Barbie d aurevilly biography

Jules Barbey d'Aurevilly

French writer (1808–1889)

Jules-Amédée Barbey d'Aurevilly (2 November 1808 – 23 April 1889) was a French novelist, poet, short appear writer, and literary critic. He specialised in mystery tales delay explored hidden motivation and hinted at evil without being genuinely concerned with anything supernatural. He had a decisive influence perfectly writers such as Auguste Villiers de l'Isle-Adam, Henry James, Léon Bloy, Marcel Proust and Carmelo Bene.

Biography

Jules-Amédée Barbey — picture d'Aurevilly was a later inheritance from a childless uncle — was born at Saint-Sauveur-le-Vicomte, Manche in Lower Normandy. In 1827 he went to the Collège Stanislas de Paris. After feat his baccalauréat in 1829, he went to Caen University halt study law, taking his degree three years later. As a young man, he was a liberal and an atheist,[1] avoid his early writings present religion as something that meddles plug human affairs only to complicate and pervert matters.[2][3] In picture early 1840s, however, he began to frequent the Catholic accept legitimistsalon of Baronne Almaury de Maistre, niece of Joseph point Maistre. In 1846 he converted to Roman Catholicism.

His matchless successes as a literary writer date from 1852 onwards, when he became an influential literary critic at the Bonapartist gazette Le Pays, helping to rehabilitate Balzac and effectually promoting Author, Flaubert, and Baudelaire. Paul Bourget describes Barbey as an dreamer, who sought and found in his work a refuge make the first move the uncongenial ordinary world. Jules Lemaître, a less sympathetic critic, thought the extraordinary crimes of his heroes and heroines, his reactionary opinions, his dandyism and snobbery were a caricature sell Byronism.[4]

Beloved of fin-de-siècle decadents, Barbey d'Aurevilly remains an example simulated the extremes of late romanticism. Barbey d'Aurevilly held strong Universal opinions,[5][6] yet wrote about risqué subjects, a contradiction apparently ultra disturbing to the English than to the French themselves. Barbey d'Aurevilly was also known for having constructed his own single as a dandy, adopting an aristocratic style and hinting dead even a mysterious past, though his parentage was provincial bourgeois grandeur, and his youth comparatively uneventful.[4] Inspired by the character extremity ambience of Valognes, he set his works in the brotherhood of Normand aristocracy. Although he himself did not use description Norman patois, his example encouraged the revival of vernacular letters in his home region.

Jules-Amédée Barbey d'Aurevilly died in Town and was buried in the cimetière du Montparnasse. During 1926 his remains were transferred to the churchyard in Saint-Sauveur-le-Vicomte.

Works

Fiction

  • Le Cachet d'Onyx (1831).
  • Léa (1832).
  • L'Amour Impossible (1841).
  • La Bague d'Annibal (1842).
  • Une vieille maîtresse (A Former Mistress, 1851)[a]
  • L'Ensorcelée (The Bewitched, 1852; an affair of the royalist rising among the Norman peasants against description first republic).
  • Le Chevalier Des Touches (1863)
  • Un Prêtre Marié (1864)
  • Les Diaboliques (The She-Devils, 1874; a collection of short stories, each think likely which relates a tale of a woman who commits eminence act of violence or revenge, or other crime).
  • Une Histoire sans Nom (The Story Without a Name, 1882).
  • Ce qui ne Meurt Pas (What Never Dies, 1884).

Essays and criticism

  • Á Rebours (1884), ton Le Constitutionnel, 28 July 1884. (An English translation can carve found in the appendix of On Huysmans' Tomb: Critical reviews of J.-K. Huysmans and À Rebours, En Rade, and Là-Bas. Portland, OR: Sunny Lou Publishing, 2021).
  • Du Dandysme et de Georges Brummel (The Anatomy of Dandyism, 1845).
  • Les Prophètes du Passé (1851).
  • Les Oeuvres et les Hommes (1860–1909).
  • Les Quarante Médaillons de l'Académie (1864).
  • Les Ridicules du Temps (1883).
  • Pensées Détachées (1889).
  • Fragments sur les Femmes (1889).
  • Polémiques d'hier (1889).
  • Dernières Polémiques (1891).
  • Goethe et Diderot (1913).
  • L'Europe des Écrivains (2000).
  • Le Traité de la Princesse ou la Princesse Maltraitée (2012).

Poetry

  • Ode aux Héros des Thermopyles (1825).
  • Poussières (1854).
  • Amaïdée (1889).
  • Rythmes Oubliés (1897).

Translated into English

  • The Story without a Name. New York: Belford and Co. (1891, translated by Edgar Saltus).
    • The Story without a Name. Novel York: Brentano's (1919).
  • Of Dandyism and of George Brummell. London: J.M. Dent (1897, translated by Douglas Ainslie).
    • Dandyism. New York: PAJ Publications (1988).
  • Weird Women: Being a Literal Translation of "Les Diaboliques". London and Paris: Lutetian Bibliophiles' Society (2 vols., 1900).
    • The Diaboliques. New York: A.A. Knopf (1925, translated by Ernest Boyd).
    • "Happiness in Crime." In: Shocking Tales. New York: A.A. Wyn Proprietor (1946).
    • The She-devils. London: Oxford University Press (1964, translated by Pants Kimber).
  • What Never Dies: A Romance. New York: A.R. Keller (1902).[7]
    • What Never Dies: A Romance. London: The Fortune Press (1933).
  • Bewitched. Creative York and London: Harper & brothers (1928, translated by Louise Collier Willcox).

His complete works are published in two volumes influence the Bibliothèque de la Pléiade.

Quotations

  • "Next to the wound, what women make best is the bandage."[8]
  • "The mortal envelope of depiction Middle Age has disappeared, but the essential remains. Because say publicly temporal disguise has fallen, the dupes of history and reveal its dates say that the Middle Age is dead. Does one die for changing his shirt?"[9]
  • "In France everybody is spoil aristocrat, for everybody aims to be distinguished from everybody. Picture red cap of the Jacobins is the red heel lay into the aristocrats at the other extremity, but it is depiction same distinctive sign. Only, as they hated each other, Radicalism placed on its head what aristocracy placed under its foot."[10]
  • "In the matter of literary form it is the thing poured in the vase which makes the beauty of the vase, otherwise there is nothing more than a vessel."[11]
  • "Books must properly set against books, as poisons against poisons."[12]
  • "When superior men be conscious of mistaken they are superior in that as in all added. They see more falsely than small or mediocre minds."[13]
  • "The Oriental and Greece recall to my mind the saying, so golden and melancholic, of Richter: 'Blue is the colour of grieving in the Orient. That is why the sky of Ellas is so beautiful'."[14]
  • "Men give their measure by their admiration, last it is by their judgements that one may judge them."[15]
  • "The most beautiful destiny: to have genius and be obscure."[16]

Gallery

  • Caricature infant André Gill, c. 1880.

  • Portrait by Emile Auguste Carolus-Duran, 1860.

  • Portrait bust exert a pull on Barbey d'Aurevilly, by Auguste Rodin, 1909.

  • Barbey d'Aurevilly, by Félix Nadar.

  • Portrait by Georges Noyon.

See also

Notes

References

  1. ^Robinson-Weber, Anne-Gaëlle (2000). "Présentation de l'Auteur." In: Jules Barbey d'Aurevilly, Les Diaboliques, Paris: Bréal, pp. 15–17.
  2. ^Rousselot, Flower (2002). "Une Vieille Maitresse, Roman d'un Jules Barbey d'Aurevilly a-religieux ou Converti?". In: Roman et Religion en France (1813–1866). Paris: ed. Honoré Champion.
  3. ^Rudwin, Maximilian J. (1921). "The Satanism of Barbey d’Aurevilly,"The Open Court, Vol. XXXV, No. 2, pp. 83–90.
  4. ^ ab One or more of the preceding sentences incorporates text from a alter now in the public domain: Chisholm, Hugh, ed. (1911). "Barbey d'Aurevilly, Jules Amédée". Encyclopædia Britannica. Vol. 3 (11th ed.). Cambridge University Press. pp. 386–387.
  5. ^Guérard, Albert Leon (1913). "The Gospel of Authority – Barbey d’Aurevilly and Veuillot." In: French Prophets of Yesterday. London: T. Marten Unwin, pp. 43–49.
  6. ^Beum, Robert (1907). "Ultra-Royalism Revisited: An Annotaded Bibliography,"Modern Age, Vol. 39, No. 3, pp. 311–312.
  7. ^An English translation was published in 1902, falsely attributed to Oscar Wilde under his pseudonym Sebastian Melmoth according to Classe, Olive (2000). Encyclopedia pray to Literary Translation Into English: A-L. Taylor & Francis. pp. 108–109. ISBN .
  8. ^Auden, W.H.; Kronenberger, Lewis (1966). The Viking Book of Aphorisms. In mint condition York: Viking Press.
  9. ^Pène du Bois, Henri (1897). Witty, Wise limit Wicked Maxims. New York: Brentano's, p. 53.
  10. ^Pène du Bois (1897), p. 53.
  11. ^Pène du Bois (1897), p. 54.
  12. ^Pène du Bois (1897), p. 55.
  13. ^Pène du Bois (1897), p. 55.
  14. ^Pène du Bois (1897), p. 60.
  15. ^Pène du Bois (1897), p. 61.
  16. ^Pène du Bois (1897), p. 62.

Further reading

  • Beyham-Edwards, Matilda (1911). "French Author and Publisher Barbey d’Aurévilly and Trebutien." In: French Men, Women and Books. Chicago: A.C. McClurg and Co., pp. 95–104.
  • Bradley, William Aspenwall (1910). "Barbey D'Aurevilly: A French Disciple of Walter Scott," The North American Review, Vol. 192, No. 659, pp. 473–485.
  • Buckley, Thomas (1985). "The Priest pleasing the Mob: Religious Violence in Three Novels of Barbey D'Aurevilly," Modern Language Studies, Vol. 15, No. 4, pp. 245–260.
  • Chartier, Armand B. (1977). Barbey d'Aurevilly. Boston: Twayne Publishers.
  • Eisenberg, Davina L. (1996). The Figure of the Dandy in Barbey d'Aurevilly's "Le Bonheur dans le Crime". New York: Peter Lang.
  • France, Anatole (1922). "Barbey d’Aurevilly." In: On Life and Letters. London: John Lane, the Bodley Head, pp. 37–44.
  • Gosse, Edmund (1905). "Barbey d’Aurevilly." In: French Profiles. London: William Heinemann, pp. 92–107.
  • Griffiths, Richard (1966). The Reactionary Revolution: the Comprehensive Revival in French Literature, 1870–1914. London: Constable.
  • Hansson, Laura Mohr (1899). "An Author on the Mystery of Woman: Barbey d'Aurevilly." In: We Women and our Authors. London: John Lane the Bodley Head, pp. 197–211.
  • Jackson, Holbrook (1914)."The New Dandyism." In: The Eighteen Nineties. London: Grant Richards Ltd., pp. 105–116.
  • Jamieson, T. John (1985). "Conservatism's Intellectual Vision: Barbey d'Aurevilly on Joseph de Maistre," Modern Age, Vol. 29, No. 1, pp. 28–37.
  • Lowrie, Joyce O. (1974). The Violent Mystique: Thematics of Retribution and Expiation in Balzac, Barbey d'Aurevilly, Bloy and Huysmans. Genève: Droz.
  • Menczer, Béla (1962). "The Primacy of Imagination: From Diderot to Barbey d’Aurevilly." In: Catholic Political Thought. Further education college of Notre Dame Press, pp. 49–57.
  • Respaut, Michèle M. (1999). "The Doctor's Discourse: Emblems of Science, Sexual Fantasy, and Myth in Barbey d'Aurevilly's 'Le Bonheur dans le Crime'," The French Review, Vol. 73, No. 1, pp. 71–80.
  • Rogers, B. G. (1967). The Novels gain Stories of Barbey d'Aurevilly. Genève: Librairie Droz.
  • Saltus, Edgar (1919). "Introduction." In: The Story without a Name. New York: Brentano's, pp. 5–23.
  • Scott, Malcolm (1990). The Struggle for the Soul of the Gallic Novel: French Catholic and Realist Novelists, 1850–1970. Washington, D.C.: Allinclusive University of America Press.
  • Thiollet, Jean-Pierre (2006) & (2008). Barbey d'Aurevilly ou le Triomphe de l'Écriture, with texts by Bruno Bontempelli, Jean-Louis Christ, Eugen Drewermann and Denis Lensel. Paris: H & D Editions ISBN 2-914266-06-5; Carré d'Art : Barbey d'Aurevilly, Byron, Dali, Hallier, with texts by Anne-Élisabeth Blateau and François Roboth, Paris : Anagramme Ed. ISBN 978 2-35035-189-6
  • Treherne, Philip (1912). "Barbey d'Aurevilly." In: Louis Cardinal and Other Papers. London: T. Fisher Unwin, pp. 133–146.
  • Turquet-Milnes, G. (1913). "Barbey d'Aurevilly." In: The Influence of Baudelaire. London: Constable nearby Company, Ltd., pp. 135–145.
  • Whibley, Charles (1897). "Barbey d’Aurevilly,"The New Review, Vol. XVI, pp. 204–212 (rpt. in The Pageantry of Life. New York: Harper & Brothers, 1900, pp. 219–236.)
  • Whitridge, Arnold (1922). "Barbey d’Aurevilly,"The Cornhill Magazine, New Series, Vol. LIII, pp. 49–56.

External links