest sense) each of the seven stories that I eventually collected in My Fantoms. It is the credo of a brilliant but troubled and disillusioned Romantic, who still hoped against hope for the return of some kind of unearthly ecstasy and transcendence. An old soixante-huitard before his time, perhaps? Yet Gautier was always haunted by material and earthbound limitations: of his own heavy and demanding body, of his increasingly domesticated career, and of his endless, treadmill newspaper-writing. One remarkable solution was to create that most airborne of fantôme forms—a ballet. On his return from Spain in the spring of 1841, where he had first observed fierce young Andalusian women dancing the flamenco—their rhythms wonderfully caught in his poem “Carmen”8—he suddenly saw the twenty-year-old Carlotta Grisi dancing on stage at the Opéra. It was a coup de foudre, and he immediately decided to create a ballet for her. Within three days he had written the book of the most successful Romantic ballet in the whole nineteenth-century repertoire: Giselle. Giselle is based on the old German legend of Les Willis, the beautiful diabolic dancers of the Teutonic greenwood, as recounted in a poem by Heinrich Heine. Gautier’s adaptation of the legend for Giselle is simply one of My Fantoms transformed into dance. Act 1, set in daylight, recounts the tale of the beautiful young peasant girl who is betrayed by her aristocratic lover and tragically dies in the forest (perhaps by dancing herself to death). In Act 2, a nighttime drama, the undead Giselle joins the fatal band of the Willis, intent on their murderous revels, but finally intervenes to save her lover from the inevitable, lethal enchantment. The whole trajectory of the story is pure Gautier, a story of agonized love from beyond the grave. The ballet has been brilliantly produced for over 150 years, and its various roles danced by Petipa and Grisi, Nijinsky and Karsavina, Dolin and Markova, Nureyev and Fonteyn. But Gautier’s “book” is almost entirely forgotten. Here is the opening of the second of the two acts, as I copied it down long ago in my Parisian attic, from the original yellowing livret of 1841. It is my final translator’s salute to “a friend and master…and magicien“: The theater reveals a forest on the edge of a lake…. The bluish light of an unnaturally bright moon floods the scene with a chill, misty luminescence…. Somewhere in the distance midnight strikes…. Hilarion and his friends listen to the clock with growing terror. Trembling they look about them, waiting for the apparition of those lovely, light foot fantoms. “Quick, let’s slip away,” whispers Hilarion, “the beautiful Willis are pitiless, they seize hold of travelers and force them to dance, on and on and on, until they drop dead with exhaustion or are swallowed up in the icy waters of the lake.” But already a strange and unearthly music is filling the theater….
5097	dbpedia	3	18	https://www.metmuseum.org/art/collection/search/285631	en	The Metropolitan Museum of Art	https://collectionapi.metmuseum.org/api/collection/v1/iiif/285631/610124/main-image	https://collectionapi.metmuseum.org/api/collection/v1/iiif/285631/610124/main-image	[ "https://collectionapi.metmuseum.org/api/collection/v1/iiif/285631/610124/main-image", "https://images.metmuseum.org/CRDImages/ph/web-additional/DP158033.jpg", "https://www.metmuseum.org/Rodan/dist/img/1x1-d7dcde.gif", "https://www.metmuseum.org/Rodan/dist/svg/rolling-0.9s-30px.svg", "https://www.metmuseum.org/Rodan/dist/svg/rolling-0.9s-30px.svg", "https://www.metmuseum.org/Rodan/dist/svg/no-image-image-related.svg", "https://www.metmuseum.org/Rodan/dist/svg/no-image-image-related.svg", "https://www.metmuseum.org/Rodan/dist/svg/no-image-image-related.svg", "https://www.metmuseum.org/Rodan/dist/svg/no-image-image-related.svg", "https://www.metmuseum.org/Rodan/dist/svg/no-image-image-related.svg", "https://www.metmuseum.org/-/media/images/about-the-met/collection-areas/photographs/new-photographs-teaser.jpg" ]	[]	[]	[ "Nadar", "Photographs", "Salted paper prints", "Europe", "France" ]	null	[]	null		en	https://www.metmuseum.org/content/img/presentation/icons/favicons/favicon.ico?v=3	The Metropolitan Museum of Art	https://www.metmuseum.org/art/collection/search/285631	Ringmaster, publicist, and performer in a highly theatrical life, the legendary Nadar wore many hats–those of journalist, bohemian, left-wing agitator, playwright, caricaturist, and aeronaut. He had success in all these roles, but what he did best was collect a pantheon of friends whom he honored with his generous and perceptive photographic portraits. The subject of this portrait, Théophile Gautier (1811-1872), was a poet, novelist, and engaging critic of art and literature who also defined the theory of art for art's sake-art pursued for its own intrinsic perfection. In this portrait by his intimate friend, the hirsute and disheveled writer appears in his working clothes, an apt embodiment of Gautier's self-description as "the terror of the bald and beardless bourgeois."
5097	dbpedia	1	2	https://www.theatlantic.com/magazine/archive/1887/03/theophile-gautier/633541/	en	Théophile Gautier	https://cdn.theatlantic.…lt-thumbnail.png	https://cdn.theatlantic.…lt-thumbnail.png	[ "https://cdn.theatlantic.com/_next/static/images/nav-archive-promo-5541b02ae92f1a9276249e1c6c2534ee.png", "https://www.theatlantic.com/magazine/images/current-issue.large.jpg", "https://cdn.theatlantic.com/media/img/specialreports/lead/2020/10/14/Thumbnail.jpg", "https://cdn.theatlantic.com/assets/media/files/nav-crossword.png", "https://cdn.theatlantic.com/media/files/archive-thumbnail.png", "https://cdn.theatlantic.com/media/files/YourSubscription_300x300.jpg", "https://cdn.theatlantic.com/thumbor/bkDSSfA69-oId86mwAVksEvnrU4=/0x271:2357x3414/96x128/media/img/issues/1887/03/01/original.jpg, https://cdn.theatlantic.com/thumbor/9zn-4SnH35nk06MatP40zhCd8lI=/0x271:2357x3414/192x256/media/img/issues/1887/03/01/original.jpg 2x, https://cdn.theatlantic.com/thumbor/wspJX_EUSmnSXuN6SVN8i6q1_2k=/0x271:2357x3414/288x384/media/img/issues/1887/03/01/original.jpg 3x" ]	[]	[]	[ "" ]	null	[ "James Breck Perkins" ]	1887-03-01T04:56:00+00:00	The Atlantic covers news, politics, culture, technology, health, and more, through its articles, podcasts, videos, and flagship magazine.	en	https://cdn.theatlantic.com/_next/static/images/favicon-3888b0e329526a975703e3059a02b92d.ico	The Atlantic	https://www.theatlantic.com/magazine/archive/1887/03/theophile-gautier/633541/	IT is certain that Théophile Gautier has taken a high place in French literature, and it seems probable that his reputation will be a permanent one. The permanency of any literary reputation is, indeed, a question as to which the oracles are dumb, or send an uncertain answer. Nothing is more melancholy than to see that authors famous in their own day are but a short time known ; they heap up books and cannot tell who shall read them. First the works are forgotten, and then even the name of him who wrote them goes out of men’s minds. But it is possible that some few, at least, will still read what was written by Gautier, when a hundred years shall have passed away. Within a somewhat restricted range of literary endeavor, he attained very nearly to artistic perfection : he was the most brilliant representative of a school of thought and style; he was one of the most active and most influential leaders in a literary revolution. It was as a lieutenant in the great contest between classicism and romanticism that Gautier first gained prominence ; it was as one of the intellectual body-guard of Victor Hugo that he pledged himself to art and to the literature of the future. The battle is long over, and has gone into history as much as Nancy and Bunker Hill. All now admit that in the early part of the century French literature was held in bonds, and that the revolt was a just uprising for freedom. Tt was crowned with success ; it is no longer called a rebellion, but is recognized as a revolution. The romantic movement was largely one for freedom of style; but so intimate is the relation between the words in which thoughts are uttered and the thoughts that seek utterance, that a freer style brought with it the fruits of a richer imagination, a more artistic sense, a deeper insight into life and passion. The laws of the French drama had become as strict and unchangeable as those of the Medes and Persians ; what had been a garment of beauty was now the cerement of death. The romanticists claimed that a literature which was to life what Chinese painting was to nature could not be the ultimate expression of human thought. The conflict was between effete traditions and a fresh and vigorous school. It is curious that amid all the havoc of the French Revolution, when thrones and governments and social classes and religious beliefs were involved in a common overthrow, the traditions of literature should have remained unquestioned. The revolution swept over France and French life, but a deviation from certain rules of prosody was still regarded as a mortal sin. The Napoleonic era was not fertile in literary genius, and at its close formalism in poetry and on the stage sought to atone for the invention which was lacking. Châteaubriand would, perhaps, be claimed as the first apostle of romanticism in France, had not the gift of verse been denied him. But both from Germany and from England, from Goethe, Scott, and Byron, more than all from the eager study of Shakespeare, came the intoxicating breezes of a more vigorous literature. Before a body of ardent and artistic young Frenchmen there seemed to open a new world, rich in thought, passion, and expression. But to Victor Hugo belongs the chief glory of the revolt against literary methods that had become inane and dead, devoid of color or originality. In his play of Hernani, Hugo set at defiance the established rules of the drama, and its representation became one of the great battle-grounds between the followers of the classic and those of the romantic schools. Though this piece is still represented, its glory has somewhat waned, and to us it seems hardly to have deserved the prodigious reputation which it gained. Perhaps the success of the romantic movement dulls our ears to what once were thought rare and extraordinary beauties. Its first representation at the Français was to be on the 25th of February, 1830. There it was expected that the factions would meet: the classicists to damn the play, the romanticists to applaud it and insure its success. Among the former were found the conservatives, the middleaged, the men of established reputation, all those who were execrated by their opponents as bourgeois and Philistines. The band that formed around Victor Hugo was composed of very different material. In the army of romanticism, as in the army of Italy, all were young. Victor Hugo was but twenty-eight, and few of those who gathered to defend Hernani had reached their majority. There were among them painters, sculptors, poets, architects, dramatists, youths of every taste and every vagary, but all united by a common contempt for the rules by which ordinary men were bound, and united also by a love for poetry and art, which was always sincere, even if its manifestations sometimes seemed eccentric and excessive. Many a youth, on that first night, swore to devote himself to the fearless pursuit of the ideal in art and of truth in literature, and kept his vow well. It would have been difficult to find another body of young men possessing so much brilliancy and so much genius, and it would have been impossible to find another body of young men so badly dressed. In length of hair and lack of shirt collar they stood unequaled. To heighten the contrast between themselves and the bald heads of self-satisfied Academicians and prosperous bourgeois, they cultivated a “ Merovingian prolixity of hair.” A youth upon whom no spot of linen could be seen might claim high rank in the scale of romantic elegance. Hats à la Rubens, doublets à la Van Dyck, garments such as were worn in Spain a century back, or in Hungary or Bohemia before Paris tailors had conquered the world delighted the hearts of those who, in dusky taverns, drank confusion to the bourgeois, and rejoiced to style themselves the brigands of thought. It was from such enthusiasts that the recruits were gathered who were to defend the cause of romanticism. No hired stipendiaries — the curse then, as now, of Paris theatres — were to give purchased applause to the sentiments of Don Carlos and Doña Sol. The claqueurs, said Gautier, like the Academicians, were all classicists. Gautier was then a youth under twenty, and was engaged in his studies as a painter, but he received from Gérard de Nerval six tickets for the representation, with instructions to choose for his associates bold and trusty men, who would give no quarter to the Philistines. He selected five who would gladly have breakfasted on broiled Academician, and they joined their comrades of battle at the appointed time. They were admitted to the theatre some hours before the play began, and they occupied the long interval with singing ballads of Victor Hugo, and feasting on rolls and Bologna sausage. At last the hour drew near. The youths stationed themselves in various parts of the theatre, where danger to the cause might be apprehended. From the wildness of their dress and the ferocity of their countenances, they were easily recognized among the amiable gentlemen, in correct Parisian toilet, who thronged the house. The brigands of thought worshiped beauty, whether found in life or poetry, and when any lady entered who pleased their artistic taste she was received with tumultuous acclamation. Such manifestations were condemned as in the worst of taste, but not by those who were the objects of them. They blushed, frowned, and forgave. When she who afterwards became Madame de Girardin appeared in her box, a triple salvo of applause greeted her superb beauty. Every eccentricity of costume marked the romantic youth, but among them all Gautier appeared preeminent and gained fame in a night. He thought the revolt against effete usages should speak in the trousers and the waistcoat, as well as in the rhythm of poetry or the construction of Alexandrines. He was arrayed in a coat richly trimmed with velvet, an overcoat of gray faced with green satin, trousers of a faded green, a ribbon about his neck answering for collar and cravat, and a red waistcoat cut after the fashion of a Milan cuirass. At that time, to appear in a red waistcoat at the Français required courage equal to that of him who seeks reputation at the cannon’s mouth; but Gautier chose the color as one rich, hold, full of life and light and warmth, dear to art and hateful to Philistines. Those bourgeois bulls, he swore, should see the red flag and listen to the verses of Hugo. In later life he sadly admitted that on this dress chiefly rested his fame. If his name were pronounced before any Philistine, who had never read a line of his writings, he would at once say, with a satisfied air, “ Oh, yes, the young man with the red waistcoat and the long hair.” His poetry would be forgotten, but his waistcoat would go down to posterity. At last the play began, and the battle of applause and condemnation was fought at every passage. The advocates of the rival school, were almost ready to come to blows. An early line ran : — . . . “ C’est bien à l’escalier Dérobé.” The completion of the sense in the next line, in this manner, was a daring violation of the rules of dramatic verse, and the battle at once began. No ground was yielded on either side. The line, “ Est-il minuit ? Minuit bientôt,” was contested for three days. The opponents of Hugo said it was trivial and vulgar, — a king asking the hour like a shopkeeper, and being answered in words that would be appropriate for the shopboy. His admirers found in this, as in all the play, life, nature, and lyric art. In thirty hard-fought representations such as this Gautier won his spurs, and was thought worthy of presentation to the demi-god of romanticism. Victor Hugo was then in the first glow of fame and genius, and his followers regarded him with an idolatry which seems excessive to those for whom his great achievements are somewhat obscured by much that is unworthy of his name. But he was deemed then, and justly deemed, one who had breathed into the body of French poetry a soul of fire, who had touched the cold ashes and quickened them into life and beauty. Gautier’s courage forsook him when he was to meet the great leader of a triumphant cause. Twice he mounted the stairway with tremulous step, and fled away in a panic when he had reached the door. But at the third attempt the door was open, and he saw the great poet. Gautier’s speech failed him when he was presented, and the lyrical apostrophes with which he had planned to hail the chief remained unspoken. His mute admiration was perhaps more flattering to the great man, and the friendship thus begun was never interrupted. Gautier soon abandoned his palette for literature. He sometimes professed to regret that he had ceased the portrayal of crimsons and yellows, the gorgeousness of Eastern palaces and fiery clouds, only to put black upon white. But the traces of his studies as a painter can be found in his writings. It is hardly a metaphor to say that his is a pictorial style. His love for color speaks on the page, as it would have done on the canvas. With his pen he has depicted all things that the eye can see, with a vividness that the brush could not excel, in words that produce upon the mind an impression of varied tints and harmonious colors, such as glow from the paintings of Correggio and Del Sarto. Gautier’s wealth of style drew attention to him from the first. One of his earliest articles was shown to SainteBeuve, the best judge of style in France, and the great critic was at once interested by the extraordinary variety and richness of expression appearing in a novice. Albertus, Gautier’s first poem of importance, appeared when he was twentytwo, and though not a perfect nor a very pleasing production according to our tastes, it is full of power. But the publication of Mademoiselle de Maupin, three years later, was a literary sensation. It seems strange to us to read that Gautier’s parents kept him at his task, and would lock him in his room until he had finished his daily ten pages. Most American parents would think a son en route for perdition who was engaged in the announcement of views so pernicious, and would fear lest they should accompany him, if they encouraged his labors. The romanticists of the day were not lacking in courage, but the boldness of Mademoiselle de Maupin frightened some of the long-haired applauders of Hernani. The critics indulged in vigorous reprobation ; the general public was scandalized; the book ran through edition after edition, and made its author famous. There is much in Mademoiselle de Maupin that is unpleasant, and is saved only by beauty of expression from being vulgar. Though Gautier’s style reached in this novel its full perfection, it is far from his best work, and it is unfortunate that it is probably the one best known. Much of its offensiveness should be attributed to the effervescence of an exuberant and unrestrained youth, and the views which Gautier advanced with the confidence of twenty-five did not deserve the attention which his critics gave them. They were, indeed, of sufficient boldness, and lost nothing in the presentation. The young author disclaimed any hostility towards religion or virtue, but he announced that they were hardly worth much consideration; their advocates were canting Philistines, and the critics who prated and groaned about an immoral literature were themselves the bourgeoisie of letters and the eunuchs of thought. After a preface in which he defended these views with vigor, Gautier wrote a novel which was constructed in accordance with them. In fact, Gautier was neither a very irreligious nor a very immoral man. Undoubtedly, he did not resemble closely either St. Augustine or St. Francis, but an amiable and æsthetic indifference as to religious questions was the extent of his revolt, and his long life was for the most part characterized by social and domestic virtues. He viewed a follower of Voltaire with quite as much aversion as he could have felt towards a disciple of Loyola, and he inclined rather to a mild and semi-contemptuous sympathy for every form of religion, with an artistic preference for the faiths which were best fitted to retard modern civilization. His friend, Gérard de Nerval, claimed that he believed in seventeen religions, and that while he was respectful towards Jehovah he always had a good word for Jupiter. Gautier, perhaps, had the same elasticity of faith, and clung to his beliefs with equal looseness. His newly earned reputation soon resulted in his choosing journalism as a regular profession. For the remaining thirty-six years of his life he gained his living by constant and assiduous writing, as a critic of art and literature for the Paris journals. The work which he did for the papers far exceeds in volume that which was published in book form. He wrote with untiring industry, and poured out a copious and ever-pleasing stream of amiable though discriminating criticism. If all Gautier’s writings were gathered together, it is said they would fill three hundred volumes. Life is too short to read three hundred volumes of any man, but there is buried in old Paris newspapers a vast amount of valuable and brilliant criticism on the art and the literature of almost forty years. It would, perhaps, have been better for Gautier’s fame if he had devoted his time to the production of work less in amount and less ephemeral in character. But so rich was the quality of his style that the articles which he turned off almost daily, written in haste, and sent to the journals without an interlineation or a change, without even a punctuation mark, — for the poet regarded punctuation as an ignoble detail, fit only for type setters, — were as full of imagery, as finished in their style, as marked by a varied, copious, and exquisite choice of words, as if the writer had corrected and labored with painful elaboration. He is one of many illustrations that the great masters of style can work at their best with ease and swiftness. With tedious toil, some that write poorly by nature make their labors pleasing at last, but genius has often little need to be painstaking. Gautier is also one of the writers who prove how largely the form of expression gives literature its charm and ideas their interest. When the French say that the style is all important, they come much nearer the truth than a class of English writers who regard it as unimportant. Gautier was a critic of much delicacy and justness of feeling, but he had no new ideas to bring into the realm of art or thought. No man had less claim to be regarded as a philosopher or a sage. His views of life were often intended to be amusing, and when not so intended they usually furnish amusement from their naïveté and their simplicity. They please us, as the sayings of children please us, by the ignorance of life which they display. Gautier looked at life with the glance of a child, who finds in it much that is pretty, and is wholly unconcerned as to whether there is aught to existence but picking flowers and chasing butterflies. But the style made every page that he wrote full of charm. He said of himself that his was a style of adjectives. He thought that the complications of modern life demanded a supple and complex mode of expression, that should seek words in all dictionaries, colors from all palettes, harmonies from all lyres; his should be like the light of the setting sun, that reflects through burning clouds its varied hues. Few men knew or used so many words. He had studied the contents of the dictionaries from A to Z. With an eye that saw all things, and a command of words that few could equal, he excelled in a gorgeous richness of description. The things which the eye could see, he saw more clearly, he described more vividly, than any other writer of his day. Of the things not visible to the eye, the whole world could show no one else so oblivious. His power of perception was the more intense, because he had no conception of the things which were beyond his observation. He never dealt with the thoughts of men, their inner life, their mental or moral development, with the mysteries of life or the problems of the future. For him such questions had no existence. But all things in life, of which the impression could strike the optic nerve, were to him things of joy. Spanish muleteers singing over the passes of the Pyrenees, Russian princes wrapped in sables amidst the snows that enveloped far-rolling steppes, the minarets of St. Sophia, the sun setting over the lagoons of the Adriatic, where the cry of the gondolier breaks upon the traveler standing in the shadow of St. Mark’s, — such things he could describe with a vividness and richness which no one else could equal. He possessed also the two qualities which are found in almost all literature that can hope to survive its author, imagination and humor. His imagination was a pictorial imagination, one that was excited by subtle resemblances of form more than of feeling; but it gave life to every line he wrote, from a poem on love to a government report. Men like to be amused, and wit, more than thought, keeps books alive. Gautier’s writings have not the wit of the great works, which are read forever because they forever entertain, but he had the humor which delights in the delicate congruities and incongruities of words and things, — the humor that always pleases and never pierces. However fierce Gautier’s zeal had been to assist other red-breasted and long-haired youths in the overthrow of literary traditions, his own style showed the virtues of the new régime, and was little affected by its abuses. Moderation and calm came when the struggle was over, and the despotism of classicism had been succeeded by a free government. But the exuberance of a freed literature has not always been pleasing. The lurid intensity of a diseased genius like Baudelaire has been succeeded by the squalid and unlovely delineations of a diseased imagination like Zola’s. Alfred de Musset, whose genius was not controlled by the tenets of any school, has noted that while the classicists feared calling a spade a spade, their successors sometimes dwelt too fondly on the sordid and revolting phases of life. In the old school, the stately marching and remarching of words choked the struggling idea, but in the new school, a deluge of adjectives weighed down the overloaded noun with shades of meaning as mingled as the variegated hues of the rainbow. It is in his poetry that the finish of Gautier’s style and the delicacy of his imagination are best seen. In the little poems where he tells of marbles mingling under Attic suns their white dreams, or obelisks amid the pale hues of Paris weeping tears of granite for the skies and sphinxes of the Nile, there is the perfection of a certain kind of literary art. Among Gautier’s strongest passions was a love of travel. He rejoiced in strange sights and strange peoples ; new visions for the eye brought new happiness to the mind. He has written of his wanderings in Spain, Russia, Italy, and the East, and his books of travel are among the most delightful of their class. In them are seen all the eccentricities of his bizarre character. In each country where he travelled, he sought to become one of the people ; he followed the national customs, he ate of the national dishes. He watched with special interest the national millinery, when this indulged in bright colors, and eschewed broadcloth and trousers. Nothing in what he styled our pretended civilization disturbed him so much as the fact that men wore black coats and gray trousers instead of crimson cloaks and slashed yellow breeches. “ Our efforts in 1830 were in vain,” he wrote ; “ the black coat has triumphed over romanticism.” The picturesque phases of national life, the provincial customs, whatever possessed local color, he described with never failing zeal and never ceasing charm. But forms of government, religious beliefs, industrial development, all that constitutes the strength and greatness of a people, possessed no interest for him. He thought the skill with which the matadore planted the sword in the neck of an infuriated bull more important than the decay of the Spanish monarchy ; the contortions of a dervish excited his attention more than the fate of Constantinople or the destinies of Greece; he was moved by the new decorations at the opera house, but not by the question of Italian unity. Few men are more unlike than the author of the Stones of Venice and the author of Mademoiselle de Maupin, but they show a common dislike towards the phases of modern life, and from a similar feeling that these are lacking in picturesqueness. Ruskin, indeed, bewails the fate of the operative, who has become a soulless machine in some factory with starry-pointing chimneys, while Gautier would have been indifferent to his lot, if only his rags had been yellow and red instead of grimy and gray. All feelings of scorn and hatred were for Gautier embodied in the word “ bourgeois ; ” yet no Parisian shop-keeper gave less heed to the deep problems of life, to the fate of nations or the growth of ideas, than this apostle of romanticism. The bourgeois cared for his shop and his money chest, and Gautier cared for picturesque bull-fighters and Russian palaces with traces of Cossack taste. The bourgeois liked his wife and children, and Gautier liked the ballet dancer who could accomplish the most rhythmical pas. In the long lifetime which he devoted to literature and art criticism, he was always brilliant, always pleasing, and always hovering about the surface of things. Perhaps, indeed, we who are absorbed in material advancement need not look down upon one whose existence was given to the study of what was beautiful and artistic in the work of the brush, the chisel, and the pen. There are so many who are interested in the question of suffrage, the condition of the laborer, and the extension of railroads, that it is well that there should be some who care only for the development of new schools of painting and the establishment of new rules of rhythm. While democrats talked of progress and Saint Simonians planned new social contracts, Gautier listened only to the murmur of art. He said that he lived with a constant homesickness for another age ; that his lot should have been cast in Venice in the sixteenth century, or in the remote East in its days of splendor. The merit of his novels lies in the exhibition of the literary qualities of which we have spoken, rather than in any interest they excite in the characters or their development. His women have beauty, which is so portrayed that they stand before us like the Venuses of the Tribune. His heroes are blessed with unlimited wealth and strength ; they live in palaces such as are not made with hands, they are clad in clothes such as are not made by tailors. Everything is bizarre, picturesque, and delicious, and through the varied descriptions the story meanders in its little rivulet. Gautier began his literary life as one of the youngest in the revolutionary school, but he came to he regarded as a patriarch and a sage by a later generation of enthusiastic young Frenchmen. He maintained his influence among them by his talk, as well as by his writings. His conversation was brilliant, and every phase of life was discussed from the standpoint of dogmatic paradox. In some peculiarities there is a certain resemblance between him and the great English talker. Not in their talk, for Gautier’s was as full of whimsey and fantasy as Johnson’s was of pith and common sense. But the famous believer in the Cock Lane Ghost was surpassed in credulity by the leader of the romanticists. Gautier claimed to believe in every religion ; he certainly believed in every superstition. He attached importance to lots, and spells, and omens ; he had faith in magic and in dreams; he avoided crossed knives ; he fled from an overturned salt-cellar ; he grew pale with terror before three lighted candles. He greatly admired Offenbach, but he would not speak his name nor even put it on paper, for Offenbach was possessed of the evil eye. Another journalist had to write for the Moniteur the criticisms on the Grande Duchesse and Belle Hélène. Gautier broke his arm during his journey in Egypt, and he said that was because he must needs play the esprit fort, and begin his trip on a Friday. He thrilled his auditors as be told of his listening in Paris to the fateful croaking of a mysterious crow, and how the same bird met his friend Gérard de Nerval on the plains of Syria, and cast a terrible enchantment over his mind. Superstition is out of vogue among sound modern thinkers, and that fact, perhaps, strengthened the superstitious beliefs of one who regarded rational views as bourgeois modes of thought. Voltaire had sneered at superstitions, and though the romanticists discarded Christianity they disdained Voltairism, and Gautier himself regarded its disciples as mere imbeciles. Gautier’s appetite, like that of Dr. Johnson, was a thing long to be remembered. He traveled in Spain, where the people practice the abstinence common among southern nations. His gastronomic feats were viewed there, he tells us, with wonder mingled with respectful admiration. His appetite was prodigious and even gigantic, ever fresh and never weary. The quality as well as the amount of his fare was to him a subject of careful thought. He invented rare and curious dishes, and pointed with pride to his spinach flavored with pounded apricot stones. Bread he declared to be a stupid and dangerous invention, unfit for a carnivorous animal, and which served only as a rallying word for rioters and communists. His talents for aesthetic gourmandizing commanded the respect of the greatest masters in Europe. The chef of the Emperor of Russia was among his admirers, and was conquered by a stroke of genius. A favorite dish of the Czar, which was usually flavored with pounded almonds, was served at the imperial table. The other guests were loud in their admiration, hut Gautier remained stern and silent. The chef at last asked for his opinion. “ My friend,” said the great poet to the great cook, “ I looked for a flavor of almonds, and I find a flavor of macaroons. Sir, you abuse the confidence of the Czar.” The fear of death haunted Gautier as it did Dr. Johnson. There was always about him, he said, an odor of dissolution, and death, and nothingness. But Johnson’s fear was largely a religious fear, a shrinking from the dreadful problems of the future life, from the mystery that lies beyond the grave. Gautier’s dread was that of the child who plays in the sunlight, and is afraid to be taken away to a dark chamber. He dreaded the hour when he should no longer walk the Boulevard des Italiens, when the door of the Français should no longer open to him, when the pages of the Moniteur should no longer be filled with his wit. He clung to the sensuous things of life, and beyond them there was nothing that he desired. He lived for the day that was. In literature and the theatre, in the sculptures of the Louvre and the paintings of the Salon, in the familiar sights of Paris streets and the strange sights of foreign lands, in light and color, in beauty of face and form, by pyramids and sphinxes resting forever under a cloudless sky, or by mediæval towers and cathedrals rich in the endless variety of the Middle Ages, he found the bliss of life. He wished for no other existence, he sighed for no mysterious future, he harbored no spiritual longings for something that could not be found in French boulevards or Spanish piazzas. The ugliness of death, also, offended him. He had for beauty in the human form a love which exceeded that of the Greeks. It was horrible to think of himself as an object hideous to the eye and revolting to his fellow-men, and the terror of this idea clung about his mind. We have suggested that, with all the eccentricities of Gautier’s character and the artistic devotion of his nature, he had many qualities which might have been found in a disciple of Philistinism. Among these, perhaps, should be classed his great desire to be chosen a member of the Academy. If that body wished to include the chief names of literature, Gautier would certainly have been numbered among the Immortals. But he was left, with Dumas and Balzac, outside of the sacred circle. It is said that Mademoiselle de Maupin was the cause of his rejection, and that, though the French are not prudish, the Academicians would not admit its author into their midst. Its youthful faults might well have been overlooked in one who had so enriched French prose and verse, and who ranked among the great masters of style in this century. Many of the immortal names of French literature are not found on the official list, but Gautier lamented his rejection in a manner one would expect in a bourgeois, rather than in a romanticist. He sought consolation in attributing his misfortune to the decrees of fate. Men were predestined to be Academicians, he said ; they were born Academicians, as they were born poets, archbishops, or cooks. Thirty-nine ballots, he felt certain, bore his name when they were dropped into the box, but when they were opened his rival was found to have been unanimously elected. It is not strange that one so devoid of political beliefs should have been well content with the era of imperialism. If the government was corrupt, it did not concern him. The end of government was to furnish plenty of money for the encouragement of art, the support of authors, and the building of opera houses, and in these respects Napoleon III. did much better than could be expected from a republic controlled by bourgeois. Gautier’s private life was tranquil and free from incident. He lived in Paris, writing industriously, and surrounded by a circle whose tastes were like his, and whom he delighted by his brilliant and exuberant conversation. His little house at Neuilly was furnished with the objects which appealed to his sensibilities, and every phase of luxury was felt by him as are the chemical rays of light by a plant. His beauty as a young man, of which he delighted to boast, was not wholly destroyed by years. He lived with his sisters and daughters, and guests at his table found also the black cat, who had her chair at dinner, like any other member of the family. He delighted in cats, and praised their tender, silent, feminine caresses, their phosphorescent eyes, and their mysterious and cabalistic manners, which suggested meetings with phantoms and sorcerers, and companionship with Mephistopheles and the Evil One. The siege of Paris made a terrible inroad into Gautier’s peaceful life, and swept away much of the moderate property which he had slowly acquired ; but he bore his misfortunes with philosophic equanimity, and displayed his powers of description in his vivid Pictures of the Siege. He did not long survive its calamities. His superstitious dread of death and its cold unloveliness haunted him to the last, and he was almost frightened out of a life which could not, however, have been long continued. His family wished to conceal from him the existence of a disease of the heart, and sought to remove the newspapers in which he might see any reference to his condition. But he stumbled upon one which told the nature of his malady, and from that day he resigned himself to death. On the 23d of October, 1872, he died, at the age of sixty-one. His individuality was such that, though he had many disciples, he could have few imitators; and while this century in France has been rich in literary genius, Gautier will be remembered as one of its rarest products. James Breck Perkins.
5097	dbpedia	1	56	https://thegothicwanderer.wordpress.com/tag/theophile-gautier/	en	The Gothic Wanderer	https://s0.wp.com/i/blank.jpg	https://s0.wp.com/i/blank.jpg	[ "https://thegothicwanderer.wordpress.com/wp-content/uploads/2013/11/gothicwandererblog-header.jpg", "https://thegothicwanderer.wordpress.com/wp-content/uploads/2017/11/clarimonde-cover.jpg?w=200&h=300", "https://thegothicwanderer.wordpress.com/wp-content/uploads/2017/11/theophilegautier1839.jpg?w=182&h=300", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	null	Posts about Theophile Gautier written by gothicwanderer	en	https://s1.wp.com/i/favicon.ico	The Gothic Wanderer	https://thegothicwanderer.wordpress.com/tag/theophile-gautier/	In 1836, French author Théophile Gautier published a short story titled “Le Morte Amoreuse” in Le Chronique de Paris. While the title translates into English as “The Dead in Love,” it was published in English as “Clarimonde” after its primary female character. The work was likely influenced by the popularity of Polidori’s The Vampyre (1819), the first vampire story in England, which was soon translated into French and became more popular through stage productions. Gautier no doubt was influenced by Polidori’s work, but Gautier’s story was also translated into English and likely influenced the vampire novels that succeeded it. One reason “Clarimonde” stand out is it was the first prose work about a female vampire. (Previously, female vampires appeared in English poetry, notably Coleridge’s “Christabel” (1816)—although Coleridge never finished the poem so it is unknown whether he truly considered the character of Geraldine to be a vampire—and Keats’ “Lamia” (1820). However, Clarimonde is a far more detailed work than either poem, and it clearly points toward later works like J. S. LeFanu’s Carmilla (1872) and Stoker’s Dracula (1897), which it must have influenced directly or indirectly. But “Clarimonde” deserves recognition for far more than just what it influenced. In fact, it is a work far ahead of its time for its use of Gothic themes and its psychological innovation. The story begins when a young priest, Romuald, is about to be ordained. At his ordination, he sees the beautiful Clarimonde and is immediately smitten with her. He develops strong erotic desires for her that threaten to make him reject becoming a priest. He also hears a voice promising him love that will be greater than anything he could experience in Paradise. Despite the temptation, Romuald finishes the ceremony. Afterwards, he receives a letter with just Clarimonde’s name upon it. Romuald is soon after stationed at a parish in the country where he feels trapped as a priest. One night, a man comes to him saying that a woman is dying and wishes to see a priest. The woman turns out to be Clarimonde, but she is already dead when Romuald arrives. Unable to restrain himself, he leans over and kisses her, and he is surprised when she returns the kiss. For a brief moment, she seems to return to life and tells him they will be reunited. Romuald then faints as he sees the breath leave Clarimonde’s body. Days later, Romuald awakes, thinking he has dreamt the experience, but then Clarimonde appears to him. This time, she does not look dead but alive, and she convinces him to go on a journey with her. They travel to Venice where they live together. At times, Romuald wakes and realizes he is dreaming, but soon the dreams begin to feel more real to him than his real life, and sometimes, he feels like he is a grandee who is having nightmares about a life as a priest. Eventually, Clarimonde becomes ill and Romuald fears for her life. One day, however, he accidentally cuts his finger and Clarimonde sucks the blood from it, restoring her to health. Romuald now realizes she is a vampire, but in his dream state, he is unable to resist her. Meanwhile, in the real world, the Abbe Serapion warns Romuald that his desires for Clarimonde are born of sin and that the devil is trying to lead him astray. To prove to Romuald the truth, Serapion takes him to Clarimonde’s tomb where they find a spot of blood at the corner of her mouth. Calling her a demon, Serapion sprinkles holy water on her corpse. She then crumbles to dust. That night, Clarimonde appears to Romuald in a dream for the last time, admonishing him for how he has treated her and asking him what harm she truly did him. The story concludes with Romuald regretting Clarimonde’s loss, although he knows that her destruction has saved his soul. He then warns his reader never to look at a woman because even just one glance can cause one to lose his soul. While “Clarimonde” is not a long story, it contains several points worth noting that seem like harbingers of later Gothic works. For me, the story’s most remarkable aspect is the extent to which Romuald enters into a dream world so that each night he is living happily with Clarimonde to the point where the real world seems like a dream to him. I don’t know of any other nineteenth century author who used dreams to such a powerful extent until George DuMaurier in Peter Ibbetson (1891) where the characters are able to perform what we would today call lucid dreaming and even communicate with one another through their dreams. Clarimonde’s eyes also cannot go without notice. There’s a long tradition of vampires having a mesmeric gaze, an attribute they inherited in literature from the Wandering Jew. When Romuald first sees Clarimonde, he describes her eyes as: “sea-green eyes of unsustainable vivacity and brilliancy. What eyes! With a single flash they could have decided a man’s destiny. They had a life, a limpidity, an ardour, a humid light which I have never seen in human eyes; they shot forth rays like arrows, which I could distinctly see enter my heart. I know not if the fire which illumined them came from heaven or from hell, but assuredly it came from one or the other. That woman was either an angel or a demon, perhaps both. Assuredly she never sprang from the flank of Eve, our common mother.” The reference to Eve is also interesting since Eve is usually the transgressor of Eden who brought sin to mankind, but Clarimonde is distanced here from her, to clarify she is not even human. That Romuald feels like he has two identities is also significant. It is as if he is Dr. Jekyll and Mr. Hyde, living two separate existences, and while he never becomes a monster, he certainly feels he is powerless to break the control that one of those identities has over him. He states: “From that night my nature seemed in some sort to have become halved, and there were two men within me, neither of whom knew the other. At one moment I believed myself a priest who dreamed nightly that he was a gentleman, at another that I was a gentleman who dreamed he was a priest. I could no longer distinguish the dream from the reality, nor could I discover where the reality began or where ended the dream. The exquisite young lord and libertine railed at the priest, the priest loathed the dissolute habits of the young lord. Two spirals entangled and confounded the one with the other, yet never touching….” He eventually realizes he must kill one or the other of the men or kill both because so terrible an existence cannot be otherwise endured. Clarimonde’s death is also interesting because of how it is described. When she dies her human death, after Romuald kisses her, we are told of the flower she holds: “The last remaining leaf of the white rose for a moment palpitated at the extremity of the stalk like a butterfly’s wing, then it detached itself and flew forth through the open casement, bearing with it the soul of Clarimonde.” This detail is fascinating because it suggests Gautier may have had some knowledge of the Eastern European tradition that butterflies are connected to the soul. The dead, and vampires particularly, were said to have a butterfly fly out of their mouths when they died, thus releasing their souls. (See my previous blogs on the1880 Serbian novel After Ninety Years and also James Lyons’ 2013 novel Kiss of the Butterfly.) Finally, the novel was significant as a translation into English because not only does it feature a Catholic priest (he isn’t, however, the first Catholic priest to fall into sexual morality; Matthew Lewis’ The Monk (1795) has a main character who has sex with a nun, who turns out to be Satan in disguise), but the vampire is destroyed through the use of holy water, a Catholic tool. Most of the Gothic novels of the 1790s to 1820s were very anti-Catholic. That lessened to some extent after Catholic Emancipation in England in 1829, but because “Clarimonde” is by a French writer, Gautier had no qualms about using Catholicism to defeat his vampire. That said, I believe it may be the first use of holy water to defeat a vampire in literature. Of course, Catholic implements like the crucifix and Eucharistic would be more famously used by Bram Stoker in Dracula. Clarimonde would go on to influence French works like Paul Feval’s The Vampire Countess and directly or indirectly British works like Carmilla and Dracula. Today, Clarimonde is far from a household name—Dracula gets all the press—but the significance of Gautier’s story to vampire fiction and its innovations that do not appear again for many decades in literature make “Clarimonde” a piece deserving of far more attention. _________________________________________________
5097	dbpedia	1	3	https://www.vaia.com/en-us/explanations/french/french-literature/theophile-gautier/	en	Théophile Gautier: Life & Works	https://website-cdn.stud…rter-bg-icon.svg	https://website-cdn.stud…rter-bg-icon.svg	[ "https://www.vaia.com/app/themes/studypress-core-theme/dist/assets/images/logos/vaia.svg", "https://website-cdn.studysmarter.de/sites/21/2024/07/subject-other.svg", "https://website-cdn.studysmarter.de/sites/21/2024/07/book-closed.svg", "https://website-cdn.studysmarter.de/sites/21/2024/07/flashcard.svg", "https://website-cdn.studysmarter.de/sites/21/2024/07/ai.svg", "https://website-cdn.studysmarter.de/sites/21/2024/07/note.svg", "https://website-cdn.studysmarter.de/sites/21/2024/07/calendar.svg", "https://website-cdn.studysmarter.de/sites/21/2024/07/folder-plus.svg", "https://website-cdn.studysmarter.de/sites/21/2024/07/file-question-02.svg", "https://website-cdn.studysmarter.de/sites/21/2024/07/Flashcards-Image.jpg", "https://website-cdn.studysmarter.de/sites/21/2024/07/Study-Set-Image.jpg", "https://website-cdn.studysmarter.de/sites/21/2024/07/Notes-Image.jpg", "https://website-cdn.studysmarter.de/sites/21/2024/07/Study-Plan-Image.jpg", "https://website-cdn.studysmarter.de/sites/21/2024/07/book-open-01.svg", "https://website-cdn.studysmarter.de/sites/21/2024/07/briefcase-01.svg", "https://website-cdn.studysmarter.de/sites/21/2024/07/phone-01.svg", "https://website-cdn.studysmarter.de/sites/21/2024/07/Magazine-Image.jpg", "https://website-cdn.studysmarter.de/sites/21/2024/07/Our-App-Image.jpg", "https://website-cdn.studysmarter.de/sites/21/2024/07/subject-other.svg", "https://website-cdn.studysmarter.de/sites/21/2024/07/book-closed.svg", "https://website-cdn.studysmarter.de/sites/21/2024/07/flashcard.svg", "https://website-cdn.studysmarter.de/sites/21/2024/07/ai.svg", "https://website-cdn.studysmarter.de/sites/21/2024/07/note.svg", "https://website-cdn.studysmarter.de/sites/21/2024/07/calendar.svg", "https://website-cdn.studysmarter.de/sites/21/2024/07/folder-plus.svg", "https://website-cdn.studysmarter.de/sites/21/2024/07/file-question-02.svg", "https://website-cdn.studysmarter.de/sites/21/2024/07/book-open-01.svg", "https://website-cdn.studysmarter.de/sites/21/2024/07/briefcase-01.svg", "https://website-cdn.studysmarter.de/sites/21/2024/07/phone-01.svg", "https://www.vaia.com/app/themes/studypress-core-theme/dist/assets/images/explanations/welcome-laptop.png", "https://www.vaia.com/app/themes/studypress-core-theme/dist/assets/images/explanations/welcome-mobile.png", "https://www.vaia.com/app/themes/studypress-core-theme/dist/assets/images/explanations/flashcards-listx2.png", "https://www.vaia.com/app/themes/studypress-core-theme/dist/assets/images/explanations/flashcards-list-mobile.png", "https://www.vaia.com/app/themes/studypress-core-theme/src/assets/images/va-signup-laptop.png", "https://www.vaia.com/app/themes/studypress-core-theme/dist/assets/images/explanations/about.webp", "https://www.vaia.com/app/themes/studypress-core-theme/dist/assets/images/explanations/about-logo.png", "https://www.vaia.com/app/themes/studypress-core-theme/dist/assets/images/explanations/sidebar-logo.webp", "https://www.vaia.com/app/themes/studypress-core-theme/dist/assets/images/tbs/cta-desktop@1x.png", "https://website-cdn.studysmarter.de/sites/21/2024/03/Vaia_Logo_Single-Colour-1.svg", "https://website-cdn.studysmarter.de//sites/5/sites/5/2022/08/us-flag.png", "https://website-cdn.studysmarter.de//sites/5/sites/5/2022/08/en-flag.png", "https://website-cdn.studysmarter.de//sites/5/sites/5/2022/08/es-flag.png", "https://website-cdn.studysmarter.de//sites/5/sites/5/2022/08/de-flag.png", "https://website-cdn.studysmarter.de//sites/5/sites/5/2022/08/fr-flag.png", "https://website-cdn.studysmarter.de//sites/5/sites/5/2022/08/it-flag.png", "https://website-cdn.studysmarter.de//sites/5/sites/5/2021/12/LKVIUFzH-0t5upqTu-app-store.svg", "https://website-cdn.studysmarter.de//sites/5/sites/5/2021/12/hiXi9mY6-jhXhbghR-google-play.svg" ]	[]	[]	[ "" ]	null	[]	null	Théophile Gautier: ✓ Literary Works ✓ Romanticism ✓ Influence ✓ Biography ✓ Style ✓ Legacy \| VaiaOriginal!	en	https://website-cdn.stud…rter-bg-icon.svg	Vaia	https://www.vaia.com/en-us/explanations/french/french-literature/theophile-gautier/	Who Was Théophile Gautier? Théophile Gautier was a pivotal figure in 19th-century French literature, known for his dedication to the principle of "art for art's sake." This philosophy emphasised the importance of aesthetics over moral or political messages in art and literature, marking a significant departure from the trends of his time. Gautier's work spans across poetry, novels, and criticism, showcasing his versatility and influence in shaping French literary traditions. Théophile Gautier Biography: An Overview Théophile Gautier (1811–1872) lived through a vibrant period of French history, witnessing the July Monarchy, the Second Republic, the Second Empire, and the early years of the Third Republic. Born in Tarbes, France, Gautier's family moved to Paris in his early childhood, a move that would later enable his immersion into the literary and artistic milieu of the capital. Initially aspiring to be a painter, Gautier soon veered towards literature under the influence of his mentor, Victor Hugo. His early adoption of Romanticism was evident in his debut work, but as his career progressed, Gautier evolved to espouse the doctrines of Parnassianism, emphasizing perfection of form and expression. Major Works: Some of Gautier's significant contributions include Les Grotesques (The Grotesques), Mademoiselle de Maupin, a novel celebrating androgyny and platonic love, and Émaux et Camées (Enamels and Cameos), a collection of poetry that epitomises the Parnassian movement's ideals. Legacy: Beyond his literary achievements, Gautier's critiques and travel writings offered insights into the art and culture of his era, influencing contemporaries and future generations alike. The Influence of Théophile Gautier on French Literature Théophile Gautier's impact on French literature is both diverse and profound. His advocacy for l'art pour l'art (art for art's sake) heralded a shift in artistic sensibilities, paving the way for subsequent movements like Symbolism and Modernism. Gautier argued that the value of art lies in its beauty and form, rather than in moral or didactic purposes. This principle resonated with many artists and writers, influencing their approaches to creative expression. Gautier's literary style, characterized by rich imagery and precise craftsmanship, set new standards for literary aesthetics. His work demonstrated that literature could be both profound and beautiful without serving a political or moral agenda. ContributionImpact on French LiteraturePoetryRevived poetic form, introducing Parnassian aestheticsProse and CriticismChampioned artistic freedom, influencing the development of novel and critical stylesTravel WritingsOffered a new lens on cultural and geographical exploration Théophile Gautier's Key Literary Themes Théophile Gautier's literary output, influential in the 19th-century French literary landscape, is marked by several recurring themes. His body of work spans a wide range of genres, including poetry, novels, and literary criticism, each suffused with themes of beauty, perfection in art, and an unyielding advocacy for the art for art's sake movement. As readers explore Gautier's work, they encounter an artist fiercely devoted to aesthetics, whose themes transcend the confines of his era and continue to resonate with audiences today.Through his exploration of these themes, Gautier not only left a lasting mark on French literature but also contributed significantly to the development of modern literary and artistic movements. Exploring Théophile Gautier Literary Themes Beauty and Aesthetics: Gautier's works frequently explore the theme of beauty, not as a mere superficial trait but as an ideal to be pursued in both art and life. He believed that beauty itself could be a subject for art, devoid of moral or educational intentions. Exoticism and Escape: Many of Gautier’s writings offer a departure from reality, transporting readers to exotic locales and fantastical realms. This theme reflects Gautier's desire to escape the mundanity of daily life and explore unknown worlds through his imagination. Perfection in Art: A definitive aspect of Gautier’s oeuvre is his quest for perfection in art. For Gautier, true art required meticulous craft and unwavering dedication to form and aesthetics. Gautier's emphasis on beauty and perfection influenced not just his contemporaneous peers but also had a reverberating impact on future art and literary movements. The Concept of 'L'art pour l'art' in Théophile Gautier's Works The principle of l'art pour l'art (art for art's sake) pervades Théophile Gautier's works and is pivotal to understanding his artistic ethos. This concept, which advocates for art's independence from moral, political, or utilitarian functions, positioned Gautier as a counter to the didactic literature prevalent in his time. Instead, Gautier championed art that exists solely for its beauty and inherent value, separating it from external obligations or purposes.Through his poetry, novels, and critical essays, Gautier exemplified this principle, arguing that the primary role of art and literature is to evoke beauty, regardless of any societal or ideological demands. L'art pour l'art: A French term meaning 'art for art's sake'. It is a philosophy that holds the value of art to be separate from social, political, or moral messages, advocating that art's primary purpose is to be beautiful and to inspire appreciation purely through its form and aesthetic. Example: Gautier’s Émaux et Camées (Enamels and Cameos), a collection of poems, serves as a quintessential example of the l'art pour l'art movement. The precision of form and the focus on aesthetic beauty evident in these poems clearly reflect Gautier's commitment to art for its own sake. Significance of L'art pour l'art in the 19th Century:In the broader context of 19th-century Europe, the adoption of l'art pour l'art was revolutionary. It marked a departure from the idea that art must serve a moral or educational purpose. Gautier's staunch advocacy for this principle influenced the trajectory of modern art, helping to pave the way for movements such as Decadence and Symbolism. As such, Gautier is not only remembered for his own work but also for his foundational role in the evolution of artistic and literary thought. Théophile Gautier and Romanticism Théophile Gautier stands as a significant yet complex figure within the Romantic movement, a literary and artistic period that sought to emphasise emotion, individualism, and the splendour of the natural world. His contributions, while initially rooted in Romanticism, gradually evolved, showcasing a rich interplay between adherence to and deviation from Romantic ideals. This dual stance not only highlights Gautier's nuanced understanding of Romanticism but also his role in transitioning towards new literary movements.Understanding Gautier's relationship with Romanticism offers a unique lens through which to explore the multifaceted nature of 19th-century French literature. Theophile Gautier's Role in the Romantic Movement Théophile Gautier was initially embraced as a romantic writer, enjoying the vibrant enthusiasm and philosophical depth of the Romantic movement. His earliest works, imbued with the emotional intensity and passion characteristic of Romanticism, celebrated the movement's ideals of individualism and creativity. Among his contributions, Mademoiselle de Maupin stands out, both for its lyrical beauty and its exploration of themes such as love, art, and the duality of human nature. This novel, alongside his vivid poetry, positioned Gautier as a prominent voice within the Romantic movement, capable of capturing its spirit and energy. Impact on the Romantic Movement:Through his literary output and critical works, Gautier exerted a profound influence on the development of Romantic thought. His criticism, particularly, served as a bridge connecting Romantic ideals with the emerging principles of Parnassianism and Symbolism. Gautier’s detailed analysis of Romantic art and literature provided insightful reflections on the movement's achievements and limitations, marking a significant contribution to the discourse of 19th-century art and literature. How Théophile Gautier Deviated from Romanticism While deeply influenced by Romanticism, Théophile Gautier gradually distanced himself from some of its core tenets, pioneering a new direction that favoured art's aesthetic qualities over its emotional or moral content. This shift is evident in his later works, which emphasise beauty and form, embodying the idea of l'art pour l'art (art for art's sake).Gautier's deviation from Romanticism involved a departure from its focus on emotion and social commentary, steering towards an appreciation for the 'pure' beauty found in art and literature. This philosophical evolution highlights Gautier's pivotal role in the transition from Romanticism to movements such as Parnassianism and Symbolism, which prioritised aesthetic considerations. Example: Gautier’s Émaux et Camées, a collection of poems, epitomises this shift. Unlike his earlier romantic works that delved into emotional depth and individualism, this collection revels in the beauty of form and precision of language, illustrating his departure from Romanticism. Gautier's evolution from a Romantic to a champion of l'art pour l'art reflects broader shifts within 19th-century French literature, from prioritising emotional expression to valuing aesthetic perfection. Key Works of Théophile Gautier Théophile Gautier was a versatile French writer whose body of work includes poetry, novels, and criticism. His contributions to literature are celebrated for their rich descriptions, elaborate language, and commitment to aesthetic beauty. Gautier’s key works, such as Mademoiselle de Maupin and his poetry collections, have left a lasting impact on the literary world, influencing various artistic movements and challenging the conventions of his time.Exploring Gautier's key works offers insight into his artistic evolution and the consistent themes of beauty and escapism that underpin his oeuvre. Mademoiselle de Maupin by Théophile Gautier: A Closer Look Mademoiselle de Maupin (1835) is among Théophile Gautier’s most renowned novels, celebrated for its exploration of love, beauty, and art. Based on the life of the 17th-century opera singer and swordsman Julie d'Aubigny, the novel is a significant work of French literature that delves into themes of duality, desire, and the nature of truth.The narrative is presented as a series of letters between two main characters, exploring their emotional and philosophical contemplations. Beyond its narrative intrigue, Mademoiselle de Maupin is noted for its Preface, which serves as a manifesto for the art for art's sake movement, advocating for artistic freedom and the separation of art from moral judgment. Reflections on Gender and Identity:In Mademoiselle de Maupin, Gautier avant-gardely addresses the fluidity of gender and identity years ahead of his time. Through the titular character, who cross-dresses and navigates both masculine and feminine identities, Gautier challenges conventional gender norms and notions of desire. The novel's ambiguity and complexity regarding gender identity and love have intrigued readers and scholars alike, contributing to its status as a groundbreaking work of French literature. Théophile Gautier Poetry Analysis: Unpacking the Beauty. Théophile Gautier's poetry is a repository of his artistic beliefs, characterised by meticulous craftsmanship, vivid imagery, and a relentless pursuit of beauty. His poems are remarkable for their ability to evoke vivid scenes and emotions through precise language and rhythm.A notable collection, Émaux et Camées (1852), emblematises Gautier’s dedication to the principle of 'l'art pour l'art' (art for art's sake). The poems in this collection highlight the poet's skilful use of forms such as the sonnet, employing classical references and a deep appreciation for aesthetics to create enduring works of art. Example: One of Gautier’s poems, Le Pin des Landes (The Pine of the Landes), exemplifies his masterful ability to transform a simple landscape into an evocative, almost sacred tableau. Through vivid imagery and meticulous structure, Gautier elevates the natural scene to a symbol of timeless beauty, showcasing his unique vision and poetic talent. Despite the intricate formality of his verse, Gautier’s poetry harbours a profound simplicity, capturing the essence of his subjects with elegance and clarity. Théophile Gautier - Key takeaways Théophile Gautier was a key figure in 19th-century French literature who espoused the principle of l'art pour l'art (art for art's sake), prioritising aesthetics over moral and political messages. Théophile Gautier Biography: Born in 1811, originally aspiring to be a painter, influenced by Victor Hugo, and an important contributor to the movements of Romanticism and Parnassianism. Main works include Mademoiselle de Maupin, exploring themes of androgyny and platonic love, and Émaux et Camées, encapsulating Parnassian aesthetics. Gautier's Literary Themes: Emphasised beauty and aesthetics, exoticism and escapism, and sought perfection in art, significantly impacting French literature and subsequent artistic movements. Gautier's role in Romanticism was initially embraced, but he gradually moved towards celebrating the aesthetic qualities of art, exemplified by his collection Émaux et Camées, marking a transition towards movements such as Parnassianism and Symbolism.
5097	dbpedia	2	55	https://journals.openedition.org/cve/4497	en	Juliette Atkinson, French Novels and the Victorians	http://journals.openedition.org/cve/docannexe/file/4522/cr01_atkinson.jpg	http://journals.openedition.org/cve/docannexe/file/4522/cr01_atkinson.jpg	[ "https://journals.openedition.org/cve/custom/sitename.png", "https://journals.openedition.org/cve/docannexe/file/4522/cr01_atkinson-small200.jpg", "https://static.openedition.org/images/cc/cc-by-nc-nd.png", "https://journals.openedition.org/cve/images/social-icons/rss.png", "https://journals.openedition.org/cve/docannexe/image/246/Logo_PULM-small120.png", "https://journals.openedition.org/cve/docannexe/image/3148/logo_erih_2-small120.jpg", "https://journals.openedition.org/cve/images/doaj.svg", "https://journals.openedition.org/cve/images/logo-oej.png" ]	[]	[]	[ "littérature comparée", "réception", "comparative literature", "reception studies" ]	null	[]	2018-12-01T00:00:00+01:00	What do we understand by the term ‘French novel’? Beyond the denotation of novels written in French, the connotations of the term vary according to time, place and the motive of the speaker, be it aesthetic, commercial, moralising or political. Concerning the nineteenth century, the simplistic assumption is that Victorian Britain was prudish in comparison to post-revolutionary permissive France; as a result, ‘French novels’ became shorthand for questionable morals in regard to the overt repre...	fr	https://static.openediti…ages/favicon.png		http://journals.openedition.org/cve/4497	1What do we understand by the term ‘French novel’? Beyond the denotation of novels written in French, the connotations of the term vary according to time, place and the motive of the speaker, be it aesthetic, commercial, moralising or political. Concerning the nineteenth century, the simplistic assumption is that Victorian Britain was prudish in comparison to post-revolutionary permissive France; as a result, ‘French novels’ became shorthand for questionable morals in regard to the overt representation of sexuality, especially with regard to adultery. This view is both epitomised and partially created by articles such as John Wilson Croker’s 1836 survey piece ‘French Novels’, which systematically lambasted the louche mœurs of Paul de Kock, Hugo, Dumas père, Balsac [sic], Michel Raymond, and George Sand (147). Juliette Atkinson’s informative and engaging account of the British reception of French novels in the nineteenth century successfully debunks any assumption that Croker’s view was representative of the majority of critics and readers; the reality was of course far more complex and contradictory, conditioned by vested interests on both sides of the Channel and contingent on factors including class, gender, politics, snobbery, hypocrisy, competition, protectionism and good old-fashioned fake news. Atkinson shows how much of the criticism of French literature was also applied to domestic literature—English novels—, unearthing numerous points of both convergence and competition. Her analysis of the field draws on an impressive range of public and private sources, encompassing articles, reviews, surveys, letters, library reading data, sales figures, book clubs, translations, and fictional representations of readers in the novels themselves. This extensive and meticulous research, fruits of a British Academy postdoctoral award, allows her to construct a nuanced picture of the multi-faceted reception of French novels and the different networks of dissemination, circulation and discussion, considering not only the question of morality—their content—but also the related question of form, insofar as British writers borrowed techniques from their French counterparts. If one sentence in the book acts as an abstract for the whole project, it might be this: ‘Hostile articles such as “French Novels” do not accurately reflect contemporary reading habits’ (13). 2Part I, ‘Disseminating French novels’, explores the way in which readers were able to obtain these works, either through shops or from the growing number of circulating libraries, which were often restricted to members of a club. London’s Holywell Street, parallel to the Strand, became a metonym for immoral books, predominantly French, with its reputation shifting gradually from sedition to pornography as the century progressed. Atkinson shows how different libraries provided access to different readers: the London Library was the brainchild of Thomas Carlyle, who was frustrated by the fact that books could not be borrowed from the British Museum; moreover, Carlyle was not a member of the Athenæum Club, whose aristocratic and upper-class male members benefited from a substantial library. In the London Library a rule that readers could borrow only one recent English novel at a time encouraged readers to take out French novels, thereby providing increased exposure. Paul de Kock, the Jilly Cooper of his day and the most popular French novelist of the mid-nineteenth century, was read either in French or in cheap translations by readers of both sexes from different social—and therefore educational—backgrounds. Circulating libraries in towns and cities including Ludlow, Liverpool and Reading offered popular titles by writers such as Eugène Sue and Alexandre Dumas père, as did the libraries of working-class establishments such as the Glasgow Mechanics’ Institution. The booksellers themselves were often reviewers who naturally took a keen interest in publicising their wares: reviewers could act as a ‘cordon sanitaire’ preventing contagious material from infecting their customers, unless it suited them otherwise. French critics such as Jules Janin and Désiré Nisard also wrote for journals such as The Athenæum and London Review, which allowed them to continue the debate between Classicism and Romanticism for a different readership. Such practices led to interesting cases of alleged duplicity: in 1843 Balzac complained about a critic (apparently Janin) who would happily praise you in a Paris journal then stab you in the back in a London one. Atkinson also provides some illuminating examples of censorship in translations, such as the omitted reference to a husband eagerly groping his wife’s knees in de Kock’s Physiologie de l’homme marié (1841). But the gatekeepers for British readers were not only worried about sex; an 1847 piece in the London Journal criticized various French writers of the ‘Romantic school’ for the ‘unmanly and ungodly idea of suicide being a justifiable act’ (74). Brazen liberties were often taken with the French source material: in 1835 Blackwood’s Edinburgh Magazine published a five-page story entitled ‘Père Goriot: A True Parisian Tale of the Year 1930’, omitting any reference to Balzac and presenting the condensed treatment of his novel as a ‘sketch’ of contemporary Parisian life. It was often cheaper to publish translations of French fiction, which didn’t entail paying an author; moreover, the appearance of Belgian pirate copies of French novels created a further supply and a further distance from source text and publisher. 3Part II, ‘The dangers of French novels’, begins with an analysis of the difficulty in defining immorality. Croker’s critique of French novels was rejected on both sides of the Channel by critics such as George Reynolds and Sainte-Beuve, but questions of art and morality were also being discussed in France (in the 1850s Camille, the stage version of Dumas fils’ La Dame aux camélias, would be banned in both countries on moral grounds). Croker’s piece was itself more nuanced, praising the literary merit of Balzac while warning against the dangerous society described in La Peau de chagrin; the question of the relationship between mimesis and morality anticipates Zola’s defence of Naturalism three decades later. Atkinson provides a sensitive contextual reading of Croker’s article, positing it as an example of transnational debate rather than kneejerk insularity. She also draws on discussions of French literature in readers’ letters and diaries, revealing familiar double standards: many readers enjoyed the guilty pleasure of reading Paul de Kock, although they did not admit it in public. Queen Victoria’s own journal refers to her reading George Sand’s Consuelo in 1844, describing it as ‘very interesting & finely written, “mais tant soit peu scandaleux”’ (167). The use of French here hints at rehearsed propriety, as if any mention of French literature had to come with a health warning. From her correspondence with Mary Russell Mitford, Elizabeth Barrett Browning reveals a great admiration for the work of Sand and a desire to ‘define herself as an avant-garde reader in opposition to middlebrow England’ (170); here we see how French novels could represent both artistic and social liberation for readers and writers hidebound by Victorian society, especially women. But such ideas of equality were not always free from interesting intersectional prejudice: Barrett wrote to Mitford in 1842 that this new French literature should not be read much in England, except by ‘that small class of persons who can abstract the art of books from their moral expression’ (172). A taste for French literature was also attributed to a certain type of aristocratic young man—a wealthy idler—whose pleasures combined reading French novels with smoking and lying in bed, an activity that one might see as a variation on the Grand Tour. One chapter of Atkinson’s study is devoted to fictional readers of French literature in novels such as Thackeray’s Pendennis (1850), which enabled writers to consider these questions from different perspectives. The novelist Ouida, pseudonym of Maria Louise Ramé, bilingual daughter of an English mother and a French father, also wrote what might be seen as ‘French novels in English’, considering how exposure to French ideas was a kind of male bonding ritual for certain young men. Atkinson draws our attention to a whole raft of interesting Anglo-French hybrids, including Mary Elizabeth Braddon’s The Doctor’s Wife (1864), her ‘adaptation’ of Madame Bovary, and Emma Robinson’s Madeleine Graham (also 1864), where a young English woman is corrupted by her French teacher, aided and abetted by her reading of La Dame aux camélias. 4Part III, ‘National literary identities’, considers how some of these myriad examples relate to debates concerning so-called national characteristics. Atkinson shows how claims for a clear contrast between French and English novels belie the fact that many English novels were not only influenced by French ones—some were simply uncredited translations. Wilkie Collins and Charles Dickens were among many British novelists explicitly or implicitly influenced by French literature in the 1860s, as reviews began to place novels side-by-side rather than in separate columns, sometimes under such appealing headings as ‘The Dregs of French and English Romance’. As with all hybridity, this gradual cross-pollination calls into question the distinction between foreign and domestic. That said, there were still some interesting differences, including what might be called ‘the adultery taboo’: one British critic pointed out the absurdity that ‘English morality only allows a novelist to kill his neighbour—not to meddle with his neighbour’s wife’ (248). The use of bigamy as a plot device to allow divided loyalties without introducing adultery led another critic in 1864 to wonder if ‘people, in the best regulated families, were in the habit of marrying two wives, or two husbands, as the case might be’ (249). On the other hand, English novels often allowed for more positive models for women, especially with regard to opportunities for education and choice of marriage. At this point in the analysis Atkinson refers to the painting on the book’s cover, Augustus Egg’s Past and Present, No. 1 from 1858, part of a triptych on the theme of the fallen woman. She offers an intriguing new reading of the family scene, which depicts a woman prostrate on the floor, while a pensive man and two little girls look on. A detail on a book spine in the painting shows that it is by Balzac, but Atkinson suggests that we might also read it as a veiled critique of Victorian marriage, rather than a critique of dissolute French novels. She also shows how the distinction between French and English novels was partly subverted by emerging debates about the aesthetic value of literature, which harked back to Sainte-Beuve’s disparaging reference to ‘la littérature industrielle’, irrespective of its source. One interesting part of this debate was that French novels were seen by many to have better plots; the reasons for this apparent national difference were hard to gauge, but seemed to combine tradition and recent history—revolutionary fervour—with vitality, even virility, suggesting that the relative freedom of content had an advantageous effect on the form. Hippolyte Taine’s 1863–64 study Histoire de la littérature anglaise, a landmark of serious comparative criticism, also contributed to the view that literature was socially and therefore nationally conditioned, based on a priori characteristics: ‘Autant les Anglais l’emportent comme moralistes et satiriques, autant les Français l’emportent comme artistes et romanciers’ (336). In the 1870s both Balzac and Hugo emerge as models for the novel as a serious art form; Hugo in particular is held in high esteem, viewed as the successful combination of artistry and popularity, but as Atkinson points out in her conclusion, both Dumas and the detective novel still kept selling well; there was never simply one conception of the French novel. The conclusion suggests that gradually the fear of immoral influences was seen as less problematic as the century progressed, although censorship in late-Victorian Britain was still influential, as shown by references to organisations such as the SSV (Society for the Suppression of Vice), or the NVA (National Vigilance Association), created in 1885, whose actions led to Henry Vizetelly being fined and imprisoned for translating and publishing Zola. 5This book is an impressive achievement, always sensitive to counter-arguments, exceptions and caveats. My one reservation concerns the title, which should really be ‘French Novels and the Victorians: 1830-1870’, despite the references to Zola and others in the conclusion. It would have been very interesting to read more about the reception of Zola, Huysmans, Gyp, Daudet, Maupassant, Bourget, Rachilde, Mirbeau and all of the other novelists working in the last three decades of Victoria’s reign, as well as about the nexus of Aestheticism-Decadence-Symbolism, or the influence of the Dreyfus Affair and the trial of Oscar Wilde, for example. But this is not so much a criticism as a plea for a sequel on the fin de siècle and beyond: what is the relationship between Mirbeau and John Galsworthy, for example? It would also have been interesting to consider this material in the light of Bourdieu’s views of the nineteenth-century literary field, especially since Atkinson’s empirical sociological approach has much in common with Bourdieu’s own methods; similarly, Moretti’s work on travelling plots in the novel would cast an interesting light on the British reception of French literature. I would also have liked to see ‘middlebrow’ in the index. But these are minor quibbles: it’s an excellent book and a good companion piece to Elisabeth Jay’s 2016 work British Writers and Paris 1830-1875. It is also distinguished by moments of wry humour: my favourite one comes on p. 189, when the juxtaposition of advertisements for racy novels with one for ‘French Letters, or Capotes Anglaises . . . These perfect checks to impregnation and disease’ is described as ‘[m]oving from theory to practice’. We may never know exactly what the past was like, but this type of historiography makes much clearer.
5097	dbpedia	1	16	https://theodora.com/encyclopedia/g/theophile_gautier.html	en	Theophile Gautier - Encyclopedia	https://theodora.com/enc…encyclopedia.jpg	https://theodora.com/enc…encyclopedia.jpg	[ "https://theodora.com/encyclopedia/images/search.png", "https://theodora.com/encyclopedia/images/close_menu.png", "https://theodora.com/encyclopedia/ic_g_translate_white_24px.svg", "https://theodora.com/wfb2008/images/dot_ad.gif", "https://theodora.com/images/spanish_translate.gif", "https://theodora.com/images/chinese_translate.gif", "https://theodora.com/images/french_translate.gif", "https://theodora.com/images/german_translate.gif", "https://theodora.com/images/russian_translate.gif", "https://theodora.com/images/hindi_translate.gif", "https://theodora.com/images/arabic_translate.gif", "https://theodora.com/images/portuguese_translate.gif", "https://theodora.com/encyclopedia/images/facebook_150x65.png", "https://theodora.com/encyclopedia/images/twitter_150x65.png", "https://theodora.com/encyclopedia/images/linkedin.png", "https://theodora.com/rankings/images/dot_ad_3.gif" ]	[]	[]	[ "" ]	null	[]	null		en			https://theodora.com/encyclopedia/g/theophile_gautier.html	GEOGRAPHICAL NAMES THEOPHILE GAUTIER (1811-1872), French poet and miscellaneous writer, was born at Tarbes on the 31st of August 181 1. He was educated at the grammar school of that town, and afterwards at the College Charlemagne in Paris, but was almost as much in the studios. He very early devoted himself to the study of the older French literature, especially that of the 16th and the early part of the 17th century. This study qualified him well to take part in the Romantic movement, and enabled him to astonish Sainte-Beuve by the phraseology and style of some literary essays which, when barely eighteen years old, he put into the critic's hands. In consequence of this introduction he at once came under the influence of the great Romantic cenacle, to which, as to Victor Hugo in particular, he was also introduced by his gifted but ill-starred schoolmate Gerard de Nerval. With Gerard, Petrus Borel, Corot, and many other less known painters and poets whose personalities he has delightfully sketched in the articles collected under the titles of Histoire du Romantisme, &c., he formed a minor romantic clique who were distinguished for a time by the most extravagant eccentricity. A flaming crimson waistcoat and a great mass of waving hair were the outward signs which qualified Gautier for a chief rank among the enthusiastic devotees who attended the rehearsals of Hernani with red tickets marked "Hierro," performed mocking dances round the bust of Racine, and were at all times ready to exchange word or blow with the perruques and grisdtres of the classical party. In Gautier's case these freaks were not inconsistent with real genius and real devotion to sound ideals of literature. He began (like Thackeray, to whom he presents in other ways some striking points of resemblance) as an artist, but soon found that his true powers lay in another direction. His first considerable poem, Albertus (1830), displayed a good deal of the extravagant character which accompanied rather than marked the movement, but also gave evidence of uncommon command both of language and imagery, and in particular of a descriptive power hardly to be excelled. The promise thus given was more than fulfilled in his subsequent poetry, which, in consequence of its small bulk, may well be noticed at once and by anticipation. The Comedie de la mort, which appeared soon after (1832), is one of the most remarkable of French poems, and though never widely read has received the suffrage of every competent reader. Minor poems of various dates, published in 1840, display an almost unequalled command over poetical form, an advance even over Albertus in vigour, wealth and appropriateness of diction, and abundance of the special poetical essence. All these good gifts reached their climax in the first published in 1856, and again, with additions, just before the poet's death in 1872. These poems are in their own way such as cannot be surpassed. Gautier's poetical work contains in little an expression of his literary peculiarities. There are, in addition to the peculiarities of style and diction already noticed, an extraordinary feeling and affection for beauty in art and nature, and a strange indifference to anything beyond this range, which has doubtless injured the popularity of his work. But it was not, after all, as a poet that Gautier was to achieve either profit or fame. For the theatre, he had but little gift, and his dramatic efforts (if we except certain masques or ballets in which his exuberant and graceful fancy came into play) are by far his weakest. It was otherwise with his prose fiction. His first novel of any size, and in many respects his most remarkable work, was Mademoiselle de Maupin (1835). Unfortunately this book, while it establishes his literary reputation on an imperishable basis, was unfitted by its subject, and in parts by its treatment, for general perusal, and created, even in France, a prejudice against its author which he was very far from really deserving. During the years from 1833 onwards, his fertility in novels and tales was very great. Les Jeunes-France (1833), which may rank as a sort of prose Albertus in some ways, displays the follies of the youthful Romantics in a vein of humorous and at the same time half-pathetic satire. Fortunio (1838) perhaps belongs to the same class. Jettatura, written somewhat later, is less extravagant and more pathetic. A crowd of minor tales display the highest literary qualities, and rank with Merimee's at the head of all contemporary works of the class. First of all must be mentioned the ghost-story of La Morte amoureuse, a gem of the most perfect workmanship. For many years Gautier continued to write novels. La Belle Jenny (1864) is a not very successful attempt to. draw on his English experience, but the earlier Militona (1847) is a most charming picture of Spanish life. In Spirite (1866) he endeavoured to enlist the fancy of the day for supernatural manifestations, and a Roman de la momie (1856) is a learned study of ancient Egyptian ways. His most remarkable effort in this kind, towards the end of his life,was Le Capitaine Fracasse (1863), a novel, partly of the picaresque school, partly of that which Dumas was to make popular, projected nearly thirty years earlier, and before Dumas himself had taken to the style. This book contains some of the finest instances of his literary power. Yet neither in poems nor in novels did the main occupation of Gautier as a literary man consist. He was early drawn to the more lucrative task of feuilleton-writing, and for more than thirty years he was among the most expert and successful practitioners of this art. Soon after the publication of Mademoiselle de Maupin, in which he had not been too polite to journalism, he became irrevocably a journalist. He was actually the editor of L' Artiste for a time: but his chief newspaper connexions were with La Presse from 1836 to 18J4 and with the Moniteur later. His work was mainly theatrical and art criticism. The rest of his life was spent either at Paris or in travels of considerable extent to Spain, the Netherlands, Italy, Turkey, England, Algeria and Russia, all undertaken with a more or less definite purpose of book-making. Having absolutely no political opinions, he had no difficulty in accepting the Second Empire, and received from it considerable favours, in return for which, however, he in no way prostituted his pen, but remained a literary man pure and simple. He died on the 23rd of December 1872. Accounts of his travels, criticisms of the theatrical and literary works of the day, obituary notices of his contemporaries and, above all, art criticism occupied him in turn. It has sometimes been deplored that this engagement in journalism should have diverted Gautier from the performance of more capital work in literature. Perhaps, however, this regret springs from a certain misconception. Gautier's power was literary power pure and simple, and it is as evident in his slightest sketches and criticisms as in Emaux et camees or La Morte amoureuse. On the other hand, his weakness, if he had a weakness, lay in his almost total indifference to the matters which usually supply subjects for art and therefore for literature. He has thus been accused of "lack of ideas" by those who have not cleared their own minds of cant; and in the recent set-back of the critical current against form and in favour of "philosophic" treatment, comment upon him has sometimes been unfavourable. But this injustice will, beyond all question, be redressed again. He was neither immoral, irreligious nor unduly subservient to despotism, but morals, religion and politics (to which we may add science and material progress) were matters of no interest to him. He was to all intents a humanist, as the word was understood in the 15th century. But he was a humorist as well, and this combination, joined to his singularly kindly and genial nature, saved him from some dangers and depravations as well as some absurdities to which the humanist temper is exposed. As time goes on it may be predicted that, though Gautier may not be widely read, yet his writings will never cease to be full of indescribable charm and of very definite instruction to men of letters. Besides those of his works which have been already cited, we may notice Une Larme du diable (1839), a charming mixture of humour and tenderness; Les Grotesques (1844), a volume of early criticisms on some oddities of 17th-century literature; Caprices et zigzags (1845), miscellanies dealing in part with English life; Voyage en Espagne (1845), Constantinople (1854), Voyage en Russie (1866), brilliant volumes of travel; Menagerie intime (1869) and Tableaux de siege (1872), his two latest works, which display his incomparable style in its quietest but not least happy form.
5097	dbpedia	2	14	https://kids.britannica.com/students/article/Guy-de-Maupassant/275740/related/main%3Fpage%3D1	en				[ "https://cdn.britannica.com/73/147573-003-FC1DBBC8.gif", "https://cdn.britannica.com/04/126004-003-DA7E3E4A.gif", "https://cdn.britannica.com/05/184705-003-5B4427DC.gif", "https://cdn.britannica.com/30/135430-003-E39F9166.gif", "https://cdn.britannica.com/04/148304-003-FB8DA9BF.gif", "https://cdn.britannica.com/00/121100-003-4B7EDEF4.gif", "https://cdn.britannica.com/93/143493-003-7C07990F.gif", "https://cdn.britannica.com/66/109066-003-6DF8DAAF.gif", "https://cdn.britannica.com/30/135430-003-E39F9166.gif", "https://cdn.britannica.com/18/198718-003-99C40BCD.gif", "https://cdn.britannica.com/56/12056-003-7B2EDFB2.gif", "https://cdn.britannica.com/75/131375-003-2D8F4B69.gif", "https://cdn.britannica.com/97/13197-003-4E478289.gif", "https://cdn.britannica.com/98/38298-003-4ECDB38B.gif", "https://cdn.britannica.com/36/11836-003-F53734B7.gif", "https://cdn.britannica.com/64/9264-003-BC2C9C4E.gif", "https://cdn.britannica.com/58/66758-003-96E003D9.gif", "https://cdn.britannica.com/78/159778-003-3073FE08.gif", "https://cdn.britannica.com/27/11427-003-3E4D33BA.gif", "https://cdn.britannica.com/15/8815-003-FEFB633F.gif", "https://cdn.britannica.com/57/7657-003-9E02107F.gif", "https://cdn.britannica.com/52/79352-003-20E2B826.gif", "https://cdn.britannica.com/82/28382-003-C2F701C1.gif", "https://cdn.britannica.com/80/21080-003-CEFF1CAF.gif" ]	[]	[]	[ "" ]	null	[]	null					null	French literature French literature is the body of written works in the French language produced by authors from France. The French people are proud of their language and of their long... novel “The books that we do read with pleasure,” said Samuel Johnson, “are light compositions, which contain a quick succession of events.” Johnson spoke in 1783, but his claim has... short story As long as people have told stories, there have been short works of prose—and occasionally poetic—fiction. Today such works are called short stories, and their modern form... naturalism Adherents of the literary movement known as naturalism aimed to examine human beings objectively and represent life as it really is. An extension of realism, naturalism aimed... writing The history and prehistory of writing are as long as the history of civilization itself. Indeed the development of communication by writing was a basic step in the advance of... literature There is no precise definition of the term literature. Derived from the Latin words litteratus (learned) and littera (a letter of the alphabet), it refers to written works... newspaper Newspapers are publications usually issued daily, weekly, or at other regular times that provide news, views, features, and other information of public interest and that... magazine and journal For every age group, every interest, every specialty, and every taste there is a magazine. Magazines are often called periodicals, because they are published at fixed... Émile Zola (1840–1902). As a writer Émile Zola waged two great battles—a long struggle for the acceptance of his powerful novels and the courageous defense of Captain Alfred Dreyfus in... Voltaire (1694–1778). In his 84 years Voltaire was historian and essayist, playwright and storyteller, poet and philosopher, wit and pamphleteer, wealthy businessman and practical... Erckmann-Chatrian Émile Erckmann and Louis-Alexandre Chatrian, two of the first French regionalist novelists of the 19th century, wrote together under the joint pen name Erckmann-Chatrian.... Victor Hugo (1802–85). The great French novelist and poet Victor Hugo created two of the most famous characters in literature—Jean Valjean, the ex-convict hero of Les Misérables, and the... Honoré de Balzac (1799–1850). The great French novelist Honoré de Balzac wrote of life in France during his own time. His series of roughly 90 novels and tales, which he called La Comédie... Marcel Proust (1871–1922). The French novelist Marcel Proust had one of the most original styles in literature. His massive work, In Search of Lost Time, is an autobiographical novel told... Gustave Flaubert (1821–80). Writing was not easy for the French novelist Gustave Flaubert. Because of his concern for form and precise detail, he often struggled for days searching for le... Stendhal (1783–1842). The French author Marie-Henri Beyle used 170 pen names during his career. The one by which he earned his enduring reputation is Stendhal. It was under this name... Marquis de Sade (1740–1814). A unique figure in the world of 18th-century French literature, the Marquis de Sade wrote novels noted for their graphic depictions of sexual acts linked with... Albert Camus (1913–60). Living in a world overwhelmed by wars and political upheaval, Albert Camus believed that traditional human values must survive. While his novels, essays, and plays... Edmond and Jules de Goncourt (1822–1896; 1830–1870). Working in collaboration, the French novelists and brothers Edmond and Jules de Goncourt are known for their naturalistic novels and contributions to... Alfred de Vigny (1797–1863). One of the foremost French romantic writers was the poet, dramatist, and novelist Alfred de Vigny. He introduced into France the poem in the style of Lord Byron... Colette (1873–1954). French author Colette was a prominent and prolific writer during the first half of the 20th century. She often wrote of the pains and pleasures of...
5097	dbpedia	3	58	https://www.ww2wrecks.com/portfolio/found-theophile-gautier-a-french-ocean-liner-at-the-seabed-of-the-aegean/	en	FOUND! Théophile Gautier: A French ocean liner at the seabed of the Aegean – WW2Wrecks.com	https://www.ww2wrecks.co…img734-32x32.jpg	https://www.ww2wrecks.co…img734-32x32.jpg	[ "https://www.ww2wrecks.com/wp-content/uploads/2018/02/cropped-logo-ww2wrecks-final.png", "https://www.ww2wrecks.com/wp-content/uploads/2016/10/gautier1.jpg", "https://www.ww2wrecks.com/wp-content/uploads/2016/10/gautier2.jpg", "https://www.ww2wrecks.com/wp-content/uploads/2016/10/diselido-gautier.jpg", "https://www.ww2wrecks.com/wp-content/uploads/2016/10/gautier3.jpg", "https://www.ww2wrecks.com/wp-content/uploads/2016/10/gautier4.jpg", "https://www.ww2wrecks.com/wp-content/uploads/2016/10/gautier5.jpg" ]	[]	[]	[ "" ]	null	[]	null		en	https://www.ww2wrecks.co…img734-32x32.jpg		https://www.ww2wrecks.com/portfolio/found-theophile-gautier-a-french-ocean-liner-at-the-seabed-of-the-aegean/	By Pierre Kosmidis The Aegean seabed is a silent witness of many dramatic events during the Second World War. The wreckdiving.gr research team located and positively identified the wreck of the French ocean liner Théophile Gautier, at a depth of 112 meters below sea level. “Following information received from local fishermen, and thorough research in the historical archives, and despite the adverse conditions encountered, strong currents and poor visibility, we have been able to identify the wreck” says scuba diver Nikolas Vasilatos “During the dive we saw that the stern was completely destroyed, apparently by the explosion caused by a torpedo of the British submarine” The “Greek Woman of the Abyss” Helen Tsopouropoulou, wreckdiving.gr team photographer said: “The ship is well preserved , although more than seven decades have passed since her sinking. The two funnels still stand upright offer an impressive sight” The last voyage On October 3, 1941, «Théophile Gautier» sailed with a convoy from Thessaloniki, with final destination France. Filled with flour and other supplies, to be unloaded at Piraeus, the French ocean liner sailed to her Nemesis. The next day at 6:37 pm, while she was between Euboea and Kea, a violent explosion shook the ship. A torpedo from the British submarine HMS Talisman hit the ocean liner in the stern and at 7:20 the large ship disappeared beneath the waves. Of the 109 people on board, 18 were killed by the explosion or drowned, two succumbed to their injuries later and 13 were injured. Survivors were collected from the escort ships of the convoy and were transferred to Piraeus. The identity of the «Théophile Gautier» The ocean liner « Théophile Gautier », 8194 GRT and at a length of 136 meters, was built in Dunkirk, France, in 1927. She could carry 728 passengers and was the first ship of her kind in France with combustion engines rather than steam ones. She was launched from Marseilles and her maiden voyage was to Alexandria, with stopovers in Piraeus, Beirut, Istanbul and Naples. She also made cruises to the Greek islands and had traveled up to the Black Sea.
5097	dbpedia	3	23	https://www.poemhunter.com/theophile-gautier/	en	Poet Theophile Gautier Poems	https://img.poemhunter.c…81210_b_3672.jpg	https://img.poemhunter.c…81210_b_3672.jpg	[ "https://www.poemhunter.com/assets/img/logo-white.png", "https://img.poemhunter.com/i/p/10/1081210_b_3672.jpg", "https://img.poemhunter.com/i/p/10/1081210_b_3672.jpg", "https://www.poemhunter.com/assets/img/menuyu_kapat.png", "https://img.poemhunter.com/i/p/10/1081210_b_3672.jpg", "https://img.poemhunter.com/i/p/10/1081210_b_3672.jpg", "https://www.poemhunter.com/assets/img/menuyu_kapat.png" ]	[]	[]	[ "" ]	null	[]	null	Theophile Gautier poems, quotations and biography on Theophile Gautier poet page. Theophile Gautier poetry page; read all poems by Theophile Gautier written.	en	/favicon.ico	Poem Hunter	https://www.poemhunter.com/theophile-gautier/	Theophile Gautier Biography Pierre Jules Théophile Gautier (August 30, 1811 – October 23, 1872) was a French poet, dramatist, novelist, journalist, and literary critic. While Gautier was an ardent defender of Romanticism, his work is difficult to classify and remains a point of reference for many subsequent literary traditions such as Parnassianism, Symbolism, Decadence and Modernism. He was widely esteemed by writers as diverse as Balzac, Baudelaire, the Goncourt brothers, Flaubert and Oscar Wilde. Towards the end of 1830, Gautier began to frequent meetings of Le Petit Cénacle, a group of artists who met in the studio of Jehan Du Seigneur. The group was a more irresponsible version of Hugo's Cénacle. The group counted among its members the artists Gérard de Nerval, Alexandre Dumas, père, Petrus Borel, Alphonse Brot, Joseph Bouchardy and Philothée O’Neddy. Le Petit Cénacle soon gained a reputation for extravagance and eccentricity, but also for being a unique refuge from society. Gautier began writing poetry as early as 1826 but the majority of his life was spent as a contributor to various journals, mainly La Presse, which also gave him the opportunity for foreign travel and for meeting many influential contacts in high society and in the world of the arts. Throughout his life, Gautier was well-traveled, taking trips to Spain, Italy, Russia, Egypt and Algeria. Gautier's many travels inspired many of his writings including Voyage en Espagne (1843), Trésors d’Art de la Russie (1858), and Voyage en Russie (1867). Gautier's travel literature is considered by many as being some of the best from the nineteenth century, often written in a more personal style, it provides a window into Gautier's own tastes in art and culture.) The Best Poem Of Theophile Gautier The Phantom Of The Rose Sweet lady, let your lids unclose.-- Those lids by maiden dreams caressed; I am the phantom of the rose You wore last night upon your breast. Like pearls upon my petals lay The weeping fountain's silver tears, Ere in the glittering array You bore me proudly 'mid your peers. O lady, 'twas for you I died-- Yet have I come and will I stay; My rosy phantom by your side Will linger till the break of day. Yet fear not, lady; naught claim I-- Nor mass, nor hymn, or funeral prayer; My soul is but a perfumed sigh, Which pure from Paradise I bear. My death is as my life was--sweet; Who would not die as I have done? A fate like mine who would not meet, Your bosom fair to lie upon? A poet on my sentient tomb Engraved this legend with a kiss: 'Here lies a rose of fairest bloom; E'en kings are jealous of its bliss.
5097	dbpedia	3	1	https://www.poetryfoundation.org/poets/theophile-gautier	en	Théophile Gautier	https://s3-us-east-2.ama…mtime=1715886111	https://s3-us-east-2.ama…mtime=1715886111	[ "https://cdn-test.poetryfoundation.org/cdn-cgi/image/w=10,h=16,q=50,fit=contain,blur=3/content/images/951f8f89e8d91c142ace81a5d1624d1173fc8dbc.jpg", "https://cdn-test.poetryfoundation.org/cdn-cgi/image/w=10,h=16,q=50,fit=contain,blur=3/content/images/june2024-poetry-cover.jpg", "https://cdn-test.poetryfoundation.org/cdn-cgi/image/w=10,h=16,q=50,fit=contain,blur=3/content/images/951f8f89e8d91c142ace81a5d1624d1173fc8dbc.jpg", "https://cdn-test.poetryfoundation.org/cdn-cgi/image/w=10,h=16,q=50,fit=contain,blur=3/content/images/june2024-poetry-cover.jpg", "https://www.poetryfoundation.org/assets/images/logo-print.png" ]	[]	[]	[ "" ]	null	[]	null	Poems, readings, poetry news and the entire 110-year archive of POETRY magazine.		/favicon.ico?v2.0.0	The Poetry Foundation	https://www.poetryfoundation.org/poets/theophile-gautier	French art critic, journalist, and fiction writer Théophile Gautier was born in 1811 and lived in Paris for most of his life. He attended the Collège Charlemagne, where he became friends with the poet Gérard de Nerval. Gautier was first interested in painting but turned to poetry and became an early proponent of Romanticism. With the publication of his first collection of poetry, Albertus (1832), and his novel Mademoiselle de Maupin (1835), he shifted his allegiance from Romanticism to the burgeoning philosophy of l’art pour l’art, or “art for art’s sake.” Art and travel influenced Gautier’s creative work and journalism. His collections of poems España (1845) and Voyage en Espagne (1845) were the result of travels to Spain. As an art critic, he covered the theater, visual arts, and salons for La Presse. An extremely influential and prolific journalist and critic, he was an early supporter of the work of the artists Ingres, Delacroix, and Goya. Travel to Greece led to his collection of poems Émaux et Camées (1852), in which he focused on artworks, following his ideas concerning transposition d’art—writing directly about art pieces. Gautier joined Le Moniteur Universel in 1854 and became editor of L’Artiste in 1856. In 1868, he became librarian to Princess Mathilde Bonaparte.
5097	dbpedia	1	82	https://www.theartstory.org/influencer/baudelaire-charles/	en	Charles Baudelaire Overview and Analysis	https://www.theartstory.…aire_charles.jpg	https://www.theartstory.…aire_charles.jpg	[ "https://www.theartstory.org/images20/icons/icon-menu-social-fb.svg", "https://www.theartstory.org/images20/icons/icon-menu-social-tw.svg", "https://www.theartstory.org/images20/icons/icon-menu-social-ig.svg", "https://www.theartstory.org/images20/icons/icon-menu-social-pin.svg", "https://www.theartstory.org/images20/new_design/bio/bio_baudelaire_charles.jpg", "https://www.theartstory.org/images20/ttip/baudelaire_charles.jpg", "https://www.theartstory.org/images20/chart/signature_baudelaire_charles.png", "https://www.theartstory.org/images20/chart/signature_baudelaire_charles.png", "https://www.theartstory.org/images20/chart/signature_baudelaire_charles.png", "https://www.theartstory.org/images20/chart/signature_baudelaire_charles.png", 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"https://www.theartstory.org/images20/ttip/manet_edouard.jpg", "https://www.theartstory.org/images20/ttip/delacroix_eugene.jpg", "https://www.theartstory.org/images20/ttip/breton_andre.jpg", "https://www.theartstory.org/images20/ttip/courbet_gustave.jpg", "https://www.theartstory.org/images20/ttip/impressionism.jpg", "https://www.theartstory.org/images20/ttip/realism.jpg", "https://www.theartstory.org/images20/ttip/neoclassicism.jpg", "https://www.theartstory.org/images20/ttip/erotic_artists.jpg", "https://www.theartstory.org/images20/logos/logo-220x48-white.svg", "https://www.theartstory.org/images20/logos/logo-220x48.svg", "https://www.theartstory.org/images20/icons/icon-social-fb.svg", "https://www.theartstory.org/images20/icons/icon-social-tw.svg", "https://www.theartstory.org/images20/icons/icon-social-ig.svg", "https://www.theartstory.org/images20/icons/icon-social-pin.svg" ]	[]	[]	[ "" ]	null	[]	null	Baudelaire was a highly influential poet and a key figure in the development of modern art.		/apple-touch-icon.png	The Art Story	https://www.theartstory.org/influencer/baudelaire-charles/	Summary of Charles Baudelaire Baudelaire is arguably the most influential French poet of the nineteenth century and a key figure in the timeline of European art history. A denizen of Paris during the years of burgeoning modernity, his writing showed a strong inclination towards experimentation and he identified with fellow travellers in the field of contemporary painting, most notably EugÃ¨ne Delacroix and Ãdouard Manet. A rebel of near-heroic proportions, Baudelaire gained notoriety and public condemnation for writings that dealt with taboo subjects such as sex, death, homosexuality, depression and addiction, while his personal life was blighted with familial acrimony, ill health, and financial misfortune. Despite these hinderances, he managed to leave his indelible stamp on three overlapping idioms: art criticism, poetry, and literary translation. It is in respect of the former that he can be credited with providing the philosophical connection between the ages of French Romanticism, Impressionism and the birth of what is now considered modern art. Accomplishments Baudelaire saw himself as the literary equal of the contemporary artist; especially Delacroix with whom he felt a special affinity. Like Delacroix, Baudelaire was committed to testing the limits of his art in the way he sought to capture the vicissitudes of human emotions. Where Baudelaire used poetry to achieve this affect, Delacroix used color, but both men were leading a charge towards a new - modern - era in art history. Baudelaire's name is inextricably linked with the idea of the flÃ¢neur: the anonymous street wanderer who created a poetic record of the rapidly shifting environment to which he, and his fellow urban dwellers, were exposed. As a "man of the city", he wandered anonymously throughout the streets, embankments, and arcades of Paris observing the behaviour of crowds in this new age of window shopping and cafe culture. The concept of the flÃ¢neur became an important phenomenon for future artists and, after the writings of the philosopher and critic Walter Benjamin which introduced Baudelaire to a new twentieth century audience, for the academic development of the cultural studies too. Baudelaire played a significant part in defining the role both of the artist and the art critic. In his call for a more modern (more relevant) art style, Baudelaire argued that artists like Delacroix and Manet offered the best step forward in that direction. But he also helped viewers see the importance of the Neoclassicist Jacques-Louis David, appreciate the talents of lesser-known artists such as the illustrator Constantin Guys and the etcher Charles Meryon, all of whom captured something of the fleeting mood of their times. Baudelaire became a close friend of Manet on whom he had a profound influence. Indeed, it was through Baudelaire's encouragement that Manet - a kindred spirit who was reviled for his painting Olympia just as much as Baudelaire had been reviled for his collection Les Fleurs du Mal - ultimately fulfilled Baudelaire's vision of the true painter of modern life; one who could capture the transient quality of modern Paris with a new picture perspective and energized color palette. The Life of Charles Baudelaire Charles Baudelaire and Important Artists and Artworks Biography of Charles Baudelaire Childhood and Education In his later years, Baudelaire was given to describe his family as a disturbed cast of characters, claiming that he was descended from a long line of "idiots or madmen, living in gloomy apartments, all of them victims of terrible passions". Though there was no indication of how literally one should treat his claims, it is true that he had a troubled family life. He was the only son born to parents FranÃ§ois Baudelaire and Caroline Defayis; although his father (a high ranking civil servant, and former priest), had a son (Alphonse) from a previous marriage. Baudelaire's stepbrother was sixteen years his senior while there was a thirty-four-year age difference between his parents (his father was sixty and his mother twenty-six when they married). Baudelaire was just six years old when his father died. Nevertheless, FranÃ§ois Baudelaire can take credit for providing the impetus for his son's passion for art. An amateur artist himself, FranÃ§ois had filled the family home with hundreds of paintings and sculptures. Baudelaire's mother was not an art lover, however, and she took a particular disliking to her husband's more salacious pieces. According to author F. W. J. Hemmings, Caroline was "prudish enough to feel some embarrassment at being perpetually surrounded by images of naked nymphs and lusty satyrs, which she quietly removed one by one, replacing them by other less indecent pictures stored in the attics ". FranÃ§ois died in February 1827, and Baudelaire lived with his mother in a Paris suburb for a period of eighteen months. Recalling in adulthood this blissful time alone with his mother, Baudelaire wrote to her: "I was forever alive in you; you were solely and completely mine". Baudelaire's period of personal bliss was short lived, however, and in November 1828, his beloved mother married a military captain named Jacques Aupick (Baudelaire later lamenting: "when a woman has a son like me [...] she doesn't get married again"). His stepfather rose through the ranks to General (he would later become French ambassador to the Ottoman Empire and Spain and Senator under the Second Empire under Napoleon III) and was posted to Lyon in 1831. On their arrival in Lyon, Baudelaire became a boarding student at the CollÃ¨ge Royal. This event was a sign of the ambivalent relationship Baudelaire shared with the "stubborn", "misguided" yet "well intentioned" Aupick: "I can't think of schools without a twinge of pain, any more than of the fear my stepfather filled me with. Yet I loved him", he wrote in later life. Baudelaire transferred to the prestigious LycÃ©e Louis-le-Grand on the family's return to Paris in 1836. It was here that he began to develop his talent for poetry, though his masters were troubled by the content of some of his writings ("affectations unsuited to his age" as one master commented). Baudelaire was also given to bouts of melancholia and insubordination, the latter leading to his expulsion in April 1839. Baudelaire's parents quickly enrolled him in the CollÃ©ge Saint-Louis where he successfully passed his baccalaurÃ©at exam by August 1839. Early Training On completing school, Aupick encouraged Baudelaire to enter military service. His decision to pursue a life as a writer caused further family frictions with his mother recalling: "if Charles had accepted the guidance of his stepfather, his career would have been very different. He would not have won himself a name in literature, it is true, but we should have been all three much happier". Baudelaire pursued his literary aspirations in earnest but, in order to appease his parents, he agreed to enrol as a "nominal" (non-attending) law student at the Ãcole de Droit. Taking up residence in Paris's Latin Quarter, Baudelaire embarked on a life of promiscuity and social self-indulgence. He sexual encounters (including those with a prostitute, affectionately nicknamed "Squint-Eyed Sarah", who became the subject of some of his most candid and touching early poems) led him to contract syphilis. The venereal disease would lead ultimately to his death but he did not let it dent his bohemian lifestyle which he indulged in with a circle of friends including the poet Gustave Le Vavasseur and the author Ernest Prarond. Living the life of a bohemian dandy (Baudelaire had cultivated quite the reputation as a unique and elegant dresser) was not easy to sustain and he amassed significant debts. Baudelaire approached his stepbrother for help but the sibling refused and instead informed his parents of their son's financial predicament. In an attempt to encourage him to take stock, and to separate him from his bad influences, his stepfather sent him on a three-month sea journey to India in June 1841. While the voyage fired his imagination with exotic imagery, it proved a miserable experience for Baudelaire who, according to biographer F. W. J. Hemmings, developed a stomach problem which he tried (unsuccessfully) to cure "by lying on his stomach with his buttocks exposed to the equatorial sun [and] with the inevitable result that for some time afterwards he found it impossible to sit down ". Having reached Mauritius, Baudelaire "jumped ship" and, after a short stay there, and then on the island of Reunion, he boarded a homebound ship that docked in France in February 1842. Mature Period Baudelaire finally gained financial independence from his parents in April 1842 when he came into his inheritance. Flush with funds, he rented an apartment at the HÃ´tel Pimodan on the Ãle Saint-Louis and began to write and give public recitations of his poetry. His inheritance would have supported an individual who conducted their financial concerns with prudence, but this did not fit the profile of a dandified bohemian and, before very long, his extravagant spending - on clothes, artworks, books, fine dining, wines and even hashish and opium - had seen him squander half his fortune in just two years. He had also succumbed to the tricks of fraudsters and unscrupulous moneylenders. So concerned were they about their son's predicament, Baudelaire's parents took legal control of his inheritance, restricting him to only a modest monthly stipend. This was insufficient to cover his debts, however, and he became financially dependent on his parents once more. This situation infuriated Baudelaire whose reduced circumstances led to him being forced (amongst other things) to move out of his beloved apartment. He fell into a deep depression and in June of 1845 he attempted suicide. Baudelaire had met Jeanne Duval soon after his return from his ill-fated voyage to the South Seas. She was his lover and then, after the mid-1850s, his financial manager too. Duval would come in and out of his life for the rest of his years, and inspired some of Baudelaire's most personal and romantic poetry (including "La Chevelure" ("The Head of Hair")). Baudelaire's mother disapproved of the fact that her son's muse was a poor, racially-blended, actress and his connection with her further tested their already strained relationship. Despite his various woes, Baudelaire was also developing his unique writing style; a style where, as Hemmings described it, "much of the work of composition was done out of doors [and] in the course of solitary walks round the streets or along the embankments of the Seine". As part of his recovery from his suicide attempt, Baudelaire had turned his hand to writing art criticism. He was a committed art lover - he spent some of his inheritance on artworks (including a print of Delacroix's Women of Algiers in their Apartment) and was a close friend of Ãmile Deroy who took him on studio visits and introducing him to many in his circle of friends - but had received next-to-no formal education in art history. According to Hemmings, his knowledge of art had been based on no more than "frequent visits to art galleries, beginning with a school trip in 1838 to view the royal collection at Versailles, and the knowledge of art history he had picked up from his reading" (and, no doubt, from the bohemian social circles in which he moved). His first published art criticism, which came in the shape of reviews for the Salons of 1845 and 1846 (and later in 1859), effectively introduced the name of "Charles Baudelaire" to the cultural milieu of mid-nineteenth century Paris. Baudelaire was a champion of Neoclassicism and Romanticism, the latter being, in his view, the bridge between the best of the past and the present. He was especially enraptured by the paintings of EugÃ¨ne Delacroix (he soon made the personal acquaintance of the artist who inspired his poem Les Phares) and through him, and through praise for others such as Constantin Guys, Jacques-Louis David and Ãdouard Manet he offered a philosophy on painting that prescribed that modern art (if it was to warrant that accolade) should celebrate the "heroism of modern life". He further prescribed that the "true painter" would be one who "proves himself capable of distilling the epic qualities of contemporary life, and of showing us and making us understand, by his colouring and draughtsmanship, how great we are, how poetic we are, in our cravats and our polished boots". Baudelaire also supplied a suggestion of what the role of the art critic should be: "[to] provide the untutored art lover with a useful guide to help develop his own feeling for art " and to demand of a truly modern artist "a fresh, honest expression of his temperament, assisted by whatever aid his mastery of technique can give him". Baudelaire saw himself very much as the literary equal of the modern artist and in January 1847 published a novella entitled La Fanfarlo which drew the analogy with a modern painter's self-portrait. It was also at this time that he became involved in the riots that overthrew King Louis-Philippe in 1848. To begin with, he, and friends including Gustave Courbet, stood by and observed as the riots unfolded. But rather than remain a sympathetic observer, Baudelaire joined the rebels. He had shown no radical political allegiances hitherto (if anything had been more sympathetic towards the interests of the petit-bourgeois class in which he had been born) and many in his circle were taken aback by his actions. It is possible (likely even) that his actions were an attempt to anger his family; especially his stepfather who was a symbol of the French establishment (some unsubstantiated accounts suggest Baudelaire was seen brandishing a musket and urging insurgents to "shoot general Aupick"). As the riots were quickly put down by King Charles X, Baudelaire was once more absorbed by his literary pursuits and in 1848 he co-founded a news-sheet entitled Le Salut Public. Though funds only allowed for two issues it helped raise Baudelaire's creative profile. Baudelaire also took an active part in the resistance to the Bonapartist military coup in December 1851 but declared soon after that his involvement in political matters was over and he would, henceforward, devote all his intellectual passions to his writings. Between 1848 and 1865 Baudelaire undertook one of his most important projects, the French translation of the complete works of Edgar Allan Poe. More so than his art criticism and his poetry, his translations would provide Baudelaire with the most reliable source of income throughout his career (his other notable translation came in 1860 through the conversion of the English essayist Thomas De Quincey's "Confessions of an English Opium-Eater"). Baudelaire, who felt a near-spiritual affinity with the author - "I have discovered an American author who has aroused my sympathetic interest to an incredible degree" he wrote - provided a critical introduction to each of the translated works. Indeed, Baudelaire's friend and fellow author Armand Fraisse, stated that he "identified so thoroughly with [Poe] that, as one turns the pages, it is just like reading an original work". Though Baudelaire almost single-handedly introduced Poe to the French speaking public, his translations would attract controversy with some critics accusing the Frenchman of taking some of the American's words to use in his own poems. Though these allegations proved unfounded, it is widely accepted that through his interest in Poe (and, indeed, the theorist Joseph de Maistre whose writing he also admired) Baudelaire's own worldview became increasingly misanthropic. Despite his growing reputation as an art critic and translator - a success that would smooth the path to the publication of his poetry - financial struggles continued to plague the profligate Baudelaire. According to Hemmings, between 1847 and 1856 things became so bad for the writer that he was, "homeless, cold, starving, and in rags for much of the time". His mother tried periodically to return to her son's good graces but she was unable to accept that he was still, despite his obsession with the society courtesan Apollonie Sabaier (a new muse to whom he addressed several poems) and, later still, a passing affair with the actress Marie Daubrun, involved with his mistress Jeanne Duval. Baudelaire's reputation as a rebel poet was confirmed in June 1857 with the publication of his masterpiece Les Fleurs du Mal (The Flowers of Evil). Although an anthology, Baudelaire insisted that the individual poems only achieved their full meaning when read in relation to one another; as part of a "singular framework" as he put it. In addition to its shifting views of romantic and physical love, the collected pieces covered Baudelaire's views on art, beauty, and the idea of the artist as martyr, visionary, pariah and/or even fool. Now considered a landmark in French literary history, it met with controversy on publication when a selection of 13 (from 100) poems were denounced by the press as pornographic. On July 7, 1857 the Ministry of the Interior arranged for a case to be brought before the public prosecutor on charges relating to public morality. Unsold copies of the book were seized and a trial was held on the 20th of August when six of the poems were found to be indecent. As well as the demand to remove the offending entries, Baudelaire received a fine of 50 francs (reduced on appeal from 300 francs). Disgusted by the court's decision, Baudelaire refused to let his publisher remove the poems and instead wrote 20-or-so new poems to be included in a revised extended edition published in 1861. (The banned six poems were later republished in Belgium in 1866 in the collection Les Ãpaves (Wreckage) with the official French ban on the original edition not lifted until 1949.) Baudelaire seemed unable to comprehend the controversy his publication had aroused: "no one, including myself, could suppose that a book imbued with such an evident and ardent spirituality [...] could be made the object of a prosecution, or rather could have given rise to misunderstanding" he wrote. Professor AndrÃ© Guyaux describes how the trial, "was not due to the sudden displeasure of a few magistrates. It was the result of an orchestrated press campaign denouncing a 'sick' book [and even] though Baudelaire achieved rapid fame, all those who refused to acknowledge his genius considered him to be dangerous. And there were quite a few". This trial, and the controversy surrounding it, made Baudelaire a household name in France but it also prevented him from achieving commercial success. The weight of the trial, his poor living conditions, and a lack of money weighed heavily on Baudelaire and he sunk once more into depression. His physical health was also beginning to seriously decline due to developing complications with syphilis. He started to take a morphine-based tincture (laudanum) which led in turn to an opium dependency. According to Hemmings, "from 1856 onwards, the venereal infection, alcoholic excess and opium addiction were working in an unholy alliance to push Baudelaire down to an early grave". Things with his family did not improve either. Even after his stepfather's death in April 1857, he and his mother were unable to properly reconcile because of the disgrace she felt at him being publicly denounced as a pornographer. Later Period Baudelaire and Manet formed a friendship that proved to be one of the most significant in the history of art; the painter realizing at last the poet's vision of converting Romanticism to Modernismmodernism. The two men became personally acquainted in 1862 after Manet had painted a portrait of Baudelaire's (on/off) mistress Jeanne Duval. It is thought that the artist intended his portrait to be a viewed specifically by Baudelaire in recognition of the positive notice the writer had given him in his recently published essay "L'eau-forte est Ã¢ la mode" ("Etching is in Fashion"). Having bonded, the two friends would stroll together in the grounds of the Tuileries Gardens where Baudelaire observed Manet complete several etchings. Baudelaire convinced his friend to be brave; to ignore academic rules by using an "abbreviated" painting style that used light brush strokes to capture the transient atmosphere of frivolous urban life. Indeed, it was on Baudelaire's recommendation that Manet painted the canonical Music in the Tuileries Gardens (1862). Cited by many as the first truly modernist painting, Manet's image captures a "glimpse" of everyday Parisian life as a fashionable crowd gathers in the Gardens to listen to an open-air concert. The painting was so topical it featured a cast of the artist's own family and personal acquaintances including Baudelaire, TheÌophile Gautier, Henri Fantin-Latour, Jacques Offenbach and Manet's brother EugeÌne. Manet himself also features as an onlooker in a gesture that alludes to the idea of the flÃ¢neur as an agent of the age of modernity. It was during the same period that Baudelaire abandoned his commitment to verse in favor of the prose poem; or what Baudelaire called the "non-metrical compositions poem". Though precedents can be found in the poetry of the German Friedrich HÃ¶lderlin and the French Louis Bertrand, Baudelaire is widely credited as being the first to give "prose poetry" its name since it was he who most flagrantly disobeyed the aesthetic conventions of the verse (or "metrical") method. Structured on a tension between critical writing and the patterns of verse, the prose poems accommodate symbolism, metaphors, incongruities and contradictions and Baudelaire published a selection of 20 prose poems in La Presse in 1862, followed by a further six, titled Le Spleen de Paris, in Le Figaro magazine two years later. One of his final prose poems, La Corde (The Rope) (1864), was dedicated to Manet's portrait Boy with Cherries (1859). While Manet and Baudelaire had by now become close friends, it was the draftsman Constantin Guys who emerged as Baudelaire's hero in his 1863 essay, "Le Peintre de la vie moderne" ("The Painter of Modern Life"). The essay amounted to a formal and thematic blueprint of the Impressionism movement nearly a decade before that school came to dominate the avant-garde. There was no little irony in Baudelaire's focus on the little-known Guys given that it was Manet who emerged as the leading light in the development of Impressionism. According to the art historian Alan Bowness it was in fact Baudelaire's friendship "that gave Manet the encouragement to plunge into the unknown to find the new, and in doing so to become the true painter of modern life". In the last years of his life, Baudelaire fell into a deep depression and once more contemplated suicide. He attempted to improve his state of mind (and earn money) by giving readings and lectures, and in April 1864 he left Paris for an extended stay in Brussels. He had hoped to persuade a Belgium publisher to print his compete works but his fortunes failed to improve and he was left feeling deeply embittered. Indeed, in a letter to Manet he urged his friend to "never believe what you may hear about the good nature of the Belgians". Baudelaire and Manet were in fact kindred spirits with the painter receiving the same sort of critical backlash for Olympia (following its first showing at the Paris Salon of 1865) as Baudelaire had for Les Fleurs du Mal. Manet wrote to Baudelaire telling him of his despair over Olympia's reception and Baudelaire rallied behind him, though not with soothing platitudes so much as with his own inimitable brand of reassurance: "do you think you are the first man placed in this situation?", he wrote, "Is yours a greater talent than Chateaubriand's and Wagner's? They too were derided. It did not kill them". In the summer of 1866 Baudelaire, stricken down by paralysis and aphasia, collapsed in the Church of Saint-Loup at Namur. His mother collected her son from Brussels and took him back to Paris where he was admitted to a nursing home. He never left the home and died there the following year aged just 46. The Legacy of Charles Baudelaire Many of Baudelaire's writings were unpublished or out of print at the time of his death but his reputation as a poet was already secure with Stephane MallarmÃ©, Paul Valaine and Arthur Rimbaud all citing him as an influence. Moving into the twentieth century, literary luminaries as wide ranging as Jean-Paul Sartre, Robert Lowell and Seamus Heaney have acclaimed his writing. His influence on the modern art world was quick to take effect too; not just with Manet and the Impressionist, but also with future members of the Symbolism movement (several of whom attended his funeral) who had already declared themselves devotees. His prose poetry, so rich in metaphor, would also directly inspire the Surrealists with AndrÃ© Breton lauding Baudelaire in Le SurrÃ©alisme et La Peinture as a champion "of the imagination". Baudelaire's contribution to the age of modernity was profound. As professor AndrÃ© Guyaux observed, he was "obsessed with the idea of modernity [and in fact] gave the word its full meaning". But no single figure did more to cement Baudelaire's legend than the influential German philosopher and critic Walter Benjamin whose collected essays on Baudelaire, The Writer of Modern Life, claimed the Frenchman as a new hero of the modern age and positioned him at the very center of the social and cultural history of mid-to-late nineteenth-century Paris. It was Benjamin who transported Baudelaire's flÃ¢neur into the twentieth century, figuring him as an essential component of our understandings of modernity, urbanisation and class alienation. Influences and Connections Useful Resources on Charles Baudelaire
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]	2022-02-03T11:41:08+00:00	So, this recording became quite popular a few days ago, and my French ass was delighted (hysterical) to hear Ben speaking my language. Then, curiosity got the best of me and I couldn’t resist writing...		https://64.media.tumblr.com/abeae1d09e02b9f01ad0ab46f7d1a1bc/78d1a20823ea1c74-da/s128x128u_c1/1d43fa59218771b24a3ea373155dbbb30023fc0d.pnj	Tumblr	https://www.tumblr.com/thatbritishactor/675165995253563392/so-this-recording-became-quite-popular-a-few-days
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https://image.slidesharecdn.com/c59ef76de1-220503143046/85/French-Authors-36-638.jpg 638w, https://image.slidesharecdn.com/c59ef76de1-220503143046/75/French-Authors-36-2048.jpg 2048w", "https://image.slidesharecdn.com/c59ef76de1-220503143046/85/French-Authors-37-320.jpg 320w, https://image.slidesharecdn.com/c59ef76de1-220503143046/85/French-Authors-37-638.jpg 638w, https://image.slidesharecdn.com/c59ef76de1-220503143046/75/French-Authors-37-2048.jpg 2048w" ]	[]	[]	[ "" ]	null	[]	2022-05-03T14:30:46+00:00	French Authors - Download as a PDF or view online for free	en	https://public.slidesharecdn.com/_next/static/media/favicon.7bc3d920.ico	SlideShare	https://www.slideshare.net/slideshow/french-authors/251712582	1. French authors and their works 2. VICTOR HUGO Victor HUGO was a poet, dramatist and French romantic prose writer born on February 26, 1802 in Besançon and died on May 22, 1885 in Paris. He is considered one of the most important French writers. Lili 3. Les Misérables and Notre-Dame de Paris Two of his most famous novels are “Les Misérables” writen 1862 and “Notre-Dame de Paris” in 1831. Antonin 4. SUMMARY OF ONE FAMOUS NOVEL OF HIS The novel “Notre Dame de Paris” by Victor HUGO tells the love story between Quasimodo, an ugly and horrible protagonist, and Esmeralda, a bohemian woman of a remarkable beauty… To help the young bohemian, he feads Esmeralda in the cathedral to give her asylum. He falls madly in love with her. But Esmeralda love Phoebus De Chateauperss and he loves Esmeralda. Lili 5. WHO IS QUASIMODO ? Aged about twenty years old, Quasimodo is deaf, hunchbacked, shapless. He is the emblematic figure of the ugliness, this man has the gift of words and of their poetic effects but he is so repulsive that he is elected “POPE OF FOOLS”. Antonin 6. Pierre Corneille Lynana & Louna 7. Pierre Corneille was born on the 6th day of june in 1606 in Rouen. He studied in the Jesuites college of Rouen in 1615 to 1622. He wrote his first comic play : « Melite » in 1629. He wrote « Médée » a tragedy in 1634 then « Le Cid » A tragycomedy which made a polemic in 1637 . He got maried with Marie Lampiere in 1641. The 22th day of january 1647 ht got elected in the «Académie française » (french academy). He died in the 1st october of 1684 . Lyana 8. SUMMARY Rodrigue and Chimene are about to get married but their fathers quarelled . After this quarrel, the count (Chimene’s father) slaps Don Diegue (Rodrigue’s father). Dishonoured , Don Diegue ask to his son to kill the count . Rodrigue have to do a choice : lost his lover or save the honor of his father. Louna 9. Rodrigue Rodrigue is Don Diegue’s son and Chimene’s lover. We can say that he is the main caracter . Rodrigue is brave ,loyal ,his father gave him the sense of honor and responsability .he fights at the battle of Maures for his kingdom. Louna 10. Molière 11. Molière’s life Real name Jean-Batiste Poquelin or Molière was born the 15th January 1622 and studied at the college of Clermont in 1638. Molière created The Famed Theatre in 1643. He wrote the first play : « L’Absent minded » in 1654. He wrote a lot of plays. He married Armande Béjar, daughter of Madelaine. In 26 December 1662 he wrote « The school of the women ». He died on February 17,1673. 7 day after the creation of the « The imaginary sick ». 12. The works of Molière L’Avare : Arpagon is a rich old man, blinded by his passion for money. His avarice hinders his children’s love plans, pushes him to suspect his relatives and makes his servants cheat on him 14. 14 His name is Guillaume MUSSO. He was born in 1974. He lives in Antibes in the south of the france. He started writing for an exam his teacher suggested. He had a economic science diploma. After, he became a teacher. In 2001, he published his first novel « Skidamarink » but « et après… » is more famous. 15. 15 The main works are « La fille de Brooklyn », « Central Park », « L’appel de l’ange », « parce que je t’aime » and « Et après ». 16. It’s the story of a man and a woman who collide with each other. Madeline and Jonathan exchange their phones. A secret separates them afterwards. The famous character is Madeline in « l’Appel de l’ange ». Madeline is English. She has a flower shop in montparnasse. L’Appel de l’ange 18. Elsa Triolet, whose real name was Elsa Kagan, was born on September 12, 1896, in Moscow and died on June 16, 1978 in her Saint-Arnaud-les-Yvelines. She was a French writer and resistance fighter with a Jewish father. She married Andre Triolet. Then she met Louis Aragon in 1928 in Paris and spent her whole life with him. She participated in the foundation of the French Letters and the National Commite of Writers. In the course of her life, Elsa Triolet wrote many works including A Tahiti (1926), Fraise des Bois (1926), Camouflage (1928) Bonsoir Thérèse (1938) Le Cheval Blanc (1943) which won the Goncourt prize on its release; Les Amants D'Avignon (1943); Le Premier Accros Coûte Deux Cents Francs in 1944 which also won the Prix Goncourt; L'age de Nylon; Rose à Crédit (1959); Luna Park (1959); L’Âme (1963). 19. Novel by the writer Elsa Triolet, published in 1943. This novel was writter in 1941-42 while part of France was occupied : that is why themes such as politics and resistance are at the centre of the book. It is divided into 5 parts, each illustrating a part of the life of the main character. The « hero », Michel Vigaud, is a seducer who takes a close interest in young and beautiful women : of course, true love never touched him, which prevents him from fully grasping the meaning of Irene’s suicide. Howver, thi drama reaches him and transform him. To forget him, he starts reading the newspapers, listening to the advice of his best friend, Bielenki, which he had never done before. Politics begins to interest him. As for love, he discovers it with a certain Elisabeth... Each Part corresponds to a period of the hero’s life. Michel Vigaud, born at the begening of the 20th century, is a teenager during the WW2. He lives alone with his mother , withe whom he experiencies finacial ups and downs because of his mother’s job, they travel all over Europe. Michel will remane unable to settle down for the rest of his life. He has alway been free, living alone with his mother who is not very dissolute. He lives from day to day, without any possesions, always looking for adventures and love with women he soon gets tired of. As you will have understood, Michel is indecisive, but also intelligent, gifted in music and interested in politics despite being a little limited intellectually and not very cultured. 20. Guy de Maupassant Biography : His full name is Henry-René-Albert-Guy de Maupassant. He was born on august,five one thousand eight hundred fifty in Tourville-sur-Arques. He died the six july one thousand eight hundred ninety three in Paris. When he died, he was forty-two years old. He was a writer. He wrote The Horla in 1887, Boule de suifs in 1880, and Bel- Ami in 1885...He wrote three hundred and ninety books in his career. 21. The most famous works Novels : -Bel-Ami (1885) -Pierre et Jean (1888) Story : -Boule de suif (1880) -Le Horla (1887) 22. Le Horla The Horla is a book written by Maupassant in 1887. This is the most famous book by Maupassant. This book is about a person who writes anxieties in his diary. He gradually feels the presence of an invisible being around him. He named it the Horla . Because of that, he's going crazy. 23. The character famous in "Le Horla" The main character in the Horla is the narrator. After noticing a presence around him, he is going crazy. This is the victim chosen by the Horla. He absolutely tries to eliminate the Horla 24. Alexandre DUMAS Alexandre Dumas is a French dramatist and novelist born on July 24 1809 at Villiers-Cottrêts and dead on December 5 1870 at Neuville- les-Dieppe. He is a mixed a Caribean. In 1824 he knew success with the book « La chasse et l’amour ». 25. His major famous works -Twenty years after (1845) -The court of Monte Cristal (1844) -The three musketer (1844) 26. The three musketers The three musketer is a novel telling adventures of an impecunious 18 years old Gascon, Artagan a who came to Paris to make a career as a musketer. He befriends Athos, Porthos and Aramis, musketer of King Louis XIII. 27. Arthos Athos of the full name Armand de Sillègue d'Athos d'Hauteville is a musketer of King born on 1615 at Brearn and dead on December 21 1645 at Paris. He has inspired the person of «Arthos» in The three musketer. Tamar and Janely 28. Jules Verne Jules Verne was born in 1828 in Nantes and he died in 1905 from a disease in Amiens. He was reather specialised in science-fiction. He got his baccalauréat in Nantes in 1846 and he studied law in Paris Major works : 20 Mille lieu sous les mers De la terre à la lune Voyage au centre de la terre Le tour du monde en 80 jour 20 Mille lieu sous les mers The teacher Aronax and his servant Conseil go on sea to kill a sea monster with the help of an harponeur Ned Land. Description of a character from 20 Mille lieu sous les mers : Nemo is the antagonist. he’s the captain of sous-marin the Nautilus 29. Christian Grenier was born on 26 May 1945 in Paris .He is 75 years old ,he has two children .He was a teacher . He left his job of teacher to become a writer ,he wrote l’Ordinatueur ,Coup de theatre ,Simulator … His parents are a actor ,he got O.R.T.F Literary Prize in 1972 thanks to « La Machination ». The main character is Logiciel supported by his two acolytes Germain and Maxe. Logicel whose real name is Laure Gisèle will investigate the death of several people in front of computers around Périgord, in the middle of summer. Logiciel will find common points between the murders and will link them to each other. Logiciel is a policewoman who investigates on cold cases at the police station IT department. Christian Grenier 30. «Le livre dont vous êtes la victime» tell the history of Alex who heard about a bookshop , the library of the styx and he decided to visit it. Once in the bookshop , one book with a silver cover book attracts him and he decides to buy it. Then, he goes through many adventures. Arthur Ténor Christian ESCAFFRE was born on 1959 in Auvergne . Xx author since 1998 under the name of Arthur Ténor. This author is specialized in children’s literature. He was appointed laureate of Senlis children literature price in 2006 for his book «La Table De Feu» (editor MILAN) and the price of PEEP on 2008 «Les Messagères Des Abysses» (editorGRASSET J) Alex is an adolescent without history and rather solitary, he is passionate about books and the fantastic stories. In his school the children don’t understand him and at home his family doesn’t understand him too. 31. Jean de La Fontaine Jean De La Fontaine was born in 1621. On The 8th of july 1621, he was baptized in the region of Champagne. Marie Hericar became his wife in 1647 . He lived in Castle Thierry near Paris did his studies . He became dad of one boy named Charles . H also wrote a book called « Epitre a Monseigneur le dauphin» in 1668, before writing«Les Fables De La Fontaine»(little narrat about plant or animals) . Jean De La Fontaine had 48 years old when the 6 first books that he wrote «Les Fables De La Fontaine» were published in 1668 . After this evenement «Les Fables De La Fontaine» are quoted , quoted again and collected. He was ennobled in 1664 and died in 1695. Here are some of the Stories that we can find in « Les Fables De La Fontaine» : «Le corbeau et le renard» , «La cigale et la fourmis»,«Le lièvre et la tortue» For example «Le corbeau et le renard» is talking about a proud crow and a smart fox who wants to steal the crow’s cheese . succed , the fow will try flatter the crow. «Bien bonjour, Monsieur du corbeau que vous etes joli!que vous me semblez beau!» Morality: we have to not forget about our goals and don’t ourselves distracted. 32. ARTHUR RIMBAUD Arthur Rimbaud, (full name : Jean Nicolas Arthur Rimbaud) , was born on the 20th of october 1854 at Charleville, in France, he died in 1891. Arthur Rimbaud was a writer, he wrote quite a lot of books. When he was younger, 6 years old to be precise,he witnessed the absence of his dad, which was also part of the military and a divorced man. It led Arthur to take refuge in writing poems. He followed his career as a poet, and wrote many famous works, such as like : « Le Bateau Ivre » (1871), « Une Saison En Enfer » (1873) and « Illuminations » (1872-1875) .We are going to talk about a poem in his work ILLUMINATION called « Royauté ». ILLUMINATIONS is a collection of fifty-four poem that can be as sad as they can be happy. 33. ROYAUTE Un beau matin, chez un peuple fort doux, un homme et une femme superbes criaient sur la place publique: "Mes amis, je veux qu'elle soit reine!" "Je veux être reine!" Elle riait et tremblait. Il parlait aux amis de révélation, d'épreuve terminée. Ils se pâmaient l'un contre l'autre. En effet ils furent rois toute une matinée, où les tentures carminées se relevèrent sur les maisons, et tout l'après-midi, où ils s'avancèrent du côté des jardins de palmes. We think that this poem tells that the woman screaming to be a queen, means by that, that she wants to marry her partner and by doing that she will become a queen, that is an indirect way to say that her partner is a king. They end up marrying each other at the end of the poem. « LES ILLUMINATIONS » , par ARTHUR RIMBAUD 34. His name is Paul Verlaine. He was born a 30 march 1844 in Metz and he died in 1896 in his house . He was alcoholic, sick and poor. He was a romantic, dramatic and psychological poet . In 1870 he married Mathilde Mauté .In 1871 he met Arthur Rimbaud with whom he had a relationship His major titles are: -Poèmes Saturiens -Romances Sans Paroles -Sagesse -Jadis et Naguère -Parallelement Paul Verlaine CHILD WIFE Vous n’avez rien compris à ma simplicité. Rien, ô ma pauvre enfant ! Et c’est avec un front éventé, dépité. Que vous fuvez devant. [...] Et vous n’avez pas su la lumière et l’honneur D’un amour brave et fort, Joyeux dans le malheur, grave dans le bonheur, Jeune jusqu’à la mort ! 35. Pierre Corneille His name is Pierre Corneille. He was born of June 6th 1606,in Rouen and he died on October 1st 1684 in Paris. He learned theatre at the College des Jésuites in Rouen. He made Mélite,his first dramatic work, in 1629. He triumphed with «le Cid» in 1637. He married Marie de Lampèrière in 1641. On January 22th 1947, he was elected in the French Academy. And he made Surena,his last work in 1647. Famous titles: Mélite, Médée, le Cid, Horace… Summary of «le Cid»: Diègue and Gomès want to unite their children Rodrigue and Chimère. But Gomès is jealous of Diègue for a position and he gives him a slap. Rodrigue: Son of Diègue, and Chimère is the girlfriend of Rodrigue. 36. Colette Sidonie Gabrielle Colette is a writer who was born on January 28th 1873 in Bourgogne where she lived her twenty first years until her marriage.She died in 1954. Her works: ● ● Claudine à l’école (1900) Chéri (1920) La maison de Claudine (1922) Le blé en herbe (1923) Sido (1929) Gigi (1944)
5097	dbpedia	0	60	https://publish.iupress.indiana.edu/read/nineteenth-century-french-song/section/3b0d76e8-7122-41bf-b156-2510bf206ca9	en				[]	[]	[]	[ "" ]	null	[]	null		en	/static/favicon.ico?client=true		null	All rights reservedThis work is licensed under the Creative Commons Attribution NonCommercial ShareAlike 4.0 License. In short: you are free to share and make derivative works of the work under the conditions that you appropriately attribute it, you use the material only for non-commercial purposes, and that you distribute it only under a license compatible with this one. Powered by Manifold Scholarship. Learn more at manifoldapp.org
5097	dbpedia	2	79	https://ourworldindata.org/	en	Our World in Data	https://ourworldindata.o…lt-thumbnail.jpg	https://ourworldindata.o…lt-thumbnail.jpg	[ "https://ourworldindata.org/oms-logo.png", "https://ourworldindata.org/gcdl-logo.png", "https://ourworldindata.org/media-logos.svg", "https://ourworldindata.org/images/published/global-statistics-on-suicide-2.png", "https://ourworldindata.org/images/published/join-our-trustees-icon.png", "https://ourworldindata.org/images/published/energy-demand-ac-featured.png", "https://ourworldindata.org/images/published/reducing-extreme-heat-featured.png", "https://ourworldindata.org/images/published/nature-of-armed-conflict-featured-image.png", "https://ourworldindata.org/images/published/nuclear-weapons-proliferation-desktop.png", "https://ourworldindata.org/images/published/cereal-yield-region-desktop.png", "https://ourworldindata.org/images/published/daily-infant-mortality-usa-top.png", "https://ourworldindata.org/images/published/days-of-paid-maternity-paternity-and-parental-leave-desktop.png", "https://ourworldindata.org/images/published/aquaculture-fish-desktop.png", "https://ourworldindata.org/images/published/female-labor-force-participation-oecd-desktop.png", "https://ourworldindata.org/images/published/outdoor-pollution-death-rate2.png", "https://assets.ourworldindata.org/grapher/exports/child-mortality.svg", "https://assets.ourworldindata.org/grapher/exports/share-of-population-in-extreme-poverty.svg", "https://assets.ourworldindata.org/grapher/exports/life-expectancy.svg", "https://assets.ourworldindata.org/grapher/exports/co-emissions-per-capita.svg", "https://assets.ourworldindata.org/grapher/exports/gdp-per-capita-maddison.svg", "https://assets.ourworldindata.org/grapher/exports/prevalence-of-undernourishment.svg", "https://assets.ourworldindata.org/grapher/exports/cross-country-literacy-rates.svg", "https://assets.ourworldindata.org/grapher/exports/share-of-the-population-with-access-to-electricity.svg", "https://ourworldindata.org/images/tag-icons/Poverty.svg", "https://ourworldindata.org/images/tag-icons/Population%20and%20Demographic%20Change.svg", "https://ourworldindata.org/images/tag-icons/Global%20Health.svg", "https://ourworldindata.org/images/tag-icons/Energy.svg", "https://ourworldindata.org/oms-logo.png", "https://ourworldindata.org/yc-logo.png", "https://ourworldindata.org/gcdl-logo.png" ]	[]	[]	[ "" ]	null	[ "Our World in Data", "Max Roser" ]	null	Research and data to make progress against the world’s largest problems		/apple-touch-icon.png	Our World in Data	https://ourworldindata.org	What could be more tragic than the death of a young child? Child mortality, the death of children under the age of five, is still extremely common in our world today. The historical data makes clear that it doesn’t have to be this way: it is possible for societies to protect their children and reduce child mortality to very low rates. For child mortality to reach low levels, many things have to go right at the same time: good healthcare, good nutrition, clean water and sanitation, maternal health, and high living standards. We can, therefore, think of child mortality as a proxy indicator of a country’s living conditions. The chart shows our long-run data on child mortality, which allows you to see how child mortality has changed in countries around the world. The UN sets the “International Poverty Line” as a worldwide comparable definition for extreme poverty. Living in extreme poverty is currently defined as living on less than $2.15 per day. This indicator, published by the World Bank, has successfully drawn attention to the terrible depths of poverty of the poorest people in the world. Two centuries ago, the majority of the world’s population was extremely poor. Back then, it was widely believed that widespread poverty was inevitable. This turned out to be wrong. Economic growth is possible and makes it possible for entire societies to leave the deep poverty of the past behind. Whether or not countries are leaving the worst poverty behind can be monitored by relying on this indicator. Across the world, people are living longer. In 1900, the global average life expectancy of a newborn was 32 years. By 2021, this had more than doubled to 71 years. Big improvements were achieved by countries around the world. The chart shows that life expectancy has more than doubled in every region of the world. This improvement is not only due to declining child mortality; life expectancy increased at all ages. This visualization shows long-run estimates of life expectancy brought together by our team from several different data sources. It also shows that the COVID-19 pandemic led to reduced life expectancy worldwide. The main source of carbon dioxide (CO2) emissions is the burning of fossil fuels. It is the primary greenhouse gas causing climate change. Globally, CO2 emissions have remained at just below 5 tonnes per person for over a decade. Between countries, however, there are large differences, and while emissions are rapidly increasing in some countries, they are rapidly falling in others. The source for this CO2 data is the Global Carbon Budget, a dataset we update yearly as soon as it is published. In addition to these production-based emissions, they publish consumption-based emissions for the last three decades, which can be viewed in our Greenhouse Gas Emissions Data Explorer. GDP per capita is a very comprehensive measure of people’s average income. This indicator reveals how large the inequality between people in different countries is. In the poorest countries, people live on less than $1,000 per year, while in rich countries, the average income is more than 50 times higher. The data shown is sourced from the Maddison Project Database. Drawing together the careful work of hundreds of economic historians, the particular value of this data lies in the historical coverage it provides. This data makes clear that the vast majority of people in all countries were poor in the past. It allows us to understand when and how the economic growth that made it possible to leave the deep poverty of the past behind was achieved. Hunger has been a severe problem for most of humanity throughout history. Growing enough food to feed one’s family was a constant struggle in daily life. Food shortages, malnutrition, and famines were common around the world. The UN’s Food and Agriculture Organization publishes global data on undernourishment, defined as not consuming enough calories to maintain a normal, active, healthy life. These minimum requirements vary by a person’s sex, weight, height, and activity levels. This is considered in these national and global estimates. The world has made much progress in reducing global hunger in recent decades. But we are still far away from an end to hunger, as this indicator shows. Tragically, nearly one in ten people still do not get enough food to eat and in recent years — especially during the pandemic — hunger levels have increased. Literacy is a foundational skill. Children need to learn to read so that they can read to learn. When we fail to teach this foundational skill, people have fewer opportunities to lead the rich and interesting lives that a good education offers. The historical data shows that only a very small share of the population, a tiny elite, was able to read and write. Over the course of the last few generations, literacy levels increased, but it remains an important challenge for our time to provide this foundational skill to all. At Our World in Data, we investigated the strengths and shortcomings of the available data on literacy. Based on this work, our team brought together the long-run data shown in the chart by combining several different sources, including the World Bank, the CIA Factbook, and a range of research publications. Light at night makes it possible to get together after sunset; mobile phones allow us to stay in touch with those far away; the refrigeration of food reduces food waste; and household appliances free up time from household chores. Access to electricity improves people’s living conditions in many ways. The World Bank data on the world map captures whether people have access to the most basic electricity supply — just enough to provide basic lighting and charge a phone or power a radio for 4 hours per day. It shows that, especially in several African countries, a large share of the population lacks the benefits that basic electricity offers. No radio and no light at night.
5097	dbpedia	2	4	https://www.aesu.com/blog/19th-century-literary-revival-french-authors/	en	19th Century Literary Revival Through French Authors	http://www.aesu.com/wp-content/uploads/2015/11/french-authors-paris-france-300x199.jpg	http://www.aesu.com/wp-content/uploads/2015/11/french-authors-paris-france-300x199.jpg	[ "https://googleads.g.doubleclick.net/pagead/viewthroughconversion/998998094/?guid=ON&script=0", "https://www.aesu.com/wp-content/themes/awi/img/logo-full.png", "https://www.aesu.com/wp-content/uploads/2015/11/french-authors-paris-france-300x199.jpg", "https://www.aesu.com/wp-content/themes/awi/img/logo.png", "https://www.aesu.com/wp-content/themes/awi/img/logo-travel-for-good.png", "https://www.aesu.com/wp-content/themes/awi/img/logo-iata.png", "https://www.aesu.com/wp-content/themes/awi/img/logo-asta.png", "https://www.aesu.com/wp-content/themes/awi/img/logo-arc.png", "https://www.aesu.com/wp-content/themes/awi/img/logo-ecotourism.png" ]	[]	[]	[ "" ]	null	[ "Adventure Web" ]	2015-11-12T15:51:07+00:00	Historical French authors played a huge role in the way we view French culture today. Let’s take a journey back to 19th century France!	en	https://www.aesu.com/wp-…h-icon-57x57.png	AESU	https://www.aesu.com/blog/19th-century-literary-revival-french-authors/	French culture is commonly thought of as artistic, bold, innovative, and expressive. So where did that idea come from? As it turns out, 19th century French authors played a huge role in the way we view French culture today. Through poems, novels, and plays, 19th century France was a post-revolution era of literary expression. Many of the creations of this time will be familiar to you, such as Les Fleurs du mal (The Flowers of Evil) and Les Misérables. Let’s take a journey back to 19th century France, and learn about some of the famous French authors who helped craft the way we think of France today. Victor Hugo (1802-1885) Born in Paris, France, Victor Hugo wrote poems, novels, and drama. He is considered one of the most important French authors in the Romantic era (approximately 1800-1850), and one of his most famous pieces, Les Misérables, is said to be inspired by his younger, less-fortunate years. Although he originally studied law, by 1816 he began writing verses and found his passions and ambitions for literature. He made a group of friends interested in Romanticism, and met with them regularly at the Bibliothèque de L’Arsenal in Paris. Hugo’s first novel was published in 1823, titled Han d’Islande (Hans of Iceland). Several collections of prose followed, such as Nouvelles Odes (1824) and Odes et ballades (1826). His first verse drama, and his first emergence as a true Romatic, was Cromwell, published in 1827. Although his early works are not well known, they are still wonderful reads. Hugo is mainly known today for his novels, Notre-Dame de Paris (The Hunchback of Notre-Dame, 1831), and Les Miserables (1862). Charles Baudelaire (1821-1867) Charles Baudelaire is mainly known for his poems and criticism. Also born in Paris, Baudelaire was educated at the prestigious Lycée Louis-le-Grand secondary school, and began writing his earliest poems as a student there. Interestingly, he also became a student of law as Hugo did, before realizing his talents in literature. He received his inheritance in 1842, blowing it on clothes, expensive foods and wines, and opium, which he first experienced with in Hôtel Pimodan (now the Hôtel Lauzun) in Paris. Baudelaire wrote the poems for Les Fleur du mal (1857) in 1842-1846. He also translated and wrote an adaptation for Thomas de Quincey’s Confessions of an English Opium Eater, and wrote many critical essays on other French authors, such as Gustave Flaubert, Théophile Gautier, and more. Gustave Flaubert (1821-1880) A realist and novelist, Gustave Flaubert was a critic of the bourgeois, and even stood trial for one of his novels. Born in Rouen, France, he was sharply intelligent and studied law, like our other two French authors, at the Faculty of Law in Paris. However, he had to drop out of his studies due to being diagnosed with what we now recognize as epilepsy. After his father and sister’s death in 1846 and 1847 respectively, he spent the rest of his life at his Croisset estate near Rouen with his mother and niece. His most famous work was Madame Bovary (1857), the novel he stood trial for due to its alleged immorality. He escaped conviction by arguing the novel’s ending served as punishment for the immoral acts in the story. Other works include L’Éducation sentimentale (1843–45) and La Tentation de Saint Antoine (1874). Visit Paris, France and Historic Sites of Romantic French Authors AESU offers unique, thrilling travel programs for college students and young professionals at affordable rates. Each trip is action-packed and informal—designed just for people your own age. We are also able to design custom tours just for your group. AESU offers several trips to Paris, France, including: Cosmopolitan, Explorer, Euro Focus, Great Escape, and Euro Spree. All our tours in England have the chance to go to Paris to see where French Romanticism history was made. And right now, if you book and pay in full before December 4th, 2015, you can save up to $300 on your trip! Book Now! If you have any questions or want help booking your Paris, France adventure, please contact AESU by calling 800-638-7640, or fill out the contact form found on our website. Related
5097	dbpedia	0	17	https://mellenpress.com/book/Nineteenth-Century-French-Novel-A-Readers-Path-to-Classic-Fiction/8825/	en	Century French Novel. A Reader's Path to Classic Fiction			[ "https://mellenpress.com/img/mellenxpbw.png", "https://mellenpress.com/covers/res_du Plessis Cover ISBN 0-7734-4458-0.jpg", "https://mellenpress.com/img/i_facebook.png", "https://mellenpress.com/img/i_twitter.png" ]	[]	[]	[ "" ]	null	[ "du Plessis", "Eric H", "WebTYs.com" ]	null	Provides in-depth evaluations of forty-five French novels chosen as the most representative of nineteenth-century classic fiction. Selected titles are given succinct plot overviews followed by a thorough textural analysis. The evaluations provide a social, historical and literary context in order to capture both the readers’ interest and their curiosity in order to entice them to discover these classic novels in their entirety.		apple-touch-icon.png		null
5097	dbpedia	3	15	https://gl-tch.org/giselle/cards/the-writer-theophile-gautier	en	The Writer: Théophile Gautier	https://gl-tch.org/image…fdaa0bd6f618.png	https://gl-tch.org/image…fdaa0bd6f618.png	[ "https://gl-tch.org/imager/images/1580/Théophile_Gautier_by_Nadar_107ba0fef558a41d666f0c5ced6386ef.png 960w, /imager/images/1580/Théophile_Gautier_by_Nadar_7ae5c972e237858797cbcd68d2e7144c.png 820w, /imager/images/1580/Théophile_Gautier_by_Nadar_b44883d4183892031244002b2fc95272.png 375w", "https://gl-tch.org/assets/images/14.Théophile_Gautier_MET_DP158033.jpg", "https://gl-tch.org/assets/images/15.Mademoiselle_de_Maupin_by_Beardsley.jpg", "https://gl-tch.org/assets/images/16-Les_Ondines_ou_les_Wilis_Grand_Palais_Paris_47536603491.jpg", "https://gl-tch.org/imager/images/1909/735px-Giselle_C_Grisi_as_Giselle_1842_2020-07-24-162900_6614e1469faba5459a616522cd1126aa.jpeg", "https://gl-tch.org/imager/images/2386/Screenshot-2020-07-16-at-15.19.45_2020-07-26-121957_1c510339d2650253d18e29601457c8e8.png", "https://gl-tch.org/imager/images/7197/Rat-ville-champs-2_cb3255da8dc144d4065ad28a45d0f748.jpg", "https://gl-tch.org/imager/images/5889/Libretto-Card-Image-Crop_6614e1469faba5459a616522cd1126aa.jpg", "https://gl-tch.org/imager/images/18200/Mark-Fisher-1_6614e1469faba5459a616522cd1126aa.png", "https://gl-tch.org/assets/website-images/chatbot-icon-head.png", "https://gl-tch.org/assets/svgs/down-arrow.svg", "https://gl-tch.org/assets/svgs/paper-plane.svg", "https://gl-tch.org/assets/svgs/home--green.svg", "https://gl-tch.org/assets/svgs/home--green.svg", "https://gl-tch.org/assets/svgs/home--green.svg", "https://gl-tch.org/assets/svgs/home--green.svg", "https://gl-tch.org/assets/website-images/SED-logo.png", "https://gl-tch.org/assets/website-images/lottery-logo.png", "https://gl-tch.org/assets/website-images/footer-logo--green.gif" ]	[]	[]	[ "" ]	null	[]	2020-07-07T16:13:00+01:00		en	/favicons/apple-icon-60x60.png	gl-tch.org	https://gl-tch.org/giselle/cards/the-writer-theophile-gautier	Théophile Gautier, poet, novelist, journalist and dance critic who wrote the libretto for Giselle with Vernoy De Saint-Georges is a contradictory figure. Richard Holmes delights in the opulent erotic world of his short stories, Felicia McCarren problematises him in research considering the cultural and social politics of the world of the Paris Opéra, Helen Constantine celebrates his radically queer vision, telling us that he was at the centre of many controversies in France taking a key role in literary and artistic circles of nineteenth century Paris. (Helen Constantine, Introduction to Mademoiselle de Maupin, pg xii) a face like a double bed on a Sunday morning The photographer Felix Nadar made portraits of him, perhaps like us, drawn to a face described as 'like a double bed on a Sunday morning' (Richard Holmes, Introduction to My Fantoms, pg x) cross-dressing and duelling A provocateur, only one of the ways he scandalised Paris was with a novel, Mademoiselle de Maupin (1835) where he explored ideas of gender, sex and sexuality as fluid categories in a way that could not be more modern today. The story was based on the life of the woman memorably described in Bust magazine as a '17th-century, cross-dressing, duelling, bisexual opera singer' Julie d'Aubign. As if Madameoiselle de Maupin wasn't controversial enough, it was embroiled in a literary scandal with respect to the preface. In this writing Gautier, in a dispute with literary magazine Le Constitutionnel and swept up in a wider discourse across all the arts (including in the writing of his colleague Jules Janin three years earlier) crystallised the Romantic artists desire for free expression and 'art for art's sake'. (John G Chapman, Jules Janin and the Ballet, pg 65) heterotopias Gautier was writing from the demi-monde, a space that might be described through Michel Foucault's idea of a heterotopia. The term describes a temporary space that lies parallel to society where normative rules don't apply, although the demi-monde worked differently for women. Virginia Rounding writes about ' ...victims of scandal, divorcees, women separated or abandoned by husband or lover, 'merry widows' or foreign women whom the authorities might deport when it suited them' (Virginia Rounding in Helen Constantine's Introduction to Mademoiselle de Maupin, pg.xii) . The world of the Wilis is such a space, where the Wilis, unmarried, possessed of voracious appetites for dancing, call to mind the declassed women that surrounded Gautier, including dancers. In the world of the Opéra he simultaneously occupied a position outside as a powerful critic and a maker of stars, and inside as an artist and librettist. Felicia McCarren writes about his relationship to Carlotta Grisi and his writing of Giselle 'Just as the librettist constructs a double subject, or two women-in-one, the librettist himself makes a living dancer into two women, a living legend who is both the character she plays and a performer with a mythic past'. (Felicia McCarren, Dance Pathologies, pg 60). McCarren goes on to read Giselle in relation to the privileges and ambiguities of his position at the Opéra: Taking into account the history and conditions of it s first production, the text can be read as social critique: a state of the art review of the ballet at the Paris Opéra of 1841. (Felicia McCarren, Dance Pathologies, pg 68) Gautier in this project We were drawn to Gautier initially through the libretto, we then discovered his letters to Heinrich Heine where his vivid description of the first night of Giselle and his enthusiasm for the world of the ballet infected us. Then we found his essay The Rat where he moves between horror at the flesh markets of Paris where one can buy a child, to a kind of celebration of the system of prostitution at the Opéra that the student dancers will most probably become part of. where's the party mate? He has accompanied us through this project, like your dodgy mate who disappears on a night out and then turns up months later. He's in our films, whispering in our ears in our recordings. Then he's off like a dirty shirt. Still hung up on the same girl, still looking to find another party.
5097	dbpedia	2	59	https://thegothicwanderer.wordpress.com/2018/06/26/1816-french-gothic-novel-claims-to-be-by-mrs-radcliffe/	en	1816 French Gothic Novel Claims to Be By Mrs. Radcliffe	https://thegothicwandere…hetomb.jpg?w=188	https://thegothicwandere…hetomb.jpg?w=188	[ "https://thegothicwanderer.wordpress.com/wp-content/uploads/2013/11/gothicwandererblog-header.jpg", "https://thegothicwanderer.wordpress.com/wp-content/uploads/2018/06/themysterioushermitofthetomb.jpg?w=188&h=300", "https://1.gravatar.com/avatar/1d77a4809e37832946e9f5ce719adcffa0dfca915b3effe8cb4d40858b4d33a2?s=48&d=identicon&r=G", "https://2.gravatar.com/avatar/b9e147a8c3b4b6e5f7e4c020266311357ca97da65dd19a1741a3648113113e97?s=48&d=identicon&r=G", "https://1.gravatar.com/avatar/4a05e1756829de068383db70e18c49906ff6c1facf417161008ce647616f141a?s=48&d=identicon&r=G", "https://2.gravatar.com/avatar/b9e147a8c3b4b6e5f7e4c020266311357ca97da65dd19a1741a3648113113e97?s=48&d=identicon&r=G", "https://2.gravatar.com/avatar/e91fd03703d30ca309bf84e064bdbf719d97490661035157686a63a5e4aaafa5?s=48&d=identicon&r=G", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2018-06-26T00:00:00	The French Gothic novel The Mysterious Hermit of the Tomb (1816) is a fascinating piece of literary history if not a great piece of Gothic literature. The novel, which claims to be by Mrs. Radcliffe and translated from English into French by the Baron de Langon, was actually written by Langon, who was not a…	en	https://s1.wp.com/i/favicon.ico	The Gothic Wanderer	https://thegothicwanderer.wordpress.com/2018/06/26/1816-french-gothic-novel-claims-to-be-by-mrs-radcliffe/	The French Gothic novel The Mysterious Hermit of the Tomb (1816) is a fascinating piece of literary history if not a great piece of Gothic literature. The novel, which claims to be by Mrs. Radcliffe and translated from English into French by the Baron de Langon, was actually written by Langon, who was not a baron at all. Etienne-Leon de Lamotte-Langon (1786-1864) loved to write forged books, books he claimed were by famous people, the most famous being the Countess DuBarry, for whom he wrote a popular set of fake memoirs. I will not go into detail about Langon, but I recommend interested readers peruse the introduction to the new edition of this novel published by Black Coats Press and written by Brian Stableford. Stableford is the translator/adaptor of the novel and his introductions are always worth the price of the book alone—I wish he would write an entire history of French Gothic literature. (Note that this edition of the novel refers to the author as “Lamotte-Langon,” but his Wikipedia page, only in French, says his name was “Lamothe-Langon.” See translated Wikipedia page here.) Langon appears to be an overlooked author in the exploration of how English and French literature influenced each other, and a key figure in the leading up to the revival of the Gothic novel in the 1840s and 1850s. The Mysterious Hermit of the Tomb is a testament to the popularity of Mrs. Radcliffe’s novels in the 1790s and their translation into French. In fact, in 1799, another novel, The Tomb, was published that also claimed to be a fake translation of one of her books, although its true author is not known. The Mysterious Hermit of the Tomb begins with an introduction in which Langon claims to have received a manuscript of the novel from a relative of Mrs. Radcliffe. More than once he also makes comments that suggest Mrs. Radcliffe is dead—something many may have believed at the time, although she did not die until 1823, but illness had caused her to withdraw from the literary world and public life, which she had never participated much in anyway. Her last novel, The Italian, had been published in 1797 so her lack of further publication helped spread the rumor of her death. Of course, Mrs. Radcliffe had no recourse to people using her name in France, and many authors in the nineteenth century suffered from other authors stealing their books or concepts and even using their names. George W. M. Reynolds is one of the more famous examples, having written The Mysteries of London (1844-48) as a follow up to Eugene Sue’s The Mysteries of Paris (1846), and also Pickwick Abroad (1837-38) as an unauthorized sequel to Dickens’ The Pickwick Papers (1837-38), although he published them under his own name. The Mysterious Hermit of the Tomb starts out in such a manner that one could almost believe Mrs. Radcliffe did write it. We are introduced to Arembert, a lord who feels haunted by his past crimes. Then we meet a mysterious hermit whom the reader quickly realizes is Arembert’s older brother who allegedly went off to the Crusades and disappeared, but who we ascertain has a secret and is actually haunting Arembert by finding hidden passages into his castle and uttering doom and gloom statements like a disembodied voice. Soon after, we are introduced to Ademar, a young knight who knows nothing of his parentage, but the hermit tells Ademar he knows the truth of his birth and it will eventually be made known. Of course, Ademar turns out to be the hermit’s son and will eventually learn how Adembert committed crimes against the rest of the family. This is all well-done—a good Gothic plot of revenge and guilt—but it’s not enough to carry off three volumes, so Langon introduces a love story for Ademar, and he sets it all against the Albigensian crusade of the thirteenth century. What results is a mix of Gothic novel, courtly and chivalric romance, and historical fiction, although Langon has no real concept of being historically accurate. One has to wonder whether he read any of Sir Walter Scott or Jane Porter’s The Scottish Chiefs (1809). Both Scott and Porter made more effort to be historically accurate in their books, which only predate Langon’s novel by seven or less years. This was the time period of the birth of historical fiction and Langon isn’t quite writing it, but he’s a pioneer in its development. In fact, the hermit himself—the rightful heir to a barony and a father in disguise—reminds one of how King Richard is in disguise in Scott’s Ivanhoe (1819) and Rymer’s The Black Monk (1844-45). You have to wonder, then, whether Scott read Langon. Before the novel is over, we have a series of adventures in which princesses are kidnapped and rescued, Adembert admits his past crimes and dies a death deserving of a villain, and all is revealed regarding the hermit’s past. Unfortunately, Langon has a bad sense of how to end a novel dramatically. The secrets are revealed fifty pages before the novel is over and then we are subjected to several concluding pages to wrap up the plot, followed by the hermit telling his story at length, and rather unnecessarily since we’ve already figured out he is Arembert’s brother—this disordered ending destroys the novel’s pacing and dramatic conclusion and shows that Langon really wasn’t quite up to what he was trying to pull off. Regardless, there are things to admire about the The Mysterious Hermit of the Tomb. It does keep the reader engaged for the first seventy or so pages before it falls into the chivalric plot and loses its Gothic suspense. I do not want to fault Brian Stableford as translator because he has done a wonderful service through Black Coats Press in bringing numerous fascinating French Gothic novels into English, but I think even he must have found this book trying as evidenced by the numerous typos throughout the book that make it difficult to read, and the tense often shifts from past to present, though that may be the fault of the author rather than the translator. Langon does not seem to hold a high place in French or even French Gothic literature, but he did write several novels along those lines, including The Virgin Vampire in 1825 (also available through Black Coats Press). He also wrote novels of manners, and most significantly The Police Spy (1826) which is one of the first pieces of crime fiction, and although it does not seem to have had a major influence on the genre, Stableford in his introduction suggests it may have inspired Eugene Vidocq’s book Memoires (1828), a fake autobiography by Vidocq, a French criminal and criminalist. Vidocq’s book is considered the godfather of crime fiction and is known to have influenced later authors including Poe, Balzac, and Feval. Furthermore, although Langon quit writing before the age of the feuilleton—the novels serialized in newspapers that brought about the revival of the Gothic in France and indirectly in England in the form of penny dreadfuls, including such French works as Eugene Sue’s The Mysteries of Paris (1842-43) and The Wandering Jew (1846), and in England, James Malcolm Rymer’s Varney the Vampire (1846-47) and George W. M. Reynolds’ Wagner the Wehr-Wolf (1846-47)—he certainly was a forerunner and likely an influence upon the movement. I am left wondering whether English writers read Langon in French—I don’t know that he was translated into English prior to Stableford’s translation—and how his works may have affected the development of the British Gothic novel. Certainly, they had minor influence on the French Gothic novels of the early nineteenth century, which in turn had influences on the British Gothic. ___________________________________________________
5097	dbpedia	0	40	https://www.alamy.com/portrait-of-thophile-gautier-1811-1872-poet-and-novelist-david-dangers-pierre-jean-sculptor-in-1845-1st-half-of-the-19th-century-sculpture-medallion-sculpture-dimensions-work-diameter-192cm-image573431563.html	en	Jean, Sculptor, In 1845, 1st half of the 19th century, Sculpture, Medallion (sculpture), Dimensions	https://c7.alamy.com/com…92cm-2T8X1PK.jpg	https://c7.alamy.com/com…92cm-2T8X1PK.jpg	[ "https://s.alamy.com/logos/1.68.0/alamy.svg", "https://s.alamy.com/logos/1.68.0/alamy.svg", "https://s.alamy.com/assets/latest/footer/mastercard.svg", "https://s.alamy.com/assets/latest/footer/visa.svg", "https://s.alamy.com/assets/latest/footer/amex.svg", "https://s.alamy.com/assets/latest/footer/paypal.svg", "https://s.alamy.com/assets/latest/footer/apple-pay.svg", "https://s.alamy.com/assets/latest/footer/google-pay.svg" ]	[]	[]	[ "1811-1872", "1845", "19.2 cm", "19th century", "1st half", "david dangers", "diameter", "dimensions", "medallion", "novelist" ]	null	[ "Alamy Limited" ]	null	Download this stock image: Portrait of Théophile Gautier (1811-1872), poet and novelist, David d'Angers, Pierre-Jean, Sculptor, In 1845, 1st half of the 19th century, Sculpture, Medallion (sculpture), Dimensions - Work: Diameter: 19.2 cm - 2T8X1PK from Alamy's library of millions of high resolution stock photos, illustrations and vectors.	en	https://s.alamy.com/logo…avicon-16x16.png		https://www.alamy.com/portrait-of-thophile-gautier-1811-1872-poet-and-novelist-david-dangers-pierre-jean-sculptor-in-1845-1st-half-of-the-19th-century-sculpture-medallion-sculpture-dimensions-work-diameter-192cm-image573431563.html	Portrait of Théophile Gautier (1811-1872), poet and novelist, David d'Angers, Pierre-Jean, Sculptor, In 1845, 1st half of the 19th century, Sculpture, Medallion (sculpture), Dimensions - Work: Diameter: 19.2 cm Captions are provided by our contributors. RMID:Image ID :2T8X1PK Image details Contributor : Penta Springs Limited / Alamy Stock Photo Image ID : 2T8X1PK File size : 42.3 MB (2.2 MB Compressed download) Open your image file to the full size using image processing software. Releases : Model - no \| Property - noDo I need a release? Dimensions : 3788 x 3900 px \| 32.1 x 33 cm \| 12.6 x 13 inches \| 300dpi Photographer : Penta Springs More information : This image could have imperfections as it’s either historical or reportage. Taxes may apply to prices shown.
5097	dbpedia	0	56	https://www.loc.gov/item/2021666977/	en	Captain Fracasse.	http://tile.loc.gov/image-services/iiif/service:gdc:gdcwdl:wd:l_:14:77:7:wdl_14777:T0000184/full/pct:100/0/default.jpg#h=4343&w=2693	http://tile.loc.gov/image-services/iiif/service:gdc:gdcwdl:wd:l_:14:77:7:wdl_14777:T0000184/full/pct:100/0/default.jpg#h=4343&w=2693	[ "https://www.loc.gov/static/images/logo-loc-new-branding.svg", "https://www.loc.gov/static/images/social-media/facebook.svg", "https://www.loc.gov/static/images/social-media/twitter.svg", "https://www.loc.gov/static/images/share/link.svg", "https://tile.loc.gov/image-services/iiif/service:gdc:gdcwdl:wd:l_:14:77:7:wdl_14777:T0000184/full/pct:6.25/0/default.jpg", "https://tile.loc.gov/image-services/iiif/service:gdc:gdcwdl:wd:l_:18:73:7:wdl_18737:FN-000002/full/pct:12.5/0/default.jpg", "https://tile.loc.gov/image-services/iiif/service:gdc:gdcwdl:wd:l_:14:77:2:wdl_14772:T0000009/full/pct:6.25/0/default.jpg", "https://tile.loc.gov/image-services/iiif/service:gdc:gdcwdl:wd:l_:14:78:3:wdl_14783:T0000011/full/pct:12.5/0/default.jpg", "https://tile.loc.gov/image-services/iiif/service:gdc:gdcwdl:wd:l_:00:59:3:wdl_00593:T0000009/full/pct:6.25/0/default.jpg", "https://tile.loc.gov/image-services/iiif/service:gdc:gdcwdl:wd:l_:04:39:0:wdl_04390:T0000009/full/pct:6.25/0/default.jpg", "https://tile.loc.gov/image-services/iiif/service:gdc:gdcwdl:wd:l_:20:40:4:wdl_20404:T0000004/full/pct:12.5/0/default.jpg", "https://tile.loc.gov/image-services/iiif/service:gdc:gdcwdl:wd:l_:14:23:4:wdl_14234:T0000001/full/pct:12.5/0/default.jpg", "https://tile.loc.gov/image-services/iiif/service:gdc:gdcwdl:wd:l_:03:44:3:wdl_03443:E0000001/full/pct:12.5/0/default.jpg", "https://tile.loc.gov/image-services/iiif/service:gdc:gdcwdl:wd:l_:00:59:6:wdl_00596:D0000001/full/pct:50/0/default.jpg", "https://tile.loc.gov/image-services/iiif/service:gdc:gdcwdl:wd:l_:00:59:9:wdl_00599:D0000001/full/pct:25/0/default.jpg", "https://www.loc.gov/static/images/share/email.svg", "https://www.loc.gov/static/images/social-media/facebook.svg", "https://www.loc.gov/static/images/social-media/twitter.svg", "https://www.loc.gov/static/images/social-media/youtube.svg", "https://www.loc.gov/static/images/social-media/pinterest.svg", "https://www.loc.gov/static/images/social-media/flickr.svg", "https://www.loc.gov/static/images/social-media/instagram.svg", "https://www.loc.gov/static/images/social-media/itunesU.svg", "https://www.loc.gov/static/images/congress-gov.svg", "https://www.loc.gov/static/images/copyright-gov.svg" ]	[]	[]	[ "" ]	null	[]	null	Capitaine Fracasse (Captain Fracasse) is a novel by Théophile Gautier (1811-72), the title character of which is a brash, loudmouthed swaggerer. The novel recounts the adventures of the baron of Sigognac during the reign of Louis XIII, a penniless nobleman who, taking on the role of the braggart Matamore, leaves his decaying castle to join a traveling theatrical troupe out of love for a young actress. The novel includes all the main characteristics of the typical roman de cape et d'épée (swashbuckling romance) made popular by Walter Scott and Alexandre Dumas: chases, fights, intrigues, irony, love, dramatic turns of events, and a fast-paced narrative style. It became an enormous success immediately upon its release and has remained so ever since. But the work is more than an entertaining story. Gautier was a strong believer in "art for art's sake" and the novel is written in a polished style with descriptions of flamboyant characters, cities, inns, and landscapes that recreate a long-gone society. Gautier honors 17th century novelists, such as Paul Scarron and his Roman comique (Comic novel) and addresses the intricacies of drama, appearances, and reality. Gautier had promised Capitaine Fracasse to his publisher in 1836, but the novel was finally only published between 1861 and 1863, in installments in a periodical. It was published in one volume by the firm of Charpentier in 1863. The 1866 edition, presented here, is the first to include the drawings by the greatest French illustrator of the 19th century, Gustave Doré (1832-83).	en		The Library of Congress	https://www.loc.gov/item/2021666977/	The Library of Congress is unaware of any copyright or other restrictions in the World Digital Library Collection. Absent any such restrictions, these materials are free to use and reuse. Researchers are encouraged to review the source information attached to each item. For information on contacting WDL partner organizations, see this archived list of partners The Library asks that researchers approach the materials in this collection with respect for the culture and sensibilities of the people whose lives, ideas, and creativity are documented here. Credit Line: [Original Source citation], World Digital Library More about Copyright and other Restrictions For additional information and contact information for many of the partner organizations, see this archived capture of the World Digital Library site from 2021.
5097	dbpedia	3	54	https://culturalcartography.net/names/theophile-gautier/	en	Théophile Gautier – Who Knew Whom	https://culturalcartogra…iphone4-icon.png	https://culturalcartogra…iphone4-icon.png	[ "https://culturalcartography.net/wp-content/uploads/2018/04/main-title-small.png" ]	[]	[]	[ "" ]	null	[]	null		en	https://culturalcartogra…iphone4-icon.png		https://culturalcartography.net/names/theophile-gautier/	Nerval, a lifelong friend from school, introduced Gautier to Hugo. Nadar was another friend for life; Gautier published many of his photos. Dumas was from the same salon de l’Arsenal côterie. Balzac told Gautier he was talented, Hugo is credited with turning him from painting to literature, and du Camp had a volume of Gautier’s poetry dedicated to him. Gautier wrote about his drug experiences at the Club des Haschischins, which he founded, other members being Delacroix, Baudelaire, Dumas and Nerval. The composers Liszt, Wagner and Meyerbeer were among his correspondents, and Flaubert another friend.
5097	dbpedia	0	6	https://arthistorians.info/gautiert/	en	Dictionary of Art Historians	https://arthistorians.in…ontPage_2022.jpg	https://arthistorians.in…ontPage_2022.jpg	[ "https://arthistorians.info/wp-content/uploads/2023/09/DoAH_logo.png", "https://arthistorians.info/wp-content/uploads/2023/09/DoAH_logo.png", "https://arthistorians.info/wp-content/uploads/2023/11/Pierre-Jules-Theophile-Gautier.jpeg", "https://licensebuttons.net/l/by-sa/4.0/88x31.png", "https://arthistorians.info/wp-content/uploads/2023/09/DAHVC_Logo2020-2048x422-1-1024x211.png", "https://licensebuttons.net/l/by-sa/4.0/88x31.png", "https://arthistorians.info/wp-content/uploads/2023/09/DAHVC_Logo2020-2048x422-1-1024x211.png" ]	[]	[]	[ "" ]	null	[]	2023-11-08T22:48:02+00:00	French art critic and poet; primary exponent of the art-for-art's sake approach. Gautier was the son of bureaucrat in the French tax office, Pierre Gautier	en	https://arthistorians.in…09/DoAH_logo.png	Dictionary of Art Historians	https://arthistorians.info/gautiert/	Full Name: Gautier, Théophile Other Names: Pierre-Jules-Théophile Gautier Gender: male Date Born: 1811 Date Died: 1872 Place Born: Tarbes, Occitanie, France Place Died: Paris, Île-de-France, France Home Country/ies: France Subject Area(s): Modern (style or period) Career(s): art critics Overview French art critic and poet; primary exponent of the art-for-art’s sake approach. Gautier was the son of bureaucrat in the French tax office, Pierre Gautier, and his mother was mother was Antoinette-Adelaïde Concarde. In 1814 his family moved to Paris where Gautier received a formal education at the Collège Charlemagne. In 1829 he entered the studio of Louis-Edouard Rioult (1790-1855), a pupil of Jacques-Louis David. Though he did not remain there long, he adopted a bohemian lifestyle, joining the Romantic circle of Victor Hugo. Following the July Revolution (1830), he was among the esthetes who embraced the notion of art’s autonomy and freedom from supporting ideology. Gautier’s preface to his 1835 book, Mademoiselle de Maupin became an early statement of the “l’art pour l’art” ideology, i.e., art need bear no deep meaning or be for any purpose other than its own beauty to be important. When Emile de Girardin (1806-1881) founded his La Presse in 1836, Gautier was one of its first regular art and theatre critics. Gautier covered nearly all the Salons for La Presse during Louis-Philippe’s reign, 1830-1848. He wrote on architecture and the applied arts as well. Gautier promoted the work of Ingres and Delacroix largely through his technique of actively and personally entering into the picture’s story. Gautier’s 1843 travelogue, Tra los montes, and reissued as Voyage en Espagne in 1845, introduced France to the work of Francesco Goya. He fell in love with the ballerina Carlotta Grisi (1819-1899), whose performances he reviewed, eventually marrying her sister Ernestina Grisi. After the 1848 revolution, Gautier focused on sculpture as the prime medium. In 1854 he joined Le Moniteur universel, leaving La Presse the following year, to write a book on the Exposition Universelle of 1855, Les Beaux-arts en Europe (1855-56). He assumed the editorship of L’Artiste in 1856. The following year his poem “L’Art” appeared. “L’Art” is the most specific statement of his view of sculpture, the naked, idealized body as expressing a metaphor of the primacy of the life (Snell). Gautier became the Second Empire’s chief arbiter of artistic sensibility, both artistic and literary. He framed both Delacroix and Ingres as modern Old Masters. He was instrumental in the official acceptance of Gustav Courbet, though he condemned the artist as a willful, misguided anti-idealist. Gautier did not approve of Impressionism, criticizing Manet’s “Olympia” (1863) because it could not allow a nostalgic interpretation. His later Salon reviews, from the 1860s onward are simple descriptions of paintings, resorting to ghost-writers to handle the ever-increasing size of the shows. He secured a sinecure as the librarian to Princess Mathilde Bonaparte (1820-1904) in 1868. His final Salon review was in 1872. He succumbed to cardiac failure at age 61 and is interred at the Cimetière de Montmartre, Paris. The notion “l’art pour l’art” (art for art’s sake) preceded Gautier’s use. It had been popularized in the early 19th century in De l’Allemagne (1813) by Madame de Staël (1766-1817) and in the philosophy lectures delivered by Victor Cousin (1792-1867) at the Sorbonne, “Du vrai, du beau et du bien” 1816-1818. Gautier however, was the first to publish the phrase in 1833, followed closely by Cousin’s published lectures three years later. Gautier’s art theory views art as a microcosm of an inner world, perceived and translated through the outer world of appearances by the viewer. Art appreciation for Gautier “transported” him to a world of pure emotions, violence and sensations that heightened the dramatic truth of art. This idealism lead to a religious experience of art, which he termed the “temple of art,” a somewhat ironic position for a person who viewed himself as a modern pagan. His interest in 18th-century art led to a reappraisal of the style. His emphasis on the subjective in art appreciation greatly influenced Edmond and Jules de Goncourt as well as the younger Charles Baudelaire (1821-1867). His approach continued its appeal in twentieth century, though it was replaced by other methodologies. Nicos Hadjinicolaou, in his 1978 Art History and Class Struggle provided a strong critique against “l’art pour l’art.” A passionate temperament during revolutionary times, he had caught the imagination of revolutionary young artists and writers and yet balanced his reputation with the cautious bourgeoisie (Licht). Selected Bibliography Mademoiselle de Maupin: double amour. Paris: E. Renduel, 1835-1836; Tra los montes. Paris: G. Charpentier et cie, 1843 [most commonly cited edition is the 2nd, corrected ed. Voyage en Espagne. Paris: G. Charpentier, 1845]; Les Beaux-Arts en Europe, 1855. 2 vols. Paris, Michel Lévy, 1855-1856; L’art moderne. Paris: Michel Lévy Frères, 1856; Abécédaire du Salon de 1861. Paris: E. Dentu, 1861. Sources Richardson, Joanna. Théophile Gautier, his Life & Times. London: Coward-McCann 1959; Spencer, Michael C. The Art Criticism of Theophile Gautier. Geneva: Droz, 1969; Licht, Fred. Goya in Perspective. Engelwood Cliffs, NJ: Prentice-Hall, 1973, p. 170; Snell, Robert. Théophile Gautier, a Romantic Critic of the Visual Arts. New York: Oxford University Press, 1982; Lacoste-Veysseyre, Claudine. La critique d’art de Théophile Gautier. Montpellier: Sup Exam, 1985 [includes an index of artists discussed by Gautier]; Snell, Robert. “Gautier, (Pierre-Jules-)Théophile.” Dictionary of Art.
5097	dbpedia	2	63	https://www.cambridge.org/core/books/cambridge-companion-to-the-french-novel/F072C4A10A801DEE8691836F7CB775F1	en	The Cambridge Companion to the French Novel	https://assets.cambridge…80521499149i.jpg	https://assets.cambridge…80521499149i.jpg	[ "https://www.cambridge.org/core/cambridge-core/public/images/icn_circle__btn_close_white.svg", "https://www.cambridge.org/core/cambridge-core/public/images/logo_core.png", "https://www.cambridge.org/core/cambridge-core/public/images/logo_core.svg", "https://www.cambridge.org/core/cambridge-core/public/images/logo_core.svg", "https://www.cambridge.org/core/cambridge-core/public/images/logo_core.svg", "https://assets.cambridge.org/97805214/99149/cover/9780521499149.jpg", "https://assets.crossref.org/logo/crossref-logo-100.png", "https://assets.crossref.org/logo/crossref-logo-100.png", "https://www.cambridge.org/core/services/aop-file-manager/file/61af47a023c6444458082f6b", "https://www.cambridge.org/core/system/public/img/ajax_loader_gray_256.gif", "https://www.cambridge.org/core/system/public/img/ajax_loader_gray_256.gif", "https://www.cambridge.org/core/cambridge-core/public/images/cambridge_logo.png" ]	[]	[]	[ "" ]	null	[ "Timothy Unwin", "University of Liverpool" ]	null	Cambridge Core - European Studies - The Cambridge Companion to the French Novel	en	/core/cambridge-core/public/images/favicon.ico	Cambridge Core	https://www.cambridge.org/core/books/cambridge-companion-to-the-french-novel/F072C4A10A801DEE8691836F7CB775F1	To save content items to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle. Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
5097	dbpedia	0	95	https://www.teamspeakpro.ir/subjects/french_novelists	en	French Novelists	https://www.teamspeakpro…rary-192x192.png	https://www.teamspeakpro…rary-192x192.png	[ "https://www.teamspeakpro.ir/static/images/ia-logo.svg", "https://www.teamspeakpro.ir/static/images/language-icon.svg", "https://www.teamspeakpro.ir/static/images/openlibrary-logo-tighter.svg", "https://www.teamspeakpro.ir/static/images/down-arrow.png", "https://www.teamspeakpro.ir/static/images/hamburger-icon.svg", "https://www.teamspeakpro.ir/static/images/down-arrow.png", "https://www.teamspeakpro.ir/static/images/down-arrow.png", "https://covers.openlibrary.org/b/id/12993424-M.jpg", "https://covers.openlibrary.org/b/id/420071-M.jpg", "https://covers.openlibrary.org/b/id/967517-M.jpg", "https://covers.openlibrary.org/b/id/8235341-M.jpg", "https://covers.openlibrary.org/b/id/966116-M.jpg", "https://covers.openlibrary.org/b/id/7138830-M.jpg", "https://www.teamspeakpro.ir/static/images/tweet.svg", "https://www.teamspeakpro.ir/static/images/github.svg", "https://www.teamspeakpro.ir/static/images/pantheon.png" ]	[]	[]	[ "free books", "books to read", "free ebooks", "audio books", "read books for free", "read books online", "online library" ]	null	[ "OpenLibrary.org" ]	null	Open Library is an open, editable library catalog, building towards a web page for every book ever published. Read, borrow, and discover more than 3M books for free.	en	/static/images/openlibrary-128x128.png		https://openlibrary.org/subjects/french_novelists	Preview Book ×Close Publishing History This is a chart to show the publishing history of editions of works about this subject. Along the X axis is time, and on the y axis is the count of editions published. Click here to skip the chart. Reset chart or continue zooming in. This graph charts editions published on this subject. Editions Published Year of Publication Related...
5097	dbpedia	3	81	https://www.best-poems.net/theophile_gautier/index.html	en	Théophile Gautier - Théophile Gautier Poems	https://www.best-poems.n…hile Gautier.jpg	https://www.best-poems.n…hile Gautier.jpg	[ "https://www.best-poems.net/images/logo.png", "https://www.best-poems.net/images/Facebook.png", "https://www.best-poems.net/images/Twitter.png", "https://www.best-poems.net/images/Pinterest.png", "https://www.best-poems.net/misc/feed.png", "https://ww1.best-poems.net/robert-frost.png", "https://ww1.best-poems.net/maya-angelou.png", "https://ww1.best-poems.net/pablo-neruda.png", "https://ww1.best-poems.net/rabindranath-tagore.png", "https://ww1.best-poems.net/t-s-eliot.png", "https://ww2.best-poems.net/bestlyrics.png" ]	[]	[]	[ "" ]	null	[ "Théophile Gautier" ]	null		en	/misc/favicon.ico	Best Poems Encyclopedia	https://www.best-poems.net/theophile_gautier/index.html	Robert Frost was an American poet. Maya Angelou was an African-American poet. Pablo Neruda Nobel prize chilean poet. Rabindranath Tagore was an indian famous poet
5097	dbpedia	0	83	https://britishacademy.universitypressscholarship.com/view/10.5871/bacad/9780197266090.001.0001/upso-9780197266090-chapter-2	en				[]	[]	[]	[ "" ]	null	[]	null					null
5097	dbpedia	2	75	https://thefrenchroomhome.wordpress.com/2020/02/04/ten-of-the-most-famous-classic-french-novels/	en	Ten of the Most Famous Classic French Novels	https://thefrenchroomhom…ovels.jpg?w=1200	https://thefrenchroomhom…ovels.jpg?w=1200	[ "https://thefrenchroomhome.wordpress.com/wp-content/uploads/2020/05/cropped-france-map-header.jpg", "https://0.gravatar.com/avatar/932313e30f62d6cf72dc933181019d619e43906bb5a09e1ec386a08817bdd083?s=60&d=identicon&r=G", "https://thefrenchroomhome.wordpress.com/wp-content/uploads/2020/05/cropped-favicon.ico_-1.png?w=50", "https://thefrenchroomhome.wordpress.com/wp-content/uploads/2020/05/cropped-favicon.ico_-1.png?w=50", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[ "Michael Partridge" ]	2020-02-04T00:00:00	For many centuries, France has had a high reputation in European intellectual culture, and its literature is no exception. French authors have produced works known around the world, pioneered and reinvented genres, and explored everything from marriage to revolution. Our list of ten of the most famous French classics includes novels from the 18th, 19th…	en	https://thefrenchroomhom….ico_-1.png?w=32	The French Desk	https://thefrenchroomhome.wordpress.com/2020/02/04/ten-of-the-most-famous-classic-french-novels/	For many centuries, France has had a high reputation in European intellectual culture, and its literature is no exception. French authors have produced works known around the world, pioneered and reinvented genres, and explored everything from marriage to revolution. Our list of ten of the most famous French classics includes novels from the 18th, 19th and early 20th centuries. These books have all been written in the modern French language, so are perfectly suitable for language learners. Equally, they’ve all been translated into English editions that successfully capture the elegance of the original writing. The Hunchback of Notre-Dame (Victor Hugo, 1831) Set in 15th century Paris, this popular novel by Victor Hugo tells the story of Quasimodo, the hunchbacked bell-ringer of Notre-Dame Cathedral, and his unrequited love for Esmeralda, the beautiful gypsy dancer. Quasimodo is a pitiful character: kind at heart but ridiculed and misunderstood for his deformed appearance – he was even abandoned outside the cathedral as an infant on the Sunday after Easter, Quasimodo Sunday. With his poetic descriptions of Notre-Dame Cathedral and its Gothic architecture, Victor Hugo inspired a campaign to restore Notre-Dame Cathedral itself, which had been severely damaged during the French Revolution (1789-1799). Extensive restoration led by architect Eugène Viollet-le-Duc soon began in the 1840s, and there was a renewed appreciation for the Gothic style. Without The Hunchback of Notre-Dame, its very possible that Notre-Dame would not have become such an iconic symbol of the French nation. Buy a Copy of The Hunchback of Notre-Dame (English Translation) Madame Bovary (Gustave Flaubert, 1856) First serialised in 1856 in the Revue de Paris and later published in two volumes in 1857, Madame Bovary is the debut novel of Gustave Flaubert. It centres on the life of Emma Bovary after her marriage to Charles Bovary, a dull but good-natured doctor. When she first meets Charles, Emma is a farm girl who has been raised in a convent; she is an avid reader of romance novels, which have galvanised in her a desire for high romance, luxury and a better social status. She initially believes marriage to Charles will give her these things, but soon finds herself disappointed and bored, even after the arrival of their daughter. In her search for passion and excitement, Emma has two affairs, both of which bring her disappointment, and carelessly spends her money on luxury items. Eventually, she is brought to the verge of ruin. When Madame Bovary was serialised in 1856, public prosecutors accused Flaubert of obscenity, leading to a trial that ended in the author’s acquittal. All this brought the novel great publicity, and when it published in 1857, it quickly became a bestseller. Today, the novel is often considered the masterpiece and the first work of the realist genre. Buy a Copy of Madame Bovary (English Translation) In Search of Lost Time (Marcel Proust, 1913-1927) In Search of Lost Time is impressive to say the least: it holds Guinness World Record for the longest novel, it won the prestigious Prix Goncourt in 1919 for its second volume, and is considered by many to be the greatest novel of the 20th century, or even of all time. It is composed of seven volumes that were published between 1913 and 1927, the last three of which were published posthumously. It is a pseudo-autobiography, charting the memories of an unnamed protagonist who is essentially a thinly-veiled version of the author himself, and through this character’s remembered experiences, Proust recounts his own. The most well-known episode of the novel comes in the first volume, Swann’s Way, when the narrator tastes a madeleine (a type small sponge cake) dipped in tea, and suddenly he had memories of spending time in his aunt’s house in the countryside during the summer as a child. This had led to the expression “Proustian moment“, or “madeleine moment”, which is when one tastes or smells something that provokes fond memories. As well as exploring memory, time, love and war, In Search of Lost Time is also a nostalgic evocation of the Belle Époque in France, a period that ended with World War One, during which the novel concludes. Buy a Copy of Swann’s Way (English Translation) The Three Musketeers (Alexandre Dumas, 1844) Undoubtedly the most famous “swashbuckling novel” of all time, The Three Musketeers is a tale of comradery and adventure that is one of the well-known pieces of French literature outside of France itself. In the beginning of the novel we are introduced to d’Artagan, who arrives in Paris to become a member of the King’s Musketeers and soon becomes close friends with Aramis, Athos and Porthos, otherwise known as the “three musketeers”. The novel charts their various escapades, which are entwined with romance, espionage and murder. This novel is one of over 250 books that Dumas wrote with the aid of his army of assistants, including the historian Auguste Maquet, who is often credited for devising the premise of The Three Musketeers. The novel was followed by two sequels titled Twenty Years After and The Vicomte de Bragelonne. Buy a Copy of The Three Musketeers (English Translation) Les Misérables (Victor Hugo, 1862) Les Misérables centres on the life of ex-convict Jean Valjean, who we meet in 1815 – he has just been let out of jail, having finished a 19-year prison sentence for stealing a loaf of bread (as well as various escape attempts). Upon his release, he steals silverware from a bishop who gives him food and shelter, only for the police to quickly find him with the stolen items. However, the bishop lies to the police, telling them it was gift, and Valjean vows to change his ways. The story then follows this path of redemption, along with various other marginalised people who Valjean encounters. Hugo uses his novel to explore the need for reform in France, such as in the criminal justice system and in the treatment of the poor. The political upheavals taking place in France during the period that he novel is set (1815-1832) are also crucial to the narrative, which culminates in the June Rebellion of 1832, which unsuccessfully attempted to remove Louis-Phillippe from the throne and re-establish a French Republic. Buy a Copy of Les Misérables (English Translation) Père Goriot (Honoré de Balzac, 1835) Père Goriot is one of the most famous works in Balzac’s The Human Comedy, a vast series of over 90 novels and novellas that examine society from the French Revolution (1789-99) to the eve of the 1848 Revolution, which led to the establishment of the Second Republic. In this particular novel, Balzac traces the intertwining lives of three main characters: Eugène de Rastignac, an ambitious young man looking to achieve success in Paris; Carlos Herrera-Vautrin, a mysterious criminal, and Père Goriot, a retired merchant who has sacrificed everything for his two daughters. Eugène de Rastignac appeared in many other works of The Human Comedy, and it is in Père Goriot that he is first introduced. Buy a Copy of Père Goriot (English Translation) Candide (Voltaire, 1759) Along with Montesquieu and Jean-Jacques Rousseau, Voltaire was one of the most famous thinkers of the Enlightenment – a European intellectual movement that took place in the 17th and 18th centuries – and among his extensive body of work, it is Candide which is probably the most well-known. In this satirical novel, Voltaire traces the life of the titular character Candide, who is kicked out of the German castle where he had previously lived a comfortable life, and is soon confronted with the harsh realities of the world. He embarks on a journey in which he encounters war, slavery, theft, cannibalism and natural disaster. Voltaire uses the fictional life of Candide to criticise Leibnizian Optimism, a popular philosophical doctrine in the 18th century which argued that the world, even with all its evil, is the best world that God could possibly create. At the start of the novel, Candide believes in Leibnizian Optimism, but after seeing the horrors of the world, comes to reject it. Although Candide may seem like a heavy read, it is in fact quite short and does have something of a light tone. Buy a Copy of Candide (English Translation) Indiana (George Sand, 1832) George Sand was the penname, or non de plume, of female author of Amantine Lucile Aurore Dupin, who was one of the most popular novelists of her day, even more so than the likes of Honoré de Balzac and Victor Hugo. As well as her novels, she was also famous for breaking the social conventions of her day by wearing men’s clothes and smoking tobacco in public. Indiana was her first novel under the name George Sand, and brought her immediate fame. The plot revolves around Indiana, a young French Creole women, and her unhappy marriage to a much older man, her love for her handsome neighbour Raymon, and her relationship with her loyal cousin Ralph. The central themes include adultery, class, the French colonies (the novel is set in both France and Bourbon Island, now known as Réunion) and marriage – Indiana is often noted for protesting against the law’s unequal treatment of wives in relation to their husbands in the 19th century. Buy a Copy of Indiana (English Translation) The Red and the Black (Stendhal, 1830) With this novel, Stendhal gives a satirical portrayal of French society during the Bourbon Restoration (1815-1830), focusing on political opportunism, materialism, and corruption. Originally, the novel was to be titled after the main character, Julien, a determined social climber who uses deceit and seduction to advance himself. He’s a complex and contradictory character: sensitive and cruel, vulnerable and careerist, and timid and hot-tempered. As well as being a character study of Julien, we are also given insightful portraits of Madame de Rênal and Mathilde, two women who both fall in love with Julien. Although Stendhal, whose real name was Henri Marie Beyle, did not achieve literary fame during his lifetime, he has come to be appreciated as one of the greatest French novelists of the 19th century. The Red and the Black, along with his later novel The Charterhouse of Parma, are generally considered his two masterpieces. Buy a Copy of The Red and the Black (English Translation) Germinal (Émile Zola 1885) Generally considered Zola’s masterpiece, Germinal is one of the 20 novels in his famous series, Les Rougen-Macquart. Published between 1871 and 1893, the series follows the lives of various members of the fictional Rougen-Macquart family. In this particular novel, Zola depicts life in a mining community in northern France, in which the miners work in utterly appalling conditions for very little pay, and are consequently starving and ill-housed. The community is made up of generations of miners, who have inherited physical deformities and having been taught no better, lead wretched and brutal lives. The protagonist of the novel, Étienne Lantier – a member of the Rougen-Macquart family – finds work in these mines, and eventually leads a strike to try and relieve the plight of him and his fellow miners, only for it to have disastrous consequences. A few weeks before writing the novel, a miners’ strike broke out in Anzin, in the north of France, which Zola visited himself to gain insight into the conditions that the miners worked in, and those that they lived in. Although the novel deals with class and workers’ rights, Zola stated that Germinal was “a work of compassion, not a revolutionary work”. Buy a Copy of Germinal (English Translation) About my Product Links: this post contains links to English translations of each novel on the US Amazon site. All this means is that if you go on to buy one of these items, I receive a small commission that goes towards the running this site, helping me to keep this educational (and hopefully entertaining) content free for all to read.
6612	dbpedia	2	7	https://veripages.com/name/Sabine/Peters/	en	Sabine Peters: Address, Phone Numbers, Age, Public Records	https://veripages.com/favicon.ico	https://veripages.com/favicon.ico	[ "https://veripages.com/img/not-found.png", "https://veripages.com/img/not-found.png", "https://veripages.com/img/not-found.png", "https://veripages.com/img/not-found.png", "https://veripages.com/img/not-found.png", "https://veripages.com/img/not-found.png", "https://veripages.com/img/not-found.png", "https://i.ytimg.com/vi/hYtcr9Y_GN0/0.jpg", "https://i.ytimg.com/vi/pM45jlR2ols/0.jpg", "https://i.ytimg.com/vi/ylY2btUiJHg/0.jpg", "https://i.ytimg.com/vi/6sBpgD6S3ek/0.jpg", "https://i.ytimg.com/vi/qdb16R61Uj8/0.jpg", "https://i.ytimg.com/vi/YUgihFKSZfo/0.jpg", "https://i.ytimg.com/vi/xy9TE6SzA4s/0.jpg", "https://i.ytimg.com/vi/N1qH_YnobPY/0.jpg", "https://veripages.com/i/b4e742fa31bdefb2b5fe74cf251afb6b.jpg", "https://lh5.googleusercontent.com/-jAqT7vt9dCc/AAAAAAAAAAI/AAAAAAAAADM/FrZ0-d_kK9c/photo.jpg", "https://lh5.googleusercontent.com/-y6mlHK6p52k/AAAAAAAAAAI/AAAAAAAAAB0/PM_u_Oep34k/photo.jpg", "https://lh6.googleusercontent.com/-a9_TmlCGieM/AAAAAAAAAAI/AAAAAAAAABs/6aJSmQhYJJ0/photo.jpg", "https://veripages.com/img/not-found.png", "https://veripages.com/i/abcb946f92b5d08d607c00cf62a6c9ad.jpg", "https://veripages.com/img/not-found.png", "https://veripages.com/img/not-found.png" ]	[]	[]	[ "" ]	null	[]	2017-05-14T00:00:00	We found 13 records with the name Sabine Peters in 65 cities. View Sabine Peters phone numbers, addresses, ages, public records and more.	en	/img/favicons/apple-touch-icon.png		https://veripages.com/name/Sabine/Peters/	DISCLAIMER: You may not use Veripages or the information it provides to make decisions about employment, credit, housing or any other purpose that would require Fair Credit Reporting Act (FCRA) compliance. Veripages is not a Consumer Reporting Agency (CRA) as defined by the FCRA and does not provide consumer reports.
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View details, map and photos of this single family property with 3 bedrooms and 2 total baths. MLS# 224087303.	en	https://s.cbhomes.com/p/i/icon/fav/10.ico	ColdwellBankerHomes.com	https://www.coldwellbankerhomes.com/ca/carmichael/6347-tami-way/pid_60927198/	Yes, I would like more information from Coldwell Banker. Please use and/or share my information with a Coldwell Banker agent to contact me about my real estate needs. By clicking SUBMIT, I agree a Coldwell Banker Agent may contact me by phone or text message including by automated means about real estate services, and that I can access real estate services without providing my phone number. I acknowledge that I have read and agree to the Terms of Use and Privacy Policy. Yes, I would like more information from Coldwell Banker. Please use and/or share my information with a Coldwell Banker agent to contact me about my real estate needs. 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6612	dbpedia	3	41	https://store.starducine.com/en/magazine/6113-magazine-film-complet-1937-wera-engels-albrecht-schoenhals-sabine-peters-talking-about-jacqueline.html	en	Magazine Film Complet 1937 Wera Engels Albrecht Schoenhals Sabine Peters Talking About Jacqueline	https://store.starducine…t-jacqueline.jpg	https://store.starducine…t-jacqueline.jpg	[ "https://store.starducine.com/img/l/2.jpg", "https://store.starducine.com/img/l/1.jpg", "https://store.starducine.com/img/l/2.jpg", "https://store.starducine.com/img/logo-1668350264.jpg", "https://store.starducine.com/64678-medium_default/magazine-film-complet-1937-wera-engels-albrecht-schoenhals-sabine-peters-talking-about-jacqueline.jpg", "https://store.starducine.com/64678-small_default/magazine-film-complet-1937-wera-engels-albrecht-schoenhals-sabine-peters-talking-about-jacqueline.jpg", "https://store.starducine.com/64679-small_default/magazine-film-complet-1937-wera-engels-albrecht-schoenhals-sabine-peters-talking-about-jacqueline.jpg", "https://store.starducine.com/modules/blockreassurance/views/img/reassurance/pack2/security.svg", "https://store.starducine.com/modules/blockreassurance/views/img/reassurance/pack2/carrier.svg", "https://store.starducine.com/64678-cart_default/magazine-film-complet-1937-wera-engels-albrecht-schoenhals-sabine-peters-talking-about-jacqueline.jpg", "https://store.starducine.com/img/cms/starducine.png", "https://store.starducine.com/img/cms/starducine-favicon.png", "https://best.aonetemplate.com/img/cms/payments.png" ]	[]	[]	[ "Magazine", "Film Complet", "1937", "Wera Engels", "Albrecht Schoenhals", "Sabine Peters", "Talking About Jacqueline", "Alice Faye" ]	null	[]	null	Content : Wera Engels, Albrecht Schoenhals, Sabine Peters, Talking About Jacqueline, Alice Faye, Condition: Very Good, Country: France, Release Date: 10/08/1937	en	https://store.starducine.com/img/favicon.ico?1668350264	Starducine	https://store.starducine.com/en/magazine/6113-magazine-film-complet-1937-wera-engels-albrecht-schoenhals-sabine-peters-talking-about-jacqueline.html	You may unsubscribe at any moment. For that purpose, please find our contact info in the legal notice.
6612	dbpedia	0	14	https://www.rottentomatoes.com/celebrity/sabine_peters	en	Sabine Peters	https://images.fandango.…--newsletter.png		[ "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://www.rottentomatoes.com/assets/pizza-pie/images/rtlogo.9b892cff3fd.png", "https://images.fandango.com/cms/assets/5d84d010-59b1-11ea-b175-791e911be53d--rt-poster-defaultgif.gif", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg" ]	[]	[]	[ "" ]	null	[]	null	Explore the filmography of Sabine Peters on Rotten Tomatoes! Discover ratings, reviews, and more. Click for details!	en	https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico	Rotten Tomatoes	https://www.rottentomatoes.com/celebrity/sabine_peters	Let's keep in touch! > Sign up for the Rotten Tomatoes newsletter to get weekly updates on: Upcoming Movies and TV shows Rotten Tomatoes Podcast Media News + More Sign me up No thanks