See also:

• ANDRE, JOHN (1751-178o)

ANDRE DE See also:

• CHENIER
• ANDRE DE CHENIER (1762-1794)

CHENIER (1762-1794)  , See also:

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

French poet, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• CONSTANTINOPLE
• CONSTANTINOPLE, COUNCILS OF

Constantinople on the 3oth of See also:

• OCTOBER

October 1762 . His See also:

• FATHER

father, See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

Louis See also:

• CHENIER
• CHENIER, ANDRE DE (1762-1794)

Chenier, a native of See also:

• LANGUEDOC

Languedoc, after twenty years of successful See also:

• COMMERCE
• COMMERCE (Lat. commercium, from, cum, together, and rnerx, merchandise)

commerce in the See also:

• LEVANT

Levant as a See also:

• CLOTH

cloth-See also:

• MERCHANT (O. Fr. marcheant, modern marchand; from Lat. mercari, to trade, merx, goods, merchandise)

merchant, was appointed to a position See also:

• EQUIVALENT

equivalent to that of French See also:

• CONSUL
• CONSUL (in Gr. generally ihraros,ashortened form of errpavgybs 8hraeos, i.e. praetor maximus)

consul at Constantinople . His See also:

• MOTHER

mother, Elisabeth Santi-Lomaca, whose See also:

• SISTER

sister was See also:

• GRAND

grand-mother of A . See also:

• THIERS

Thiers, was a See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek . When the poet was three years old his father returned to See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France, and subsequently from 1768 to 1775 served as consul-See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general of France in See also:

• MOROCCO

Morocco . The See also:

• FAMILY

family, of which See also:

• ANDRE, JOHN (1751-178o)

Andre was the third son, and See also:

• MARIE

Marie-See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph (see below) the See also:

• FOURTH

fourth, remained in France; and after a few years, during which Andre ran See also:

• WILD, JONATHAN (c. 1682-1725)

wild with " la tante de Carcasonne," he distinguished himself as a 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-translator from the See also:

• CLASSICS

classics at the See also:

• COLLEGE (Collegium)

College de See also:

• NAVARRE (Span. Navarra)

Navarre (the school in former days of See also:

• GERSON, JOHN (1363—1429)

Gerson and See also:

• BOSSUET, JAQUES BENIGNE (1627-1704)

Bossuet) 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 . In 1783 he obtained a cadetship in a French See also:

• REGIMENT (from Late Latin regimentum, rule, regere, to rule, govern, direct)

regiment at See also:

• STRASSBURG, or STRASBURG (French Strasbourg)

Strassburg . But the glamour of the military See also:

• LIFE

life was as soon exhausted by Chenier as it was by See also:

• COLERIDGE, HARTLEY (1796-1849)
• COLERIDGE, JOHN DUKE COLERIDGE, 1ST BARON
• COLERIDGE, SAMUEL TAYLOR (1772-1834)
• COLERIDGE, SARA (1802–1852)
• COLERIDGE, SIR JOHN TAYLOR (1790-1876)

Coleridge . He returned to Paris before the end of the See also:

• YEAR

year, was well received by his family, and mixed in the cultivated circle which frequented the See also:

• SALON

salon of his mother, among them See also:

• LEBRUN, CHARLES FRANCCOIS
• LEBRUN, PIERRE ANTOINE (1785–1873)
• LEBRUN, PONCE DENIS ECOUCHARD (1729-1807)

Lebrun-Pindare, See also:

• LAVOISIER, ANTOINE LAURENT (1743-1794)

Lavoisier, See also:

• LESUEUR, DANIEL
• LESUEUR, JEAN FRANCOIS (1760 or 1763–1837)

Lesueur, See also:

• DORAT, CLAUDE JOSEPH (1734-1780)

Dorat, Parmy, and a little later the painter See also:

• DAVID
• DAVID (a Hebrew name meaning probably beloved 1)
• DAVID, FELICIEN (1810—1876)
• DAVID, GERARD [GHEERAERT DAVIT], (?=1523)
• DAVID, PIERRE JEAN (1789–1856)
• DAVID, ST (Dewi, Sant)

David . He was already a poet by predilection, an idyllist and steeped in the classical archaism of the 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, when, in 1784, his See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste for the See also:

• ANTIQUE (Lat. antiquus, old)

antique was confirmed by a visit to See also:

• ROME
• ROME (Roma)

Rome made in the See also:

• COMPANY

company of two schoolfellows, the See also:

• BROTHERS, RICHARD (1757-1824)

brothers Trudaine . From See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

Naples, after visiting See also:

• POMPEII

Pompeii, he returned to Paris, his mind fermenting with poetical images and projects, few of which he was destined to realize . For nearly three years, however, he was enabled to study and to experiment in verse without any active pressure or interruption from his family—three See also:

• PRECIOUS (O. Fr. precios, mod. precieux, Lat. pretiosus, of high value or price, pretium)

precious years in which the first phase of his See also:

• ART

art as a writer of idylls and See also:

• BUCOLICS (from the Gr. j owKOXucor, " pertaining to a herds-man ")

bucolics, imitated to a large extent from See also:

• THEOCRITUS

Theocritus, See also:

• BION

Bion and the Greek anthologists, was elaborated .

Among the poems written or at least sketched during this See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period were L'Oaristys, L'Aveugle, La Jeune Malade, Bacchus,Euphrosine and La Jeune Tarentine, the last a See also:

• SYNTHESIS (Gr. a6vOeacs, from avvrcBivac, to put together)

synthesis of his purest manner, See also:

• MOSAIC (corresponding to Lat. opus musivum, from Gr. µovoeiov, an artificial grotto often decorated with mosaics; the word is only found in the sense of mosaic in late Greek, which generally uses k oXI yrlµa)

mosaic though it is of reminiscences of at least a dozen classical poets . As in glyptic so in poetic art, the See also:

• HELLENISM
• HELLENISM (from Or. EAXspiL'sty, to imitate the Greeks, who were known as "EAAi7ves, after "EAA17v, the son of Deucalion)

Hellenism of the time was decadent and Alexandrine rather than See also:

• ATTIC (i.e. "in the Attic style ")

Attic of the best period . But Chenier is always far more than an imitator . La Jeune Tarentine is a See also:

• WORK

work of See also:

• PERSONAL

personal emotion and See also:

• INSPIRATION (Lat. inspirare, breathe upon or into)

inspiration . The colouring is that of classic See also:

• MYTHOLOGY

mythology, but the spiritual See also:

• ELEMENT (Lat. elementum)

element is as individual as that of any classical poem by See also:

• MILTON
• MILTON, JOHN (1608–1674)

Milton, See also:

• GRAY
• GRAY (or GREY), WALTER DE (d. 1255)
• GRAY, ASA (1810-1888)
• GRAY, DAVID (1838-1861)
• GRAY, ELISHA (1835-1901)
• GRAY, HENRY PETERS (1819-18/7)
• GRAY, HORACE (1828–1902)
• GRAY, JOHN DE (d. 1214)
• GRAY, JOHN EDWARD (1800–1875)
• GRAY, PATRICK GRAY, 6TH BARON (d. 1612)
• GRAY, ROBERT (1809-1872)
• GRAY, SIR THOMAS (d. c. 1369)
• GRAY, THOMAS (1716-1771)

Gray, See also:

• KEATS, JOHN (1795-1821)

Keats or See also:

• TENNYSON, ALFRED TENNYSON

Tennyson . Apart from his idylls and his elegies, Chenier also experimented from See also:

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

early youth in didactic and philosophic verse, and when he commenced his See also:

• HERMES
• HERMES, GEORG (1775-1831)

Hermes in 1783 his ambition was to condense the Encyclopedie of See also:

• DIDEROT, DENIS (1713-1784)

Diderot into a poem somewhat after the manner of See also:

• LUCRETIUS (TITUS LUCRETIUS CARUS) (c. 98–55 B.C.)

Lucretius . This poem was to treat of See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man's position in the Universe, first in an isolated See also:

• STATE
• STATE, GREAT OFFICERS OF

state, and then in society . It remains fragmentary, and though ' See Allg. See also:

• MUS

mus . Zt . (See also:

• LEIPZIG

Leipzig, 1821), Bd. See also:

• XXIII

xxiii . Nos . 9 and to, pp .

133 and 149 et seq.some of thefragments are See also:

• FINE

fine, its See also:

• ATTEMPT (Lat. adtemptare, attentare, to try)

attempt at scientific exposition approximates too closely to the manner of See also:

• ERASMUS, DESIDERIUS (1466–1536)

Erasmus See also:

• DARWIN, CHARLES ROBERT (1809-1882)
• DARWIN, ERASMUS (1731-1802)

Darwin to suit a See also:

• MODERN

modern See also:

• EAR (common Teut.; O.E. are, Ger. Ohr, Du. oor, akin to Lat. auris, Gr. ovs)

ear . Another fragment called L'Invention sums Chenier's Ars Poetica in the verse " Sur See also:

• DES

des pensers nouveaux, faisons des vers antiques." Suzanne represents the torso of a Biblical poem on a very large See also:

• SCALE
• SCALE (1) A

scale, in six cantos . In the meantime, Andre had published nothing, and some of these last pieces were in fact not yet written, when in See also:

• NOVEMBER (Lat. novem, nine)

November 1787 an opportunity of a fresh career presented itself . The new See also:

• AMBASSADOR (also EMBASSADOR, the form sometimes still used in America; from the Fr. ambassadeur, with which compare Ital. ambasciatore and Span. embajador, all variants of the Med. Lat. ambassiator, ambassiator, ambasator, &c., derived from Med. Lat. amba

ambassador at the See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court of St See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James's, M. de la Luzerne, was connected in some way with the Chenier family, and he offered to take Andre with him as his secretary . The offer was too See also:

• GOOD, JOHN MASON (1764-1827)

good to be refused, but the poet hated himself on the See also:

• BANKS, GEORGE LINNAEUS (1821-1881)
• BANKS, NATHANIEL PRENTISS (1816–1894)
• BANKS, SIR JOSEPH
• BANKS, THOMAS (1735-1805)

banks of the fcere Tamise, and wrote in See also:

• BITTER, KARL THEODORE FRANCIS (1867– )

bitter ridicule of " See also:

• CES

Ces Anglais . Nation toute a vendre a qui peut la payer . De contree en contree allant au monde entier, Offrir sa joie ignoble et son faste grossier." He seems to have been interested in the poetic diction of Milton and See also:

• THOMSON, JAMES (1822-1892)
• THOMSON, JAMES (1834-1882)
• THOMSON, JAMES (r700-1748)
• THOMSON, JOHN (1778-184o)
• THOMSON, JOSEPH (1858-1895)
• THOMSON, SIR CHARLES WYVILLE (1830-1882)
• THOMSON, THOMAS (1773-1852)
• THOMSON, WILLIAM (1819-189o)

Thomson, and a few of his verses are remotely inspired by See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare and Gray . To say, however, that he studied See also:

• ENGLISH

English literature would be an exaggeration . The events of 1789 and the startling success of his younger See also:

• BROTHER

brother, Marie-Joseph, as See also:

• POLITICAL

political playwright and pamphleteer, concentrated all his thoughts upon France . In See also:

• APRIL

April 1790 he could stand See also:

• LONDON

London no longer, and once more joined his parents at Paris in the See also:

• RUE (Fr. rue, Lat. ruta, from Gr. pur)

rue de Clery . The France that he plunged into with such impetuosity was upon the See also:

• VERGE (Lat. virga, a rod)

verge of anarchy . A strong constitutionalist, Chenier took the view that the Revolution was already See also:

• COMPLETE

complete and that all that remained to be done was the inauguration of the reign of See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law .

Moderate as were his views and disinterested as were his motives, his See also:

• TACTICS (Gr. TaeTOc*, sc. TEXvnI, from TavQecv, to arrange in order of battle)

tactics were passionately and dangerously aggressive . From an idyllist and elegist we find him suddenly transformed into an unsparing 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 poetical See also:

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

satire . His See also:

• PROSE

prose Avis au peuple franQais (See also:

• AUGUST (originally Sextilis)

August 24, 1790) was followed by the rhetorical Jeu de paume, a somewhat declamatory moral See also:

• ODE (Gr. uiSri, from aei&ew, to sing)

ode addressed " a Louis David, peintre." In the meantime he orated at the Feuillants See also:

• CLUB (connected with " clump ")

Club, and contributed frequently to the See also:

• JOURNAL
• JOURNAL (through Fr. from late Lat. diurnalis, daily)

Journal de Paris from November 1791 to See also:

• JULY

July 1792, when he wrote his scorching lambes to See also:

• COLLOT

Collot d'Herbois, Sur See also:

• LES

les Suisses revolter du regiment de Chateauvieux . The loth of August uprooted his party, his See also:

• PAPER
• PAPER (Fr. papier, from Lat. papyrus)

paper and his See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends, and the management of relatives who kept him out of the way in See also:

• NORMANDY

Normandy alone saved him from the See also:

• MASSACRE

massacre of See also:

• SEPTEMBER (Lat. septem, seven)

September . In the See also:

• MONTH
• MONTH (a common Teutonic word, cf. Ger. Mond, Du. maand, Dan. maaned, &c., and cognate with Lat. mensis, Gr. µi7v, &c., in other branches of the Indo-Germanic family; all ultimately from the root seen in the word for the moon in nearly all those languages

month following these events his democratic brother, Marie-Joseph, had entered the See also:

• CONVENTION (Lat. conventio, an assembly or agreement, from convenire, to come together)
• CONVENTION, THE NATIONAL

Convention . See also:

• ANDRES, JUAN (1740-1817)

Andres sombre rage against the course of events found vent in the See also:

• LINE

line on the See also:

• MAENADS (Gr. MatvaSes, frenzied women)

Maenads who mutilated the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king's Swiss Guard, and in the Ode a See also:

• CHARLOTTE

Charlotte See also:

• CORDAY

Corday congratulating France that " Un scelerat de moins rampe clans See also:

• CETTE

cette fange." At the See also:

• EXPRESS (through the French from the past participle of the Lat. exprimere, to press out, by transference used of representing objects in painting or sculpture, or of thoughts, &c. in words)

express See also:

• REQUEST, LETTERS OF

request of See also:

• MALESHERBES, CHRETIEN GUILLAUME DE LAMOIGNON DE (1721-1794)

Malesherbes he furnished some arguments to the materials collected for the See also:

• DEFENCE
• DEFENCE (Lat. defendere, to defend)

defence of the king . After the See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution he sought a secluded See also:

• RETREAT (O. Fr. retrete, mod. retraite, from Lat. retrahere, to draw back)

retreat on the See also:

• PLATEAU (a French term, older platel, for a flat piece of wood, metal, &c., from plat, flat)
• PLATEAU, JOSEPH ANTOINE FERDINAND (1801-1883)

Plateau de Satory at See also:

• VERSAILLES

Versailles and took exercise after nightfall . There he wrote the poems inspired by Fanny (Mme See also:

• LAURENT, FRANCOIS (1810–1887)

Laurent Lecoulteux), including the exquisite Ode d Versailles, one of his freshest, noblest and most varied poems . His solitary life at Versailles lasted nearly a year . On the 7th 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 1794 he was taken at the See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house of Mme Piscatory at Passy . Two obscure agents of the See also:

• COMMITTEE (from commute, an Anglo-Fr. past participle of commettre, Lat. committere, to entrust; the modern Fr. equivalent comite is derived from the Eng.)

committee of public safety were in See also:

• SEARCH, or VISIT AND SEARCH

search of a marquise who had flown, but an unknown stranger was found in the house and arrested on suspicion . This was Andre, who had come on a visit of sympathy .

He was taken to the Luxembourg and afterwards to See also:

• SAINT (lat. sanctus, " holy ")

Saint-Lazare . During the 14o days of his imprisonment there he wrote the marvellous lambes (in alternate lines of 12 and 8 syllables), which hiss and stab like poisoned bullets, and which were transmitted to his family by a venal gaoler . There he wrote the best known of all his verses, the pathetic Jeune See also:

• CAPTIVE (from Lat. capere, to take)

captive, a poem at once of enchantment and of despair . Suffocating in an See also:

• ATMOSPHERE (Gr. fir µ6r, vapour; orkaipa, a sphere)

atmosphere of See also:

• CRUELTY (through the O. Fr. crualte, mod. cruaute, from the Lat. crudelitas)

cruelty and baseness, Chenier's agony found expression almost to the last in these murderous lambes which he launched against the Convention . Ten days before the end, the painter J . B . Suvee executed the well-known portrait . He might have been over-looked but for the well-meant, indignant officiousness of his father . Marie-Joseph had done his best to prevent this, but he could do nothing more . See also:

• ROBESPIERRE, MAXIMILIEN FRANCOIS MARIE ISIDORE DE (175$-1794)

Robespierre, who was himself on the brink of the See also:

• VOLCANO

volcano, remembered the venomous sallies in the Journal de Paris . At sundown on the 25th of July i794, the very See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day of his condemnation on a See also:

• BOGUS (of uncertain origin, possibly connected with the Fr. bagasse, sugar-cane refuse)

bogus See also:

• CHARGE
• CHARGE (through the Fr. from the Late Lat. carricare, to load in a carrus or wagon; cf. " cargo ")

charge of See also:

• CONSPIRACY (from Lat. conspirare, literally to breathe together, to agree, combine, and especially to form a secret plot)

conspiracy, Andre Chenier was guillotined . The See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

record of his last moments by La Touche is rather melodramatic and is certainly not above suspicion .

Incomplete as was his career—he was not quite See also:

• THIRTY

thirty-two—his life was cut See also:

• SHORT, FRANCIS JOB (1857– )

short in a crescendo of all its nobler elements . Exquisite as was already his susceptibility to beauty and his mastership of the rarest poetic material, we cannot doubt that Chenier was preparing for still higher flights of lyric See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

passion and poetic intensity . Nothing that he had yet done could be said to compare in promise of assured greatness with the lambes, the Odes and the Jeune Captive . At the moment he See also:

• LEFT

left practically nothing to tell the See also:

• WORLD

world of his transcendent See also:

• GENIUS (from Lat. genere, gignere)

genius, and his reputation has had to be retrieved from oblivion See also:

• PAGE
• PAGE, THOMAS NELSON (1853- )
• PAGE, WILLIAM (1811-1885)

page by page, and almost poem by poem . During his lifetime only his Jeu de paume (1791) and Hymne sur les Suisses (1792) had been given to the world . The Jeune Captive appeared in the See also:

• DECADE (from Gr. Oka, ten)

Decade philosophique, See also:

• JAN

Jan . 9, 1795; La Jeune Tarentine in the Mercure of March 22, 18o1 . See also:

• CHATEAUBRIAND, FRANCOIS RENE, VICOMTE DE (1768–1848)

Chateaubriand quoted three or four passages in his Genie du christianisme . Fayette and Lefeuvre-Deumier also gave a few fragments; but it was not until 1819 that a first imperfect attempt was made by H. de la Touche to collect the poems in a substantive See also:

• VOLUME

volume . Since the See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance of the editio princeps of Chenier's poems in La Touche's volume, many additional poems and fragments have been discovered, and an edition of the complete See also:

• WORKS

works of the poet, collated with the See also:

• MSS

MSS. bequeathed to the Bibliotheque Nationale by Mme Elisa de Chenier in 1892, has been edited by See also:

• PAUL
• PAUL (PAULUS)

Paul Dimoff and published by Delagrave . During the same period the See also:

• CRITICAL (in alphabetical order of authors)

critical estimates of the poet have fluctuated in a truly extraordinary manner . Sainte-Beuve in his Tableau of 1828 sang the praises of Chenier as an heroic forerunner of the Romantic See also:

• MOVEMENT

movement and a precursor of 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 .

Chenier, he said, had " inspired and determined " Romanticism . This See also:

• SUGGESTION

suggestion of modernity in Chenier was echoed by a See also:

• CHORUS (Gr. xopbs)Z

chorus of critics who worked the See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea to See also:

• DEATH

death; in the meantime, the See also:

• STANDARD
• STANDARD, BATTLE OF THE

standard edition of Chenier's works was being prepared by M . Becq de Fouquieres and was issued in 1862, but rearranged and greatly improved by the editor in 1872 . The same patient investigator gave his New Documents on Andre Chenier to the world in 1875 . In the second volume of La See also:

• VIE

Vie litteraire Anatole France contests the theory of Sainte-Beuve . Far from being an initiator, he maintains that Chenier's See also:

• POETRY

poetry is the last expression of an expiring See also:

• FORM (Lat. forma)

form of art . His See also:

• MATTER

matter and his form belong of right to the classic spirit of the 18th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century . He is a contemporary, not of Hugo and Leconte de See also:

• LISLE, ALICE (c. 1614-1685)

Lisle, but of Suard and Moreliet . M . See also:

• FAGUET, EMILE (1847- )

Faguet sums up on the See also:

• SIDE
• SIDE (mod. Eski Adalia)

side of M . France in his volume on the 18th century (189o) . Chenier's real disciples, according to the latest view, are Leconte de Lisle and M. de See also:

• HEREDIA, JOSE MARIA DE (1842-1905)

Heredia, mosaistes who have at See also:

• HEART
• HEART, LUNG

heart the cult of antique and See also:

• PAGAN
• PAGAN (Lat. paganus, of or belonging to a pagus, a canton, county district, village, commune)

pagan beauty, of " pure art " and of " See also:

• OBJECTIVE, or OBJECT GLASS

objective poetry." Heredia himself reverted to the See also:

• JUDGMENT

judgment of Sainte-Beuve to the effect that Chenier was the first to make modern verses, and he adds, " I do not know in the French See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language a more exquisite fragment than the three See also:

• HUNDRED

hundred verses of the Bucoliques." Chenier's See also:

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

influence has been specially remarkable in See also:

• RUSSIA
• RUSSIA (Rossiya)

Russia, where See also:

• PUSHKIN, ALEXANDER (1799-1837)

Pushkin imitated him, Kogloff translated La Jeune Captive, La jeune Tarentine and other famous pieces, while the critic Vesselovsky pronounces " Il a retabli le lyrisme pur daps la poesie francaise." The general French See also:

• VERDICT (O. Fr. verdit, Lat. vere dictum, truly said, used in Late Latin in one word with its present significance)

verdict on his work is in the See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main well summed by Morillot, when he says that, judged by the usual tests of the Romantic movement of the 'twenties (love for See also:

• STRANGE, SIR ROBERT (1721-1792)

strange literatures of the See also:

• NORTH
• NORTH, BARONS
• NORTH, MARIANNE (1830—1890)
• NORTH, ROGER (1653-1734)
• NORTH, SIR THOMAS (1535?-16o1?)

North, medievalism, novelties and expel iments), Chenier would inevitably have been excluded from the delude of 1827 .

On the other See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, he exhibits a decided tendency tothe world-ennui and See also:

• MELANCHOLY (Gr. µe)tayXotia, from µEtas, black, and Xotii, bile)

melancholy which was one of the earlier symptoms of the movement, and he has experimented in French verse in a manner which would have led to his See also:

• EXCOMMUNICATION (Lat. ex, out of, away from; communis, common)

excommunication by the typical performers of the 18th century . What is universally admitted is that Chenier was a very See also:

• GREAT

great artist, who like See also:

• HANSARD, LUKE (1752-1828)

Hansard opened up See also:

• SOURCES

sources of poetry in France which had See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long seemed dried up . In See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England it is easier to feel his attraction than that of some far greater reputations in French poetry, for, rhetorical though he nearly always is, he yet reveals something of that quality which to the See also:

• NORTHERN

Northern mind has always been of the very essence of poetry, that quality which made Sainte-Beuve say of him that he was the first great poet " personnel et reveur " in France since La See also:

• FONTAINE, PIERRE FRANCOIS LEONARD (1762-1853)

Fontaine . His diction is still very artificial, the poetic diction of See also:

• DELILLE, JACQUES (1738–1813)

Delille transformed in the direction of Hugo, but not very much . On the other hand, his descriptive See also:

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

power in treating of nature shows far more art than the Trianin school ever attained . His love of the woodland and his political fervour often remind us of See also:

• SHELLEY, MARY WOLLSTONECRAFT (1797-1851)
• SHELLEY, PERCY BYSSHE (1792-1822)

Shelley, and his delicate See also:

• PERCEPTION (from Lat. percipere, to perceive)

perception of Hellenic beauty, and the perfume of Greek See also:

• LEGEND (through the French from the med. Lat. legenda, things to be read, from legere, to read)

legend, give us almost a foretaste of Keats . For these reasons, among others, Chenier, whose art is destined to so many vicissitudes of See also:

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

criticism in his own See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country, seems assured among English readers of a See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place among the Dii Majores of French poetry . The Chenier literature of See also:

• LATE

late years has beeome enormous . His See also:

• FATE

fate has been commemorated in numerous plays, pictures and poems, notably in the fine See also:

• EPILOGUE

epilogue of See also:

• SULLY, JAMES (1842– )
• SULLY, MAXIMILIEN DE BETHUNE
• SULLY, THOMAS (1783—1872)

Sully Prudhomme, the Stello of A. de See also:

• VIGNY, ALFRED DE (1797-1863)

Vigny, the delicate statue by Puech in the Luxembourg, and the well-known portrait in the centre of the " Last Days of the Terror." The best See also:

• EDITIONS

editions are still those of Becq de Fouquieres (Paris, 1862, 1872 and 1881), though these are now supplemented by those of L . Moland (2 vols., 1889) and R . Guillard (2 vols., 1899) . (T .