Landmarks in French Literature |
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Page 50
... Hugo . But Corneille could not do what Marlowe did . He could not infuse into the free form of popular drama the passion and splendour of his own genius , and thus create a type of tragedy that was at once exuberant and beautiful . And ...
... Hugo . But Corneille could not do what Marlowe did . He could not infuse into the free form of popular drama the passion and splendour of his own genius , and thus create a type of tragedy that was at once exuberant and beautiful . And ...
Page 207
... French literature before 1830 and French literature after- deserves some further consideration . The Romantic School - of which the most important members were VICTOR HUGO , ALFRED DE VIGNY , THE ROMANTIC MOVEMENT 207.
... French literature before 1830 and French literature after- deserves some further consideration . The Romantic School - of which the most important members were VICTOR HUGO , ALFRED DE VIGNY , THE ROMANTIC MOVEMENT 207.
Page 208
Lytton Strachey. important members were VICTOR HUGO , ALFRED DE VIGNY , THÉOPHILE GAUTIER , ALEXANDRE DUMAS , and ALFRED DE MUSSET -was , as we have said , inspired by that supremely French love of Rhetoric which , during the long reign ...
Lytton Strachey. important members were VICTOR HUGO , ALFRED DE VIGNY , THÉOPHILE GAUTIER , ALEXANDRE DUMAS , and ALFRED DE MUSSET -was , as we have said , inspired by that supremely French love of Rhetoric which , during the long reign ...
Page 209
... Hugo , in the opening lines of Hernani , ventured to refer to an " escalier dérobé , and to put " escalier " at the end of one line , and " dérobé " at the beginning of the next , he was assailed with the kind of virulence which is ...
... Hugo , in the opening lines of Hernani , ventured to refer to an " escalier dérobé , and to put " escalier " at the end of one line , and " dérobé " at the beginning of the next , he was assailed with the kind of virulence which is ...
Page 213
... Hugo in the theatre shows , in a no less striking light , the incapacity of contempora- ries to gauge the true significance of new ten- dencies in art . On the whole , the dramatic achievement of the Romantic School was the least ...
... Hugo in the theatre shows , in a no less striking light , the incapacity of contempora- ries to gauge the true significance of new ten- dencies in art . On the whole , the dramatic achievement of the Romantic School was the least ...
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Common terms and phrases
age of Louis artistic Balzac beauty Bossuet brilliant Bruyère Chansons Chansons de Geste character characteristic charm CHRÉTIEN DE TROYES civilisation classical complete Corneille critical detail Diderot dominating doubt drama eighteenth century elaborate English exquisite extraordinary fact feeling Flaubert Fontaine French literature genius human ideals imagination immense important infinitely influence intensity Jean de Meung language Les Misérables letters Lettres Provinciales literary literature of France Louis XIV master medieval melancholy ment Middle Ages mind modern Molière Molière's Montaigne Montesquieu movement nature ness never noble Paris Parnassiens Pascal passion perfect Philosophes play poems poet poetical poetry political precisely produced Professor profound prose qualities Rabelais Racine Racine's reader realise Renaissance rhetoric Romantic Rousseau Saint-Simon seems sense sentences Shakespeare soul spirit splendid splendour strange style subtle things thought tion tradition tragedy triumph true truth University verse Victor Hugo vision Voltaire Voltaire's whole words writers
Popular passages
Page 126 - Dieu et la nature sont en tout cela ce qu'il n'admire point; il ne va pas plus loin que l'oignon de sa tulipe, qu'il ne livrerait pas pour mille écus, et qu'il donnera pour rien quand les tulipes seront négligées et que les œillets auront prévalu. Cet homme raisonnable, qui a une âme, qui a un culte et une religion, revient chez soi fatigué, affamé, mais fort content de sa journée : il a vu des tulipes.
Page 60 - Quelle chimère est-ce donc que l'homme ? Quelle nouveauté, quel monstre, quel chaos, quel sujet de contradiction, quel prodige ! Juge de toutes choses, imbécile ver de terre; dépositaire du vrai, cloaque d'incertitude et d'erreur ; gloire et rebut de l'univers.
Page 118 - Jupin pour chaque état mit deux tables au monde : L'adroit, le vigilant, et le fort, sont assis A la première ; et les petits Mangent leur reste à la seconde.