Authors and Their Centuries |
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Page 1
... present heroes who are more or less Cornelian in that they act to shape their own destiny . There are , therefore , certain limits in proposing controlled destiny as a universal preoccupation throughout these five or six centuries of ...
... present heroes who are more or less Cornelian in that they act to shape their own destiny . There are , therefore , certain limits in proposing controlled destiny as a universal preoccupation throughout these five or six centuries of ...
Page 2
... presents Fortune in her usual posture : Ele a une roe qui torne et , quant ele veut , ele met le plus has amont ou somet . ( 11. 3958-60 ) 4 Guillaume de Machaut , in the Remède de Fortune , warns us not to trust Fortune : Car par tel ...
... presents Fortune in her usual posture : Ele a une roe qui torne et , quant ele veut , ele met le plus has amont ou somet . ( 11. 3958-60 ) 4 Guillaume de Machaut , in the Remède de Fortune , warns us not to trust Fortune : Car par tel ...
Page 7
... presents at least one other character in an equally unmerited position before his destiny . The fairies are a person- ification of destiny since they participate in its determination . Morgue is not more just than Maglore . She changes ...
... presents at least one other character in an equally unmerited position before his destiny . The fairies are a person- ification of destiny since they participate in its determination . Morgue is not more just than Maglore . She changes ...
Page 8
... present condition re- sults from an innocent gesture . Each one could have exercised the caution necessary to avoid his fate ; and , in truth , each character , save Adam , seems to be willing to accept his blame . Adam prefers to ...
... present condition re- sults from an innocent gesture . Each one could have exercised the caution necessary to avoid his fate ; and , in truth , each character , save Adam , seems to be willing to accept his blame . Adam prefers to ...
Page 16
... present ballade , the loss of the likes of Thais , Heloise , and Echo makes a strong and no doubt valid point about death , but only indirectly and implicitly about Villon's own death . Moreover , Villon follows this ballad by a similar ...
... present ballade , the loss of the likes of Thais , Heloise , and Echo makes a strong and no doubt valid point about death , but only indirectly and implicitly about Villon's own death . Moreover , Villon follows this ballad by a similar ...
Contents
11 | |
Baroque Perspectives on Molière | 41 |
La Bruyères Changing Perspective on | 65 |
Summing | 87 |
PigaultLebrun | 117 |
Some French Novelists and the Problems of Realism | 143 |
The Emergence of Jean Cocteau as Poet in the 1920s | 167 |
World War II and the French Novel | 191 |
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Common terms and phrases
Agnès André Gide artistic attitude baroque becomes bien Bruyère c'est Caractères character choses classical Claude Simon Cocteau colonial coloniale concept Crébillon's criticism d'Alembert d'une death destiny Diderot Drieu école coloniale edition eighteenth century Encyclopédie essay être evolution example expression fact fait faut femme fiction Flaubert français France French Literature génie Goncourt Goncourt brothers goût hommes human impressionist impressionist literature j'ai jamais Jean Starobinski king l'Allemagne l'esprit l'homme l'on La Bruyère light literary littérature livre Louis XIV Maglore Mme de Staël Molière Molière's Montaigne Montaigne's moral n'est narrator nature novel novelist Paris period personnage peuples philosophes Pigault-Lebrun play poem poet poète poetic poetry political Proust qu'elle qu'il qu'on Raynal reader reality reflection rococo role roman Rousset sensations sense siècle social society Stendhal style Tartuffe temps Testament theme thought tion tout University veux Villon vision voir Voltaire writers yeux
Popular passages
Page 155 - All art, therefore, appeals primarily to the senses, and the artistic aim when expressing itself in written words must also make its appeal through the senses, if its high desire is to reach the secret spring of responsive emotions.
Page 156 - My task which I am trying to achieve is, by the power of the written word to make you hear, to make you feel — it is, before all, to make you see.
Page 36 - Je fay coustumierement entier ce que je fay et marche tout d'une piece ; je n'ay guere de mouvement qui se cache et desrobe à ma raison, et qui ne se conduise à peu près par le consentement de toutes mes parties, sans division, sans...
Page 10 - For technique is the means by which the writer's experience, which is his subject matter, compels him to attend to it; technique is the only means he has of discovering, exploring, developing his subject, of conveying its meaning, and, finally, of evaluating it.
Page 73 - ... l'aurore le trouve déjà en pleine campagne, d'où il ne se retire qu'avec le soleil: quels soins! quelle vigilance! quelle servitude! Quelle condition vous paraît la plus délicieuse et la plus libre, ou du berger ou des brebis? le troupeau est-il fait pour le berger, ou le berger pour le troupeau?
Page 33 - Mon livre est tousjours un. Sauf qu'à mesure qu'on se met à le renouveller afin que l'acheteur ne s'en aille les mains du tout vuides, je me donne loy d'y attacher (comme ce n'est qu'une marqueterie mal jointe), quelque emblème supernuméraire. Ce ne sont que surpoids, qui ne condamnent point la première forme, mais donnent quelque pris particulier à chacune des suivantes par une petite subtilité ambitieuse.
Page 73 - ... le berger, soigneux et attentif, est debout auprès de ses brebis; il ne les perd pas de vue, il les suit...
Page 29 - Le monde n'est qu'une branloire perenne. Toutes choses y branlent sans cesse: la terre, les rochers du Caucase, les pyramides d'AEgypte, et du branle public et du leur. La constance mesme n'est autre chose qu'un branle plus languissant.
Page 106 - Je sais seulement que la vérité est dans les choses et non pas dans mon esprit qui les juge, et que moins je mets du mien dans les jugements que j'en porte, plus je suis sûr d'approcher de la vérité : ainsi ma règle de me livrer au sentiment plus qu'à la raison est confirmée par la raison même.