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Daudet, Alphonse

Died: 16 December Lettres de mon moulin. Impressions et souvenirs. Robert Helmont. Contes du lundi. Brown, ; as Monday Tales bilingual edition , Les Femmes d'artistes. La Belle-Nivernaise. Le Petit Chose.


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Histoire d'un enfant. Aventures prodigieuses de Tartarin de Tarascon. Roman parisien.

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Moeurs parisiennes. Tartarin sur les Alpes. L'Obstacle produced , with music by Reynaldo Hahn. Les Amoureuses. Souvenirs d'un homme de lettres. Trente ans de Paris. A travers ma vie et mes livres memoirs. Premier Voyage, Premier Mensonge. Souvenirs de mon enfance memoirs , illustrated by Bigot-Valentin. La Doulou.


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Translator, Vie d'enfant by Batisto Bonnet. Translator, with others, Valet de ferme. Daudet biography by Robert H.

Page:Men of the Time, eleventh unhesiconstran.cf - Wikisource, the free online library

For 40 years Alphonse Daudet was an active, and highly successful, man of letters, busily publishing poems, plays, novels, short stories, and memoirs—20 volumes' worth, in the most complete edition of his works—for which he earned a major worldwide reputation. A century later that major reputation is in sharp decline, even in France, where most of his works are no longer read, or in print; his place in French literary history, though far from negligible, is yet among those of the second rank. In addition to two or three still-popular novels, only a select handful of his nearly one hundred short stories are "alive" today, having been kept steadily in print since they first appeared.

But those stories are so well known, and so widely read, in France and elsewhere, that they have attained the status of classics in the genre and are regularly studied in the schools.

As a short story writer, Daudet is still a major figure. It is an irony that would not have been lost on Daudet himself that it is only in a "minor" genre that posterity now recognizes him as a major figure. It must be added, however, that Daudet himself never considered the short story a "minor" genre. It was his genre of choice, in which he had learned his craft, and which he had gladly practiced, in some form, throughout his career, from first to last.

There is, indeed, symbolic significance in the fact that his last publication was a short story. More telling still is the evidence that a "short story mindset" pervades all his work: his poems often tell a story, his plays can be seen as dramatized anecdotes, and critics have regularly noted that his novels are either episodic in structure, or have so many detachable subplots that they resemble ingeniously disguised short story collections.

Storytelling was indeed second nature to Daudet, and he understood full well that it was the indispensable foundation of his literary calling. Daudet himself believed that he owed his talent as a teller of tales to his meridional temperament: vivacity, emotional warmth, and facility with language. There is much contemporary testimony that, on social occasions, Daudet often proved himself a gifted and spellbinding raconteur. That special ability transfers itself vividly into a story writing style that is effusive yet intimate, and that gives the reader the pleasing sensation of "listening" to the author spontaneously telling the story aloud to an audience of one.