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Table of contents
- Libros de autor
- Théophile Gautier Quotes (Author of La Morte Amoureuse)
- The works of Théophile Gautier (Volume 6)
Libros de autor
Wenn Sie eine digitale Signatur verwenden, muss Ihre Unterschrift genau dem in diesem Formular angegebenen Vor- und Nachnamen entsprechen. Unsere Beauftragten untersuchen, ob die gemeldeten Inhalte mit den Richtlinien vereinbar sind und ergreifen ggf. Dieser Artikel wurde noch nicht bewertet. While Gautier was an ardent defender of Romanticism, his work is difficult to classify and remains a point of reference for many subsequent literary traditions such as Parnassianism, Symbolism, Decadence and Modernism.
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Théophile Gautier Quotes (Author of La Morte Amoureuse)
It is literally true, and provesthat the dog-dealers of that day were quite as clever as horse-coupersin the art of making up their animals and taking in purchasers. I shall notattempt to relate their history in detail. Dynasties of felines, asnumerous as the dynasties of Egyptian kings, succeeded each other in ourhome. Accident, flight, or death accounted for them in turns. They wereall beloved and regretted; but life is made up of forgetfulness, and theremembrance of cats passes away like the remembrance of men.
It is a sad thing that the life of these humble friends, of theseinferior brethren, should not be proportionate to that of their masters.
The name suffices to let my reader understand thesecret desire I felt to run counter to Boileau, whom I disliked then,but [] with whom I have since made my peace. It will be remembered thatNicolas says:—. Childebrand enjoyed the honour ofentering into some verses of mine, again because I wanted to teaseBoileau:—.
Childebrand came in well by way of a rime to Rembrandt, for the verseswere meant for a Romanticist profession of faith addressed to a friend,since deceased, and in those days as enthusiastic an admirer of VictorHugo, Sainte-Beuve, and Alfred de Musset as I was.
She slept on the foot of my bed, snoozed on the arm of mychair while I was writing, came down to the garden and accompanied me [] on my walks, sat at meals with me and not infrequently appropriated themorsels on their way from my plate to my mouth. One day a friend of mine, who was going out of town for a few days,intrusted his parrot to me with the request that I would take care of itduring his absence. The bird, feeling strange in my house, had climbed,helping himself with his beak, to the very top of his perch, and lookingpretty well bewildered, rolled round his eyes, that resembled the giltnails on arm-chairs, and wrinkled the whitish membrane that served himfor eyelids.
Motionless as an Egyptianmummy cat in its net-work of bands, she gazed upon it with an air ofprofound meditation, and put together whatever she had been able to pickup of natural history on the roofs, the yard, and the garden. The parrot followed her movements with feverish anxiety, fluffing outits feathers, rattling its chain, lifting its foot, and moving itsclaws, and sharpening its beak upon the edge of its seed-box. Itsinstinct warned it that an enemy was preparing to attack it.
I watched the scene with much interest, prepared to interfere at theproper time. She thrilled with anticipation like a gourmet sittingdown to enjoy a truffled pullet; she gloated over the thought of thechoice and succulent meal she was about to enjoy, and her sensuality wastickled by the idea of the exotic dish that was to be hers.
The works of Théophile Gautier (Volume 6)
It is no doubt this legacy which caused the Dadaist and Surrealist historiographers to ruthlessly and entirely write him out of the history of the avant-garde, a strategy which, in retrospect, has had disastrous results. Gautier's weaknesses, which have become lodged at the heart of the avant-garde's self conceptions, are no longer under discussion and pass unnoticed; while his strengths have likewise been wiped away and have not been learned from. Gautier has been turned into precisely what he most hated and fought against his entire life: a symbol of literary Legitimacy.
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This set of Gautier's collected works in English was printed in a limited edition of 1, sets, though in this copy the No. Despite its 20 volumes running to thousands of pages, Gautier's early work is largely ignored or dismembered. His first novella, a fictionalised memoir of the Jeunes-France, is represented only by a few scattered chapters presented out of context, though hundreds of pages of travelogues are included in their integrity.
Sumichrast taught French Literature at Harvard, and the copy of Gautier's Romans et Contes in this archive contains marginalia and commentary written by one of Sumichrast's students as he was taking the course. His commentary throughout is demeaning and insulting, making one wonder why he would go to the trouble of translating thousands of pages by a person for whom he constantly expresses such disrespect.
One cannot trust somebody who feels the need to add the the word 'Professor' to his name on the title-page of a book. He repeatedly tries to imply that Gautier had renounced Romanticism as a mistake of his youthful immaturity, despite the fact that his last, uncompleted work was a History of Romanticism see "Historiography" and that on his deathbed Gautier affirmed his lifelong allegiance to radical Romanticism and called his involvement with the Bouzingo the greatest and most meaningful time of his life.
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