confession d’un enfant du siècle, La (Confession of a Child of the Century) (Musset), 16–17, 441, 448
Confesssions (Rousseau): and attack on in d’Epinay’s memoirs, 402–3; and author before God with his book, 403; and autobiography, 398–405; and failed first-person justification, 405; and figure of the outsider, 377; and goodness of author, 403–4; and human nature, 393, 403; and morality, 402, 404–5; posthumous publishing of, 402; public reading motif in, 403–4, 407; and readings of in Paris, 403, 404; and self-knowledge, 408–9, 518
consciousness: different states of, 485, 488; and drugs, 471; and modernism, 491, 517; and poetic language, 472–73, 485; and revolution, 470; and the self, 518; and self-consciousness, 471; and shift from content to perceiving consciousness, 491; and surnaturalisme (supernaturalism), 471, 477; and vagabond consciousness, 10; in Verlaine’s poetry, 483–84
Contes (Tales) (Perrault), 281, 224
Continuation des amours (Ronsard), 126
Corinne, ou l’Italie (Staël), 330–31
Corneille, Pierre: and alexandrine verse form, 126; career of, 25; characters of, 198, 233, 285; and Le Cid, 172, 174–75, 287; cultural role of, 505; and emotional speech, 200; heroism in plays of, 203, 204; and “male” passions of ambition and revenge, 204; and Rabouillet salon, 221; and tragedy, 202, 204; tragicomedy of, 443
coup de Dés jamais n’abolira le Hasard, Un (A Throw of the Dice Never Shall Abolish Chance) (Mallarmé), 496; and book form, 495; and calligrams, 497; and competition between chaos and order, 499; and cube design, 496, 497–98; and illustrations, 496; and influence on Apollinaire, 510; and music, 503; and poetry, 511; random layout of, 496–97; and shipwreck story, 497, 499; and thought’s need for language, 497
Crébillon, Claude-Prosper Joylot de, 314, 315–16
Crise de vers (Verse Crisis) (Mallarmé), 13, 127, 128, 499–501
Critique de L’école des femmes (The Critique of the School for Wives) (Molière), 175, 177, 178
Cyrano de Bergerac, Savinien de: Tommaso Campanella as guide in novel of, 253; and career as dramatist and novelist, 230, 250, 261; daimon of Socrates in novel of, 252, 253, 260, 261; and Descartes in travel novel, 253, 261; as a detractor of Descartes, 251; and “esprits animaux,” 237, 238; and Les Etats et Empires de la Lune (The States and Empires of the Moon), 252, 256, 259, 260, 261, 262–63, 264; and Les Etats et Empires du Soleil (The States and Empires of the Sun), 252–53, 256, 258, 259, 260, 264; and explorer narratives, 256, 258, 259; and freethinking, 230, 231; and hero on the moon, 231, 252, 253, 261, 264; and Hobbes’s body politic, 238; and imagination, 237, 238, 252, 253, 260, 265; and inversion, 257, 263; as a libertine, 251; literary references of, 261; and love of all creatures, 265; and Lucian’s True Story, 261; and mythology, 253, 264–65; and narration, 239, 252, 253, 259, 260–61; and narrator as stateless and foreign, 262–63, 265; and philosophy, 253, 260, 263, 264–65; and principle of reversal, 253; questions raised in fiction of, 253, 264–66; and Rostand’s play Cyrano de Bergerac, 252; and satire and critique, 256, 260, 263; and science fiction, 237; and shifting states of matter, 265; and the Thirty Years War, 230; and travel writing, 254, 259, 260–61, 265–66; and violence, 263; and world on the sun, 253, 261, 263, 264
Decameron (Boccaccio), 93, 94, 95
Deffence et illustration de la langue francoyse, La (The Defense and Illustration of the French Language) (du Bellay): and borrowing from other languages and literatures, 152; criticism of, 140–41, 147; and dreams for France, 121, 143; and French language, 137–40; and French language as vehicle for poetry, 23; and French poetry as a hybrid, 144; and French state, 139, 140, 143; and heroic verse, 127; and idea of imitation, 149–50; and imitation of other languages, 140; and imitation of the poets of Greco-Roman antiquity, 138–39, 140; as a manifesto of the Pléiade poets, 147; and the Merchant Taylors’ School, 152; and military might and expansion, 138, 140; poetic language of, 147; and revitalization of French poetry, 137; and Pierre de Ronsard, 122; rules of, 139; and second Renaissance, 68; and series of rivalries, 139–41; and translation, 139, 145–47; and use of Roman works, 146
Delille, Jacques, 503–4
Descartes, René: and Académie française, 634; and authority of methods of knowledge, 75; and Cartesian mechanism, 173; and Cartesian method, 155–56, 163, 250–51, 279; as contrary to pantagruelism, 86; and “esprits animaux,” 237–38; and love for “jardins de Touraine,” 118; and modern philosophy, 155–56, 272, 276, 611; in novel of Cyrano de Bergerac, 253, 261; Pascal’s feelings on, 241; and Charles Perrault, 279; and rational thought, 168, 224–25, 269; and relationship with Montaigne, 168; and self-knowledge, 235; and separation of reflection from bodily experience, 166; and thinking as defining humans, 43, 250–51; travels of, 251
Desnos, Robert, 536, 558
Dialogo delle lengue (Dialogue on languages) (Speroni), 147, 148
Dialogue en forme de vision nocturne (Marguerite de Navarre), 59, 61
Diderot, Denis: and Académie française, 634; and artisanal class, 361; and attack on Rousseau’s Confessions, 402–3; and Les bijoux indescrets (The Indiscreet Jewels), 372; death of, 382; and “De la poésie dramatique,” 286; as an editor, 371, 372, 373; and the eighteenth century, 442; as a French author, 637; incarceration of, 26, 372, 373; and Malesherbes, 374; and materialist determinism, 410; as a Modern, 286; and Le neveu de Rameau, 373; and patronage of Catherine the Great, 382; readership of, 381–82; and Le rêve de D’Alembert (D’Alembert’s Dream), 339, 371, 383; and role in the Enlightenment, 371, 389; and Romanticism, 438; and royal council’s problems with Encyclopédie, 374; and social codes of men of letters, 384; and the sublime, 286; and Supplément au voyage de Bougainville, 3, 295; as target in play Les philosophes (Palissot), 380; thought of, 272, 286; unpublished works of, 371, 373, 381, 383; and vagabond-beggar, 10; work of, 294, 337, 371–72, 380, 381–83; and writers’ role in society, 505
Discord estant en l’homme par contrarieté de l’espérit et de la chair (Discord between the Spirit and the Flesh) (Marguerite de Navarre), 60
Discours de la méthode (Discourse on Method) (Descartes), 279
Discours des misères de ce temps (Ronsard): and alexandrine line, 132; and defense of Catholic France, 132, 134; and defense of monarchy, 132, 134; and Institution for Charles IX, 133
Discours sur le colonialisme (Discourse on Colonialism) (Césaire), 580–81, 590
Discours sur les sciences et les arts (First Discourse) (Rousseau), 286–87, 395
Discours sur l’origine et les fondements de l’inégalité parmi les hommes (Rousseau) 393, 395, 397–98
Djebar, Assia: and Algeria, 634–35, 641, 647–48; as an Algerian, 634–35, 647; and Algerian women’s stories, 648; birth year of, 635, 642, 649–50; and Le blanc de l’Algérie (Algerian White), 641; death of, 635; and descriptions of battles, 637; and La disparition de la langue française (The disappearance of the French language), 641; education of, 642–43; and Femmes d’Alger dans leur appartement (Women of Algiers in Their Apartment), 635; and French language, 641–42; and life in Paris and the United States, 645; and Maghrebian writers, 647; as member of Académie française, 634, 638, 645; as a Muslim, 634–35; novels of, 635, 639–40, 642; and postcolonial writing, 14; real name of, 650
Don Juan (Molière): and cabal of the devout (Company of the Holy Sacrament), 181, 183; dramatic conflict of, 182, 187; and human nature, 182, 184; and hypocrisy, 180–81; and immorality of Don Juan, 181–82, 184; and link with Tartuffe, 181; and Molière’s vision, 189; and religious themes, 180–84; and servant characters, 353; and vraisemblance (verisimilitude), 183–84; and world of Molière’s time, 188
Don Quixote (Cervantes): and Candide (Voltaire), 308; and conformity to status quo, 86; and human will, 86–87; and undermining heroic ideals, 157
drama: and absence of narration, 171; and action, 184, 207; and Aristotelian tradition, 207, 442–43; and Beaumarchais’s plays, 361, 442; and Samuel Beckett, 14, 183; bourgeois, 205, 206, 442, 443; and catharsis, 207; and Aimé Césaire
, 576, 580; and comedy, 8, 20, 44; and dramatic action, 597; and Et les chiens se taisent (And the Dogs Were Silent) (Césaire), 584; and five-act structure of plays, 36; and French classical drama, 197; and French opera, 280; as a genre, 256; and Hugo’s Romantic dramas, 437–38; and melodrama, 442; and national literary culture, 274; and poetic practice, 199–200; Romantic, 443; and Ruy Blas (Hugo), 443; theory of, 207; and tragedy, 8, 20, 39, 44, 171, 192, 207; and unities, 39, 171; and vraisemblance (verisimilitude), 39, 171. See also Beckett, Samuel; theater; tragedy
du Bellay, Joachim: and Les antiquitez de Rome (The Antiquities of Rome), 149–50, 151; and borrowings from Speroni, 147, 148; and cannibalism metaphor for literature, 143–44, 147; and creation and destruction in Petrarch’s work, 151; and criticism, 39, 140–41, 147; and cyclical notion of history, 147, 151; death of, 139; and La deffence et illustration de la langue francoyse, 68, 121, 122, 127, 137, 138–48, 149, 152; education of, 159; and The Faerie Queene (Spenser), 152; and French language, 7, 8, 23, 24, 137–41; and Greek and Roman antiquity, 137–47, 148, 151; and idea of imitation, 144–46, 147, 148, 151; and imitation of the ancients, 138, 139, 143, 144, 148; and importance of language, 142–43, 145; and international and multilingual literature, 151–52; and literary nationalism, 11, 137–38; and metaphor for literature, 146–47; and Olive, 117, 121, 131, 148–49; as a Pléiade poet, 4, 137–38, 139; poetic language of, 138, 147, 149–50; poetry of, 113, 158; and polyglotism, 144; and the Quarrel, 8; and Les regrets, 130, 149; and rivalry with Marot, 138, 139; and role of translation, 145–46, 151; and Romans’ cultivation of Latin, 141–42; and series of rivalries, 151–52; and sonnet sequence Songe (Dream), 149, 150–51; Edmund Spenser’s translation of, 152; and texts in foreign languages as sources, 146, 148, 150–51; and translation and poetry in Latin, 139; and the word “Gaul,” 153n2
Duras, Marguerite, 530, 637
Duthuit, Georges, 629–30
école des femmes, L’ (The School for Wives) (Molière): action of, 185; and Agnes, 176, 185; and fear of being cuckolded, 176–77; and love’s lessons, 177; and morality, 177; public controversy over, 175, 176, 181, 287; and sex, 177
education: and Aristophanes’s Clouds, 81; and authors as members of society, 25; and censure of Erasmus by Faculty of Theology, 50; and Charles IX’s religious education, 133; of children, 336, 337–38, 399, 401–2; and the Collège de France, 50; and Conversations d’Emilie (d’Epinay), 337; and creationism in American schools, 297; and L’école des femmes (The School for Wives) (Moliere), 176; and Erasmus’s works on pedagogy, 56; and Francois I’s plan for institution of higher learning, 50; and francophone writers, 643; and the French Church, 21; and French colonialism, 642–44; and French language, 648; and French university syllabus, 44; and Greek ideals, 79, 158; and humanism, 50, 58, 63, 64–65, 158–59; and Jansenist school at Port-Royal, 203; and Julien in Le rouge et le noir (Stendhal), 424; and liberal studies, 64–65; under Louis XIV, 273; and Marie Leprince de Beaumont’s “Magasins,” 335–37; and Marie Leprince de Beaumont’s novels, 342; and medieval practices, 83; of Michel de Montaigne, 158–59, 166; and Pantagruel (Rabelais), 71, 159; and Richard Mulcaster of the Merchant Taylors’ School, 152; and La philosophie dans le boudoir (Philosophy in the Bedroom) (Sade), 325; and Les Prisons (Marguerite de Navarre), 64–65; Rousseau’s programs for, 398; Rousseau’s view of, 402; and La statue de sel (The Pillar of Salt) (Memmi), 643; and spread of French, 23, 34; and universal primary education, 23, 24, 31, 34; and the University of Paris, 36, 49, 50, 51; and upper-middle class, 341; and women, 327, 335–37, 338, 341; and writings of Erasmus, 48, 50–51, 56. See also Rousseau, Jean-Jacques; Sorbonne
égalité des deux sexes, L’ (The Equality of Both Sexes) (La Barre), 348
égarements du coeur et de l’esprit, Les (The Wayward Head and Heart) (Crébillon): and the boudoir or bedroom, 316–17; and interiorization, 316; and libertine novel, 315; and private spaces, 315–16; and social settings, 315, 316
Eliot, T. S., 2, 451, 470, 586
Eluard, Paul, 559, 562, 620, 623
En attendant Godot (Waiting for Godot) (Beckett), 621–22
Encyclopédie, ou Dictionnaire raisonné des arts, des sciences et des métiers (Diderot): and accusations of plagiarism, 374; Jean le Rond d’Alembert as an editor of, 371, 377; and arts, sciences, and technology, 373; and censorship, 374, 375; composition of, 371; contributors to, 371; and definition of the philosophe, 376, 378; and Diderot as author, 371, 380, 382; Diderot as editor of, 371, 372, 373; and figure of the philosophe, 376, 377; and freethinking, 373; and Malesherbes, 375; and rational thought, 373–74; and Voltaire’s entry “Men of Letters,” 377
England: and Anne Boleyn, 101, 223; and George Canning, 292; and decision on banning books, 36; and the Declaration of Vienna, 425; as a dominant colonial power, 299, 300, 333; and Anne-Marie Du Bocage, 341; and L’école des filles, 222; and the eighteenth century, 22, 299–300; and English philosophy and literature, 300; and French obsession with the English, 12; and Henri II’s peace with England, 123; Henry VII of, 97; and influence of Petrarch, 117, 152; and international trade, 299, 301; and Lettres philosophiques (Voltaire), 295; and Lettres sur les Anglais (Voltaire), 12; and Marie Leprince de Beaumont as educator to upper classes, 335; and Mary Queen of Scots, 119, 121; and Richard Mulcaster of the Merchant Taylors’ School, 152; and publishing of Candide (Voltaire), 291, 292, 309; and Quarrel of the Ancients and the Moderns, 271–72; and readers of Candide (Voltaire), 292; and Marie-Jeanne Riccoboni’s novels, 342; Rousseau’s time in, 399; and Scotland’s James V, 119; and the Seven Years’ War, 299–300; and Shakespeare as master of theater, 12; and Edmund Spenser, 152; and support of French Protestant movement, 157; and translation of Le miroir de l’âme pécheresse by Princess Elizabeth, 101, 109; Voltaire’s travels in, 292, 294. See also Shakespeare, William
Enlightenment: and aesthetic experience, 288; and artistic genius, 288; and Candide (Voltaire), 292; and censorship, 37; and the century, 42; comedy in, 351–69; and conjectural histories, 394, 397, 411; and consciousness in Europe, 6; and critique by Adorno and Horkheimer, 405; and empiricism, 295, 395; and encyclopedists, 395; and the European Enlightenment, 371; French, 371, 389; and French obsession with the English, 12; and French thought, 22, 241, 333, 389; and happiness, 351; and knowledge, 378, 395; and the “noble savage,” 275; and novel writing, 295; and origins, 393; and pedagogy, 335–38; and philosophes, 29, 271, 336, 339, 375–89; and primitivism, 288, 397; and problem of evil, 309; and Quarrel of the Ancients and the Moderns, 286; and reason, 43, 336, 341, 505; and religion, 337; and the republic of letters, 332, 333, 377; and science of man, 393, 395; and the social self, 43, 394–96; and state of nature as goal, 411; and the sublime, 288; and travel writing, 12; and universalism, 394; women’s contributions to, 30; and writers’ roles, 28, 241. See also Candide (Voltaire); Diderot, Denis; Rousseau, Jean-Jacques; salons; Voltaire
epic narratives: and the Aeneid (Virgil), 73, 204–5; and Aristotle, 443; and heroic values, 20, 204–5; and heroism’s resistance to erotic temptation, 204–5; and hierarchy of genres, 39, 44; and “high” subject matter, 80; and the Iliad (Homer), 271, 308; and Jerusalem Delivered (Tasso), 204–5; medieval chivalric epics, 308; and the Odyssey (Homer), 204–5; orality of, 286; and passions, 204–5; scene of war in, 162; and storytellers, 21; and Swift’s satire The Battle of the Books, 271–72; and tragedy, 171; warrior epics, 21. See also Rabelais, François
epic poems: and alexandrine verse form, 126, 127, 130, 132; and Agrippa d’Aubigne, 132; and Cahier d’un retour au pays natal (Notebook of a Return to the Native Land), 575, 576, 581–84; and René Char, 570–71; and Christian verse epic, 280–81; and La Colombiade ou la foi portée au Nouveau Monde (Du Bocage), 341; and decasyllabic line, 127; and “De la poésie dramatique” (Diderot), 286; and Guillaume du Bartas, 132; and The Faerie Queene (Spenser), 152; and 1550 odes of Ronsard, 123–24; and La Franciade (Ronsard), 121, 123, 129; and Greco-Latin epic hexameter, 127; and Les hauteurs de Macchu Picchu (Heights of Macchu Picchu),
564; and Homer, 125, 128; and Saint-John Perse, 587; and La Pucelle (Chapelain), 280, 281; Les regrets as a counter to, 130; and Pierre de Ronsard, 127–28, 129, 132; and the sixteenth century, 132; and Virgil, 128; and Voltaire, 294
Erasmus: and Adagia, 48, 68; as an Augustinian monk, 47; as an author, 35, 52, 54–55, 68; and brotherly love, 48, 55; and censure of work by Faculty of Theology, 50; and classical literature, 47–49; and Colloquia (Conversations), 48, 54–55, 67; correspondence of, 49–51, 53–54, 59, 65, 99, 161; death of, 51, 68; and dialogue form, 54, 68; enemies of, 59, 67; and experience in Paris, 47, 49, 50; and the Faculty of Theology, 47, 50; faith of, 47; as a famous Christian humanist, 49, 53; and French translator Louis de Berquin, 53–54; and fusion of classical learning with Christian texts, 48, 49, 68; and the Greek New Testament, 48, 50, 67; and history of French literature, 11; and human institutions of the Church, 50–51, 57; and humanism, 59, 63, 64–65, 68, 78, 156, 166; influence of, 51, 54, 56–57, 58; and irony, 54, 55; and Latin, 47, 52, 54, 84; literary devices and modes of, 54; and Lucianic style, 54; and Moriae encomium (Praise of Folly), 48, 55; and the philosophia Christi (philosophy of Christ), 48–49, 55, 63; and praise of folly, 189; and publishing of Collectanea, 47–48; and return to ancient sources, 49; and satire, 48, 54, 66; and shaping of the Renaissance, 49; and study of ancient Greek, 48; and toleration of ambiguity, 85; and use of Latin, Greek, and Hebrew, 52; women and marriage in works of, 67; and works of Marguerite de Navarre, 65; and works on pedagogy, 56; writings of, 47–48, 52, 54–55, 56, 68
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