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The Oxford Companion to English Literature, 6Th

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The Oxford Companion to English Literature, 6Th G GABORIAU, Emile (1832-73), French writer of crime society driven mad by material greed and spiritual fiction, considered to be the first practitioner in France emptiness. The more jaunty A Frolic of His Own (1994), of the roman policier. He created two famous charac­ a satire on America's obsession with litigation, is ters, the professional detective Monsieur Lecoq and the perhaps the best place to start exploring this most amateur Le Père Tabaret. Gaboriau's best-known pleasurably daunting of modern writers. works are: L'Affaire Lerouge (1866), Le Crime d'Orcival Gadshill, near Rochester, the scene of Prince *Hal's (1867), Le Dossier No. 113 (1867), Monsieur Lecoq joke robbery of *Falstaff in Shakespeare's 1 *Henry IV (1869), Les Esclaves de Paris (1869). (11. ii); confusingly, one of Falstaff's companions also Gabriel, the name of one of the archangels (Dan. 9: 21 has the name Gadshill. Gadshill was the home of and Luke 1: 19,26). The name means 'strength of God' *Dickens in his later years. in Hebrew. In Islam he is Jibril, the angel who dictated Gaheris, Sir, in *Malory, the fourth and youngest son the * Koran to Muhammad. Milton makes him 'Chief of of King Lot of Orkney and Arthur's sister Morgawse. the angelic guards' (*Paradise Lost, IV. 550). He killed his mother when he found her in bed with GADBURY, John, see ALMANACS. Lamorak. He was accidentally killed by Launcelot, an event which led to the implacable hatred of his brother GADDA, Carlo Emilio (1893-1973), Italian novelist. Gawain for Launcelot. Variant forms of his name are His most important novels are // castello di Udine (The confusable with variants of Gareth (Gaheret) his Castle of Udine, 1934), a memoir of his experience in brother, so the two may be archetypally identical. the First World War; Adalgisa (1944), a critique of contemporary Milanese society; and the unfinished GAIMAR, Geoffrei (fl. c.1140), author of L'Estoire des Cognizione del dolore (The Cognizance of Sorrow, 1963, Engleis, an Anglo-Norman romance history in octo­ written 1938-41). Also unfinished is Quel pasticciaccio syllabic rhymed couplets covering the period from the brutto de via Merulana (That Dreadful Mess on the Via Anglo-Saxon settlements to the death of William Merulana, 1957), which uses the conventions of the Rufus. An earlier section, beginning (like *Geoffrey thriller to dissect Roman society under Fascism. That of Monmouth's contemporary History) with the fall of his two major works are incomplete is not accidental: Troy, has been lost, probably as a consequence of being in Cognizione the relationship between the protagonist replaced in the manuscripts by the more fashionable and his mother is irresolvable, and Pasticciaccio stops account by *Wace. It contains the Lincolnshire story of short of revealing the murderer. His style is remarkable Havelok, corresponding to the Anglo-Norman Le Lai for its grotesquerie, its implicit use of European d'Haveloc. Gaimar was probably a secular clerk of philosophy, and its pastiches of different languages Norman blood; his work has no great historical and dialects. authority. His patron was Ralph FitzGilbert of Lincoln­ shire and Hampshire, areas in which Gaimar displays GADDIS, William (1922-98), American novelist, born particular interest. See L'Estoire des Engleis, ed. A. Bell in New York and educated at Harvard where he briefly (Anglo-Norman Texts Soc, i960); English trans, by edited the Harvard Lampoon. His four novels, three of T. D. Hardy and C. T. Martin (Rolls Series, 1888-9). them epic in scope and all published at extremely long intervals, give him a unique place in contemporary GAINSBOROUGH, Thomas (1727-88), portrait and world literature: an unforgiving satirist possessed of landscape painter; after training in London he re­ an almost Victorian moral sternness, combined with turned to his native Suffolk (1748). He painted land­ the bracingly experimental technique of the true scapes and small portrait groups in landscape settings, modernist. The hero of his enormous first novel of which the most famous is Mr and Mrs Andrews The Recognitions (1955) is Wyatt Gwyon, who has (c.1748, London, National Gallery). From 1774 he abandoned his training as a priest to become a forger of worked in London where he became a fashionable Old Masters. The book offers a disquisition on real and portrait painter, and his varied landscapes included false spiritual values which is highly complex, but at rococo idylls, seascapes, and pictures of mountain least written in conventional prose. For J.R. (1975) grandeur—in 1783 he planned a visit to the Lakes 'to Gaddis gave up this approach and instead told his story show you that your Grays and Dr Brownes were tawdry of an 11-year-old stockmarket dealer entirely in frac­ fan-Painters'. The 'fancy pictures', Arcadian rustic tured, overlapping, often incoherent dialogue. Both/i?. themes like the Peasant Girl Gathering Sticks, led and the smaller-scale Carpenter's Gothic (1985) are on to the sentiment of early * Romanticism. Gainsbor­ bleak, dismayed, but bitterly funny portraits of a ough, in both style and temperament, is quite unlike GAI SABER I GALLOWAY 390 his rival *Reynolds, although Reynolds's Fourteenth scientific method. *Linacre translated six of his works Discourse is a fine appreciation of his art. Gainsbor­ and there are references to him in *Chaucer, F. *Bacon, ough's biographer and friend William Jackson wrote and Sir T. *Browne. that he 'avoided the company of literary men, who were his aversion ... he detested reading . .'. Yet Galeotto, see GALEHAUT. Jackson compared the style of Gainsborough's letters GALIGNANI, Giovanni Antonio (1757-1821). With his to that of *Sterne and the letters—spontaneous, vivid, English wife Anne Parsons he set up an English and intimate—create a strong sense of character. bookshop and circulating library in Paris c.1799, Caí saber, the title of a i3th-cent. society in Toulouse and in 1814 founded a newspaper, Galignani's Mes­ which devoted itself to a consideration and cultivation senger, which had a wide circulation among English of the courtly troubadour idea of 'jois', 'exaltation'. residents on the Continent. The paper was carried on by his sons John Anthony (1796-1873) and William Galafron, or Galaphron, in *Orlando innamorato and (1798-1882), who were born in London. As publishers * Orlando furioso, the king of Cathay and father of in Paris they issued reprints of English books, and *Angelica. guides to Paris, Switzerland, etc. There is a bookshop of this name on the rue de Rivoli in Paris. Galahad, Sir (The Haute Prince), in *Malory, is (by enchantment) the son of *Launcelot and *Elaine, GALILEO GALILEI (1564-1642), Italian astronomer daughter of King *Pelles. He is predestined by his and physicist, born in Pisa of a Florentine family. In immaculate purity to achieve the Siege Perilous (see 1604 he demonstrated that unequal weights drop with ROUND TABLE) and the *Grail, after the vision of which equal velocity, an observation apocryphally said to be he dies in ecstasy. based on the dropping of weights from the leaning GALDÓS, Benito Pérez (1843-1920), Spanish novelist, Tower of Pisa. In 1609 he assembled a telescope on the playwright, and journalist, born in the Canary Islands, basis of reports of such an instrument in Holland, and who spent most of his life in Madrid, a city of which he so discovered the moons of Jupiter, the phases of became the chronicler. His output was vast: he pub­ Venus, the configuration of the Moon, and the stars lished a series of 46 historical novels between 1873 and invisible to the naked eye, all of which were described 1912, to which he gave the general title of Episodios in SidereusNuncius ('Starry Messenger', 1610). His two nacionales. Of his novels of contemporary life, the best principal works were Dialogo sopra i due massimi known is his masterpiece, Fortunata y Jacinta (1887), sistemi del mondo (1632), in which Copernicanism is an extraordinarily rich, realistic, densely populated shown to be superior to the Ptolemaic cosmology, and panoramic work which follows the fortunes of two Due nuove scienze, an exposition of the mathematics of contrasted women, but also explores Spanish society, moving bodies. Galileo's publications led him into history, and politics. Galdós published a translation of conflict with the Inquisition; in 1616 he was forbidden Dickens's * Pickwick Papers in 1868: he greatly admired to teach Copernican cosmology and in 1634 he was both Dickens and Shakespeare, and made many visits compelled to repudiate it and sentenced to life im­ to England, where he was elected fellow of the * Royal prisonment, commuted to house arrest. (The story of Society of Literature. his muttering 'eppur si muove'—'yet it does move'— after his recantation is also apocryphal.) Milton records Galehaut (or Galehault) of Surluse and the Long Isles, his meeting with Galileo in *Areopagitica and recalls a highly significant character in the story of the love of the 'optic glass' of 'the Tuscan artist' in * Paradise Lost I. Launcelot and Guinevere as described in the early 13th- cent. French prose 'Vulgate' cycle. He was a close friend Galliamole, the metre of the Attis of *Catullus, so of Launcelot who demanded tribute from Arthur; he called because it was the metre used by the Galli, or first introduced the lovers but later became jealous of priests of Cybele, in their songs. It was imitated by the queen's influence over Launcelot. He is most *Tennyson in his 'Boadicea': famous as the Galeotto in *Dante's reference to this So the Queen Boadicéa, standing loftily charioted, story in the episode of Paolo and Francesca (Inferno, v. Brandishing in her hand a dart and rolling glances 137).
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