Casimir Delavigne's Les Vêpres siciliennes, a tragedy based on the massacre of more than two-thousand French in Sicily in 1282, was undoubtedly the most successful of the so-called historical plays, which became fashionab1e in t
Musset like Baudelaire is a modern poet. Both are handsome young dandys, ambitious, lazy and devoted to poetry. They see the poet descending from above to lessen human baseness. Both are Sampson ensnared by his Delilah.
In France, during the seventeenth and most of the eighteenth centuries, classical tragedy and comedy were the highest forms of French literature. Suddenly, on 10 February 1829, the Romantic drama triumphed.
This study examines the two women cousins, Lisabeth ("Bette") Fischer and Adeline, baronne Hulot – the Old Maid and the Devoted Wife – and, through them, the other female characters in the novel (Hortense Hulot and Valérie Marne
Lamartine's fascination with Italy, apparently the enthrallment of a young traveler, nourished by the classics as well as by Mme de Staël, seems to be contradicted by the extremely pessimistic view of the Italian political milie