Anatole France

En esta parodia de la historia de la civilización, Anatole France ha elegido como protagonista a un animal gracioso y endomingado que recuerda a la caricatura de los burgueses de finales del XIX y principios del XX: los pinguinos. La isla de los pinguinos arranca con un episodio hilarante: el bautizo por error, a cargo de san Mael, de los pinguinos del artico. A partir de ahi, Anatole France describe en forma novelada los rasgos mas notables de la historia de la humanidad, mezclando el amor y la guerra, el poder absoluto y la revolucion, la religion y la especulacion financiera, incluso insinuando la guerra nuclear y denunciando los rasgos caracteristicos del actual proceso de globalizacion, que a lo que se ve, no son nada nuevos. Es dificil a veces contener la risa al leer este texto heredero de Rabelais y Swift y que se anticipa a Orwell.

First published in 1881, Anatole Frances novel "The Crime of Sylvestre Bonnard" is both clever and wise and in the manner of the great masters of literary style - a book that is full of suspense from beginning to end.Sylvestre Bonnard, an elderly and highly esteemed scholar, encounters unexpected problems when he embarks upon a search for an ancient ecclesiastical literary document that takes him from Paris to Sicily and then into his own life history. For the sake of justice and love, he ends up committing acts that at best are of doubtful legality...

First published in 1898, "The Red Lily" is a novel by French author Anatole France that tells of the affair between a woman of the world, married to a politician, with an artist. A trip to Florence (which symbolizes the title) crowns this carnal and mystical union. Soon, jealousy insinuates itself into the lovers heart, who ends the affair.Unique in its genre, "The Red Lily" is partially autobiographical, since it is based on the, at first passionate affair, between the author and Mrs. de Caillavet.

La isla de los pingüinosEl huevo rojoLa reseda del párrocoLos panes de centenoRobo domésticoAdrienne BuquetBonaparte en San MiniatoEl Cristo del océanoEl señor ThomasLa dama de VeronaLa misa de las s

Poncio Pilatos, que vive retirado en Sicilia en compañía de su hija mayor, se halla pasando una temporada en una zona de la costa de la Campania famosa por sus propiedades terapéuticas debido a «un p

Meditación novelada sobre la caída de los imperios y sugerente utopía futurista, que aún hoy, pese al desmentido de la historia reciente, resulta notablemente sugestiva. Un grupo de amigos cultos pasean por las ruinas del Foro de Roma y conversan sobre lo que les deparara el mundo a venir; ¿le pasara al capitalismo lo que le ocurrio al paganismo?

El novelista no escribió su novela para condenar la Revolución, sino para examinar el misterio de sus actores, y con éste otros misterios, el misterio de lo cómico que se desliza por entre los horrores, el misterio del aburrimiento que acompaña los dramas, el misterio del corazon que disfruta con cabezas cortadas, el misterio del humor como ultimo refugio de lo humano"Cuando era joven, intentaba orientarme en el mundo que se precipitaba hacia el abismo de una dictadura cuya realidad concreta no habia sido prevista, ni querida, ni imaginada por nadie, y menos aun por aquellos que habian deseado y aclamado su advenimiento: el unico libro que entonces fue capaz de decirme algo lucido sobre ese mundo desconocido fue Los dioses tienen sed.Gamelin tal vez sea el primer retrato literario de un artista comprometido . No obstante, lo que me cautivo de la novela de France no fue la denuncia de Gamelin, sino el misterio de Gamelin. Digo misterio porque ese hombre, que termino por enviar a decenas de personas a la guillotina, habria sido sin duda, en otra epoca, un amable vecino, un buen compañero y un artista dotado. ¿Como puede un hombre indiscutiblemente honesto llevar oculto a un monstruo?El novelista no escribió su novela para condenar la Revolución, sino para examinar el misterio de sus actores, y con éste otros misterios, el misterio de lo cómico que se desliza por entre los horrores, el misterio del aburrimiento que acompaña los dramas, el misterio del corazon que disfruta con cabezas cortadas, el misterio del humor como ultimo refugio de lo humano"Fragmento de Un encuentro, de Milan Kundera"Muero con razon -penso-. Justo es que paguemos con nuestro sacrificio los ultrajes que han recaido sobre una Republica que hemos sido incapaces de defender. Fuimos debiles, y la indulgencia nos hizo culpables. Merecemos un castigo por haber traicionado a la Republica. El mismo Robespierre, el puro, el santo, peco por ser indulgente, benigno. Con su sacrificio paga sus errores. Al igual que el, yo tambien he traicionado a la Republica, una Republica que se desintegra, justo es que yo desaparezca con ella. Quise ahorrar sangre ¡Que la mia corra! ¡Bien me lo merezco!"Fragmento de Los dioses tienen sed.

In "The Well of Saint Clare," Anatole France weaves a captivating narrative set in a provincial French town, exploring themes of love, social class, and the complexities of human desire. The story unfolds with a rich, lyrical style characteristic of Frances literary prowess, blending elements of realism and symbolism. As France examines the lives of his charactersparticularly the tormented and romantic figure of Mauricea nuanced critique of contemporary society emerges, revealing the tensions between individual aspirations and societal constraints. This novel stands as a microcosm of the belle epoque, capturing the shifting mores of the time. Anatole France, a Nobel laureate in Literature, is renowned for his intellectual depth and wit. Born into a socialist environment, he was heavily influenced by the political and philosophical currents of the late 19th century. His experiences as a journalist and a commentator on social issues inspired him to explore the moral dilemmas faced by society and individuals, particularly in works like "The Well of Saint Clare," which reflects his fascination with the interplay of love and social identity. This novel is a must-read for those who appreciate literature that delves into the intricacies of the human condition. With its rich characterizations and sharp social critique, Frances work invites readers to contemplate their own values and the societal structures that shape them. Readers will find in "The Well of Saint Clare" an intellectually stimulating journey through the tensions of love and social stratification.

Anatole Frances "The Crime of Sylvestre Bonnard" presents a captivating narrative that intricately weaves themes of intellectualism, nostalgia, and moral quandary. Set against the backdrop of late 19th-century Paris, the novel follows the life of Sylvestre Bonnard, an aging bibliophile whose passion for books leads him into a moral labyrinth after an innocent act of kindness spirals into unintended consequences. France employs a rich, lyrical prose style imbued with irony and wit, effectively capturing the essence of literary Paris while simultaneously critiquing societal norms. His exploration of the conflict between personal desire and ethical duty invites readers into a dialogue about the nature of crime and punishment, elevating the novel into a philosophical discourse on human behavior. Anatole France, a revered figure in French literature and a Nobel Laureate, was heavily influenced by the intellectual currents of his time, blending realism with a deep penchant for philosophical inquiry. His own experiences as a bibliophile and commitment to the values of humanism emerge in the narrative, reflecting his belief in the transformative power of literature. Frances critiques of the bourgeois society of his era reveal the tensions between romantic ideals and the stark realities of life, which permeate this work. "The Crime of Sylvestre Bonnard" is highly recommended for readers seeking a profound exploration of the intersection of literature and morality. With its timeless themes and eloquent prose, this novel not only enriches the literary canon but also inspires thoughtful reflection on the responsibilities that come with knowledge and the complexities of a life steeped in love for books. A must-read for aficionados of classic literature.

Anatole Frances "Our Children: Scenes from the Country and the Town" probes the complexities of childhood through a series of poignant narratives that juxtapose rural innocence against urban reality. Written in a fluid, lyrical style characteristic of Frances oeuvre, the book encapsulates a late 19th-century French socio-cultural landscape, reflecting on how environment shapes the young psyche. With rich descriptions and emotional depth, the vignettes explore themes such as the loss of innocence, societal expectations, and the interplay between nature and civilization, inviting readers to contemplate their own childhood memories amidst rapidly changing societal norms. Anatole France, a leading literary figure of the Belle Epoque, was known for his critical and often satirical approach to contemporary issues. His observations on social justice and humanistic values were influenced by his upbringing in a Parisian bookstore, exposing him to a myriad of literary traditions. "Our Children," reflects Frances keen awareness of the world of children, drawing from his experiences and knowledge to create a narrative that resonates with both tenderness and realism. For readers seeking a multifaceted examination of childhood, this work is an eloquent testament to Frances literary genius. It captures the essence of youth while provoking critical thought about societys role in shaping the next generation. Frances blend of nostalgia and insight makes this book a must-read for anyone interested in the interplay between environment and identity.

Along the hill-side he came, following a path which skirted the sea. His forehead was bare, deeply furrowed and bound by a fillet of red wool. The sea-breeze blew his white locks over his temples and pressed the fleece of a snow-white beard against his chin. His tunic and his feet were the colour of the roads which he had trodden for so many years.

In "Child Life in Town and Country," Anatole France presents a poignant exploration of childhood experiences against the contrasting backdrops of urban and rural settings. The narrative is characterized by Frances elegant prose and keen observations, capturing the innocence, curiosity, and complexity of childhood. Each chapter offers a vivid account interwoven with whimsical tales and philosophical reflections, revealing the divergent influences of environment on the young psyche. Frances literary style, marked by a blend of realism and romanticism, provides a rich context that invites readers to reflect on the broader societal implications of childhood in both city and countryside. Anatole France, a Nobel Prize-winning writer, was deeply influenced by his early years and his experiences in Parisian society. His own childhood memories, combined with a profound understanding of the human condition, compelled him to advocate for the importance of nurturing childhood. Frances engagement with social issues, coupled with an appreciation for the simplicity of life outside urban complexities, informs his discussion on the joy and suffering inherent in being a child. "Child Life in Town and Country" is a must-read for those interested in the intersections of literature, philosophy, and the social fabric of childhood. Frances eloquent prose not only entertains but also provokes thoughtful dialogue about the lives and environments that shape the youngest members of society.

Il allait par le sentier qui suit le rivage le long des collines. Son front était nu, coupé de rides profondes et ceint dun bandeau de laine rouge. Sur ses tempes les boucles blanches de ses cheveux flottaient au vent de la mer. Les flocons dune barbe de neige se pressaient a son menton. Sa tunique et ses pieds nus avaient la couleur des chemins sur lesquels il errait depuis tant dannees. A son cote pendait une lyre grossiere. On le nommait le Vieillard, on le nommait aussi le Chanteur. Il recevait encore un autre nom des enfants quil instruisait dans la poesie et dans la musique, et plusieurs lappelaient lAveugle, parce que sur ses prunelles, que lage avait ternies, tombaient des paupieres gonflees et rougies par la fumee des foyers ou il avait coutume de sasseoir pour chanter.

In "The Aspirations of Jean Servien," Anatole France weaves a rich tapestry of narrative that explores the complexities of ambition, morality, and the societal structures of late 19th-century France. Written in a style marked by Frances characteristic irony and philosophical depth, the novel follows the eponymous character as he navigates the turbulent waters of personal and professional aspirations amidst a backdrop of political and artistic ferment. This work stands as a reflection on the human condition, embodying the ideals of naturalism and symbolism prevalent in the literary context of its time, and presents a poignant critique of the societal norms that define individual desires. Anatole France, a prominent figure in French literature and a Nobel laureate, was deeply influenced by the cultural and political climate of his era. His experiences as a journalist and a public intellectual informed his worldview, shaping his understanding of the moral dilemmas faced by individuals in a changing society. Frances keen observations of the interplay between personal ambition and societal constraints lent authenticity and depth to the characters and themes found in "The Aspirations of Jean Servien." For readers seeking a profound exploration of the tensions between aspiration and reality, this novel is an invaluable treasure. Frances incisive prose and philosophical musings offer a contemplative and enriching experience, making this book not only a significant literary work but also a timeless reflection on the quest for meaning in an ever-evolving world.

Los relatos aquí reunidos son una muestra del humor del autor; en la versión de Anatole France Barba Azul es un buen hombre engañado por sus mujeres, los niños salvados por el obispo se vuelven demonios y la Bella Durmiente abandona su corte al ser despertada por el beso del principe.Reconocido como el mayor escritor frances de su epoca, Anatole France fue un lucido observador de la sociedad. De manera directa y elegante presenta sus historias y personajes con sagacidad, sutil ironia, humor y benevolencia ante la peripecia humana.

Scholars have been good enough to notice this book; and the majority have treated it very kindly, doubtless because they have perceived that the author has observed all the established rules of historical research and accuracy. Their kindness has touched me. I am especially grateful to MM. Gabriel Monod, Solomon Reinach and Germain Lefevre-Pontalis, who have discovered in this work certain errors, which will not be found in the present edition.My English critics have a special claim to my gratitude. To the memory of Joan of Arc they consecrate a pious zeal which is almost an expiatory worship. Mr. Andrew Langs praiseworthy scruples with regard to my references have caused me to correct some and to add several.The hagiographers alone are openly hostile. They reproach me, not with my manner of explaining the facts, but with having explained them at all. And the more my explanations are clear, natural, rational and derived from the most authoritative sources, the more these explanations displease them. They would wish the history of Joan of Arc to remain mysterious and entirely supernatural. I have restored the Maid to life and to humanity. That is[Pg vi] my crime. And these zealous inquisitors, so intent on condemning my work, have failed to discover therein any grave fault, any flagrant inexactness. Their severity has had to content itself with a few inadvertences and with a few printers errors. What flatterers could better have gratified "the proud weakness of my heart?"

Evariste Gamelin, painter, pupil of David, member of the Section du Pont-Neuf, formerly Section Henri IV, had betaken himself at an early hour in the morning to the old church of the Barnabites, which for three years, since 21st May 1790, had served as meeting-place for the General Assembly of the Section. The church stood in a narrow, gloomy square, not far from the gates of the Palais de Justice. On the façade, which consisted of two of the Classical orders superimposed and was decorated with inverted brackets and flaming urns, blackened by the weather and disfigured by the hand of man, the religious emblems had been battered to pieces, while above the doorway had been inscribed in black letters the Republican catchword of "Liberty, Equality, Fraternity or Death." Evariste Gamelin made his way into the nave; the same vaults which had heard the surpliced clerks of the Congregation of St. Paul sing the divine offices, now looked down on red-capped patriots assembled to elect the Municipal magistrates and deliberate on the affairs of the Section. The Saints had been dragged from their niches and replaced by the busts of Brutus, Jean-Jacques and Le Peltier. The altar had been stripped bare and was surmounted by the Table of the Rights of Man.

This study M. Bergeret, professor of literature at the University, was preparing his lesson on the eighth book of the neid to the shrill mechanical accompaniment of the piano, on which, close by, his daughters were practising a difficult exercise. M. Bergerets room possessed only one window, but this was a large one, and filled up one whole side. It admitted, however, more draught than light, for the sashes were ill-fitting and the panes darkened by a high contiguous wall. M. Bergerets table, pushed close against this window, caught the dismal rays of niggard daylight that filtered through. As a matter of fact this study, where the professor polished and repolished his fine, scholarly phrases, was nothing more than a shapeless cranny, or rather a double recess, behind the framework of the main staircase which, spreading out most inconsiderately in a great curve towards the window, left only room on either side for two useless, churlish corners. Trammelled by this monstrous, green-papered paunch of masonry, M. Bergeret had with difficulty discovered in his cantankerous studya geometrical abortion as well as an sthetic abominationa scanty flat surface where he could stack his books along the deal shelves, upon which yellow rows of Teubner classics were plunged in never-lifted gloom. M. Bergeret himself used to sit squeezed close up against the window, writing in a cold, chilly style that owed much to the bleakness of the atmosphere in which he worked. Whenever he found his papers neither torn nor topsy-turvy and his pens not gaping cross-nibbed, he considered himself a lucky man! For such was the usual result of a visit to the study from Madame Bergeret or her daughters, where they came to write up the laundry list or the household accounts. Here, too, stood the dressmakers dummy, on which Madame Bergeret used to drape the skirts she cut out at home.