See also:

• OCTAVE (from Lat. octavus, eighth, octo, eight)

OCTAVE See also:

• OCTAVE FEUILLET (1821-1890)

FEUILLET (1821-1890)  , See also:

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

French novelist and dramatist, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• SAINT (lat. sanctus, " holy ")

Saint-L8, See also:

• MANCHE

Manche, on the 11th of See also:

• AUGUST (originally Sextilis)

August 1821 . He was the son of a See also:

• NORMAN
• NORMAN, SIR HENRY WYLIE (1826-1904)

Norman See also:

• GENTLEMAN (from Lat. gentilis, " belonging to a race or gens," and " man "; Fr. gentilhomme, Span. gentil hombre, Ital. gentil huomo, in its original and strict signification, a term denoting a man of good family, the Lat. generosus (its invariable transl

gentleman of learning and distinction, who would have played a See also:

• GREAT

great See also:

• PART

part in politics " sans ses diables de nerfs," as See also:

• GUIZOT, FRANCOIS PIERRE GUILLAUME (1787-1874)

Guizot said . This See also:

• NERVOUS

nervous excitability was inherited, though not to the same excess, by See also:

• OCTAVE (from Lat. octavus, eighth, octo, eight)

Octave, whose See also:

• MOTHER

mother died in his See also:

• INFANCY

infancy and See also:

• LEFT

left him to the care of the hyper-sensitive invalid . The boy was sent to the lycee 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-le See also:

• GRAND

Grand, 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, where he achieved high distinction, and was destined for the See also:

• DIPLOMATIC

diplomatic service . In 1840 he appeared before his See also:

• FATHER

father at Saint-Lo, and announced that he had determined to adopt the profession of literature . There was a stormy See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene, and the See also:

• ELDER (0. Eng. ellarn; Ger. Holunder; Fr. sureau)
• ELDER (Gr. 1rpev(3iTepos)

elder See also:

• FEUILLET, OCTAVE (1821-1890)

Feuillet cut off his son, who returned to Paris and lived as best he could by a scanty journalism . In See also:

• COMPANY

company with See also:

• PAUL
• PAUL (PAULUS)

Paul See also:

• BOCAGE (from O. Fr. boscage, Late Lat. boscum, a wood)
• BOCAGE, MANUEL MARIA BARBOSA DE (1765-1805)

Bocage he began to write for the See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage, and not without success; at all events, he continued to exist until, three years after the See also:

• QUARREL

quarrel, his father consented to forgive him . Enjoying a liberal See also:

• ALLOWANCE (from "allow,' derived through 0. Fr. alouer from the two Lat. origins adlaudare, to praise, and allocare, to assign a place; so that the English word combined the general idea of "assigning with approval")

allowance, he now lived in Paris in comfort and See also:

• INDEPENDENCE
• INDEPENDENCE, DECLARATION OF
• INDEPENDENCE, WAR OF

independence, and he published his See also:

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

early novels, none of which is quite of sufficient value to retain the See also:

• MODERN

modern reader . The See also:

• HEALTH

health and See also:

• SPIRITS

spirits of the elder M . Feuillet, however, having still further declined, he summoned his son to leave Paris and See also:

• BURY
• BURY, JOHN BAGNELL (1861- )

bury himself as his See also:

• CONSTANT, BENJAMIN (1845-1902)

constant attendant in the See also:

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

melancholy See also:

• CHATEAU (from Lat. castellum, fortress, through O. Fr. chastel, chasteau)

chateau at Saint-Lo . This was to demand a great See also:

• SACRIFICE (from Lat. sacrificium; sacer, holy, and facere, to make)

sacrifice, but Octave Feuillet cheer-fully obeyed the See also:

• SUMMONS (Fr. semonce, from semonner or semondre, Lat. summonere, summonitio)

summons . In 1851 he married his See also:

• COUSIN (Fr. cousin, Ital. cugino, Late Lat. cosinus, perhaps a popular and familiar abbreviation of consobrinus, which has the same sense in classical Latin)
• COUSIN, JEAN (1500-1590)
• COUSIN, VICTOR (1792–1867)

cousin, Mlle Valerie Feuillet, who helped him to endure the mournful captivity to which his filial See also:

• DUTY (from " due," that which is owing, O. Fr. deu, dil, past participle of devoir; Lat. debere, debitum; cf. " debt ")

duty See also:

• BOUND, or BOUNDARY (from O. Fr. bonde, Med. Lat. bodena or butina, a frontier line)

bound him .

Strangely enough, in this See also:

• EXILE (Lat. exsilium or exilium, from exsul or exul, which is derived from ex, out of, and the root sal, to go, seen in salire, to leap, consul, &c.; the connexion with solum, soil, country is now generally considered wrong)

exile—rendered still more irksome by his father's See also:

• MANIA

mania for solitude and by his tyrannical See also:

• TEMPER (from Lat. temperare, to mingle or compound in due proportion, to qualify, rule, regulate, to be moderate, formed from tempos, time, fit or due season)

temper—the See also:

• GENIUS (from Lat. genere, gignere)

genius of Octave Feuillet See also:

• DEVELOPED

developed . His first definite success was gained in the See also:

• YEAR

year 1852, when he published the novel Bellah and produced the See also:

• COMEDY

comedy La Crise . Both were reprinted from the Revue See also:

• DES

des deux mondes, where many of his later novels also appeared . He wrote books which have See also:

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

long held their See also:

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

place,, La Petite Comtesse (1857), Dalila (1857), and in particular that universal favourite, Le See also:

• ROMAN

Roman d'un jeune homme pauvre (1858) . He himself See also:

• FELL
• FELL, JOHN (1625-1686)

fell into a nervous See also:

• STATE
• STATE, GREAT OFFICERS OF

state in his " See also:

• PRISON (derived through the Fr. from the Lat. prehensio, seizure)

prison," but he was sustained by the devotion and intelligence of his wife and her mother . In 1857, having been persuaded to make a See also:

• PLAY

play of the novel of Dalila, he brought out this piece at the See also:

• VAUDEVILLE

Vaudeville, and enjoyed a brilliant success; on this occasion he positively See also:

• BROKE, or BROOKE, ARTHUR (d. 1563)
• BROKE, SIR PHILIP BOWES VERE, BART

broke through the consign and went up to Paris to see his play rehearsed . His father See also:

• BORE

bore the See also:

• SHOCK, or COLLAPSE

shock of his temporary See also:

• ABSENCE (Lat. absentia)

absence, and the following year Octave ventured to make the same experiment on occasion of the performance of Un Jeune Homme pauvre . To his See also:

• INFINITE (from Lat. in, not, finis, end or limit; cf. findere, to deave)

infinite chagrin, during this brief absence his father died . Octave was now, however, See also:

• FREE

free, and the See also:

• FAMILY

family immediately moved to Paris, where they took part in the splendid social existence of the Second See also:

• EMPIRE

Empire . The elegant and distinguished See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young novelist became a favourite at 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; his pieces were performed at See also:

• COMPIEGNE

Compiegne before they were given to the public, and on one occasion the empress See also:

• EUGENIE

Eugenie deigned to play the part of Mme de Pons in See also:

• LES

Les Portraits de la Marquise . Feuillet did not abandon the novel, and in 1862 he achieved a great success with Sibylle . His health, however, had by this 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 begun to decline, affected by the sad See also:

• DEATH

death of his eldest son .

He determined to quit Paris, where the See also:

• LIFE

life was far too exciting for his nerves, and to regain the quietude of See also:

• NORMANDY

Normandy . The old chateau of the family had been sold, but he bought 2 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 called " Les Paillers " in the suburbs of Saint-Lo, and there he lived, buried in his See also:

• ROSES, WARS OF THE

roses, for fifteen years . He was elected to the French See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy in 1862, and in 1868 he was made librarian of See also:

• FONTAINEBLEAU

Fontainebleau See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

palace, where he had to reside for a 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 or two in each year . In 1867 he produced his masterpiece of See also:

• MONSIEUR (Fr., formed from men, my, and sieur, lord)

Monsieur de Camors, and in 1872 he wrote Julia de Treueur, which is hardly less admirable . His last years, after the See also:

• SALE
• SALE, GEORGE (c. 1697-1736)
• SALE, SIR ROBERT HENRY (1782—1845)

sale of " Les Paillers," were passed in a ceaseless wandering, the result of the agitation of his nerves . He was broken by sorrow and by See also:

• ILL

ill-health, and when he passed away in Paris on the 29th of See also:

• DECEMBER (Lat. decent, ten)

December 189o, his death was a See also:

• RELEASE (O.Fr. reles, variant of relais, from relaisser, to release, let go, Lat. relaxare)

release . His last See also:

• BOOK

book was Ilonneur d'artiste (18go) . Among the too-numerous writings. of Feuillet, the novels have lasted longer than the dramas; of the former three or four seem destined to retain their See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm as See also:

• CLASSICS

classics . He holds a place midway between the romanticists and the realists, with a distinguished and lucid See also:

• PORTRAITURE

portraiture of life which is entirely his own . He See also:

• DREW
• DREW, SAMUEL (1765-1833)

drew the See also:

• WOMEN

women of the See also:

• WORLD

world whom he saw around him with dignity, with See also:

• INDULGENCE (Lat. indulgentia, indulgere, to grant, concede)

indulgence, with extraordinary penetration and See also:

• CLAIRVOYANCE (Fr. for " clear-seeing ")

clairvoyance . There is little description in his novels, which sometimes seem to move on an almost See also:

• BARE

bare and colourless stage, but, on the other See also:

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

hand, the See also:

• ANALYSIS (Gr. avci and Meta, to break up into parts)

analysis of motives, of emotions, and of " the See also:

• FINE

fine shades " has rarely been carried further . Few have written French with greater purity than Feuillet, and his See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style, reserved in See also:

• FORM (Lat. forma)

form and never excessive in See also:

• ORNAMENT (Lat. ornare, to adorn)

ornament, but full of wit and delicate animation, is in admirable uniformity with his subjects and his treatment .

It is probably in Sibylle and in Julia de Trecceur that he can now be studied to most See also:

• ADVANTAGE

advantage, though Monsieur de Camors gives a greater sense of See also:

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

power, and though Le Roman d'un jeune homme pauvre still preserves its popularity . See also Sainte-Beuve, Nouveaux Lundis, vol. v.; F . Brunetiere, Nouveaux Essais sur la litterature contemporaine (1895) . (E .