See also:

• ANTOINE, ANDRE (1858- )

ANTOINE 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 CAMILLE See also:

• ANTOINE LOUIS CAMILLE LEMONNIER (1844– )
• LEMONNIER, PIERRE CHARLES (1715—1799)

LEMONNIER (1844– )  , Belgian poet, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Ixelles, See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels, on the 24th 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 1844 . He studied 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, and then took a clerkship in a See also:

• GOVERNMENT
• GOVERNMENT (0. Fr. governement, mod. gouvernement, O. Fr. governer, mod. gouverner, from Lat. gubernare, to steer a ship, guide, rule; cf. Gr. xv(3epvav)

government See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office, which he resigned after three years . See also:

• LEMONNIER, ANTOINE LOUIS CAMILLE (1844– )
• LEMONNIER, PIERRE CHARLES (1715—1799)

Lemonnier inherited Flemish See also:

• BLOOD

blood from both parents, and with it the See also:

• ANIMAL
• ANIMAL (Lat. animalis, from anima, breath, soul)

animal force and pictorial See also:

• ENERGY (from the Gr. ivipyela; iv, in, ipyov, work)

energy of the Flemish temperament . He published a See also:

• SALON

Salon de Bruxelles in 1863, and again in 1866 . His See also:

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

early friend-See also:

• SHIPS

ships were chiefly with artists; and he wrote See also:

• ART

art criticisms with recognized discernment . Taking a 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 in the hills near See also:

• NAMUR
• NAMUR (Flemish, Namen)

Namur, he devoted himself to See also:

• SPORT (a contracted or shortened form of "disport," to amuse, divert oneself, O. Fr. se dis porter or deporter, to leave off work, hence to play, Lat. dis-, away, and portare, to carry; the origin of the meaning lies in the notion of turning away from ser

sport, and See also:

• DEVELOPED

developed the intimate sympathy with nature which informs his best See also:

• WORK

work . Nos Flamands (1869) and Croquis d'automne (187o) date from 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 . 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-See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin (187o), a pamphlet See also:

• PLEADING (Fr. plaider, plaidoyer)

pleading the cause of See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France, and full of the author's horror of See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

war, had a See also:

• GREAT

great success . His capacity as a novelist, in the fresh, humorous description of See also:

• PEASANT (O. Fr. paysant, Mod. paysan; Lat. pagensis, belonging to the pagus or country; cf. " pagan ")

peasant See also:

• LIFE

life, was revealed in Un See also:

• COIN
• COIN (older forms of the word are coyne, quoin and coign, all derived through the O. Fr. coing, and cuigne from Lat. cuneus, a wedge)

Coin de See also:

• VILLAGE

village (1879) . In Un Male (1881) he achieved a different See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of success . It deals with the amours of a poacher and a See also:

• FARMER, RICHARD (1735–1787)

farmer's daughter, with the See also:

• FOREST

forest as a background . Cachapres, the poacher, seems the very embodiment of the See also:

• WILD, JONATHAN (c. 1682-1725)

wild life around him .

The rejection of Un See also:

• MULE (Lat. mulus)

Mule by the See also:

• JUDGES, THE BOOK OF

judges for the quinquennial See also:

• PRIZE, or PRIZE OF WAR (Fr. prise, from prendre, to take)

prize of literature in 1883 made Lemonnier the centre of a school, inaugurated at a banquet given in his 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 on the 27th of May 1883 . Le Mort (1882), which describes the remorse of two peasants for a See also:

• MURDER

murder they have committed, is a masterpiece in its vivid See also:

• REPRESENTATION

representation of terror . It was remodelled as a tragedy in five acts (Paris, 1899) by its author . Ceux de la See also:

• GLEBE (Lat. glaeba, gleba, clod or lump of earth, hence soil, land)

glebe (1889), dedicated to the " See also:

• CHILDREN, LAW RELATING TO

children of the See also:

• SOIL

soil," was written in 1885 . He turned aside from See also:

• LOCAL

local subjects for some time to produce a See also:

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

series of psychological novels, books of art See also:

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

criticism, &c., of considerable value, but assimilating more closely to See also:

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

French contemporary literature . The most striking of his later novels are: L'Hysterique (1885); Happe-See also:

• CHAIR (in. Mid. Eng. chcere, through O. Fr. chaire or chaiere, from Lat. cathedra, later caledra, Gr. xaOi3pa, seat, cf. "cathedral"; the modern Fr. form chaise, a chair, has been adopted in English with a particular meaning as a form of carriage; chaire

chair (1886), often compared with See also:

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

Zola's Germinal; Le Possede (189o); La Fin See also:

• DES

des See also:

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

bourgeois (1892); L'Arche, See also:

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

journal d'une maman (1894), a quiet See also:

• BOOK

book, quite different from his usual work; La Faute de Mme Charvet (1895); L'Homme en amour (1897); and, with a return to Flemish subjects, Le Vent dans See also:

• LES

les See also:

• MOULINS

moulins (19o1); See also:

• PETIT, SIR DINSHAW MANECKJI, BART

Petit Homme de Dieu (1902), and Commie va le ruisseau (1903) . In 1888 Lemonnier was prosecuted in Paris for offending against public morals by a See also:

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

story in Gil See also:

• BIAS
• BIAS (from the Fr. biais, of unknown origin; the derivation from Lat. bifax, two-faced, is wrong)

Bias, and was condemned to a See also:

• FINE

fine . In a later See also:

• PROSECUTION

prosecution at Brussels he was defended by Edmond See also:

• PICARD, LOUIS JOSEPH ERNEST (1821-1877)

Picard, and acquitted; and he was arraigned for a third time, at See also:

• BRUGES (Flemish Brugge, a name signifying the bridge or place of bridges)

Bruges, for his Homme en amour, but again acquitted . He represents his own See also:

• CASE
• CASE, JOHN (d. 1600)

case in Les Deux consciences (1902) . L'Ile See also:

• VIERGE, DANIEL (1851-1904)

vierge (1897) was the first of a trilogy to be called La Legende de la See also:

• VIE

vie, which was to trace, under the fortunes of the See also:

• HERO (Gr. open)
• HERO, THE YOUNGER

hero, the See also:

• PILGRIMAGE (Fr. pelerinage, Lat. peregrinatio)

pilgrimage of See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man through sorrow and See also:

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

sacrifice to the conception of the divinity within him . In See also:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ADAM, ROBERT (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

Adam et See also:

• EVE

Eve (1899), and Au Cceur frais de la fore"t (19o0), he preached the return to nature as the salvation not only of the individual but of the community . Among his other more important See also:

• WORKS

works are G .

See also:

• COURBET, GUSTAVE (1819-1877)

Courbet, et ses oeuvres (1878); L'Histoire des See also:

• BEAUX, CECILIA (1863– )

Beaux-Arts en Belgique 1830—1887 (1887); En Allemagne (1888), dealing especially with the Pinakothek at See also:

• MUNICH (Ger. Munchen)

Munich; La Belgique (1888), an elaborate descriptive work with many illustrations; La Vie beige (1905); and See also:

• ALFRED

Alfred See also:

• STEVENS,
• STEVENS, A
• STEVENS, ALFRED (1818-1875)
• STEVENS, ALFRED (1828-1906)
• STEVENS, HENRY (1819—1886)

Stevens et son oeuvre (1906) . Lemonnier spent much time in Paris, and was one of the early contributors to the Mercure de France . He began to write at a time when Belgian letters lacked See also:

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

style; and with much toil, and some initial extravagances, he created a See also:

• MEDIUM

medium for the expression of his ideas . He explained something of the See also:

• PROCESS

process in a See also:

• PREFACE (Med. Lat. prefatia, for classical praefatio, praefari, to speak beforehand)

preface contributed to Gustave See also:

• ABEL (better ABELL), THOMAS (d. 1540)
• ABEL (Hebrew for breath)
• ABEL, KARL FRIEDRICH (1725-1787)
• ABEL, NIELS HENRIK (1802-1829)
• ABEL, SIR FREDERICK AUGUSTUS, BART

Abel's Labeur de la See also:

• PROSE

prose (1902) . His prose is magnificent and sonorous, but abounds in neologisms and See also:

• STRANGE, SIR ROBERT (1721-1792)

strange metaphors . See the Revue de Belgique (15th See also:

• FEBRUARY

February 1903), which contains the See also:

• SYLLABUS (from Gr. auXXa 43aveuv, to take together, cf. " syllable ")

syllabus of a series of lectures on Lemonnier by Edmond Picard, a bibliography of his works, and appreciations by various writers .