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admirable already appeared artistic beauty becomes Born Brunetière called cause century character charm Christian classical close comedy contemporary continued Corneille criticism death drama Dumas effect epic equally especially essays ethical expression feel fiction followed force France French genius give greater greatest heart Hugo Hugo's human idealism ideas imagination individual influence inspiration interest Italy lack language later less letters lines literary literature living lyric Madame marks mind moral Naturalistic nature never novel observation once original Paris passion perhaps period philosophic play poems poet poetic poetry political popular present produced prose reader realistic result Romantic satire says scenes seems sense sentiment social society spirit stage story style success sympathy thought tion true turn verse Voltaire volumes whole wholly writers youth Zola
Page 348 - Car nous voulons la Nuance encor, Pas la couleur, rien que la nuance! Oh! la nuance seule fiance Le rêve au rêve et la flûte au cor!
Page 320 - L'azur phosphorescent de la mer des Tropiques Enchantait leur sommeil d'un mirage doré ; Ou penchés à l'avant des blanches caravelles, Ils regardaient monter en un ciel ignoré Du fond de l'Océan des étoiles nouvelles.
Page 283 - No matter if the facts be physical or moral, they all have their causes; there is a cause for ambition, for courage, for truth, as there is for digestion, for muscular movement, for animal heat. Vice and virtue are products, like vitriol and sugar; and every complex phenomenon arises from other more simple phenomena on which it hangs.
Page 71 - Pompee" ) to name no others, will thrill audiences everywhere, as long as the antinomies of love and patriotism, honor and duty, perplex men's souls. But oratory is far from being the only use of language, and by giving to French when in a very plastic state a sententious imprint, Corneille exercised an influence on the future of his mother tongue, very great but not altogether helpful to its healthy growth and further development. The rival of Corneille's later years was Racine, whom Boileau reckoned...
Page 43 - Enfin Malherbe vint, et, le premier en France, Fit sentir dans les vers une juste cadence. D'un mot mis en sa place enseigna le pouvoir. Et réduisit la muse aux règles du devoir.
Page 60 - ... enough to bear the ills of others. If we had no pride, we should not complain that others had it. We easily forget our faults when no one else knows them. . . . We try to be proud of the faults that we do not wish to forget.
Page 348 - Que ton vers soit la chose envolée Qu'on sent qui fuit d'une âme en allée Vers d'autres cieux à d'autres amours. Que ton vers soit la bonne aventure Eparse au vent crispé du matin Qui va fleurant la menthe et le thym... Et tout le reste est littérature.
Page 77 - L'Ecole des Femmes," a covert attack on hypocrisy and literal orthodoxy. This unchained a "storm of rage, nursed by jealousy, such as actor-poet has seldom faced. He replied to his critics first in the witty " Critique de 1'Ecole des Femmes " and then in the " Impromptu de Versailles," where his roused indignation did not scruple to name opponents and caricature rivals whom he scourged with caustic cruelty. In 1664 he renewed his attack on that most contemptible of all vices with three acts of
Page 299 - Also related to Taine., though fundamentally antagonistic to Zola, is Brunetiere. He shares with Zola Taine's objectivity and pessimism but he adds to this a logical synthesis that Zola, as a critic, does not possess. This with his delicate taste and a learning alike minute and immense, borne lightly by a style that is always keen and cutting and sometimes superciliously contemptuous, has made him more popular with the public than with his fellow critics.