Anatole France, página 2 de 8

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.

Publish Marguerite, dear Monsieur André Coq, if you so desire, but pray relieve me from all responsibility in the matter.It would argue too much literary conceit on my part were I anxious to restore it to the light of day. It would argue, perhaps, still more did I endeavour to keep it in obscurity. You will not succeed in wresting it for long from the eternal oblivion where-unto it is destined. Ay me, how old it is! I had lost all recollection of it. I have just read it over, without fear or favour, as I should a work unknown to me, and it does not seem to me that I have lighted upon a masterpiece. It would ill beseem me to say more about it than that. My only pleasure as I read it was derived from the proof it afforded that, even in those far-off days, when I was writing this little trifle, I was no great lover of the Third Republic with its pinchbeck virtues, its militarist imperialism, its ideas of conquest, its love of money, its contempt for the handicrafts, its unswerving predilection for the unlovely. Its leaders caused me terrible misgivings. And the event has surpassed my apprehensions.But it was not in my calculations to make myself a laughing-stock, by taking Marguerite as a text for generalizations on French politics of the late nineteenth and early twentieth centuries.The specimens of type and the woodcuts you have shown me promise a very comely little book.Believe me, dear Monsieur Coq,Yours sincerely,Anatole France.

MNSIEUR BERGERET was seated at table taking his frugal evening meal. Riquet lay at his feet on a tapestry cushion. Riquet had a religious soul; he rendered divine honours to mankind. He regarded his master as very good and very great. But it was chiefly when he saw him at table that he realized the sovereign greatness and goodness of Monsieur Bergeret.If, to Riquet, all things pertaining to food were precious and impressive, those pertaining to the food of man were sacred. He venerated the dining-room as a temple, the table as an altar. During meals he kept his place at his masters feet, in silence and immobility."Its a spring chicken," said old Angelique as she placed the dish upon the table."Good. Be kind enough to carve it, then," said Monsieur Bergeret, who was a poor hand with weapons and quite hopeless as a carver."Willingly," said Angelique, "but carving isnt womans work, its the gentlemen who ought to carve poultry."

In "The Crime of Sylvestre Bonnard," Anatole France intricately weaves a narrative that explores the complexities of art, love, and morality through the eyes of a scholarly bibliophile. The novel, showcasing FranceAos hallmark wit and philosophical musings, unfolds around the life of Sylvestre Bonnard, an aging man whose passion for books leads him into moral quandaries and soft tragedy. Set against the backdrop of 19th-century Paris, the text reflects the Symbolist movement, featuring rich, evocative language and a nuanced character study that invites readers to contemplate the intersection of literary obsession and ethical dilemmas. Anatole France, a Nobel laureate in Literature, is known for his critical engagement with contemporary social and political issues, often embedding these themes within his fictional works. His own background as a scholar and a book lover informs the character of Bonnard, with Frances lifelong admiration for literature and his experiences with the philosophical debates of his time shaping the narrativeAos premise. This duality of passion and intellect reveals Frances deep-seated contemplation of the human condition. "The Crime of Sylvestre Bonnard" is not just an old-world tale, but a profound exploration of how ones intellectual pursuits can lead to unintended consequences. As such, it is a seminal work for those engaged in literary studies or simply seeking a thought-provoking read. FranceAos eloquent prose and insightful examination of moral dilemmas make this book a timeless treasure worthy of every readers attention.

Anatole FranceAos "Our Children: Scenes from the Country and the Town" is a poignant exploration of childhood innocence and the complexities of adult life, rendered in his characteristically lyrical prose. The narrative juxtaposes the idyllic simplicities of rural existence with the bustling realities of urbanity, creating a tapestry that reflects the class dynamics and social changes of late 19th-century France. Through vivid descriptions and subtle irony, France paints a world where the transition from the pastoral to the metropolitan mirrors the loss of innocence, delving into themes of nostalgia, familial bonds, and societal expectations. France, a Nobel Prize laureate and a leading figure in French literature, was deeply influenced by his own tumultuous childhood experiences and the socio-political upheavals of his time. His keen observations of society, coupled with his rich background in classical literature and philosophy, inform the dialogues and characterizations within the book. Frances own struggles with the conventions of society often seep through his works, allowing readers to witness both the beauty and the tragedy of growing up amidst contrasting environments. Readers who appreciate rich, introspective narratives intertwined with social commentary will find "Our Children" an indispensable addition to their literary repertoire. Frances delicate yet unflinching examination of childhood and its implications invites readers to reflect on their own experiences of innocence and maturity, making it a timeless exploration of human experience.

Editor: James Lewis May And Bernard Miall / Trans.: D. B. Stewart

Translator: Mrs. Wilfrid Jackson

"Le Jardin dÉpicure", de Anatole France. Publié par Good Press. Good Press publie un large éventail douvrages, où sont inclus tous les genres littéraires. Les choix éditoriaux des éditions Good Press

In "Child Life in Town and Country," Anatole France presents a richly textured exploration of childhood experiences, both in urban and rural settings. This work, written in a style that marries lyrical prose with thoughtful observation, explores the joys and struggles faced by children navigating the complexities of their environments. France utilizes a blend of anecdotal narratives and philosophical musings, drawing upon the contrasts between the stimulating vibrancy of city life and the pastoral simplicity of the countryside, to delve into the inherent innocence and authenticity of youth. The book reflects the broader literary context of late 19th-century France, where there was a growing interest in social issues and the depiction of childhood as both a delicate and formative stage of life. Anatole France, a Nobel Laureate in Literature, was known for his profound insights into human nature and society. Having experienced both the hustle of Paris and the tranquility of rural France, his personal background deeply informed his writing. His keen observations of social dynamics and a pervasive sense of nostalgia for the innocence of youth resonate throughout this work, drawing from his own upbringing and the cultural milieu of a rapidly industrializing France. This book is a timeless portrait that holds relevance for educators, parents, and anyone interested in the sociology of childhood. Frances nuanced perspectives invite readers to reflect on the duality of childrens experiences while challenging assumptions about their development across different environments. "Child Life in Town and Country" is essential reading for those who seek to understand the interplay between innocence and the societal structures that shape young lives.In this enriched edition, we have carefully created added value for your reading experience:- A succinct Introduction situates the works timeless appeal and themes.- The Synopsis outlines the central plot, highlighting key developments without spoiling critical twists.- A detailed Historical Context immerses you in the eras events and influences that shaped the writing.- An Author Biography reveals milestones in the authors life, illuminating the personal insights behind the text.- A thorough Analysis dissects symbols, motifs, and character arcs to unearth underlying meanings.- Reflection questions prompt you to engage personally with the works messages, connecting them to modern life.- Handpicked Memorable Quotes shine a spotlight on moments of literary brilliance.- Interactive footnotes clarify unusual references, historical allusions, and archaic phrases for an effortless, more informed read.

Trans.: Alfred Allinson

True to her word, Madame Bergeret quitted the conjugal roof and betook herself to the house of her mother, the widow Pouilly.As the time for her departure drew near, she had half a mind not to go, and with a little coaxing would have consented to forget the past and resume the old life with her husband, at the same time vaguely despising M. Bergeret as the injured party.She was quite ready to forgive and forget, but the unbending esteem in which she was held by the circle in which she moved did not allow of such a course. Madame Dellion had made it clear to her that any such weakness on her part would be judged unfavourably; all the drawing-rooms in the place were unanimous upon that score. There was but one opinion among the tradespeople: Madame Bergeret must return to her mother. In this way did they uphold the proprieties and, at the same time, rid themselves of a thoughtless, common, compromising person, whose vulgarity was apparent even to the vulgar, and who was a burden on everybody about her. They made her believe there was something heroic in her conduct."I have the greatest admiration for you, my child," said old Madame Dutilleul from the depths of her easy chair, she who had survived four husbands, and was a truly terrible woman. People suspected her of everything, except of ever having loved, and in her old age she was honoured and respected by all.Madame Bergeret was delighted at having inspired sympathy in Madame Dellion and admiration in Madame Dutilleul, and still she could not finally make up her mind to go, for she was of a homely disposition and accustomed to regular habits and quite content to live on in idleness and deceit. Having grasped this fact, M. Bergeret redoubled his efforts to ensure his deliverance.

The Chateau de Vaux le Vicomte is a translation of the text of a sumptuously illustrated volume descriptive of this wonderful monument of human frailty and ambition, published in 1888 by Lemercier et Cie with plates by Rodolphe Pfnor. Although the text has not been published apart from the plates in France, it seemed only fitting to include a translation of The Chateau de Vaux le Vicomte in a complete edition of Monsieur Anatole Frances works.THE BARD OF KYMEKOMM OF THE ATREBATESFARINATA DEGLI UBERTITHE KING DRINKS"LA MUIRON"THE CHATEAU DE VAUX-LE-VICOMTENICOLAS FOUCQUETTHE CHATEAU DE VAUX

Frenchmen, united in friendship, who were spending the spring in Rome, were wont to meet amid the ruins of the disinterred Forum. They were Joséphin Leclerc, an Embassy Attaché on leave; M. Goubin, licencie es lettres, an annotator; Nicole Langelier, of the old Parisian family of the Langeliers, printers and classical scholars; Jean Boilly, a civil engineer, and Hippolyte Dufresne, a man of leisure, and a lover of the fine arts.Towards five oclock of the afternoon of the first day of May, they wended their way, as was their custom, through the northern door, closed to the public, where Commendatore Boni, who superintended the excavations, welcomed them with quiet amenity, and led them to the threshold of his house of wood nestling in the shadow of laurel bushes, privet hedges and cytisus, and rising above the vasttrench, dug down to the depth of the ancient Forum, in the cattle market of pontifical Rome.