jeanflop/post_ocr_correction2 huggingface dataset:
* * * Les quatre-vingts ans de J.-H. Rosny aîné, président de l'Académie Goncourt et président honoraire de la Société des Gens de Lettres de France, ont donné lieu, à l'Hôtel de Massa, à une petite cérémonie, où plusieurs orateurs, MM. Jean Vignaud, Gaston Chérau et Georges Lecomte ont justement célébré le grand écrivain de Nell Horn, de La Guerre du Feu et de tant d'autres livres originaux et forts. La meilleure définition de J.-H. Rosny aîné, c'est peut-être dans un de ses ouvrages : Torches et Lumignons, souvenirs de la vie littéraire, qu'il faut l'aller chercher. Ce rêveur est aussi un grand réaliste. « Tous mes rêves, a-t-il écrit, sont profondément nourris de choses vues et entendues... Je demeure aussi incompréhensible si l'on oublie mon goût extrême pour la métaphysique et pour la science. La science est chez moi une passion poétique; elle m'ouvre par myriades des défilés ou des pertuis dans l'univers; elle ne m'apparaît jamais morte. Ne croyez point, comme on le écrit, que j'aie pour elle une vénération mystique : je la dépasse, je la réforme, je ne me laisse influencer par aucune théorie. Ce sont les possibles de la science qui me saisissent et sont la pâture de mes chimères, comme les faits de l'histoire de la vie quotidienne... » À cette disposition d'esprit nous devons une des œuvres les plus variées de ce temps : d'une part ces extraordinaires romans de merveilleux scientifique qui s'intitulent La Force Mystérieuse, La Mort de la Terre, L’Étonnant Voyage de Hareton Troucastle, L’Enigme de Givreuse, Les Autres Vies, Les Autres Mondes, et puis les romans préhistoriques, Les Xipéhuz, Vamiret, Le Félin Géant, Helgvor du Fleuve Bleu. Ajoutez à cela ces étonnants romans de mœurs : Nell Horn, Le Bilatéral, Marthe Baraquin, tels essais sur Turner ou sur Napoléon, un étonnant ouvrage de science sociale : Les Sciences et le Pluralisme, et vous commencerez d'avoir quelque idée de ce magnifique labeur qui s'étend sur plus d'un demi-siècle. Car il n'est guère de domaine où le vaillant doyen des lettres françaises n'ait porté sa curiosité infatigable. « Mon cerveau ignore
la pâture de mes chimères, comme les faits de l'histoire de la vie quotidienne... » À cette disposition d'esprit nous devons une des œuvres les plus variées de ce temps : d'une part ces extraordinaires romans de merveilleux scientifique qui s'intitulent La Force Mystérieuse, La Mort de la Terre, L’Étonnant Voyage de Hareton Troucastle, L’Enigme de Givreuse, Les Autres Vies, Les Autres Mondes, et puis les romans préhistoriques, Les Xipéhuz, Vamiret, Le Félin Géant, Helgvor du Fleuve Bleu. Ajoutez à cela ces étonnants romans de mœurs : Nell Horn, Le Bilatéral, Marthe Baraquin, tels essais sur Turner ou sur Napoléon, un étonnant ouvrage de science sociale : Les Sciences et le Pluralisme, et vous commencerez d'avoir quelque idée de ce magnifique labeur qui s'étend sur plus d'un demi-siècle. Car il n'est guère de domaine où le vaillant doyen des lettres françaises n'ait porté sa curiosité infatigable. « Mon cerveau ignore presque la lassitude, a-t-il avoué un jour. Je puis travailler indéfiniment. et j'ai aussi une énergie lente, que rien ne décourage ». Surprenant aveu, qui explique l'importance du monument élevé de ses mains et aussi qu'à quatre-vingts ans passés, sa production demeure aussi régulière qu'au temps de sa belle jeunesse. Aussi régulière et non moins remarquable, si l'on veut bien se rappeler qu'un de ses livres les plus récents : Les Compagnons de l’Univers (Mercure de France, éditeur), paru en 1931, doit être mis au rang de ses créations les plus achevées. * * * Le dernier roman de M. Pierre Benoit, La Dame de l'Ouest (Editions Michel, éditeur) apportera aux nombreux lecteurs du célèbre écrivain tout le plaisir que, sur la foi de son beau titre, ils s'en pouvaient logiquement promettre. Le créateur d'Intimée, d'Axelle et de maintes autres figures de femmes au charme mystérieusement fatal, a conservé tout son pouvoir de suggestion et son art souverain de conteur. L'anecdote se déroule cette fois, en Amérique, dans le cadre des Montagnes Rocheuses et du Colorado. à l'époque où, dans les États de l'Union, les premiers revolvers Colt furent mis en service ». Vous y trouverez une fable combinée de
Aussi régulière et non moins remarquable, si l'on veut bien se rappeler qu'un de ses livres les plus récents : Les Compagnons de l’Univers (Mercure de France, éditeur), paru en 1931, doit être mis au rang de ses créations les plus achevées. * * * Le dernier roman de M. Pierre Benoit, La Dame de l'Ouest (Editions Michel, éditeur) apportera aux nombreux lecteurs du célèbre écrivain tout le plaisir que, sur la foi de son beau titre, ils s'en pouvaient logiquement promettre. Le créateur d'Intimée, d'Axelle et de maintes autres figures de femmes au charme mystérieusement fatal, a conservé tout son pouvoir de suggestion et son art souverain de conteur. L'anecdote se déroule cette fois, en Amérique, dans le cadre des Montagnes Rocheuses et du Colorado. à l'époque où, dans les États de l'Union, les premiers revolvers Colt furent mis en service ». Vous y trouverez une fable combinée de façon si habile que votre attention, jusqu'à la dernière page, sera tenue en suspens. Vous y ferez connaissance avec des Indiens, des éleveurs de chevaux, des paysages inquiétants et attirants tout à la fois. La belle Ariane, l'héroïne du livre, appelle invinciblement l'amour et le malheur, deux termes qui, dans l'esprit et dans l'œuvre de M. Pierre Benoit, semblent toujours accolés par on ne sait quel sortilège accablant. Car à un humour constamment sous-jacent, au don d'accrocher le public par une intrigue qui le tient sans cesse en haleine, cet auteur joint un sens tragique de la destinée qui confère à ses livres une résonance supérieure et la marque même de la qualité. * * * La Bibliothèque de la Pléiade (X. R. F., éditeur) vient de publier avec L’Œuvre de Pascal son trente-quatrième volume. Tout a été dit sur cette collection unique qui restera la grande collection classique du XXe siècle. Le trente-troisième volume comprenait une édition complète des Oraisons Funèbres et des Panégyriques de Bossuet. Le cinquième tome de La Comédie Humaine, de Balzac l'avait devancé. A relire les grands écrivains français dans ces volumes d'une élégance discrète et raffinée, on a le sentiment de les découvrir une
l'esprit et dans l'œuvre de M. Pierre Benoit, semblent toujours accolés par on ne sait quel sortilège accablant. Car à un humour constamment sous-jacent, au don d'accrocher le public par une intrigue qui le tient sans cesse en haleine, cet auteur joint un sens tragique de la destinée qui confère à ses livres une résonance supérieure et la marque même de la qualité. * * * La Bibliothèque de la Pléiade (X. R. F., éditeur) vient de publier avec L’Œuvre de Pascal son trente-quatrième volume. Tout a été dit sur cette collection unique qui restera la grande collection classique du XXe siècle. Le trente-troisième volume comprenait une édition complète des Oraisons Funèbres et des Panégyriques de Bossuet. Le cinquième tome de La Comédie Humaine, de Balzac l'avait devancé. A relire les grands écrivains français dans ces volumes d'une élégance discrète et raffinée, on a le sentiment de les découvrir une seconde fois. YVES GADOL. Lie was the great painter who was the forerunner of modern schools. In this exposition, being held at the Petit Palais, it is interesting to study the evolution of a century of art. Because — we are convinced — there is a definite relation between Gros and Manet. As not Thomas Couture, the pupil of one and the master of the other? The exposition, like its title, is divided into three sections: first, the works of the master; secondly, those of his friends; and finally, those of his disciples and admirers. Gros was the faithful — perhaps too faithful to himself — disciple of David, whose works are exhibited in a place of honor: “Marat Assassinated”, “La Marachère,” “The Three Ladies of Ghent,” “Cupid and Psyche,” “Outline of the Head of Napoléon,” and also “The Sadness of Andromaque,” which figured in the salon of 1783 and stimulated Gros, then 12 years old, to choose David as professor. We must also mention the works of Mme. Vigée-LeBrun; she was with the mother of the artist and Joséphine one of “the three good fairies” of Gros. She it was who first placed a pencil in his hand when
and Manet. As not Thomas Couture, the pupil of one and the master of the other? The exposition, like its title, is divided into three sections: first, the works of the master; secondly, those of his friends; and finally, those of his disciples and admirers. Gros was the faithful — perhaps too faithful to himself — disciple of David, whose works are exhibited in a place of honor: “Marat Assassinated”, “La Marachère,” “The Three Ladies of Ghent,” “Cupid and Psyche,” “Outline of the Head of Napoléon,” and also “The Sadness of Andromaque,” which figured in the salon of 1783 and stimulated Gros, then 12 years old, to choose David as professor. We must also mention the works of Mme. Vigée-LeBrun; she was with the mother of the artist and Joséphine one of “the three good fairies” of Gros. She it was who first placed a pencil in his hand when he was only a child and urged him to draw. We see, once again, the famous portrait of Mme. Vigée-LeBrun with her daughter; also that of Madame Adelaide of France, daughter of Louis XV, and “The Marquise de La Guiche.” Nor should we forget the sketches of Gros the child. Baron Gérard, studio comrade of Gros, (they quarreled later, alas!) is represented in vital fashion; also Girodet, Guérin, Baron Régnault... Then, in the rooms consecrated to Gros, we see the development of his talent, the importance of which our generation has not yet realized. Gros, painter of action, of heroism, has depicted with remarkable power the grandiose manifestations of the Napoleonic epopee: “Bonaparte at the Arcole Bridge,” “Bonaparte Before the Pyramids,” “Bonaparte Visiting the Pest-stricken of Jaffa,” the “Battle of Aboukir,” of Eylau, of Wagram, “The Surrender of Madrid,” to mention only a few. This at times brutal evocation of history, of that intense military life which characterized the Napoleonic armies, is perhaps beyond us. After all, what a change has been effected in our thinking, as regards war, during the past century! Above. — Baron Gros, the Battlefield of Eylau. Below. — Baron Gros, portrait of his nephew, the
Baron Gérard, studio comrade of Gros, (they quarreled later, alas!) is represented in vital fashion; also Girodet, Guérin, Baron Régnault... Then, in the rooms consecrated to Gros, we see the development of his talent, the importance of which our generation has not yet realized. Gros, painter of action, of heroism, has depicted with remarkable power the grandiose manifestations of the Napoleonic epopee: “Bonaparte at the Arcole Bridge,” “Bonaparte Before the Pyramids,” “Bonaparte Visiting the Pest-stricken of Jaffa,” the “Battle of Aboukir,” of Eylau, of Wagram, “The Surrender of Madrid,” to mention only a few. This at times brutal evocation of history, of that intense military life which characterized the Napoleonic armies, is perhaps beyond us. After all, what a change has been effected in our thinking, as regards war, during the past century! Above. — Baron Gros, the Battlefield of Eylau. Below. — Baron Gros, portrait of his nephew, the young Jacques Amarie. But, we must be grateful to Gros for the power and the nobility with which he visualized these formidable subjects. In addition, we find many portraits, all of them of first rank, such as those of Gérard, of Gros’ father, of Mme. Recamier, of Mme. Dufesne, of Prince Youssoupov, of Mme. Poussielgue, of Comtesse de Lasalle, and of the artist himself... Let us call attention to “The Departure of Louis XVIII from the Tuileries in 1815,” This work is very little known and yet inspires a lively interest: also his canvas “Acis and Galathea” which was exposed in the salon of 1835: it was criticized with brutality. The moral and temperament wounds thus inflicted created a hypersensitivity within the artist, and perhaps provoked the sad act which ended his days. The “chain” begun by David, of which Gros was the second link, continues gloriously with Géricault, Delacroix, Bonington, Henri Monier, Barye, Charlet, Raffet, Thomas Couture, Paul Delaroche... of diverse talents. Géricault and Delacroix were not, in reality, pupils of Gros but they frequented his studio so often, they had a great admiration for him, and Gros gave his protection to both of them. Indeed, it was Gros
Prince Youssoupov, of Mme. Poussielgue, of Comtesse de Lasalle, and of the artist himself... Let us call attention to “The Departure of Louis XVIII from the Tuileries in 1815,” This work is very little known and yet inspires a lively interest: also his canvas “Acis and Galathea” which was exposed in the salon of 1835: it was criticized with brutality. The moral and temperament wounds thus inflicted created a hypersensitivity within the artist, and perhaps provoked the sad act which ended his days. The “chain” begun by David, of which Gros was the second link, continues gloriously with Géricault, Delacroix, Bonington, Henri Monier, Barye, Charlet, Raffet, Thomas Couture, Paul Delaroche... of diverse talents. Géricault and Delacroix were not, in reality, pupils of Gros but they frequented his studio so often, they had a great admiration for him, and Gros gave his protection to both of them. Indeed, it was Gros who caused the first painting of Delacroix to be received at the salon of 1822 — “Dante and Virgil” he even had it framed at his own expense. As to Delacroix, he devoted to the great painter of the Napoleonic epopee a remarkable study in his literary works. In addition, the exposition includes autographs, sketches, miniatures, and relics of Gros; also furniture, sculpture, uniforms, and arms of the Napoleonic epoch. They all give a genuine vitality to this remarkable exposition, where the history and the art of the French people are joined in a glorious rhythm. Magdeleine A-Dayot. I. Mr. Serge Rovinsky, Russian painter. — 2. Mrs. E. Korngold, Mr. E. Korngold, Master G. W. Korngold, and Prof. E. W. Korngold, Austrian composer. — 3. Mr. Fritz Reiner, and Mr. S. Barber, composer, and American prix de Rome. — 4. Mrs. Jay Allen, American lecturer. — 5. Mr. and Mrs. Patrick Knowles, well-known English authors. — 6. Mme Anatole Le Braz, wife of the great Breton poet; Mme Robert Le Braz, her daughter-in-law, Mesdemoiselles Monique, Anne-Marie and Marie-Anne Bouchage-Le Braz. — 7. Sir Alfred Zimmern, Oxford university professor. — 8. Mr. F. Fabiano, well-known painter. — 9. Mr. Maurice Dekobra,
the exposition includes autographs, sketches, miniatures, and relics of Gros; also furniture, sculpture, uniforms, and arms of the Napoleonic epoch. They all give a genuine vitality to this remarkable exposition, where the history and the art of the French people are joined in a glorious rhythm. Magdeleine A-Dayot. I. Mr. Serge Rovinsky, Russian painter. — 2. Mrs. E. Korngold, Mr. E. Korngold, Master G. W. Korngold, and Prof. E. W. Korngold, Austrian composer. — 3. Mr. Fritz Reiner, and Mr. S. Barber, composer, and American prix de Rome. — 4. Mrs. Jay Allen, American lecturer. — 5. Mr. and Mrs. Patrick Knowles, well-known English authors. — 6. Mme Anatole Le Braz, wife of the great Breton poet; Mme Robert Le Braz, her daughter-in-law, Mesdemoiselles Monique, Anne-Marie and Marie-Anne Bouchage-Le Braz. — 7. Sir Alfred Zimmern, Oxford university professor. — 8. Mr. F. Fabiano, well-known painter. — 9. Mr. Maurice Dekobra, French novelist. — 10. Mr. Jean Giraudoux, celebrated writer and dramatist; Mr. Henri Job, of the French diplomatic service. — 11. Left to Right, Viscount B. de Pontavice de Heussey, Mr. Jo Davidson, sculptor, Countess du Bourg de Bozas. — 12. Left to Right: Mme Arturo Toscanini, Mr. Arturo Toscanini, Mme Eleonora van Jeszensky. As for the tourist who so frequently fails to see bits of customs in visiting endless art galleries, we can only urge her to taste “French cooking in the raw”, The moment to visit the great black shed for the first time is at four or five o'clock in the morning — a very possible feat, providing one of those subtle contrasts which life offers to him who can read. Every tourist goes at least once to the midnight cabarets of Montmartre, and after leaving the overburdened atmosphere of this street of pleasure early in the morning, casting behind one the rooms blue with smoke, the empty champagne bottles, the din of jazz, and shaking from one’s shoulder the last flakes of confetti, one passes through the deserted silent streets, and arrives in a quarter of an hour in the heart of France. Here one has
Mme Eleonora van Jeszensky. As for the tourist who so frequently fails to see bits of customs in visiting endless art galleries, we can only urge her to taste “French cooking in the raw”, The moment to visit the great black shed for the first time is at four or five o'clock in the morning — a very possible feat, providing one of those subtle contrasts which life offers to him who can read. Every tourist goes at least once to the midnight cabarets of Montmartre, and after leaving the overburdened atmosphere of this street of pleasure early in the morning, casting behind one the rooms blue with smoke, the empty champagne bottles, the din of jazz, and shaking from one’s shoulder the last flakes of confetti, one passes through the deserted silent streets, and arrives in a quarter of an hour in the heart of France. Here one has exchanged the wine for the original type: the freshness of the morning air after the smoke, the cries of the farmers unloading their trucks, instead of shrieking saxophones, and the fragrance of the edibles fresh from the soil. will give you a wholesome sense of another side of the life of this great city. Before you leave, to go to bed as the workers of Paris are arising, you will probably see the Wholesale flower market open, and the men, women, and girls who have tiny kiosks or wheelbarrows or simply baskets in all parts of the city arrive to purchase the quantities of lovely blooms, lilies-of-the-valley, daffodils, tulips of many colors, which they will later sell in tiny bouquets for from fifty centimes upwards. When you visit the Riles again in daylight, you will find certainly that the mystery and charm lent by uncertain lights and shadows have departed, for there is nothing beautiful about the great sheds themselves. But the endless booths of foodstuffs, chickens and rabbits freshly killed, vegetables just gathered, fish caught at the shore overnight, are their own reward for your interest. And if, on the Left Bank particularly, you can find a half-hour in
of this great city. Before you leave, to go to bed as the workers of Paris are arising, you will probably see the Wholesale flower market open, and the men, women, and girls who have tiny kiosks or wheelbarrows or simply baskets in all parts of the city arrive to purchase the quantities of lovely blooms, lilies-of-the-valley, daffodils, tulips of many colors, which they will later sell in tiny bouquets for from fifty centimes upwards. When you visit the Riles again in daylight, you will find certainly that the mystery and charm lent by uncertain lights and shadows have departed, for there is nothing beautiful about the great sheds themselves. But the endless booths of foodstuffs, chickens and rabbits freshly killed, vegetables just gathered, fish caught at the shore overnight, are their own reward for your interest. And if, on the Left Bank particularly, you can find a half-hour in which to visit one of the smaller open markets such as is held on the Boulevard Raspail or the Boulevard Edgar-Quinet two mornings each week, you will find, I am sure, a reassurance in the sight of those busy housewives, basket in hand, who so thriftily purchase, and so patiently carry home, loads under which our backs would ache. From where does all this produce come? There is no province of France which does not send here its specialty to the great metropolis, to supply the wants of the millions resident there, and to feed the stranger within and around the old “Portes” still so impressive as they arise unexpectedly in busy streets. If you have toured through the beautiful rural sections of the country, at all, your mental pictures will be the richer as you see red potatoes, fresh young carrots, and green peas, spring lamb, juicy beef, or pig’s heads. All the myriad products of the rich provinces of Brittany, of Normandy, of Picardy are there. You will vision again, perhaps, the fishing boats coming into Boulogne at daybreak with their heavy cargoes, which you can purchase here more cheaply than at the dock of the seaport, for
carry home, loads under which our backs would ache. From where does all this produce come? There is no province of France which does not send here its specialty to the great metropolis, to supply the wants of the millions resident there, and to feed the stranger within and around the old “Portes” still so impressive as they arise unexpectedly in busy streets. If you have toured through the beautiful rural sections of the country, at all, your mental pictures will be the richer as you see red potatoes, fresh young carrots, and green peas, spring lamb, juicy beef, or pig’s heads. All the myriad products of the rich provinces of Brittany, of Normandy, of Picardy are there. You will vision again, perhaps, the fishing boats coming into Boulogne at daybreak with their heavy cargoes, which you can purchase here more cheaply than at the dock of the seaport, for the fishermen prefer to sell to the steady market which the metropolis offers. The appetizing odors of Camembert, Brie, and Neufchâtel, as of the homelier white cheese, Gruyère, and Cantal, will recall pleasant dairy scenes among the distant green fields. And if the French fruit cannot always compare with the luscious specimens for which the varying climates of the United States are responsible, still the mounds of yellow lemons, golden tangerines and tawny oranges from the région of the Côte d’Azur do their best to uphold the nation’s reputation. Not that you need feel you are losing an opportunity to learn your daily lesson in Parisian history by taking this occasion to visit a popular institution, for fact and fiction are mingled in the legends that group around the Halles and their neighboring streets — ten centuries have been busy in this quarter, and the folk lore is that much richer for them. They say, for example, that originally the markets were “Les Ailes” without an H for everyone “Y allait”, that is, went there. But since even in the year 1000 there were some covered stalls, that is undoubtedly one of the fictions. That year 1000, by the way,