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See also: born at See also: Aix of a Provencal See also: family named Revoil, on the 15th of See also: September 181o
.
In 1835 she came to See also: Paris with her See also: husband Hippolyte Colet (1808–1851), a composer of See also: music and professor of harmony and counterpoint at the conservatoire
.
In 1836 appeared her Fleurs du Midi, a See also: volume of verse, of liberal tendency, followed by Penserosa (1839), a second volume of verse; by La Jeunesse de Goethe (1839), a one-See also: act See also: comedy; by See also: Les Cceurs brises (1843), a novel; Les Funerailles de See also: Napoleon (1840), a poem, and La Jeunesse de See also: Mirabeau (1841), a novel
.
Her See also: works were crowned five or six times by the Institute, a distinction which she owed, however, to the influence of Victor See also: Cousin rather than to the quality of her See also: work
.
The criticisms on her books and on the prizes conferred on her by the See also: Academy exasperated her; and in 1841 Paris was diverted by her attempted reprisals on Alphonse Karr for certain notices in Les Guepes
.
In 1849 she had to defend an See also: action brought against her by the heirs of Madame Recamier, whose See also: correspondence with Benjamin See also: Constant she had published in the columns of the Presse
.
She produced a See also: host of writings in See also: prose and verse, but she is perhaps best known for her intimate connexion with some of her famous contemporaries, See also: Abel See also: Villemain, Gustave See also: Flaubert and Victor Cousin
.
Only one of her books is now of interest—Lui: See also: roman contemporain (1859), the novel in which she told the See also: story of her See also: life
.
She died on the 8th of See also: March 1876
.
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