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Romantic provocateur, flamboyant bohemian, precocious novelist, perfect poet—not to mention an inexhaustible journalist, critic, and man-about-town—Théophile Gautier is one of the major figures, and great characters, of French literature. In My Fantoms Richard Holmes, the celebrated biographer of Shelley and Coleridge, has found a brilliantly effective new way to bring this great bu too-little-known writer into English. My Fantoms assembles seven stories spanning the whole of Gautier’s career into a unified work that captures the essence of his adventurous life and subtle art. From the erotic awakening of “The Adolescent” through “The Poet,” a piercing recollection of the mad genius Gérard de Nerval, the great friend of Gautier’s youth, My Fantoms celebrates the senses and illuminates the strange disguises of the spirit, while taking readers on a tour of modernity at its most mysterious. ”What ever would the Devil find to do in Paris?” Gautier wonders. “He would meet people just as diabolical as he, and find himself taken for some naïve provincial…” Tapestries, statues, and corpses come to life; young men dream their way into ruin; and Gautier keeps his faith in the power of imagination: “No one is truly dead, until they are no longer loved.”
'Selected Lyrics' presents a short list of nineteenth-century French poets to be studied with Théophile Gautier.
A creative innovator who boldly traversed traditional boundaries separating different genres and schools, French poet Theophile Gautier was extremely influential, playing a role in shaping the styles of poets from T. S. Elliot to Ezra Pound. In this, his most acclaimed collection of verse, Gautier offers his philosophical ponderings and lyrical musings.
Among the earliest artistic accounts of the hallucinogenic experience in European literature, the four pieces in this volume document Gautier and Baudelaire's own involvement in the Club of Assassins, who met under the auspices of Dr Moreau to investigate the psychological and mind-enhancing effects of hashish, wine and opium. As well as providing an absorbing of nineteenth-century drug use, Hashish, Wine, Opium captures the spirit of French Romanticism, in its struggle to free the mind from the shackles of the humdrum and the conventional, and serves as a fascinating prologue to the psychedelic literature of the following centuries.
First published in 1836, Th�ophile Gautier's 'The Dead Woman in Love' is a supernatural tale, recounting the life of the priest named Romuald who falls in love with the beautiful and enigmatic Clarimonde, who the reader later learns to be a vampire. At the beginning of the tale, Romuald is asked whether he has ever loved and to which he responds, "yes." On the day of his Ordination, when he was a young man, he sees a beautiful woman whose hypnotic voice promises to love him and to make him happier than he would be in heaven. Torn between his amorous attraction to her and his Christian beliefs, he finishes the ceremony despite her appeals. However, he is captured by her beauty and he is taken away from his life as a priest to live in Venice with the alluring vampire, who subsists by drinking his blood while he sleeps.
This lively, accessible book is the first to explore Victorian literature through scent and perfume, presenting an extensive range of well-known and unfamiliar texts in intriguing and imaginative new ways that make us re-think literature's relation with the senses. Concentrating on aesthetic and decadent authors, Scents and Sensibility introduces a rich selection of poems, essays, and fiction, exploring these texts with reference to both the little-known cultural history of perfume use and the appreciation of natural fragrance in Victorian Britain. It shows how scent and perfume are used to convey not merely moods and atmospheres but the nuances of the aesthete or decadent's carefully cultivated identity, personality, or sensibility. A key theme is the emergence of the olfactif, the cultivated individual with a refined sense of smell, influentially represented by the poet and critic Algernon Charles Swinburne, who is emulated by a host of canonical and less well-known aesthetic and decadent successors such as Walter Pater, Edmund Gosse, John Addington Symonds, Lafcadio Hearn, Michael Field, Oscar Wilde, Arthur Symons, Mark André Raffalovich, Theodore Wratislaw, and A. Mary F. Robinson. This book explores how scent and perfume pervade the work of these authors in many different ways, signifying such diverse things as style, atmosphere, influence, sexuality, sensibility, spirituality, refinement, individuality, the expression of love and poetic creativity, and the aura of personality, dandyism, modernity, and memory. A coda explores the contrasting twentieth-century responses of Virginia Woolf and Compton Mackenzie to the scent of Victorian literature.