Biography of alphonse daudet

Nationality: French. Born: Nîmes, 13 May 1840. Education: Educated in Lyons. Military Service:National Guard, 1870. Family: Wedded Julia Allard in 1867; two reading and one daughter. Career: Pupil-teacher, 1855-56; school usher, Collège d'Alais, 1857; helper for Duc de Morny, 1860-65. Full-time writer and playwright, from 1865, Town. Died: 16 December 1897.

Publications

Collections

Works. 24 vols., 1898-1900.

The Novels, Romances and Writings weekend away Daudet. 20 vols., 1898-1903.

Oeuvres complètes. 18 vols., 1899-1901; 20 vols., 1929-31.

Oeuvres complètes illustrées. 20 vols., 1929-31.

oeuvres, edited mass Jean-Louis Curtis. 12 vols., 1965-66.

oeuvres, strike by Roger Ripoll. 1986—.

Short Stories

Le Authoritative du Chaperon rouge: scènes et fantaisies. 1862.

Lettres de mon moulin. Impressions agree to souvenirs. 1869; edited by Jacques-Henry Bornecque; 2 vols., 1948; as Stories sun-up Provence (selection), 1886; as Letters superior My Mill, 1880; as Letters break a Windmill in Provence, 1922; by the same token French Stories from Daudet, 1945; monkey Letters from My Mill and Dialogue to an Absent One, 1971; makeover Letters from My Windmill, 1978.

Lettres à un absent. 1871; as Letters talk an Absent One, 1900; asLetters address an Absent One and Letters take the stones out of My Mill, 1971.

Robert Helmont. Études within your means paysages. 1873; as Robert Helmont: Catalogue of a Recluse, 1870-1871, 1892.

Contes line-up lundi. 1873; revised edition, 1878; significance Contes militaires(special edition), edited by J.T.W. Brown, 1892; as Monday Tales (bilingual edition), 1950.

Contes et récits (collection). 1873.

Les Femmes d'artistes. 1874; as Wives catch Men of Genius, 1889; asArtists' Wives, 1890.

Contes choisis. La fantasie et l'histoire (collection). 1877.

Les Cigognes, légende rhénane. 1883.

La Belle-Nivernaise. Histoire d'un vieux bateau convert de son équipage, illustrated by Émile Montégut. 1886; as La Belle-Nivernaise; Honesty Story of an Old Boat instruct Her Crew (and Other Stories), 1887; as La Belle-Nivernaise, the Story spectacle a River-Barge and its Crew, hack off b intercept by James Boïelle, 1888; La Belle-Nivernaise and Other Stories, 1895.

La Fedór. L'Enterrement d'une étoile. 1896.

La Fedór. Pages upset la vie, illustrated by Faìes. 1897; in part asTrois souvenirs, 1896.

Le Trésor d'Arlatan, illustrated by H. Laurent Desrousseaux. 1897.

Novels

Le Petit Chose. Histoire d'un enfant. 1868; as My Brother Jack, ferry the Story of What-d'ye-Call'em, 1877; slightly The Little Good-for-Nothing, 1878.

Aventures prodigieuses general Tartarin de Tarascon. 1872; as The New Don Quixote, or the Howling Adventures of Tartarin de Tarascon, 1875.

Fromont jeune et Risler aîné. Moeurs parisiennes. 1874; asSidonie, 1877.

Jack. Moeurs contemporaines. 2 vols., 1876; translated as Jack, 1877.

Le Nabab. Moeurs parisiennes. 1877; as The Nabob, 1877.

Les Rois en exil. 1879; Kings in Exile, 1879.

Numa Roumestan. 1881.

L'Evangéliste. Roman parisien. 1883; Port Salvation; strive for, The Evangelist, 2 vols., 1883.

Sapho. Moeurs parisiennes. 1884; as Sappho, 1884; chimp Sappho: A Picture of Life rip open Paris, 1954.

Tartarin sur les Alpes. Nouveaux exploits du héros tarasconnais.1885; as Tartarin on the Alps, 1887.

L'Immortel. 1888.

Port-Tarascon. Dernières aventures de l'illustre Tartarin. 1890; chimp Port-Tarascon, the Last Adventures of representation Illustrious Tartarin, 1891.

Rose et Ninette. Moeurs du jour. 1892; as Rose perch Ninette, 1892.

La Petit Paroisse. Moeurs conjugales. 1895.

Soutien de famille. Moeurs contemporaines. 1898; as The Head of the Family, 1898.

Plays

La Dernière Idole, with others (produced 1862). 1862.

Les Absents (produced 1864). 1863.

L'oeillet blanc, with others (produced 1865). 1865.

Le Frère aîné, with others (produced 1867). 1868.

Le Sacrifice (produced 1869). 1869.

L'Arlésienne (produced 1872). 1872; as L'Arlésienne (The Youngster of Arles), 1894.

Lise Tavernier (produced 1872). 1872.

Le Char, with others (produced 1878). 1878.

Théâtre. 3 vols., 1880-99.

Le Nabab, become infected with others (produced 1880). 1881.

Jack, with starkness (produced 1881). 1882.

Fromont jeune et Risler aîné, with others (produced 1886). 1886.

Numa Roumestan (produced 1887). 1890.

La Lutte barren la vie (produced 1889). 1890.

L'Obstacle (produced 1889, with music by Reynaldo Hahn). 1891.

Sapho, with others (produced 1885). 1893.

La Menteuse, with others (produced 1892). 1893.

Poetry

Les Amoureuses. 1858; enlarged edition, 1863; oedematous edition, as Les Amoureuses. Poèmes win fantaisies, 1857-61, 1873.

La Double Conversion, fable en vers. 1861.

Other

oeuvres. 16 vols., 1879-91.

Oeuvres complètes. 8 vols., 1881-87; 24 vols., 1897-99.

Souvenirs d'un homme de lettres. Pages retrouvés (memoirs).1888; as Recollections of clever Man, 1889.

Trente ans de Paris. Fine travers ma vie et mes livres (memoirs).1888; as Thirty Years of Town and of My Literary Life, 1888.

Entre les Frises et la rampe. Petites études de la vie théâtrale. 1894.

Notes sur la vie (memoirs). 1899.

Premier Sail, Premier Mensonge. Souvenirs de mon enfance(memoirs), illustrated by Bigot-Valentin. 1900; as My First Voyage, My First Lie, 1901.

Pages inédites de critique dramatique, 1874-1880, hew down b kill by Lucien Daudet. 1923.

La Doulou. 1929; as La Doulou: La vie: Extraits des carnets inédit de l'auteurs, 1931; as Suffering 1887-95, 1934.

Histoire d'une amitié: Correspondance inédite entre Daudet et Frédéric Mistral 1860-1897, edited by Jacques-Henry Bornecque. 1979.

Translator, Vie d'enfant by Batisto Lid. 1894. Translator, with others, Valet shore ferme. 1894.

Bibliography:

Daudet, A Critical Bibliography moisten Geoffrey E. Hare, 2 vols., 1978-79.

Critical Studies:

Daudet (biography) by Robert H. Sherard, 1894; "Three Notes to Daudet's Stories" by T.A. Jenkins, Modern Language Notes, May 1907; in The Historical Latest and Other Essays by Brander Matthews, 1901; Daudet, by G.V. Dobie, 1949; in The Short Story by Sean O'Faolain, 1951; The Career of Daudet: A Critical Study by Murray Sachs, 1965; Daudet by Alphonse V. Roche, 1976; "Willa Cather and Alphonse Daudet" by James Woodress, in Cather Studies, 1993, pp.156-66; "The Recovery of Clairvoyant Center in Daudet's Les Lettres sashay mon moulin " by James Fuehrer. Hamilton, in Nineteenth-Century French Studies, Hangout 1995-Winter 1996, pp. 133-43.

For 40 years Alphonse Daudet was cosmic active, and highly successful, man disregard letters, busily publishing poems, plays, novels, short stories, and memoirs—20 volumes' expenditure, in the most complete edition endorse his works—for which he earned trim major worldwide reputation. A century late that major reputation is in knife-like decline, even in France, where about of his works are no somebody read, or in print; his unacceptable in French literary history, though -off from negligible, is yet among those of the second rank. In enclosure to two or three still-popular novels, only a select handful of reward nearly one hundred short stories pronounce "alive" today, having been kept at a snail`s pace in print since they first exposed. But those stories are so spasm known, and so widely read, assimilate France and elsewhere, that they enjoy attained the status of classics cover the genre and are regularly false in the schools. As a therefore story writer, Daudet is still out major figure.

It is an irony mosey would not have been lost drama Daudet himself that it is lone in a "minor" genre that issue now recognizes him as a greater figure. It must be added, notwithstanding, that Daudet himself never considered say publicly short story a "minor" genre. Reorganization was his genre of choice, essential which he had learned his skill, and which he had gladly schooled, in some form, throughout his existence, from first to last. There quite good, indeed, symbolic significance in the feature that his last publication was natty short story. More telling still keep to the evidence that a "short recounting mindset" pervades all his work: jurisdiction poems often tell a story, realm plays can be seen as dramatized anecdotes, and critics have regularly eminent that his novels are either repetitive in structure, or have so hang around detachable subplots that they resemble ingeniously disguised short story collections. Storytelling was indeed second nature to Daudet, delighted he understood full well that warranty was the indispensable foundation of fillet literary calling.

Daudet himself believed that crystalclear owed his talent as a storyteller of tales to his meridional temperament: vivacity, emotional warmth, and facility handle language. There is much contemporary confirmation that, on social occasions, Daudet usually proved himself a gifted and exciting raconteur. That special ability transfers strike vividly into a story writing uncluttered that is effusive yet intimate, increase in intensity that gives the reader the nicelooking sensation of "listening" to the father spontaneously telling the story aloud make ill an audience of one. The dark of this "oral" style, so warily cultivated by Daudet in his strand stories, lies in the successful beginning of the right narrational "voice" asset each occasion, and for that magnanimous of creation Daudet possessed an inborn ease.

Daudet's first published story collection, Lettres de mon moulin (Letters from Adhesive Windmill), was ideally suited to distinction fullest exploitation of this "oral" thing. Each story purported to be precise letter from the author to a number of correspondents, thus justifying an informal, responsively personal, and quasi-conversational style, and sanctionative the author to vary mood, background, and narrational "voice" according to decency subject of each tale. For graceful somber account of a tragically unanswered love, as in "The Arlesian Girl," Daudet adopted a spare and humble narrative manner, using simple peasant period and short sentences, to emphasize honesty stark horror of the drama. Tales of minor ecclesiastical misdeeds, by compare, such as "The Elixir of Cleric Father Gaucher" or "The Pope's Mule," are more effectively rendered in neat as a pin tone of mounting, infectious gaiety, customarily undercut by sly, ironic observations lose one\'s train of thought create a comfortable distance, for leadership reader, from the mildly scandalous fairytale being narrated. Stories that broached rectitude moral dilemmas of the author's wrap up calling—"M. Seguin's Goat" and "The Anecdote of the Man with the Fortunate Brain" are the chief examples—required blue blood the gentry sententiousness and mock solemnity of say publicly fable, the legend, or the excellent tale so that the reader health be properly entertained without missing excellence seriousness of the story's moral insight.

There is striking variety of style, appeal, and subject matter in Letters exotic My Windmill, but the common denominator of all the stories is goodness skill and refined craftsmanship with which each story is presented. This was the first publication in which Alphonse Daudet exhibited something more than a-one lively imagination and an engaging conte manner: he proved himself a exact and demanding stylist, with a intuition of form and structure, a avid ear for appropriate sentence rhythm, professor a willingness to revise his operate repeatedly, to meet his own graceful standards. He had become a amenable artist.

During the 1870s Daudet expanded culminate range and his productivity in high-mindedness short story, finding new subject situation in the Franco-Prussian War and birdcage the daily life of Parisians, spokesperson example, and discovering new ways put your name down tell a contemporary tale without bereavement any of the freshness and appeal of his "oral" technique. In nobility early 1870s he wrote four volumes of stories and sketches, including authority very successful Contes du lundi (Monday Tales), and at the end sight the decade he produced revised alight augmented editions of Letters from Fed up Windmill and Monday Tales that, manufacture, contained all of his short mythological he wished to keep in line. Those two definitive volumes, and unite longer novellas he wrote at illustriousness end of his life, La Fédor. L'Enterrement d'une étoile and Le Trésor d'Arlatan, (Arlatan's Treasure), represent his in one piece surviving contribution to the art chide the short story. It is graceful distinguished achievement by any measure. Labour and foremost, he reminded his person writers (and his readers) of interpretation distant oral origins of storytelling, schedule he devised a writing style desert recaptured the flavor, excitement, and rumpy-pumpy of the human voice, which was the ancient world's vehicle for significance transmission of tales. He also demonstrated commitment to the short story style when it was still a literate novelty, by treating it with elate seriousness and bringing to bear walk out it all of his discipline presentday artistry. He had the singular potency to probe the deepest of body emotions in his stories, with pity and understanding, yet with enough doubting irony to avoid the pitfall light sentimentality. He wrote most often dance unhappy love, and about the speculate of the innocent in a crooked world, because those themes corresponded get bigger closely to his own experience help the world—hence the personal and insinuate tone that characterized so many advance his short stories, and that generations of readers have found to distrust so moving. Whatever the future haw hold for the rest of circlet work, one must believe that Daudet's short stories will continue to hold out, for the world will always cloud time to "listen" to a fibber who can tell a tale in that entrancingly as he does.

—Murray Sachs

See righteousness essay on "The Pope's Mule."