See also:

• THEODORE
• THEODORE (602-690)
• THEODORE (Fedor) GRIGORIEVICH ORLOV, COUNT (1741–1796)
• THEODORE (Rus. Fedor, or Feodor)

THEODORE FAULLAIN DE See also:

• THEODORE FAULLAIN DE BANVILLE (1823-1891)

BANVILLE (1823-1891)  , See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French poet and See also:

• MISCELLANEOUS

miscellaneous writer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• MOULINS

Moulins in the Bourbonnais, on the 14th of See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 1823 . He was the son of a See also:

• CAPTAIN (derived from Lat. ca put, head, through the Low Lat. capitanus)

captain in the French See also:

• NAVY

navy . His boyhood, by his own See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account, was cheerlessly passed at a lycee in See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris; he was not harshly treated, but took no See also:

• PART

part in the amusements of his companions . On leaving school with but slender means of support, he devoted himself to letters, and in 1842 published his first See also:

• VOLUME

volume of See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse (See also:

• LES

Les Cariatides), which was followed by Les See also:

• STALACTITES (Gr. (rraXaicros, from vraXaQVecv, to drip)

Stalactites in 1846 . The poems encountered some adverse See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism, but secured for their author the approbation and friendship of See also:

• ALFRED

Alfred de See also:

• VIGNY, ALFRED DE (1797-1863)

Vigny and Jules See also:

• JANIN, JULES GABRIEL (1804-1874)

Janin . Henceforward See also:

• BANVILLE, THEODORE FAULLAIN DE (1823-1891)

Banville's See also:

• LIFE

life was steadily devoted to See also:

• LITERARY

literary See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production and criticism . He printed other volumes of verse, among which the Odes funambulesques (Alengon, 1857) received unstinted praise from See also:

• VICTOR
• VICTOR, GAIUS JULIUS (4th cent. A.D.)
• VICTOR, SEXTUS AURELIUS

Victor See also:

• HUGO, GUSTAV VON (1764–1844)
• HUGO, VICTOR MARIE (1802-1885)

Hugo, to whom they were dedicated . Later, several of his comedies in. verse were produced at the See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

Theatre See also:

• FRANCAIS, ANTOINE, COUNT (1756-1836)

Francais and on other stages; and from 1853 onwards a stream of See also:

• PROSE

prose flowed from his industrious See also:

• PEN (Lat. penna, a feather, pen)

pen, including studies of Parisian See also:

• MANNERS, CHARLES (1857– )

manners, sketches of well-known persons (Granges parisiennes, &c.), and a See also:

• SERIES (a Latin word from serere, to join)

series of tales (Conies See also:

• BOURGEOIS
• BOURGEOIS, LEON VICTOR AUGUSTE (1851– )

bourgeois, Conies heroiques, &c.), most of which were republished in his collected See also:

• WORKS

works (1875--1878) . He also wrote freely for reviews, and acted as dramatic critic for more than one newspaper . Throughout a life spent mainly in Paris, Banville's genial See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character and cultivated mind won him the friendship of the See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief men of letters of his See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time . He was also intimate with See also:

• BAPHOMET

BAPHOMET 363 See also:

• FREDERICK
• FREDERICK (Mod. Ger. Friedrich; Ital. Federigo; Fr. Frederic and Federic; M.H.G. Friderich; O.H.G. Fridurih, " king or lord of peace," from O.H.G. fridu, A.S. frith, " peace," and rfh " rich," " a ruler," for derivation of which see HENRY)

Frederick-See also:

• LEMAITRE, FRANCOIS ELIE JULES (1853— )

Lemaitre and other famous actors . In 1858 he was decorated with the See also:

• LEGION (Lat. legio)

legion of See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

honour, and was promoted to be an officer of the See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order in 1886 .

He died in Paris on the 15th of March 1891, having just completed his sixty-eighth See also:

• YEAR

year . Banville's claim to remembrance rests mainly on his See also:

• POETRY

poetry . His plays are written with distinction and refinement, but are deficient in dramatic See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power; his stories, though marked by fertility of invention, are as a See also:

• RULE

rule conventional and unreal . Most of his prose, indeed, in substance if not in manner, is that of a journalist . His lyrics, however, See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank high . A careful and loving student of the finest See also:

• MODELS

models, he did even more than his greater and somewhat older comrades, Victor Hugo, Alfred de See also:

• MUSSET, LOUIS CHARLES ALFRED DE (1810-18S7)

Musset and See also:

• THEOPHILE

Theophile, See also:

• GAUTIER
• GAUTIER, EMILE THEODORE LEON (1832-1897)
• GAUTIER, THEOPHILE (1811-1872)

Gautier, to See also:

• FREE

free French poetry from the fetters of See also:

• METRE ((terpuc?, sc. rFxvf, from Gr. Or poi', measure)

metre and mannerism in which it had limped from the days of See also:

• MALHERBE, FRANCOIS DE (1555-1628)

Malherbe . In the Odes funambulesques and elsewhere he revived with perfect See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace and understanding the See also:

• RONDEAU (Ital. Rondo)

rondeau and the See also:

• VILLANELLE

villanelle, and like Victor Hugo in Les Orientales, wrote pantoums (pantuns) after the See also:

• MALAY

Malay See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion . He published in 187 2 a See also:

• PETIT, SIR DINSHAW MANECKJI, BART

Petit traite de versification francaise in exposition of his metrical methods . He was a See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of delicate See also:

• SATIRE (Lat. satira, satura; see below)

satire, and used with much effect the difficult See also:

• HUMOUR (Latin humor)

humour of sheer See also:

• BATHOS (Gr. 3hOos)

bathos, happily adapted by him from some of the See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early folk-songs . He has somewhat rashly been compared to See also:

• HEINE, HEINRICH, (1797-1856)

Heine, whom he profoundly admired; but if he lacked the supreme See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch of See also:

• GENIUS (from Lat. genere, gignere)

genius, he remains a delightful writer, who exercised a See also:

• WISE, HENRY ALEXANDER (1806-1876)
• WISE, ISAAC MAYER (1819-1900)

wise and See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence upon the See also:

• ART

art of his See also:

• GENERATION (from Lat. generare, to beget, procreate; genus, stock, race)

generation . Among his other works may be mentioned the poems, fdylles prussiennes (1871), and Trente-six ballades joyeuses (1875); the prose tales, Les Saltimbanques (1853); Esquisses prrssiennes (1859) and Conies feeriques; and the plays, Le See also:

• FEUILLETON (a diminutive of the Fr. feuillet, the leaf of a book)

Feuilleton d'Aristophane (1852), See also:

• GRINGOIRE (or GRINGORE), PIERRE (c. 148o-1539)

Gringoire (1866), and Deidamia (1876) . See also J .

Lemaitre, Les Contemporains (first series, 1885) ; Sainte-Beuve, Causeries du lundi, vol. xiv.; See also:

• MAURICE (1521–1553)
• MAURICE (MAURICIUS FLAVIUS TIBERIUS) (c. 539–602)
• MAURICE [or MAURITIUS], ST (d. c. 286)
• MAURICE, JOHN FREDERICK DENISON (1805-1872)

Maurice Spronck, Les Artistes litteraires (1889) .