Amiel. See article Renan, page 10, note
7. Baudelaire. Born in Paris, 1821; died, 1867. The author of Fleurs du Mal, a volume of poems which was the subject of a prosecution on the score of immorality. He published afterwards Les Paradis Artificiels, Opium et Hase hic h. VArt Romantique, a book of essays, is remarkable for the finish of the style and subtlety of the criticism. He united a wonderfully keen analytic faculty with a powerful, sombre imagination. His Petits Poèmes en Prose are beautiful both in style and thought.
Page 79. — z. Leconte de Lisle. A great poet of our day, member of the French Academy, and author of Poèmes Antiques, Poèmes Barbares, Poèmes et Poésies, Kaïn, etc. His verse is grand, noble, and strong. He died in 1894.
a. Sera . . . tapissier : will often give minute descriptions of thefurni* ture ofa room. Un tapissier: an upholsterer.
Page 80. — 1. Ceux . . . plus: those from whom he proceeds especially.
a. Encore que. For bien que = although.
Page 81. — z. Henri Beyle. As we hâve seen above, page 78, note 4, Henri Beyle was the real name of Stendhal.
a. Comme . . . M Poquelin " : as a disciple or admirer of Molière would call him Poquelin. Poquelin is the real name of Molière. He took the latter name when he first went on the stage in order not to compromise his father's name, the profession of comedian being then very little
thought of. Molière was the name of an actor of the same company who had recently died.
Page 83. — i. Montaigne. See article Renan, page 13, note 1.
Page 84. — 1. C'est-à-dire . . . analystes: that is to say, of the most indépendant ofanalysts.
2. Armand de Querne. The hero of Paul Bourget's Crime d'Amour.
3. Ryons. Name of the hero of Alexandre Dumas' comedy, VAmi des Femmes.
Page 85. — 1. Il . . . marqué: he has a very marked partiality.
2. Madame de la Fayette. See article Guy de Maupassant, page 63, note 1.
3. Marivaux (1 688-1 763). Awriter of the eighteenth century, author of a great many comédies in which the style is sometimes too subtle and " précieux"; the term Marivaudage was once current as a synonym for affected writing. His best comédies are : Les Fausses Confidences and Le Jeu de r Amour et du Hasard. Marianne, a novel, is one of the best of the eighteenth century.
4. Laclos (1741-1803). A gênerai and writer of the eighteenth century. His novel Les Liaisons Dangereuses, written with great art and full of wit, is very immoral, although the author had the pretension of writing a moral book. He was a friend and ad viser of Philippe d'Orléans and had great influence over him. He was arrested and kept in prison until the o,th of Thermidor. After his release he became gênerai in the armies of Italy and of the Rhine.
5. Benjamin Constant. A famous politician, born at Lausanne in 1767. He wrote and spoke constantly in favor of constitutional freedom ; he entered the Chambre des Députés in 18 19 and became the leader of the opposition. His powerful intellect had many sides. Besides his political works he wrote a novel, Adolphe, a short story of love and disillusion, in which he forestalls the method of the modem school of analytic novelists.
Page 86. — 1. Et . . . œuvre: and would make use of.
Page 87. — 1. Cela . . . "morceau": it will sometimes turn to the " essay "and to the " élégant extract"
2. Gaboriau. (1835-1873). Emile Gaboriau is the great master of *' police novels," and made himself famous at once by his story V Affaire Lerouge. His best-known novels are : Monsieur Lecoq, Le Dossier 113, La Vie Infernale, La Clique Dorée, etc.
Page 88. — z. Mme. de Souza. Adélaide-Marie-Emilie Filleul, comtesse de Flahaut, marquise de Souza, was born at Paris in 1761 and died in 1836. As a novelist, she wrote : Adèle de Senanges, Charles et Marie, Eugène de Lot he lin.
a. Mme. de Duras (1778-1829). La Duchesse de Duras was a novelist of some note in her time. Her novels are scarcely read now.
Page 90. — z. Valmont. Name of the hero of Laclos' novel, Let Liaisons Dangereuses; Lovelace is one of the heroes in Richardson's Clarissa Harlowe.
a. Quel . . . fort: well! this man who believes himself to be suc h a good reader of character is not a very artful rake a/ter ail.
Page 91. — x. Par . . . critique: by the utter failure of analysis and criticism.
a. Mais . . pas : but let him not stop there, let him not treat on/y of thèse subjects.
