By Tim Farrant

ISBN-10: 0715629077

ISBN-13: 9780715629079

ISBN-10: 1472537637

ISBN-13: 9781472537638

ISBN-10: 1472537645

ISBN-13: 9781472537645

Everyone understands whatever of nineteenth-century France - or do they? "Les Miserables", "The girl of the Camelias" and "The 3 Musketeers", "Balzac" and "Jules Verne" dwell within the well known awareness as enduring human records and cultural icons. but, the French 19th century used to be much more dynamic than the stereotype indicates. This fascinating new advent takes the literature of the interval either as a window on prior and current mindsets and as an item of fascination in its personal correct. starting with background, the century's greatest challenge and capability, it appears at narrative responses to ancient, political and social adventure, ahead of devoting imperative chapters to poetry, drama and novels - all genres the century notably reinvented. It then explores a variety of modernities, methods nineteenth-century writing and mentalities stay up for our personal, ahead of turning to marginalities - matters and voices the canon usually forgot. No style used to be left unchanged by way of the 19th century. This e-book might help to find them anew.

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En me réduisant aux formes raisonnables je ferais trop d’injustice à ce que je veux raconter. ) Quel parti prendre? Comment peindre le bonheur fou? Le lecteur a-t-il jamais été amoureux fou? A-t-il jamais eu la fortune de passer une nuit avec cette maîtresse qu’il a le plus aimé en sa vie? Ma foi, je ne puis continuer, le sujet surpasse le disant. (Stendhal, Vie de Henry Brulard, ch. 47) (One cannot see too distinctly the part of the sky nearest the sun, for similar reasons I shall have great trouble giving a reasonable account 43 44 Introduction to Nineteenth-Century French Literature of my love for Angela Pietragrua.

Poetry 59 what matters is the other and the image, more than the ‘I’, or eye, that sees it. And, in contrast to Lamartine or Musset, there is no breast-beating lament of misfortune: that was simply a woman’s lot. ) It is telling that the witness is a woman: Valmore’s writing is the verse analogue of Sand’s fiction. Against religious pessimism she pits serene faith (‘Au Christ’); her modesty is magnificent. Most remarkable are her developments of verse form, unflashy yet as radical as anything later attempted by Verlaine – who, with Rimbaud, discovered the irregular 11-syllable line in her verse, calling her line: ...

And Fleurs respectively). They seem to look both inwards and outwards, backwards and forwards, from the Romantic to the dawning modern. In both cases, the vision emerges from lyricism, the portentous from the personal. Hugo’s daughter Léopoldine’s death is the hinge of Les Contemplations, falling halfway through its two volumes (‘Autrefois’ and ‘Aujourd’hui’) and six books, its spiritual portent most crucially illuminated in the pivotal final poem of book III, ‘Magnitudo parvi’ (‘The greatness of the small’).

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An introduction to nineteenth-century French literature by Tim Farrant


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