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Buies particularly loved the French tongue. In Canada he wished to see it freed from the dangerous contributions of Anglicism.

He wrote a pamphlet entitled Anglicismes et Canadianismes , in which he indicated many new words deserving proscription. He is one of those who have most skilfully used the French language in Canada. His chroniques are composed of the impressions of each day, the reflections suggested by events, the judgments dictated by his wit and his sympathetic nature; in them are mirrored all the spectacles of daily life, and they contain some of the finest pages in the literature of French Canada.

With less vivacity, but also with wit, Napoleon Legendre and Hector Fabre wrote newspaper chroniques on all the subjects of the day. Alphonse Lusignan , who, at the outset of his career, was responsible for some very fiery journalism, left a volume of chroniques entitled Coups d'oeil et coups de plume, which was much relished by readers. Oscar Dunn collected his reminiscences and his principal journalistic writings in Dix ans de Journalisme and Lectures pour tous These are in turn rustic, moral, patriotic, scholarly and literary in their tone and colour.

Criticism was the last branch of literature to make its appearance, although in the chronique and newspaper article it had long been in evidence. But these were only isolated efforts. Of recent years French-Canadian literature is developing most abundantly, and literary criticism watches over the productions of the writers more assiduously, and especially with more method.

Such is French-Canadian literature, viewed as a whole and in the persons of some of its best representatives. Intellectual masterpieces, it is true, are rare. We cannot demand of literatures in their infancy such works as can be the glory of old literatures alone. Nevertheless, French-Canadian writers have produced, in almost every branch except the drama, works that do honour to the spirit that conceived them, and that may still be read with profit.

The literature that we have been describing is chiefly notable for its method and clearness, and for the enthusiasm for ideas and the delicacy of feeling that are qualities of the French mind.

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Sometimes a little heavy, it goes on unburdening itself, freeing itself from cumbersome forms, and perfecting itself in proportion as the writers and their readers are able to devote themselves more and more to intellectual culture. French-Canadian literature is eminently moral. It bears the stamp of the Christian spirit in which its works are conceived.

He manages to meet her, and they resume their love affair in secret, but after a while, that is not enough for him. Oriante helps him to return among the Christian knights. They beat him so brutally that he dies shortly afterwards. Guillaume is all passion and irrational desire, while Oriante displays cool, realistic reasoning. Que dois-je faire? Similarly, the encounters between Guillaume and the sultan of Damascus are depicted as an encounter between enraged passion and economic Realpolitik If brutality is said to be a domain of the Orient, here, the Christians are the real Orientals: After the fall of Qalaat, the crusaders massacre the people.

Even before, they act as barbarians, as they vow to let only those of the inhabitants leave the besieged citadel, that hand over their women. Guillaume, too, exhibits un-Christian cruelty. At the beginning of the siege, he advises to abandon the people that have sought shelter in the city beneath the fortress, and even to take their provisions, reducing them to misery, whereas the emir feels his responsibility towards his subjects as any good Christian prince should do.

She serves as his companion, and later she functions as messenger between the lovers and as their mutual confidante. She is called Isabelle of all names — like the Spanish queen that oversaw the expulsion of the last Arabs from the Iberian Peninsula, baffling east-western correlations. Thus, actually, Guillaume does not need Oriante, that Orient made woman, to lose his rationality: As an adept of Tristan, he never had it, and it seems as if Europe were but another Asia. Right at the beginning of the novel, Guillaume confesses that, at the instigation of his mother, he has come to the Orient to find an angel Guillaume sticks with this closed cognitive circuit until the very end.

His last wish is to hear the enchanting sound of her voice, but not her thoughts In other words, the West is interested in the colourful melody; it is not interested in communication with the East. Could there be a more emblematic definition of Orientalism? They meet in a moment that crucially casts doubt on European self-conception: the beginning of the First World War. So they set out to buy antiquities, obviously in the hope to find a connecting factor.

A Jewish merchant, who seems to be specialized in European customers, readily presents the goods to satisfy them: Roman busts and coins — and an Arabian manuscript, containing the crusader story. The vertiginous series of endless mirror reflections points in the same direction. It is linked to purity and hybridity: Spain is fascinating because it has incorporated the Eastern promises of emotionality.

And the bastions of the East are great because they keep the East out. The East is dangerous disease and source of knowledge, as the feverish lagoon of Venice, Germany and Wagner exemplify, all three having ambivalent values.

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Gift worthy!. First American Edition. New York: Houghton Mifflin Company First American edition.

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Very good in a very good unclipped jacket. Light edge wear with prior owner's name and date on the front free endpaper. Jacket lightly sunned at the spine and panels with light edge wear. Book Good. No dust jacket. Fournier was a participant in the rich French cultural scene just before the first world war. Very Good Plus: light mark on front cover. Includes The Heritage Club Sandglass book review booklet.

In silver slipcase--worn at edges. Ships same or next business day. Translated from the French by Francoise Delisle. Introduction by Henri Peyre. Very Good Plus. Book protected in archival plastic cover. Book Acceptable. Owner's name on front endpage. Gifter's inscription on front endpage. First U. A nice square copy with minimal edge wear and very slight darkening of the page ends.

Previous owner's name and date written on the front free endpaper.

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Dust jacket is price clipped. Slight chipping at the corners and spine ends; very slight soiling. Very good hard cover in board slip case. Slip case a bit worn on edges and corners. The Book House - St. Heritage Press. Book has slight slant to the right. DJ is in very poor condition and is missing several large pieces but is now in a protective mylar wrap. Pages are mildly tanned. First US edition.

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Limited Editions Club. Number of copies printed. Signed by the illustrator Dignimont.

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Woven cloth cover fine copy in very good publisher's slipcase. Green cloth with orange lettering. Gutter cracked lettering on cloth rubbed and worn thus good only lacking the dustwrapper. Author's first and only novel made into film in and again in starring Jean-Baptiste Maunier. Between the Covers- Rare Books, Inc. DJ is a total disaster-damp stained on back missing large pieces on front and spine foxed on flaps and browned.