DOCSLIB.ORG

Alphonse De Lamartine. I.-Childhood

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Alphonse De Lamartine. I.-Childhood " There dwelleth in the heart of every creature, 0 Arjuna, the Master- (.,hajar u-who ::y his n~agicpower causeth all things and creatures to revolve mounted upon the uliiversal n heel of time. Take sanctuary with him alone, O son of Rharata, with all thy soul ; by his grace thou shalt obtain supreme happirless, the eternal peace."--h'/~a~yavad-Gzta. No. 8. ALPHONSE DE LAMARTINE. I.-CHILDHOOD. BY ALEXANDER WILDER, M. D. 4E heart of man only rerne~~lbersa similar plane with the person of the what moves and impassions it, ' ' story. says the hero of our story. The Lamartine has admirably fulfilled popular taste never looks to details in these conditions. He was horn when history, but only to the men 1%-hohave the storm was rising that should change associated their own history with these the whole face of things, shake all ex- facts. History, as a book, is a dead isting institutions and the very ground thing, but when personified in a living on which they stood, break up the old person it becomes itself alive through arrangements of society, overturn the and through with his vital forces. Sym- throne of France and involve all Europe pathy is the key to memory. The sketch in commotion. of a career is interesting from its epic His family was of a rank sufficiently and dramatic features, from what the high to distingtlish its members from actor has experienced, from the toil, the neighboring community, and its vicissitude and anguish that he has en- representatives had attained honorable courlterecl The reader contenlplates all position in the public service. His these as though actually enduring them, grandfather won the cross of St. Louis feeling that he likewise under sinlilar at the battle of Fontenoy, and was made conditions might do the same things. a captain of cavalry. He afterward mar- We may be preached to till we acquire ried a wealthy heiress, and became the an in~pervious insensibility ; we may father of six children. The mother was attend to lessons till we are ready to thoroughly loyal to the ancient customs drop them in utter disgust, but when we and the careers of the sons and daughters have a living person for a model who is were shaped accordingly. The first-born of like passions with ourselves, we are son was the inheritor of the family never weary. property, and was expected to marry It is for this reason that the actor on and maintain the establishment. The the stage charms us more than the younger sons and the portionless daugh- preacher at his desk, that the novel is ters were required to live single. One read in preference to history, and the daughter became Canoness at Salles and biography delights us beyond other lit- took the vows, and the other two were erature. We seem to ourselves to be on placed in convents as inmates. Con- 412 UNIVERSAL, BROTHERHOOD. vents were the asylums of that period leans. This nobleman, the first prince of for girls of rank for whom there was no the blood, was always an innovator. 111 other sufficient provision. The second his Palais Royal, the reforniers of gov- son, in spite of his profound repugnance ernment, the philosophers of the new to the profession, was designed by his age, and men of science, were frequent parents for a priest. guests. Among those were Franklin The third son was set apart to the from -4merica, Edward Gibbon from army. Perhaps he, too, might obtain England, Grimnl and others from Ger- the cross of St. Louis, become a captain of many, Voltaire, D'Alembel-t, Buffon, cavalry and be dismissed with a pension. Raynal, Sieyes, Necker and other think- He could go back then to his brother's ers, artists and scientists. Ptladanle de house and vegetate. He would take Genlis was the governess of his children. charge of the garden, dress his hair, play The wife of 31. des Koys was their under- with the children, make one at a game governess, and the generous Duchess of chess or backgammon with the neigh- permitted her children to share the les- bors, living as a domestic slave, con- sons and pastimes of the young princes tenting liiniself with existing, loved per- and princesses. One of these was Louis haps, but overlooked by everybody, and Philippe, afterward King of the French. so passing his life unnoticed, without The young girl, Alix des Roys was property, wife or children, till infirmity one of these children. She listened and disease should banish him from the eagerly to the discourses of the illus- drawing-room to the solitary chamber trious visitors, and though always a sin- where hung on the wall the sword and cere Catholic, she became a devoted ad- helmet long laid aside. Then a day mirer of the writings of Jean Jaques would come when it would be announced Rousseau. in the mansion : " The Chevalier is At the age of sixteen she was ap- dead. " pointed by the Duke to the Chapter of Such was the career marked out for Salles, where the sister of 1,amartine's the junior son of the family. He ac- father was Canoness. This situation cepted it regretfully, but without a niur- has been described as an elegant and mur, His mother was a tenacious ad- agreeable transition between the Church herent to tlie social regulations and these and the world. ' ' The members were per- in the old France were like the regime of niitted to spend part of the tinie with caste in India, and apparently as irrevo- their families, and thotlgh men were cable as the ancient lau-s of the Medes generally excluded, canonesses received and Persians. A new contingency had visits from their brothers. In this way arisen. The young man had formed an the young captain had met Alix des attachment and the eldest brother had Roys. The sister encouraged their at- determined not to marry. This was tachment, but it required all their con- made a plea in his behalf, but it was of stancy to sustain the long years of pa- no avail. The suggestion that tlie cadet rental opposition. of the family should nlarry was mon- Opportunely for their wishes, French strous. It would extend the fanlily link Society was undergoing a radical trans- into obscure branches which would be a formation. The arbitrary caste-regula- crime against the blood. The niother tions gradually gave way, and the ob- was unyielding, and the young man was stacles to their marriage were finally hurried away to his regiment and antici- snrmounted. pated destiny. The husband was no longer young. M. des Roys was intendant-general He was thirty-eight, and still held his of the exchequer of the Duke of Or- command. His regiment of cavalry was as his faniily ; he knew the names of all The wife and infant 1,amartitle were the officers and nienibers, and was adored left at the family niansion under the by them all. Every >-ear lie devoted a surveillance of insolent soldiers. Her season to hunting. He was like an oak condition niay easily be inmgined. '' It casting- off his age and renewing his is no wonder, " says Lamartine, (( that strenqth, till past eighty years, preserv- those whose birth dates fro111 those woful ing his I~odysound and his teeth entire daj-s carry a shade of sadness and an aricl perfect to the last. imprint of n~elancholyin their disposi- -4lphonsc Marie Louis de Pret de La- tion. ' ' niartine was born at Rfiicon in Burgundy She emploj-ecl numerous expedients, on the 2 1st day of October, 1790. The remarkable for ingenuity and discretion. Revolution was then in progress. IIis The place \%-hereher husband was con- father was still in the arniy, and was fined was across the street in full view afterward placed with the Royal Guard. of the mansion. She was not long in He barely escaped the massacre of the obtaining a sight of him. She would tenth of August, 1792, and in~nlediately hold up the infant Alphonse to his view made his way with his wife froni Paris and then bestow her caresses on the to 31Acon for safety. child as representing tl:e father. She The other menibers of the faniily were wrote a message in letters of a size large partisans of the Constitution of 1791. enough for him to read, telling him of The Abbe Lamartine was n personal her plans. She also learllccl to shoot friend of LaFaj-ette till death separated with a bow and sent arrows into liis them ; and tlie grandfather liad entes- \I-indow. To this a thread as attached tained Rfirabeau. It should be borne in by nieans of which she supplied him with mind that the great movement in France messages, paper and ink. I11 this way was not in its inception any uprising- of they carried on a correspondence. She the multitude. " It was not the Com- furnished him with a file, which enabled monalty that made tlie Revolution, " liim to niake a passage out of his prison Lamartine avers ; " it was the nobility, and spend hours in her company. the clergy and the thinking inen of the She, however, strenuously opposecl his nation. Superstitions often have their wisli to escape. It would have con- birth with the comnion people ; but phi- signed the jailer to certain death, and all losophies are born with those only who their opportunities had been due to liis constitute the liead of Society. Kow, the leriitj-.
Load more

Recommended publications
  • June 1962 Acknowledgments
    A CRITICAL ANALYSIS OF FIVE POEMS BY ALFRED DE VIGNY "MOISE," "LA MAISON DU BERGER," "LA COLERE DE SAMSON," "LE MONT DES OLIVIERS," AND "LA MORT DU LOUP" A THESIS SUBMITTED TO THE FACULTY OF ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS BY ELAINE JOY C. RUSSELL DEPARTMENT OF FRENCH ATLANTA, GEORGIA JUNE 1962 ACKNOWLEDGMENTS In the preparation of this thesis I have received generous as sistance from many persons, and it is my wish to acknowledge their kind efforts. I am indebted to Doctor Benjamin F. Hudson, Chairman, Department of French, Atlanta University, to Mrs. Jacqueline Brimmer, Professor, Morehouse College, and to Mrs. Billie Geter Thomas, Head, Modern Language Department, Spelman College, for their kind and help ful suggestions. In addition to my professors, I wish to thank the Library staff, especially Mrs. Annabelle M. Jarrett, for all the kind assistance which I have received from them. ii TABLE OF CONTENTS Page ACKNOWLEDGMENTS ±± Chapter I. INTRODUCTION ! II. THE ORIGIN AND DEVELOPMENT OF THE ROMANTIC THEMES 5 III. THE FUNCTION OF THE POET 21 IV. THE PHILOSOPHY OF ALFRED DE VIGNI AS REVEALED IN: "LA MAISON DU BERGER, •' AND "LA COLERE DE SAMSON" 30 V. THE PHILOSOPHY OF ALFRED DE VIGNY AS REVEALED IN: »LE MONT DES OLIVIERS,» AND "LA. MORT DU LOUP" £2 Conclusion 5j^ BIBLIOGRAPHY 57 iii CHAPTER I INTRODUCTION Each literaiy movement develops its favorite themes. Love, death, religion, nature and nationalism became the great themes of the romantic period. The treatment of these themes by the precursors of romanticism was later interpreted and developed by the major romantic poets, Alphonse de Lamartine, Victor Hugo, Alfred de Musset and Alfred de Vigny.
    [Show full text]
  • Students Will Develop an Understanding of the Major Ideas
    SUNY Cortland Department of International Communications and Culture FRE 417/515 Romanticism & Realism Fall 2009 Bob Ponterio 3 cr. hrs Tel: 2027 home: 756-4813 M 4:20-6:50 Office: Main 223 Main 229 Office hrs: MT 9-12, & by appointment [email protected] Textes : We will use electronic texts for shorter works. Each student will also be choosing one novel to read that can either be borrowed from the library or bought online at Amazon.com: Resources utiles: Pour acheter des livres en français: http://www.alapage.fr ; http://www.amazon.fr ; http://www.archambault.ca/ ; http://www.amazon.ca Free online versions : http://gallica.bnf.fr/classique/ Styles de peinture: http://discipline.free.fr/lesstyles.htm Course Description: We will explore how changing ideas about the nature of the world and of mankind led to two major approaches to writing literature in the 19th century: Romanticism & Realism. An examination of a number of major works of poetry, drama, and prose will help us how these two different but related concepts evolved and continue to influence us today. Open to graduate and upper level undergraduate students. For upper level undergraduates who have already completed all major requirements, this course can count for SUNY Cortland’s graduate program. Évaluation: Presentations 20% (3 short in-class presentations) Papers 40% (3 : 5-page papers; 1st draft will be revised) HW 10% (short written) Final Exam 30% Objectives: Students will develop an understanding of the major ideas underpinning the romantic & realist movements and be able to recognize and explain the elements of various types of romanticism & realism in the works that they read.
    [Show full text]
  • “Tutorial for Graduating Majors” French 3500
    “TUTORIAL FOR GRADUATING MAJORS” FRENCH 3500 This course prepares majors for the completion of their requirements in the B.A. in French. through advising by a designated professor. The course concludes with the Written Exit Exam, a 2-hour long comprehensive exam written in French. 1 credit. Pass/Fail. The exam is made up of 3 parts: 1) Literature (40 minutes);2) Culture/Civilization (40 minutes); 3) Advanced Grammar/Phonetics (40 minutes). In literature and in civilization, the candidate receives 10 topics, to choose 6 of them, and to write a paragraph for each. In Advanced Grammar/Phonetics some choices also occur, according to specific instructions. Approximately one month prior to the Written Exit Exam (scheduled during final exams week), an oral mid-term exam occurs. Both the mid-term and the final exams are based on “The Topics Lists” (see attached), and the guidance given by the “designated professor”. A jury made up of three professors examines the candidate in both cases. If the candidate fails one of the 3 parts of the written exam, that part may be retaken within 7- 10 days of the initial exam in the same semester. Three parts: 1. French Literature a. Middle Ages to the Revolution b. 19th and 20th Centuries 2. French Civilization a. Through the 18th Century b. The 19th – 21st Centuries 3. French Language a. Advanced Grammar b. Phonetics Part 1a: French Literature Through the 18th Century Authors Chrétien de Troyes Marie de France Villon Charles d’Orléans Rabelais Clément Marot Montaigne Pétrarque Du Bellay Corneille Racine Molière Diderot André Chénier Works, Movements, etc.
    [Show full text]
  • Writing Against the Reader: Poetry and Readership in France 1840-1880
    Writing Against the Reader: Poetry and Readership in France 1840-1880 Jacqueline Michelle Lerescu Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2015 © 2015 Jacqueline Michelle Lerescu All rights reserved ABSTRACT Writing Against the Reader: Poetry and Readership 1840-1880 Jacqueline Michelle Lerescu This dissertation examines the changing ways in which nineteenth-century French poets addressed readers and constructed relationships with them from the late Romantic period through the rise of the Symbolist movement. While poetry’s increased isolation from the public is recognized as an important facet of the evolution of nineteenth-century poetry, the specific reasons for this have not been broadly studied. This dissertation first examines the poet-reader relationship in prefaces to poetic works, examining the shift from Romantic poets such as Victor Hugo and Alphonse de Lamartine, who considered addressing humanity an important part of their vocation, to mid-century poets such as Charles Baudelaire, Lautréamont and Charles Cros, who used prefaces to criticize and chase away readers, to later poets such as Stéphane Mallarmé and Arthur Rimbaud, who abstained from addressing readers by not writing prefaces or publishing their poetry. In order to understand the reasons for this shift, this dissertation examines new media and new readers which these poets rejected as the antithesis of poetry: the press, women and working-class readers. This dissertation studies poetry and critical articles in the mainstream press, women’s publications and publications by and for workers to reveal the models of the poet-reader relationship they presented.
    [Show full text]
  • Alphonse De LAMARTINE
    • NE PAS JETER SUR LA PUBLIQUE • VOIE • NE PAS Alphonse de LAMARTINE Défenseur de l’école publique, poète, historien, romancier, voyageur et penseur Groupe scolaire Lamartine • DIRECTION DE LA COMMUNICATION VILLE DE DIJON / DIJON MÉTROPOLE • IMPRIMÉ SUR PAPIER PEFC VILLE DE DIJON / MÉTROPOLE • IMPRIMÉ SUR PAPIER • DIRECTION DE LA COMMUNICATION 21, rue Paul Gasq •Dijon OCTOBRE 2019 OCTOBRE • dijon.fr École Lamartine © Ville de Dijon Une belle école, un grand homme Le groupe scolaire Lamartine est désormais entièrement rénové. Il porte le nom* d’un personnage qui a marqué l’histoire de la littérature française. Ses recueils de poésie, en particulier, ont fait d’Alphonse de Lamartine un des chefs de file du romantisme. Souvent étudié dans les écoles pour ses qualités d’écrivain, il fut aussi un homme politique connu pendant une période agitée de l’histoire française. Il a eu des moments de gloire lors de la révolution de 1848, avec des discours à la fois lyriques et éloquents devant la chambre des députés où il a siégé pendant près de 20 ans. Il a défendu des causes sociales de premier ordre : l’abolition de l’esclavage et de la peine de mort ainsi qu’une instruction publique forte au cœur de la République. Qu’Alphonse de Lamartine, qui fut un célèbre Bourguignon, ait donné son nom à une école dijonnaise n’est donc que justice. *Délibération de la ville de Dijon du 8 février 1973 3 Alphonse de Lamartine qui es-tu ? Alphonse de Lamartine, dont on célèbre cette année le 150e anniversaire de la mort, est d’abord connu comme poète.
    [Show full text]
  • Nuits Lyriques Chapitre
    Le livre du professeur • Français • 3e THÈME IV : REGARDER LE MONDE, INVENTER DES MONDES 6 Nuits lyriques CHAPITRE TEXTES ET IMAGES HISTOIRE DES ARTS 1. Le lyrisme romantique p. 164 Visions poétiques de la nuit p. 174 Alphonse de Lamartine, « Le Lac » ✔ J’étudie la représentation de la nuit comme témoignage des Victor Hugo, « Soleils couchants » émotions profondes. ✔ Je définis le lyrisme et les thèmes chers aux auteurs ■ JE MOBILISE DES RÉFÉRENCES CULTURELLES POUR INTERPRÉTER DES romantiques. PRODUCTIONS LITTÉRAIRES OU ARTISTIQUES ■ J’INTERPRÈTE DES TEXTES LITTÉRAIRES EN M’APPUYANT SUR DES ÉLÉMENTS D’ANALYSE POÉTIQUE LEXIQUE ET LANGUE p. 176 2. Le moi au centre de l’expérience poétique p. 166 ✔ J’utilise les figures de style et la création de périphrases. Anna de Noailles, « À la nuit » ✔ J’étudie la poésie à travers la ponctuation et je révise les William Ernest Henley, « Invictus » chaines d’accord. ✔ J’étudie la place du « je » dans le poème lyrique. ■ JE CONNAIS LA DIFFÉRENCE ENTRE L’ORAL ET L’ÉCRIT ■ J’INTERPRÈTE DES TEXTES LITTÉRAIRES EN SITUANT L’ŒUVRE DANS SON CONTEXTE HISTORIQUE EXPRESSION ÉCRITE ET ORALE p. 178 3. Le lyrisme amoureux p. 168 ✔ Pablo Neruda, Vingt poèmes d’amour et une chanson désespérée Je sais exprimer des émotions poétiquement. (poème 20) ✔ Je sais dire des poèmes lyriques. Je sais faire passer mes ✔ Je découvre le lyrisme élégiaque. émotions à l’oral. ■ JE MAITRISE LE FONCTIONNEMENT DU VERBE ET SON ORTHOGRAPHE ■ J’ADOPTE DES STRATÉGIES D’ÉCRITURE EFFICACES 4. « Ô rafraîchissantes ténèbres ! » p. 170 PROJET – pARCOURS CITOYEN p. 180 Charles Baudelaire, « Le crépuscule du soir » (poème en prose accompagné de sa version en vers) Donnez la parole à vos émotions ✔ J’analyse l’expression lyrique dans un poème en prose.
    [Show full text]
  • Romantic Poetry 1 Romantic Poetry
    Romantic poetry 1 Romantic poetry Romanticism, a philosophical, literary, artistic and cultural era[1] which began in the mid/late-18th century[2] as a reaction against the prevailing Enlightenment ideals of the day (Romantics favored more natural, emotional and personal artistic themes),[3][4] also influenced poetry. Inevitably, the characterization of a broad range of contemporaneous poets and poetry under the single unifying name can be viewed more as an exercise in historical The Funeral of Shelley by Louis Edouard Fournier (1889); the group members, from left compartmentalization than an attempt to right, are Trelawny, Hunt and Byron to capture the essence of the actual ‘movement’.[citation needed] Poets such as William Wordsworth were actively engaged in trying to create a new kind of poetry that emphasized intuition over reason and the pastoral over the urban, often eschewing consciously poetic language in an effort to use more colloquial language. Wordsworth himself in the Preface to his and Coleridge's Lyrical Ballads defined good poetry as “the spontaneous overflow of powerful feelings,” though in the same sentence he goes on to clarify this statement by In Western cultural context romanticism substantially contibuted to the idea asserting that nonetheless any poem of of "how a real poet should look like". An idealized statue of a Czech poet value must still be composed by a man Karel Hynek Mácha (in Petřín Park, Prague) repesents him as a slim, tender “possessed of more than usual organic and perhaps unhealthy boy. However, anthropological examination proved sensibility [who has] also thought long that he was a man of a strong, robust and muscular body constitution.
    [Show full text]
  • Corinne De Madame De Staël Et La Scénographie Auctoriale Féminine Du Premier XIX Siècle
    L'accessoire d'écrivain au XIXe siècle. Le sens du détail Actes du colloque jeunes chercheurs, site de la SERD Lauren Bentolila-Fanon, Charlène Huttenberger-Revelli et Marine Le Bail dir. De la lyre au turban : Corinne de Madame de Staël et la scénographie auctoriale féminine du premier XIXe siècle Aleksandra WOJDA Sorbonne Université « Étrangère (on l’a beaucoup dit), protestante en terre catholique, femme qui pense et qui écrit en temps de misogynie institutionnelle, chantre des beautés mélancoliques du Nord dans un pays marqué par la latinité, romantique chez les classiques »1 : c’est ainsi que Florence Lotterie commente la situation paradoxale de Germaine de Staël dans l’histoire littéraire et culturelle française. Une position plus qu’ambiguë, mais qui s’alimente d’une scénographie auctoriale que la première femme écrivain du siècle cherche à former de son vivant, aussi bien à travers ses choix de vie qu’à travers ses écrits, pour se positionner dans le Panthéon des lettres françaises en pleine construction. Cette scénographie survivra à la principale intéressée. Elle évoluera après 1817 date de sa mort, quand la postérité cherchera à resituer à son tour « l’écrivain imaginaire » de Staël dans ce même Panthéon. Et à bien des égards, elle est aujourd’hui connue : le processus qui la nourrit a notamment été minutieusement étudié dans l’ouvrage récent de Stéphanie Tribouillard Le Tombeau de Madame de Staël, qui en retrace les enjeux socioculturels, socio-littéraires et socio-esthétiques. Mais en dépit de ce travail, il semble qu’on se soit rarement penché sur les instruments concrets qui ont discrètement façonnés l’inscription de cette femme étrangère, protestante, et fascinée par les romantismes européens du « Nord » dans la e mémoire collective de la France du XIX siècle : et pourtant, ils sont souvent non seulement porteurs de la spécificité de chaque scénographie auctoriale, mais ils jouent aussi une fonction non négligeable de médiateurs dans la communication entre l’auteur et le public.
    [Show full text]
  • Alfred De Musset (1810-1857)
    Alfred de Musset (1810-1857) 1 Biographie é le 11 décembre 1810 à Paris dans un milieu aisé et cultivé, doué de grandes facilités, le jeune Musset mena une adolescence dissipée de dandy. Il entreprit des études de droit et de médecine, qu’il ne termina pas, et fréquenta, dès 1828, Nle Cénacle romantique chez Hugo et chez Nodier, où il rencontra notamment Vigny, Mérimée et Sainte-Beuve. Précoce, brillant, célébré, il publia son premier recueil de vers, Contes d’Espagne et d’Italie (1829), à l’âge de dix-neuf ans et remporta un succès immédiat. Malgré cette gloire précoce, il connut une infortune relative avec ses pièces de théâtre, telles : la Quittance du diable, qui ne put être représentée, et la Nuit vénitienne (1830), qui fut un échec retentissant. La mort de son père en 1832 l’amena à se consacrer entièrement à la littérature et à en faire son métier. Auteur doué et sûr de son talent, il fut cependant profondément blessé et échaudé par l’échec de la Nuit vénitienne; il décida alors que les pièces qu’il écrirait seraient désormais destinées non pas à la représentation, mais - fait original et presque unique dans la littérature française - exclusivement à la lecture. Parmi les comédies de mœurs romantiques qu’il publia entre 1932 et 1934, À quoi rêvent les jeunes filles, La Coupe et les lèvres et Namouna, furent regroupées sous le titre Un spectacle dans un fauteuil, qui traduisait son choix d’écrire un théâtre destiné à être lu chez soi et non pas représenté. Les Caprices de Marianne (1833), Fantasio (1834) et On ne badine pas avec l’amour (1834) virent le jour sous la forme de livrets.
    [Show full text]
  • Germaine De Staël
    INTRODUCTION A Passion for Politics A Passion for Politics “L’AVENIR N’A POINT DE PRÉCURSEURS” Two centuries after her death in 1817, Anne- Louise- Germaine Necker de Staël-Holstein is by no means a forgotten or even a neglected author. Indeed, her personal history is such a good one that her contemporaries, and later her biographers, have nar- rated it over and over again, now in gossipy, now in admiring tones, insisting on the most salient—dramatic, scandalous, ad- venturous—anecdotes. It is the story of the banker’s daughter who became one of Europe’s best- connected intellectuals, or, if you prefer, that of an exceptionally talented woman, born to great wealth and privilege, who achieved a degree of public in- fluence to which not even her social advantages would normally have entitled her. At times of great political turmoil, when the lives of so many around her were wrecked or destroyed, she suc- ceeded in carving out an independent path for herself and in making her views heard, first by the powerful men around her, and later by the European public at large. The story has a very distinguished cast of kings, queens, and emperors, famous generals, politicians, and ministers, as well as great writers and intellectuals. It has elegant settings, with a good selection of hôtels particuliers, castles, and royal palaces in Paris, Geneva, Versailles, and, further away, in London, Vienna, Stockholm, and Saint Petersburg. It offers such political intrigue, tangled love affairs, and spectacular reversals of fortune as the Fontana.indb 1 1/5/2016 10:53:52 AM 2 Introduction French Revolution and the Napoleonic Empire managed to pro- duce in the span of two decades.
    [Show full text]
  • I. La Poésie Romantique : Alphonse De Lamartine Et Victor Hugo
    I. La poésie romantique : Alphonse de Lamartine et Victor Hugo En réaction au rationalisme des Lumières, la nouvelle génération de poètes français (Alphonse de Lamartine, Alfred de Vigny, Victor Hugo, Alfred de Musset, Gérard de Nerval…) renouvelle la littérature au début du XIXe siècle. Ils sont influencés par les romantiques allemands et anglais dont ils ont lu les œuvres. Le mouvement littéraire auquel ils appartiennent, le romantisme, se caractérise par : -Le refus de la tradition : les romantiques assouplissent la versification et abandonnent les formes fixes. -L’épanchement du « moi » : la poésie romantique est caractérisée par le lyrisme personnel. Les poètes évoquent leurs joies et les drames de leur vie sentimentale. Ils méditent sur le destin de l’homme et s’interrogent sur les mystères de la foi. Le « je » lyrique prend une place prépondérante. -Le goût pour la nature et l’exotisme : les poètes se confient à la nature, trouvent en elle des échos de leur propre mélancolie. Ils cherchent également l’exotisme et le pittoresque dans l’évocation de terres lointaines. Certains poètes romantiques prennent position dans les débats politiques et sociaux de leur époque, comme Alphonse de Lamartine (1790-1869) à la fin de sa vie et Victor Hugo (1802- 1885). Le lyrisme : définition Le lyrisme est l’expression d’une émotion personnelle intense. La poésie lyrique traite des sentiments du poète (les thèmes récurrents sont l’amour, la mort, la nostalgie, la fuite du temps, la communion avec la nature, le destin, le sacré, etc.). Le registre lyrique peut se rencontrer aussi dans les textes en prose.
    [Show full text]
  • Victor Hugo's Bug-Jargal and Alphonse De Lamartine's Toussaint Louverture
    Brigham Young University BYU ScholarsArchive Theses and Dissertations 2013-12-09 Remembering the Haitian Revolution Through French Texts: Victor Hugo's Bug-Jargal and Alphonse de Lamartine's Toussaint Louverture Irene Joyce Kim Stone Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the French and Francophone Language and Literature Commons, and the Italian Language and Literature Commons BYU ScholarsArchive Citation Stone, Irene Joyce Kim, "Remembering the Haitian Revolution Through French Texts: Victor Hugo's Bug- Jargal and Alphonse de Lamartine's Toussaint Louverture" (2013). Theses and Dissertations. 3893. https://scholarsarchive.byu.edu/etd/3893 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Remembering the Haitian Revolution Through French Texts: Victor Hugo’s Bug-Jargal and Alphonse de Lamartine’s Toussaint Louverture Irene Stone A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Scott Sprenger, Chair Anca Sprenger Corry Cropper Department of French and Italian Brigham Young University November 2013 Copyright © 2013 Irene Stone All Rights Reserved ABSTRACT Remembering the Haitian Revolution Through French texts: Victor Hugo’s Bug-Jargal and Alphonse de Lamartine’s Toussaint Louverture Irene Stone Department of French and Italian, BYU Master of Arts The Haitian Revolution was the first successful slave revolt in history. And even though Haiti declared independence from France in 1804, most French civilization textbooks do not include this important event.
    [Show full text]