ANATOLE See also:

• FRANCE
• ANATOLE FRANCE (1844– )

FRANCE (1844– )  , See also:

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

French critic, essayist and novelist (whose real name was Jacques Anatole Thibault), was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born 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 on the 16th of See also:

• APRIL

April 1844 . His See also:

• FATHER

father was a See also:

• BOOK

book-seller, one of the last of the booksellers, if we are to believe the Goncourts, into whose See also:

• ESTABLISHMENT (0. Fr. establissement, Fr. etablissement, late Norm. Fr. establishement, from O. Fr. establir, Fr. etablir, Lat. stabilire, to make stable)

establishment men came, not merely to 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 and buy, but to See also:

• DIP (Old Eng. dyppan, connected with the common Teutonic root seen in " deep ")

dip, and turn over pages and discuss . As a See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

child he used to listen to the nightly talks on See also:

• LITERARY

literary subjects which took See also:

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

place in his father's See also:

• SHOP

shop . Nurtured in an See also:

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

atmosphere so essentially bookish, he turned naturally to literature . In 1868 his first See also:

• WORK

work appeared, a study of See also:

• ALFRED

Alfred de See also:

• VIGNY, ALFRED DE (1797-1863)

Vigny, followed in 1873 by a 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 Poemes dotes, dedicated to Leconte de See also:

• LISLE, ALICE (c. 1614-1685)

Lisle, and, as such a See also:

• DEDICATION (Lat. dedicatio, from dedicare, to proclaim, to announce)

dedication suggests, an outcome of the " Parnassian " See also:

• MOVEMENT

movement; and yet another volume of verse appeared in 1876, Les Noces corinthiennes . But the poems in these volumes, though unmistakably the work of a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man of See also:

• GREAT

great literary skill and cultured See also:

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

taste, are scarcely the poems of a man with whom verse is the highest See also:

• FORM (Lat. forma)

form of expression . He was to find his richest vein in See also:

• PROSE

prose . He himself, avowing his preference for a See also:

• SIMPLE

simple, or seemingly simple, See also:

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

style as compared with the See also:

• ARTISTIC

artistic style, vaunted by the Goncourts—a style compounded of neologisms and " rare " epithets, and startling forms of expression—observes: " A simple style is like See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white See also:

• LIGHT

light . It is complex, but not to outward seeming . In See also:

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

language, a beautiful and desirable simplicity is but an See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance, and results only from the See also:

• GOOD, JOHN MASON (1764-1827)

good order and See also:

• SOVEREIGN

sovereign See also:

• ECONOMY

economy of the various parts of speech." And thus one may say of his own style that its beautiful translucency is the result of many qualities—felicity, 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, the harmonious grouping of words, a perfect measure . Anatole See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France is a sceptic . The essence of his See also:

• PHILOSOPHY (Gr. gthos, fond of, and vo4 (a, wisdom)

philosophy, if a spirit so light; evanescent, elusive, can be said to have a philosophy, is doubt .

He is a doubter in See also:

• RELIGION
• RELIGION, FOLKLORE, CUSTOM

religion, See also:

• METAPHYSICS
• METAPHYSICS, or METAPHYSIC (from Gr. /sera, after, d v med, things of nature, lots, i.e. the natural universe)

metaphysics, morals, politics, See also:

• AESTHETICS

aesthetics, See also:

• SCIENCE (Lat. scientia, from scire; to learn, know)

science—a most genial and kindly doubter, and not at all without doubts even as to his own negative conclusions . Sometimes his doubts are expressed in his own See also:

• PERSON, OFFENCES AGAINST THE

person—as in the Jardin d'epicure (1894) from which the above extracts are taken, or Le Livre de mon See also:

• ANTI, or CAMPA

anti (1885), which may be accepted, perhaps, as partly autobiographical; sometimes, as in La Rotisserie de la reine Pedauque (1893) and Les Opinions de M . See also:

• JEROME, JEROME KLAPKA (1859– )
• JEROME, ST (HIERONYMUS, in full EUSEBIUS SOPHRONIUS HIERONYMUS) (c. 340–420)

Jerome Coignard (1893), or L'See also:

• ORME, ROBERT (1728-1801)

Orme du See also:

• MAIL

mail (1897), Le Mannequin d'See also:

• OSIER (through Fr. from Late Lat. osaria, auxaria, a bundle of osier or willow twigs)

osier (1897), L'Anneau d'amethyste (1899), and M . Bergeret a Paris (1901), he entrusts the expression of his opinions, dramatically, to some fictitious See also:

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

character—the See also:

• ABBE (Serbo-Croatian Rai))

abbe Coignard, for instance, projecting, as it were, from the 18th See also:

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

century some very effective criticisms on the popular See also:

• POLITICAL

political theories of contemporary France—or the M . Bergeret of the four last-named novels, which were published with the collective See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title of Histoire contemporaine . This See also:

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

series deals with some See also:

• MODERN

modern problems, and particularly, in L'Anneau d'amethysle and M . Bergeret a Paris, with the humours and follies of the anti-Dreyfusards . All this makes a piquant See also:

• COMBINATION (Lat. combinare, to combine)

combination . Neither should reference be omitted to his See also:

• CRIME (Lat. crimen, accusation)

Crime de Sylvestre Bonnard (1881), crowned by the See also:

• INSTITUTE (from Lat. instituere, to establish or set up)

Institute, nor to See also:

• WORKS

works more distinctly of See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy, such as Balthasar (1889), the See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story of one of the Magi or See also:

• THAIS

Thais (1890), the story of an actress and courtesan of See also:

• ALEXANDRIA
• ALEXANDRIA (Arab. Iskenderia)

Alexandria, whom a See also:

• HERMIT

hermit converts, but with the loss of his own soul . His ironic See also:

• COMEDY

comedy, Crainquebille (See also:

• RENAISSANCE, THE

Renaissance See also:

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

theatre, 1903), was founded on his novel (1902) of the same See also:

• YEAR

year . His more See also:

• RECENT

recent work includes his anti-clerical See also:

• VIE

Vie de Jeanne &Arc (19o8); his pungent See also:

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

satire the Ile See also:

• DES

des penguins (1908); and a volume of stories, Les See also:

• SEPT

Sept Femmes dc la . Bark-Pleue (19o9) .

Lightly as he bears his erudition, it is very real and extensive, and is notably shown in his utilization of modern archaeological and See also:

• HISTORICAL

historical See also:

• RESEARCH (O. Fr. recerche, from recercher, re- and cercer, mod. chercher, to search; Late Lat. circare, to go round in a circle, to explore)

research in his fiction (as in the stories in Sur une See also:

• PIERRE

pierre See also:

• BLANCHE, JACQUES EMILE (1861– )

blanche) . As a critic—see the Vie litteraire (1888–1892), reprinted mainly from Le Temps—he is graceful and appreciative . See also:

• ACADEMIC

Academic in the best sense, he found a place in the French See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy, taking the seat vacated by See also:

• LESSEPS, FERDINAND DE (1805-1894)

Lesseps, and was received into that See also:

• BODY

body on the 24th of See also:

• DECEMBER (Lat. decent, ten)

December 1896 . In the affaire See also:

• DREYFUS, ALFRED (1859– )

Dreyfus he sided with M . See also:

• ZOLA, EMILE EDOUARD CHARLES ANTOINE (1840-1902)

Zola . For studies of M . Anatole France's See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent see 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 Barres, Anatole France (1885); Jules See also:

• LEMAITRE, FRANCOIS ELIE JULES (1853— )

Lemaitre, Les Contemporains (2nd series, 1886); and G . See also:

• BRANDES, GEORG MORRIS COHEN (1842– )

Brandes, Anatole France (1908) . In 1908 See also:

• FREDERIC, HAROLD (1856-1898)

Frederic See also:

• CHAPMAN (from O. Eng. ceap, and Mid. Eng. ,heap, to barter, cf. " Cheapside " in London, and Ger. Kaufmann)
• CHAPMAN, GEORGE (? 1559–1634)

Chapman began an edition of The works of Anatole France in an See also:

• ENGLISH

English See also:

• TRANSLATION

translation (See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• LANE, EDWARD WILLIAM (1801–1876)
• LANE, JAMES HENRY (1814–1866)

Lane) .