French writers: biographies, creativity and interesting facts. Literary movements and French writers of the 19th century Jules Verne, science fiction writer

French writers are among the most prominent representatives of European prose. Many of them are recognized novels and stories of which served as the basis for the formation of fundamentally new artistic movements and directions. Of course, modern world literature owes a lot to France; the influence of writers from this country extends far beyond its borders.

Moliere

The French writer Moliere lived in the 17th century. His real name is Jean-Baptiste Poquelin. Moliere is a theatrical pseudonym. He was born in 1622 in Paris. In his youth, he studied to become a lawyer, but as a result, an acting career attracted him more. Over time, he had his own troupe.

He made his debut in Paris in 1658 in the presence of Louis XIV. The play "The Doctor in Love" was a great success. In Paris, he takes up writing dramatic works. Over the course of 15 years, he created his best plays, which often provoked fierce attacks from others.

One of his first comedies, entitled "Funny Primroses", was first staged in 1659.

It tells the story of two rejected suitors who are coldly received in the house of the bourgeois Gorgibus. They decide to take revenge and teach capricious and cutesy girls a lesson.

One of the most famous plays by the French writer Moliere is called "Tartuffe, or the Deceiver." It was written in 1664. The action of this work takes place in Paris. Tartuffe, a modest, learned and selfless man, ingratiates himself into the trust of the wealthy owner of the house, Orgon.

Those around Orgon are trying to prove to him that Tartuffe is not as simple as he pretends to be, but the owner of the house does not believe anyone except his new friend. Finally, Tartuffe’s true essence is revealed when Orgon entrusts him with the storage of money, transfers his capital and house to him. Only thanks to the intervention of the king is it possible to restore justice.

Tartuffe is punished, and Orgon's property and house are returned. This play made Moliere the most famous French writer of his time.

Voltaire

In 1694, another famous French writer, Voltaire, was born in Paris. It is interesting that, like Moliere, he had a pseudonym, and his real name was Francois-Marie Arouet.

He was born into the family of an official. He received his education at a Jesuit college. But, like Moliere, he left jurisprudence, choosing in favor of literature. He began his career in the palaces of aristocrats as a freeloading poet. Soon he was imprisoned. For satirical poems dedicated to the regent and his daughter, he was imprisoned in the Bastille. Later, he had to suffer more than once for his willful literary disposition.

In 1726, the French writer Voltaire left for England, where he devoted three years to the study of philosophy, politics and science. Returning, he writes for which the publisher is sent to prison, and Voltaire manages to escape.

Voltaire, first of all, is a famous French writer and philosopher. In his writings, he repeatedly criticizes religion, which was unacceptable for that time.

Among the most famous works of this writer on French literature, one should highlight the satirical poem “The Virgin of Orleans.” In it, Voltaire presents the successes of Joan of Arc in a comic manner and ridicules the courtiers and knights. Voltaire died in 1778 in Paris; it is known that for a long time he corresponded with the Russian Empress Catherine II.

The 19th century French writer Honore de Balzac was born in the town of Tours. His father got rich by reselling land, even though he was a peasant. He wanted Balzac to become a lawyer, but he abandoned his legal career, devoting himself entirely to literature.

He published the first book under his own name in 1829. It was the historical novel "Chouans", dedicated to the Great French Revolution of 1799. His fame is brought to him by the story "Gobsek" about a moneylender for whom stinginess turns into mania, and the novel "Shagreen Skin", dedicated to the clash of an inexperienced person with the vices of modern society. Balzac becomes one of the favorite French writers of that time.

The idea for the main work of his life came to him in 1831. He decides to create a multi-volume work that will reflect the picture of the morals of his contemporary society. He would later call this work “The Human Comedy.” This is a philosophical and artistic history of France, to the creation of which he devotes the rest of his life. The French writer, author of The Human Comedy, includes many previously written works in it, and specially reworks some.

Among them are the already mentioned “Gobsek”, as well as “A Thirty-Year-Old Woman”, “Colonel Chabert”, “Père Goriot”, “Eugenia Grande”, “Lost Illusions”, “The Splendor and Poverty of Courtesans”, “Sarrazin”, “Lily of the Valley” and many other works. It is as the author of The Human Comedy that the French writer Honore de Balzac remains in the history of world literature.

Among the French writers of the 19th century, Victor Hugo also stands out. One of the key figures of French romanticism. He was born in the town of Besançon in 1802. He began writing at the age of 14, these were poems, in particular, Hugo translated Virgil. In 1823 he published his first novel entitled "Gan the Icelander".

In the 30-40s of the 19th century, the work of the French writer V. Hugo was closely connected with the theater; he also published poetry collections.

Among his most famous works is the epic novel Les Miserables, which is deservedly considered one of the greatest books of the entire 19th century. Its main character, an ex-convict, angry at all of humanity, returns from hard labor, where he spent 19 years due to the theft of bread. He ends up with a Catholic bishop, who completely changes his life.

The priest treats him with respect, and when Valjean steals from him, he forgives him and does not hand him over to the authorities. The man who accepted and took pity on him shocked the protagonist so much that he decides to found a factory for making black glass products. Becomes the mayor of a small town, for which the factory turns into a city-forming enterprise.

But when he still stumbles, the French police rush to look for him, Valjean is forced to hide.

In 1831, another famous work of the French writer Hugo was published - the novel Notre Dame de Paris. The action takes place in Paris. The main female character is the gypsy Esmeralda, who drives everyone around her crazy with her beauty. The priest of Notre Dame Cathedral is secretly in love with her. His pupil, the hunchback Quasimodo, who works as a bell-ringer, is also fascinated by the girl.

The girl herself remains faithful to the captain of the royal riflemen, Phoebus de Chateaupere. Blinded by jealousy, Frollo wounds Phoebus, and Esmeralda herself becomes the accused. She is sentenced to death. When the girl is brought to the square to be hanged, Frollo and Quasimodo watch. The hunchback, realizing that it is the priest who is to blame for her troubles, throws him from the top of the cathedral.

When talking about the books of the French writer Victor Hugo, one cannot fail to mention the novel “The Man Who Laughs.” The writer created it in the 60s of the 19th century. Its main character is Gwynplaine, who was mutilated as a child by representatives of a criminal community of child traffickers. The fate of Gwynplaine is very similar to the story of Cinderella. From a fair artist he turns into an English peer. By the way, the action takes place in Britain at the turn of the 17th-18th centuries.

The famous French writer, author of the story “Dumpling”, the novels “Dear Friend”, “Life”, Guy de Maupassant was born in 1850. During his studies, he showed himself to be a capable student with a passion for theatrical art and literature. He served as a private during the Franco-Prussian War and worked as an official in the Naval Ministry after his family went bankrupt.

The aspiring writer immediately captivated the public with his debut story “Pumpkin,” in which he told about an overweight prostitute nicknamed Pumpkin, who, along with nuns and representatives of the upper classes, leaves the besieged Rouen during the war of 1870. The ladies around her at first treat the girl arrogantly, even unite against her, but when they run out of food, they willingly help themselves to her provisions, forgetting about any hostility.

The main themes of Maupassant's work were Normandy, the Franco-Prussian War, women (as a rule, they became victims of violence), and their own pessimism. Over time, his nervous illness intensifies, and themes of hopelessness and depression occupy him more and more.

His novel “Dear Friend” is very popular in Russia, in which the author talks about an adventurer who managed to make a brilliant career. It is noteworthy that the hero does not have any talents other than natural beauty, thanks to which he conquers all the ladies around him. He does a lot of mean things, with which he calmly gets along, becoming one of the powerful of this world.

He was born in 1885 into a wealthy family of Jews from Alsace who converted to Catholicism. He studied at the Rouen Lyceum. At first he worked at his father's cloth factory.

During the First World War he was a liaison officer and military translator. His first success came in 1918, when he published the novel The Silent Colonel Bramble.

Later he participated in the French Resistance. He also served during World War II. After France capitulated to fascist troops, he left for the USA, in America he wrote biographies of General Eisenhower, Washington, Franklin, Chopin. Returned to France in 1946.

In addition to his biographical works, Maurois was famous as a master of the psychological novel. Among the most notable books of this genre are the novels: “Family Circle”, “The Vicissitudes of Love”, “Memoirs”, published in 1970.

Albert Camus is a famous French writer and publicist who was close to the current of existentialism. Camus was born in Algeria in 1913, which was a French colony at the time. My father died in the First World War, after which my mother and I lived in poverty.

In the 1930s, Camus studied philosophy at the University of Algiers. He became interested in socialist ideas, even was a member of the French Communist Party, until he was expelled, suspected of “Trotskyism.”

In 1940, Camus completed his first famous work - the story "The Stranger", which is considered a classic illustration of the ideas of existentialism. The story is told on behalf of a 30-year-old Frenchman named Meursault, who lives in colonial Algeria. On the pages of the story, three main events of his life take place - the death of his mother, the murder of a local resident and the subsequent trial; from time to time he starts a relationship with a girl.

In 1947, Camus's most famous novel, The Plague, was published. This book is in many ways an allegory of the “brown plague” recently defeated in Europe - fascism. At the same time, Camus himself admitted that he put evil in general into this image, without which it is impossible to imagine existence.

In 1957, the Nobel Committee awarded him the Literature Prize for works that highlighted the importance of human conscience.

The famous French writer Jean-Paul Sartre, like Camus, was an adherent of the ideas of existentialism. By the way, he was also awarded the Nobel Prize (in 1964), but Sartre refused it. He was born in Paris in 1905.

He proved himself not only in literature, but also in journalism. In the 50s, working for the magazine "New Times", he supported the desire of the Algerian people to gain independence. He advocated for the freedom of self-determination of peoples, against torture and colonialism. French nationalists repeatedly threatened him, twice blew up his apartment, located in the center of the capital, and militants repeatedly seized the magazine's editorial office.

Sartre supported the Cuban Revolution and took part in student unrest in 1968.

His most famous work is the novel Nausea. He wrote it back in 1938. The reader finds himself in front of the diary of a certain Antoine Roquentin, who leads it with one single goal - to get to the bottom of it. He is worried about the changes happening to him, which the hero cannot figure out. The nausea that overcomes Antoine from time to time becomes the main symbol of the novel.

Soon after the October Revolution, such a thing as Russian-French writers appeared. A large number of domestic writers were forced to emigrate; many found refuge in France. The writer Gaito Gazdanov, born in St. Petersburg in 1903, is called French.

During the Civil War in 1919, Gazdanov joined Wrangel's volunteer army, although he was only 16 years old at the time. Served as a soldier on an armored train. When the White army was forced to retreat, he ended up in the Crimea, from there he sailed by ship to Constantinople. He settled in Paris in 1923 and spent most of his life there.

His fate was not easy. He worked as a locomotive cleaner, a loader at the port, a mechanic at the Citroen plant, when he could not find any work, he spent the night on the street, living like a clochard.

At the same time, he studied for four years at the University of History and Philology at the famous French Sorbonne University. Even after becoming a famous writer, he was not financially solvent for a long time and was forced to work as a taxi driver at night.

In 1929, he published his first novel, An Evening at Claire's. The novel is conventionally divided into two parts. The first tells about the events that happened to the hero before meeting Claire. And the second part is devoted to memories of the times of the Civil War in Russia; the novel is largely autobiographical. The thematic centers of the work are the death of the protagonist's father, the situation that prevails in the cadet corps, and Claire. One of the central images is an armored train, which serves as a symbol of constant departure, the desire to always learn something new.

It is interesting that critics divide Gazdanov’s novels into “French” and “Russian”. They can be used to track the formation of the author’s creative self-awareness. In “Russian” novels, the plot, as a rule, is based on an adventurous strategy, the experience of the “traveler” author, and many personal impressions and events are revealed. Gazdanov's autobiographical works are the most sincere and frank.

Gazdanov differs from most of his contemporaries in his laconicism, refusal of the traditional and classical novel form, often he does not have a plot, climax, denouement, or a clearly structured plot. At the same time, his narrative is as close as possible to real life; it covers many psychological, philosophical, social and spiritual problems. Most often, Gazdanov is not interested in the events themselves, but in how they change the consciousness of his characters; he tries to interpret the same life manifestations in different ways. His most famous novels: “The Story of a Journey”, “Flight”, “Night Roads”, “The Ghost of Alexander Wolf”, “The Return of the Buddha” (after the success of this novel he came to relative financial independence), “Pilgrims”, “Awakening” , "Evelina and Her Friends", "Coup", which was never completed.

No less popular are the stories of the French writer Gazdanov, whom he can fully call himself. These are “The Lord of the Future”, “Comrade Brak”, “Black Swans”, “The Eight of Spades Society”, “Error”, “Evening Companion”, “Ivanov’s Letter”, “The Beggar”, “Lanterns”, “The Great Musician”.

In 1970, the writer was diagnosed with lung cancer. He bravely endured the illness; most of his acquaintances did not even suspect that Gazdanov was sick. Few of those close to him knew how hard it was for him. The prose writer died in Munich and was buried in the Sainte-Genevieve des Bois cemetery near the French capital.

There are many popular French writers among their contemporaries. Perhaps the most famous among those living today is Frederick Beigbeder. He was born in 1965 near Paris. He received a higher education at the Institute of Political Studies, then studied marketing and advertising.

Started working as a copywriter in a large advertising agency. At the same time, he collaborated with magazines as a literary critic. When he was fired from an advertising agency, he took up the novel “99 Francs,” which brought him worldwide success. This is a bright and frank satire that exposed the ins and outs of the advertising business.

The main character is an employee of a large advertising agency; we note that the novel is largely autobiographical. He lives in luxury, having a lot of money, women, and indulging in drugs. His life is turned upside down after two events that force the protagonist to take a different look at the world around him. It's an affair with the agency's most beautiful employee, Sophie, and a meeting at a huge dairy corporation about a commercial he's working on.

The main character decides to rebel against the system that gave birth to him. He begins to sabotage his own advertising campaign.

By that time, Begbeder had already published two books - “Memoirs of an Unreasonable Young Man” (the title refers to Simone de Beauvoir’s novel “Memoirs of a Well-Brought-Up Girl”), a collection of short stories “Holidays in a Coma” and the novel “Love Lives for Three Years”, subsequently filmed. as well as "99 francs". Moreover, in this film Beigbeder himself acted as a director.

Many of Beigbeder's heroes are extravagant playmakers, very similar to the author himself.

In 2002, he published the novel Windows on the World, written exactly one year after the terrorist attack on the World Trade Center in New York. Beigbeder is trying to find words that can express the horror of the impending reality, which turns out to be worse than the most incredible Hollywood fantasies.

In 2009, he wrote "The French Novel", an autobiographical narrative in which the author is placed in a holding cell for using cocaine in a public place. There he begins to remember his forgotten childhood, recalling the meeting of his parents, their divorce, his life with his older brother. Meanwhile, the arrest is extended, the hero begins to be overwhelmed by fear, which forces him to reconsider his own life and leave prison as a different person who has regained his lost childhood.

One of Beigbeder’s latest works is the novel “Una and Salinger,” which tells the story of the love of the famous American writer, who wrote the main book for teenagers of the 20th century, “The Catcher in the Rye,” and the 15-year-old daughter of the famous Irish playwright Una O'Neill.

France in the 19th century was a kind of standard for the socio-political development of Europe. All processes characteristic of this stage took on particularly dramatic and extremely contradictory forms in France. The richest colonial power, which had high industrial and commercial potential, was suffocating from internal contradictions. The glaring facts of fantastic wealth and depressing poverty shocked the imagination and became the leading theme of the greatest writers of this period, A. France, Emile Zola, Guy de Maupassant, Romain Rolland, Alphonse Daudet and many others. In the works of these writers, stereotypically stable metaphors and images appear, taken from the living world and used to denote the essence of the “new” gentlemen and “heroes” of France. “We are disgusting barbarians living the life of animals,” Maupassant wrote bitterly. It is extremely significant that even Maupassant, a man extremely far from active politics, comes to the idea of revolution. Naturally, the atmosphere of spiritual confusion gave rise to an endless number of literary movements and trends in France. There were also clearly bourgeois among them, who openly came to the defense of a completely prosperous bourgeois, but these were still an undoubted minority. Even writers who were close in certain ways to decadence - symbolists, cubists, impressionists and others - for the most part proceeded from a dislike for the bourgeois world, but they all sought a way out of the framework of bourgeois existence, sought to grasp the novelty of fast-moving events, to get closer to the knowledge of incredibly expanded ideas about person.

The realism of this period also underwent enormous changes, not so much externally as internally. In their conquests of this period, realist writers relied on the vast experience of classical realism of the 19th century, but could no longer ignore the new horizons of human life and society, new discoveries of science and philosophy, new searches for contemporary trends and trends. Rejecting the moral indifference of naturalists who tried to turn the writer into a recorder of facts, into an emotionless “objective” photographer, devoid of imagination, ideal, or dream, the realists of the end of the century take into their arsenal scientific conscientiousness, a deep study of the subject of the image. The genre of popular science literature they created plays a huge role in the development of literature of this time. Not accepting the extremes of other directions, realists did not remain indifferent to the discoveries of symbolist writers, impressionists and others. The deep internal restructuring of realism was associated with experimentation, bold testing of new means, but still retained the character of typification. The main achievements of mid-century realism - psychologism, social analysis - are being qualitatively deepened; the sphere of realistic representation is expanding; genres are rising to new artistic heights.

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Maupassant (1850-1993), like his teacher Flaubert, was a stern realist who never betrayed his views. He passionately, painfully hated the bourgeois world and everything connected with it. If the hero of his book, a representative of another class, sacrificed at least something, joining the bourgeoisie, Maupassant did not spare him - and here all means were good for the writer. He painfully searched for the antithesis of this world - and found it in the democratic strata of society, in the French people.

works: short stories - “Pumpkin”, “Old Woman Sauvage”, “Madwoman”, “Prisoners”, “The Chair Weaver”, “Papa Simone”.

Alphonse Daudet

Daudet (1840-1897) is a somewhat unexpected phenomenon against the backdrop of the literature of this period and at the same time a phenomenon closely related to the development of the creativity of his fellow writers, outwardly distant from him, such as Maupassant, Roland, France. A gentle and kind man, Daudet was stubborn in many matters. He followed his own path, managing not to fall ill with any of the newfangled literary diseases of the end of the century, and only in the last years of his life - a life filled with eternal labor and need - did he pay tribute to fashionable naturalism.

works: novel "Tartarin of Tarascon", several short stories.

Romain Rolland

The work of Romain Rolland (1866-1944) occupies a very special place in this period of history. If Maupassant, Daudet and many other great writers, each in their own way, painfully searched for positive principles in a poorly structured world, then for Rolland the meaning of being and creativity initially lay in faith in the beautiful, the good, the bright, which never left the world - his you just need to be able to see, feel and convey to people.

works: novel "Jean Christoff", story "Pierre and Luce".

Gustave Flaubert

His work indirectly reflected the contradictions of the French Revolution of the mid-nineteenth century. The desire for truth and hatred of the bourgeoisie were combined in him with social pessimism and disbelief in the people. This inconsistency and duality can be found in the philosophical searches and political views of the writer, in his attitude towards art.

works: novels - “Madame Bovary”, “Salammbo”, “Education of Sentiments”, “Bouvard and Pécuchet” (not finished), stories - “The Legend of Julian the Stranger”, “A Simple Soul”, “Herodias”, also created several plays and extravaganza.

Stendhal

The work of this writer opens the period of classical realism. It was Stendhal who took the lead in substantiating the main principles and program for the formation of realism, theoretically stated in the first half of the 19th century, when romanticism still reigned, and soon brilliantly embodied in the artistic masterpieces of the outstanding novelist of that time.

works: novels - "The Parma Monastery", "Armans", "Lucien Leuven", stories - "Vittoria Accoramboni", "Duchess di Palliano", "Cenci", "Abbess of Castro".

French literature is one of the treasuries of world culture. It deserves to be read in all countries and in all centuries. The problems that French writers raised in their works have always worried people, and the time will never come when they will leave the reader indifferent. Epochs, historical settings, costumes of characters change, but passions, the essence of relationships between men and women, their happiness and suffering remain unchanged. The tradition of the seventeenth, eighteenth and nineteenth centuries was continued by modern French writers and literary figures of the 20th century.

Commonality of Russian and French literary schools

What do we know about European wordsmiths in the relatively recent past? Of course, many countries have made significant contributions to the common cultural heritage. Great books were also written by Britain, Germany, Austria, and Spain, but in terms of the number of outstanding works, the first places are, of course, occupied by Russian and French writers. The list of them (both books and authors) is truly huge. It is no wonder that there are multiple publications, there are many readers, and today, in the age of the Internet, the list of film adaptations is also impressive. What is the secret of this popularity? Both Russia and France have long-standing humanistic traditions. As a rule, the focus of the plot is not on a historical event, no matter how outstanding it may be, but on a person, with his passions, virtues, shortcomings, and even weaknesses and vices. The author does not undertake to condemn his characters, but prefers to let the reader draw his own conclusions about what fate to choose. He even pities those of them who chose the wrong path. There are many examples.

How Flaubert felt sorry for his Madame Bovary

Gustave Flaubert was born on December 12, 1821 in Rouen. The monotony of provincial life was familiar to him from childhood, and even in his adult years he rarely left his town, only once making a long trip to the East (Algeria, Tunisia), and, of course, visiting Paris. This French poet and writer wrote poems that seemed to many critics then (this opinion still exists today) to be too melancholic and languid. In 1857, he wrote the novel Madame Bovary, which became notorious at the time. The story of a woman who sought to break out of the hateful circle of everyday life and therefore cheated on her husband, then seemed not just controversial, but even indecent.

However, this plot, alas, is quite common in life, performed by the great master, and goes far beyond the scope of the usual obscene anecdote. Flaubert tries, and with great success, to penetrate into the psychology of his characters, towards whom he sometimes feels anger, expressed in merciless satire, but more often - pity. His heroine dies tragically, the despised and loving husband, apparently (this is more likely to be guessed than indicated by the text) knows about everything, but sincerely grieves, mourning his unfaithful wife. Both Flaubert and other French writers of the 19th century devoted quite a lot of their works to issues of fidelity and love.

Maupassant

With the light hand of many literary writers, he is considered almost the founder of romantic erotica in literature. This opinion is based on some moments in his works containing immodest, by the standards of the 19th century, descriptions of scenes of an intimate nature. From today's art historical perspective, these episodes look quite decent and, in general, are justified by the plot. Moreover, this is not the main thing in the novels, novels and stories of this wonderful writer. The first place in importance is again occupied by relationships between people and such personal qualities as depravity, the ability to love, forgive and simply be happy. Like other famous French writers, Maupassant studies the human soul and identifies the necessary conditions for his freedom. He is tormented by the hypocrisy of “public opinion”, created precisely by those who themselves are by no means impeccable, but impose their ideas of decency on everyone.

For example, in the story “Golden Man” he describes the story of the touching love of a French soldier for a black resident of the colony. His happiness did not materialize; his relatives did not understand his feelings and were afraid of possible condemnation from their neighbors.

The writer's aphorisms about war are interesting, which he likens to a shipwreck, and which should be avoided by all world leaders with the same caution as ship captains avoid reefs. Maupassant shows observation by contrasting low self-esteem with excessive complacency, considering both of these qualities to be harmful.

Zola

No less, and perhaps much more shocking to the reading public was the French writer Emile Zola. He willingly based the plot on the life of courtesans (“The Trap”, “Nana”), the inhabitants of the social bottom (“The Belly of Paris”), described in detail the hard life of coal miners (“Germinal”) and even the psychology of a murderous maniac (“The Beast Man” ). The general literary form chosen by the author is unusual.

He combined most of his works into a twenty-volume collection, collectively called Rougon-Macquart. With all the variety of subjects and expressive forms, it represents something unified that should be perceived as a whole. However, any of Zola’s novels can be read separately, and this will not make it any less interesting.

Jules Verne, science fiction writer

Another French writer, Jules Verne, does not need any special introduction; he became the founder of the genre, which later received the definition of “sci-fi”. What did this amazing storyteller not think of, who foresaw the emergence of nuclear submarines, torpedoes, lunar rockets and other modern attributes that became the property of mankind only in the twentieth century. Many of his fantasies today may seem naive, but the novels are easy to read, and this is their main advantage.

In addition, the plots of modern Hollywood blockbusters about dinosaurs resurrected from oblivion look much less plausible than the story of antediluvian dinosaurs that never went extinct on a single Latin American plateau, found by brave travelers (“The Lost World”). And the novel about how the Earth screamed from a merciless prick of a giant needle completely goes beyond genre boundaries, being perceived as a prophetic parable.

Hugo

The French writer Hugo is no less fascinating in his novels. His characters find themselves in a variety of circumstances, revealing bright personality traits. Even negative characters (for example, Javert from Les Miserables or Claude Frollo from Notre Dame) have a certain charm.

The historical component of the story is also important, from which the reader learns with ease and interest many useful facts, in particular about the circumstances of the French Revolution and Bonapartism in France. Jean Voljean from Les Miserables became the personification of simple-minded nobility and honesty.

Exupery

Modern French writers, and literary scholars include all the writers of the “Heminway-Fitzgerald” era as such, have also done a lot to make humanity wiser and kinder. The twentieth century did not spoil Europeans with peaceful decades, and memories of the Great War of 1914-1918 soon received a reminiscence in the form of another global tragedy.

The French writer Exupery, a romantic, creator of the unforgettable image of the Little Prince and a military pilot, did not remain aloof from the struggle of honest people around the world against fascism. The posthumous popularity of this writer in the USSR in the fifties and sixties could be the envy of many pop stars who performed songs, including those dedicated to his memory and his main character. And today, the thoughts expressed by a boy from another planet still call for kindness and responsibility for one’s actions.

Dumas, son and father

There were actually two of them, father and son, and both were wonderful French writers. Who doesn’t know the famous musketeers and their faithful friend D’Artagnan? Many film adaptations have glorified these characters, but none of them have been able to convey the charm of the literary source. The fate of the prisoner of the Chateau d'If will not leave anyone indifferent (“The Count of Monte Cristo”), and other works are very interesting. They will also be useful for young people whose personal development is just beginning; there are more than enough examples of true nobility in the novels of Dumas the Father.

As for the son, he also did not disgrace the famous surname. The novels “Doctor Servan”, “Three Strong Men” and other works clearly highlighted the peculiarities and bourgeois features of contemporary society, and “The Lady of the Camellias” not only enjoyed well-deserved reader success, but also inspired the Italian composer Verdi to write the opera “La Traviata”, it formed the basis of her libretto.

Simenon

Detective will always be one of the most read genres. The reader is interested in everything about it - who committed the crime, the motives, the evidence, and the inevitable exposure of the perpetrators. But there is a difference between detective and detective. One of the best writers of the modern era is, of course, Georges Simenon, the creator of the unforgettable image of the Parisian police commissioner Maigret. The artistic device itself is quite common in world literature; the image of a detective-intellectual with an indispensable feature of his appearance and recognizable behavior has been exploited more than once.

Simenon's Maigret differs from many of his “colleagues” in the kindness and sincerity characteristic of French literature. He is sometimes ready to meet halfway people who have stumbled and even (oh, horror!) to violate certain formal articles of the law, while still remaining faithful to it in the main thing, not in the letter, in its spirit (“And yet the hazel tree turns green”).

Simply a wonderful writer.

Gra

If we take a break from the past centuries and mentally return to modern times, then the French writer Cedric Gras, a great friend of our country, who dedicated two books to the Russian Far East and its inhabitants, deserves attention. Having seen many exotic regions of the planet, he became interested in Russia, lived in it for many years, learned the language, which undoubtedly helps him get to know the notorious “mysterious soul,” about which he is already finishing writing a third book on the same topic. Here Gra found something that, apparently, he so lacked in his prosperous and comfortable homeland. He is attracted by a certain “strangeness” (from a European point of view) of the national character, the desire of men to be courageous, their recklessness and openness. For the Russian reader, the French writer Cedric Gras is interesting precisely because of this “look from the outside,” which is gradually becoming more and more ours.

Sartre

Perhaps there is no other French writer so close to the Russian heart. Much in his work is reminiscent of another great literary figure of all times and peoples - Fyodor Mikhailovich Dostoevsky. Jean-Paul Sartre's first novel, Nausea (many consider it his best), affirmed the concept of freedom as an internal category, not subject to external circumstances, to which a person is doomed by the very fact of his birth.

The author's position was confirmed not only by his novels, essays and plays, but also by personal behavior demonstrating complete independence. A man of leftist views, he nevertheless criticized the policies of the USSR in the post-war period, which did not prevent him, in turn, from refusing the prestigious Nobel Prize, awarded for allegedly anti-Soviet publications. For the same reasons, he did not accept the Order of the Legion of Honor. Such a nonconformist deserves respect and attention; he is certainly worth reading.

Vive la France!

Many other outstanding French writers are not mentioned in the article, not because they are less deserving of love and attention. You can talk about them endlessly, enthusiastically and enthusiastically, but until the reader himself picks up the book and opens it, he does not fall under the spell of the wonderful lines, sharp thoughts, humor, sarcasm, light sadness and kindness emitted by the pages . There are no mediocre peoples, but there are, of course, outstanding ones who have made a special contribution to the world treasury of culture. For those who love Russian literature, it will be especially pleasant and useful to become familiar with the works of French authors.

Nineteenth century.

Nineteenth century. At the turn of the 18th–19th centuries. unprecedented changes are taking place in European culture, characterizing the onset of the “era of modernity” (as opposed to the “classical” era). The ideology of cultural relativism, embodied in romanticism, is being formed. Geographical relativity, “exoticism,” and attraction to foreign cultures appear already at an early stage of the movement’s development. Later, romantics began to be attracted to the “non-classical” civilizations of the past: the generation of 1830 - the Middle Ages, T. Gautier - the baroque 17th century. Romantics turn to folklore and folk culture, recognizing the fact that thinking and creativity are not the same even within the same modern nation. Thus, together with “mass culture” (the genres of the feuilleton novel, caricature, melodrama), the idea of social relativity arises. All these ideas are reflected in one way or another in the treatises of A.L.J.de Stael (1766–1817) (On literature examined in connection with social institutions, 1800; On Germany, 1813). In her novels (Delphine, 1802; Corinna, or Italy, 1807), romantic ideas are combined with educational and sentimentalist ones - such juxtaposition and opposition within it is very characteristic of French literature, the development of which occurs in constant clashes of polar literary and ideological currents. In Corinne, Madame de Staël introduces the theme of the incompatibility of the artist and society, one of the central themes of romantic literature. Another important image – the “son of the century” – was one of the first to be created by F.R. de Chateaubriand (1768–1848) (René, 1802). The image of a disappointed contemporary, a melancholic youth, subject to the “disease of the century”, became extremely popular in French literature (Obermann (1804) by E.P. Senancourt, 1770–1846; Adolphe (published 1815) by B. Constant, 1767–1830).

The first theoretical texts of the romantics appeared in their periodicals, published in small editions (“Le conservataire literaire,” 1819–1821; “La Muse Française,” 1823–1824; “Le Lettre champenoise,” 1817–1825; “Les anal de la literaires e”) des arts", 1820–1829). The polemical essays of Stendhal (1783–1842), included in the book Racine and Shakespeare (1823–1825), are directed against the epigones of classicism and defend the principles of the “romantic,” i.e. contemporary art. However, the authority of the classicist tradition was finally shaken only towards the end of the 1820s. The ideas of romantic writers that had developed by that time were summarized by V. Hugo (1802–1885) in the preface to the drama Cromwell (1827), which became the manifesto of French romanticism. In it, the author theoretically substantiated local color, grotesque and contrast in order to contrast “good” and “evil” in relief, and also declared war on classicism and all courtly aristocratic art. French romanticism acquired complete forms late: it became a national phenomenon only in the 1820s, and only from the end of them and during the 30s masterpieces of the so-called high romanticism appeared.

French romanticism is distinguished by the “this-worldliness” of the artistic world. Fantasy appears only from the 1820s in the stories of C. Nodier (1780–1844) and later in Gautier (1811–1872) (The Mummy's Leg, 1840; Arria Marcellus, 1852). A mythological line associated with religious symbolism develops more organically: Chateaubriand’s apology for Christianity (The Genius of Christianity, 1802), religion in Lamartine’s poetry. However, most often prose works begin with “confession”, self-portraits of a historical but also a modern personality, whose name was included in the title until the 1830s (Indiana (1832), Valentina (1832), Lelia (1833), Jacques (1834) J. Sand, 1804–1876, etc.). Interest in a brilliant, rebellious personality (for example, an artist) appears only in the 20s, during the era of high romanticism. And yet heroes like Sbogar (Jean Sbogar (1818)) Nodier or Moses in Vigny’s lyrics seem rather an exception. Poetic natures often appear as foreigners - from the Painter from Salzburg (1803) by Nodier to Chatterton (1835) by Vigny and the heroes of J. Sand. The topic of the relationship between the poet and art with society became more acute only in the 30s. Everyday realities, on the contrary, are readily included by them in a tragically serious work - perhaps because such a mixture was not accepted by classical aesthetics. Already in the 1820s, “physiologies”, morally descriptive essays that aimed at a daguerreotypical reproduction of everyday life, were spreading (Physiology of Taste (1826) by B. Savarin; essays by C. Philipon). Balzac, Dumas, and J. Janin took part in the multi-volume edition of The French in Their Own Image (1840–1842).

The evolution of such writers as A. de Lamartine (1790–1869), A. de Vigny (1797–1863), V. Hugo is connected with the new era of the history of France and French romanticism – the Restoration (1814–1830). The beginning of the 1820s was marked by the flourishing of lyrical genres. The poetic works of Lamartine and Vigny (Poems, 1822; Death of the Wolf, 1843) tell the story of contemporary romantic hearts. In the lyrics of Lamartine, the star of the 1820s, one can feel the influence of the poetics of the previous century (collection Poetic Reflections, 1820; New Reflections, 1823; Poetic and Religious Consonances, 1830). Hugo shows himself as a master of the sound of verse (collection of Odes and various poems, 1822). His later poetic experiments (the epic cycle Legend of the Ages, 1859–1883; The Terrible Year, 1872) became the result of the development of romantic poetry. In 1823, Hugo tried his hand at prose (the historical novel Guy the Icelander).

The French historical novel of the 1820s developed under the influence of W. Scott. However, to maintain plausibility, the English novelist created a double intrigue that could not take root in France. Writers solved this problem in different ways: combining the historical and the romantic in one hero, politician and lover (Saint-Mars (1826) by A. de Vigny); taking as the basis of the plot a little-known historical event (Chouans (1829) by O. de Balzac, 1799–1850; Chronicle of the Times of Charles IX (1829) by P. Merimee); refusing to recreate historical events, using only the coloring of the era (Notre Dame Cathedral (1831) by V. Hugo). After 1829, interest in the historical novel declined; he returned only with the novels of A. Dumas the Father (The Three Musketeers, 1844; Twenty Years Later, 1845; Queen Margot, 1845, etc.); for a while, modernity becomes a popular subject of depiction; the story takes on a larger epic form.

With the publication of J. Janin's novel The Dead Donkey and the Guillotined Woman in 1829, a short “furious” period began in French romanticism. Stories full of murders and unnatural passions were published in the magazines La Revue de Paris (1829–1845, 1851–1858) and Revue de deux mondes (since 1829). An example of such a story was the book by P. Borel (1809–1859), who called himself a lycanthrope (wolfman), Champaver. Immoral Tales (1833). Marion Delorme (1831) and Lucrezia Borgia (1831) Hugo, Anthony (1831), Richard Darlington and other dramas by A. Dumas the Father (1802–1870), novels and stories by Balzac, J. Sand, Merimee, chronicles of Stendhal or otherwise they come into contact with “violent” literature. J. de Nerval (1808–1855), who hanged himself while working on the edition of the short story Aurelia (1855), analyzing the madness of the creator, is sometimes considered a “frantic romantic.” The excesses and phantasmagoria make the poetic Songs of Maldoror (1868–1869) by Lautréamont similar to the prose of the “frantic romantics.” One of the collective collections of “fierce romantics” (Brown stories of an overturned head, 1832) took part in the young Balzac, who back in the 1820s was fond of “black” themes (The Heiress of Biraga, 1822; Clotilde of Lusignan, 1822; The Pirate of Argow, 1825, etc. .)

The romanticism of P. Merimee (1803–1870) is distinguished by self-irony and a tendency towards mystification (Clara Gazul Theatre, 1825; Guzla, 1827). In the short stories of the 1830s and 1840s, he paid tribute to both fantastic (short stories Venus of Illes; Lokis) and exotic (Mateo Falcone; Tamango; Carmen) subjects. Under the pen of E. Sue (1804–1857) (Mysteries of Paris, 1842–1843; The Eternal Jew, vol. 1–10: 1844–1845; Secrets of the People, 1849–1857) and, later, J. Verne (1828–1905) (The Children of Captain Grant, 1867–1868; 20,000 Leagues Under the Sea, 1869–1870; The Mysterious Island, 1875, etc.) adventure literature was formed. The concept of “feuilleton novel” (a novel with a continuation, published in periodicals) is associated with the work of Xiu (who created a “novel for the people”) and A. Dumas.

In theatrical life, the struggle between the new movement and traditional art was the most intense. In the preface to the play by Ruy Blas (1838), Hugo argued for an intermediate genre - drama - distinguishing between comedy and tragedy based on the subject of the image. Even earlier, at the premiere of Hugo Ernani's drama (February 1830), a real battle took place between the audience for the establishment of romantic drama on the stage. Hugo's supporters fought for a mixture of styles - the sublime and the grotesque. The lyrical comedies of A. de Musset (1810–1857), the author of popular poems, are the opposite of the plays of Hugo. Their author is apolitical, the plot of his plays tells about the “disease of the century,” reflection and skepticism, which are deadly for the hero (Venice Night, 1830; Andrea del Sarto, 1833; One does not joke with love, 1834). An exception is the tragedy of Lorenzaccio (1834), where the problem of socially active action is posed. The story of a “devastated man” and at the same time of an entire generation is told in Musset’s novel Confession of a Son of the Century (1835). Musset was a member of the Senankle circle (1827–1830), an association of romantics created by Hugo and S. O. Sainte-Beuve (1804–1869). Known initially as a poet and prose writer (Life, Poems and Thoughts of Joseph Delorme, 1829), the latter became the most influential literary critic of the 19th century. Sainte-Beuve was the first to express the idea of a direct connection between the work and the writer’s life, its historical time.

French novel trans. floor. 19th century was strongly influenced by drama. Theatrical techniques were used by a variety of writers - from Balzac to P.S. de Kock (1793–1871), the author of frivolous comic novels. In the 1830s, two types of novel composition dominated: dramatic and chronicle. Balzac focused on the first, because in it the emphasis is transferred from the main event, the disaster, to the process that prepares it. Based on the achievements of modern science, Balzac in the Preface (1842) to the Human Comedy (1829–1848) describes society as a complex, historically formed organism. The writer must become a historian, chronicler, analyst of human passions and characters, an expert in the customs of various classes in order to create a diverse human typology. In a review of the Parma Monastery (1839) by Stendhal, in the Study of Mr. Bayle (1838), the writer expressed judgment about the importance of psychological analysis in art. These reflections are generally considered to be manifestos of “realism,” a post-romantic movement in literature, originating in the prose of Balzac (Shagreen Skin, 1830–1831; Father Goriot, 1834–1835, etc., later combined into the Human Comedy) and Stendhal (Red and Black, 1831; Parma monastery, 1839). For them, the hero, most often a contemporary, can and should be described in the social and historical “environment” of his existence. The characters are given by these writers in a specific political and social background. Any phenomenon of reality can become an object of art, but only on the condition that it is understood in its general laws, which presuppose social and biological determinism. A narrower concept of the method is contained in the manifestos of the 1850s–1860s by Chanfleury (1821–1889) (collection of theoretical works and articles Realism, 1857) and his follower L.E. Duranty (1833–1880) (series of articles in the journal Realism, 1856 –1857), who refused typification, gravitating towards factual copying of what they saw. The use of improperly direct speech in the narrative of G. Flaubert (1821–1880) excludes from it the explicit point of view of the author (Madame Bovary, 1857). One of the key factors in Flaubert’s storytelling is theatricality and entertainment. Flaubert does not endow the heroine with a “dominant passion” (unlike Stendhal, Balzac, J. Sand), therefore the hero’s reaction to the influence of a satirically depicted environment is less predetermined, more unexpected.

The emergence of naturalism in French literature is associated with the literary-critical activity of the Goncourt brothers and E. Zola. The Goncourt brothers, Edmond (1822–1896) and Jules (1830–1870), proclaimed (preface to the novel by Germinie Lacerte, 1865) a “new realism” based on sketches from life, strict observation and recording of objective facts. In their opinion, a new type of “scientific” novel was created by Balzac, who claimed that he was a historian, not a novelist. The study of history is necessary for them to create psychological verisimilitude, “the impression of the truth about a person,” who in any historical era remains a contemporary of the reader. Having become acquainted with the theory of Chanfleury, the critical articles of I. Taine (1828–1893) (History of English Literature, 1863) and the novels of his contemporaries (especially Flaubert), E. Zola (1840–1902) formulated the principles of naturalism and the “scientific novel” (preface to the second edition of the novel Therese Raquin, 1867; collection Experimental Novel, 1880). Naturalism must depict the drama of modern life, using a “physiological” description of temperament, made dependent on environment and circumstances; the prose language should be distinguished by sincerity, clarity and naturalness. The theory of social and biological (heredity) character determination is illustrated by a series of novels by Rougon-Macquart (1871–1893) by Zola. To the beginning In the 1880s, naturalism became the main creative principle of writers of the post-Flaubert generation, as well as young authors united around Zola (J.C. Huysmans, 1848–1907; A. Daudet, 1840–1897; G. de Maupassant, 1850–1893, etc. ) Under his patronage, the latter published collections of short stories Medan Evenings (1880). G. de Maupassant, in the preface to the novel Pierre et Jean (1887–1888), wrote that the reality depicted should not be more exciting and surprising than the reality of life. In Maupassant's short stories, unsurpassed in technique, the author oscillates between melancholy and sarcasm, refusing to evaluate the events taking place.

Poets of the pre-symbolist era strove for a holistic perception of the universe. In the lyrics of J. de Nerval one can feel his animation and unity (it is with them that the poet is intoxicated, and not with his own, like the romantics, experiences - Golden Poems, 1845), a symbolic ambiguity of images arises. Flowers of Evil (1857) by Charles Baudelaire (1821–1867) outlines the path of the romantic poet to symbolism. Beauty and perfection appear in his poems regardless of the ethical content of the subject. The poet becomes only an intermediary-mediator between nature and people. T. Gautier's collection of Enamels and Cameos (1852) paved the way for the literary group of the “Parnassians”. All R. In the 1850s, S. R. M. Leconte de Lisle (1818–1894) tried to accurately, dispassionately, in contrast to the romanticists who whipped up the passions, to recreate ancient history, “to hear the voices of previous civilizations.” What distinguishes his position from the naturalistic movements of post-romanticism is his preaching of the poet’s equanimity and the desire to achieve the highest expression of his “I.” Art cannot have a practical purpose. The task of the poet, if there is one, de Lisle believes in creating the Beautiful with the help of complex combinations of poetic lines, colors and sounds, with the help of feelings, reflections, science and fantasy (preface to Ancient poems, 1852). Lecomte de Lisle embodied the ideal image of the Parnassian (Barbarian Poems, 1862; Tragic Poems, 1884). About 40 poets published their poems in the collection New Poems (1866), including Leconte de Lisle, C. Baudelaire, S. Mallarmé (1842–1898), T. Gautier, J.M. Heredia (1842–1905), T. .de Banville (1823–1891), young P.Verlaine (1844–1896) and F.E.J. Coppe (1842–1908). T. de Banville argued that the art and skill of depiction are one and the same (Small treatise on French poetry, 1872). The Parnassians existed as a relatively monolithic group until the emergence of the groups “Nasty Uncles” and the Zutists (from the French “Zut!” - “Damn it!”), represented by C. Cros (1842–1888) and T. Corbières (1845–1875 ). Both groups sought to outrage and irritate readers while simultaneously creating new poetic forms. K con. In the 1880s, the aesthetics of Parnassus became significantly outdated, giving way to new trends.

The poems of P. Verlaine Poetic Art (1874) and the collection of A. Rimbaud Illumination (1872–1873, especially the sonnet Vowels, 1872) were proclaimed by the Symbolists as their manifesto. Both poets were influenced by Baudelaire, but they manifested it differently. Verlaine, an impressionist poet par excellence, strove for a “skillful simplification” (G.K. Kosikov) of poetic language. Between the “soul” and “nature” in his landscape lyrics (collection of Romances without Words, 1874), a relationship is established not of parallelism, but of identity. In his poems, Verlaine introduced jargon, vernacular, provincialisms, folk archaisms and even linguistic irregularities. It was he who preceded the symbolist free verse, which was discovered by A. Rimbaud. He called for free rein to the unrestrained play of the imagination, and tried to achieve a state of “clairvoyance” by “disordering all one’s senses.” It was he who substantiated the possibility of “dark”, suggestive poetry, anticipating the work of S. Mallarmé.

The history of symbolism as a formalized poetic movement begins in 1880, when S. Mallarmé opened a literary salon at his home, where young poets gathered - R. Gil (1862–1925), G. Kahn (1859–1936), A.F.Zh. de Regnier (1864–1936), Francis Viele-Griffin (1864–1937), etc. In 1886, the programmatic action for the symbolists was the publication of eight Sonnets to Wagner (Verlaine, Mallarmé, Guille, S.F. Merrill, C. Maurice, Sh .Vigne, T.de Viseva, E.Dujardin). In the article Literary Manifesto. Symbolism (1886), the program document of the movement, J. Moreas (1856–1910) writes that symbolist poetry tries to “dress the Idea in a tangible formula.” At the same time, the first poetry collections focused on symbolist poetics were published: Cantilena (1886) by J. Moreas; Calm and Landscapes (1886, 1887) A. de Regnier et al. In con. The 1880s saw the rise of symbolism (Joys (1889) by F. Viele-Griffen; Poems in the ancient and chivalrous spirit (1890) by A. de Regnier). After 1891, symbolism came into fashion, blurring the boundaries of the community. The esotericism and mysticism of some poets (The Great Initiates (1889) by E. Schure) provokes a reaction from others. (French ballads (1896) by P. Faure, 1872–1960; Clarity of Life (1897) by Vielle-Griffin; From the morning Good News to the evening (1898) by F. Jamma, 1868–1938), striving for spontaneity and sincerity in poetry. In the stylizations of P. Louis, aestheticism makes itself felt (Astarte, 1893; Songs of Bilitis, 1894); R. de Gourmont (1858–1915) plays the individualist and immoralist (Hieroglyphs, 1894; Bad Prayers, 1900). At the turn of the 19th–20th centuries. the symbolist movement breaks up into separate fly-by-night schools (“naturism”, “synthetism”, “paroxysm”, “esotericism”, “humanism”, etc.). A separate phenomenon in the dramaturgy of con. 19th century became the romantic play by E. Rostand (1868–1918) Cyrano de Bergerac (1897).

Symbolism, as a worldview, first manifested itself in lyrics, quickly penetrated into drama. Here he is, as in the literature of con. 19th century in general, opposed naturalism and the positivist worldview. The most in demand by directors was the Belgian playwright M. Maeterlinck, his plays transformed the theatrical repertoire of the 1890s (The Blind, 1890; Pelleas and Melisande, 1893; There, Inside, 1895). The traditions of symbolism were partly continued in the magazine “La Falange” (1906–1914) and “Ver e prose” (1905–1914) and largely determined the prose experiments of the beginning. 20th century, influenced the formal searches of poets of modernist movements. Their influence on the work of P. Valery and P. Claudel is obvious.