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Jules Lazare.

Gems of modern French poetry for reading and recitation, comp. and ed. with introductory remarks on the principles of French versification, short biographical notices, and a fulll phraseological French-English vocabulary in the order of the text online

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Online LibraryJules LazareGems of modern French poetry for reading and recitation, comp. and ed. with introductory remarks on the principles of French versification, short biographical notices, and a fulll phraseological French-English vocabulary in the order of the text → online text (page 1 of 10)
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IDLES LAZARE



HACHETTE AND COMPANY

Publishers anb Jr ordgn gaokztlltre,
LONDON : 18, KING WILLIAM STREET, CHARING CROSS.



HACHETTE'S SERIES OF MODERN FRENCH AUTHORS,

Annotated and Edited by eminent French Professors.

( The Editors' Names, art placed in Parenthesis.)



s. d.
About. Contes choisis, etc. (Brette,

Masson and Testard) - -20
About. La Fille du Chanoine.

(Testard) - - - - - o 10

About, L'homme a 1'Oreille cassee.

(Testard) 26

About. Recits et Nouvelles.

(Huguenet) - - - -20

About. Le Roi des Montagnes.

(Testard) 20

Vocabulary (separately) -06
Aubig-ne. Hi^toirede Bayart. (Bue') 2 o
Augier et Sandeau. Le Gendre

de M. Poirier. (Petilleau) - -20
Balzac. Eugenie Grandet. (Petilleau) 2 o
Bernardin de St. Pierre. Paul et

Virginie. (Dubourg) o 10
Bonnechose. BertrandduGuesclin.

(Ludwig) 20

Bonnechose. Lazare Hoche. (Bu) i 6
Chateaubriand. A ventures du der-
nier AbenceYage (Roulier) - o 10
Claretie, J. Pierrille. (Naftel) - 2 o
Daudet, A. Le Petit Chose. Parti.:
Le Petit Chose en Province.
(Petilleau) .... 2 o

Daudet, A. LePetitChose. Partll. :
Le Petit Chose a Paris. (Petil-
leau). In preparation -20
Dumas. Un Drame de la Mer.

(Clapin) - - . . - o 10
'Dumas. L'Exploit du Chevalier

d'Artagnan. (Berthon) - -20

The Same, Part I (Chapters

i to 13) separately. (lierthon) i 6

Exercises for re-translation
based on the First Part of ' ], K\-
ploit du Chevalier d'Artagnan ' - o 8

Dumas. La Tulipe Noire. (Blouet) i 6
Vocabulary to ' La Tulipe Noire "06
Enault. Le Chien du Capitaine.

(H..Bue) - - . x 6

Feuillet. Roman d'un jeune homme

pauvre. (H. Bue) - - -36
Feval, P. Chouans et Bleus.

(Ludwig) - . - - -20
*Genin. Le IVtit Tailleur Bouton.

(Attwell.) o 10

Guizot. Alfred le Grand. (Lallemand) 2 6
Guizot. Edouard III. (Clapin) - i 6
Guizot. Guillaume le Conque'rant.

(Uubourg) 20

Guizot. Recits Historiques. Vol. I.

(Clapin) ,6



d.



Guizot. Recits Historiques. Vol.

II. (Naftel) - - . . i 6

Halevy. L'Abbe Constantin. (Pe-

tilleau) ..... 36
Vocabulary to ' L' Abb Constantin ' o 6

Lacombe. Petite HistoireduPeuple

Fran9ais. (Bu) - - -20

'Lamartine. La Bataille de Tra-

falgar. (Clapin) - - - - o 10
Lamartine. Christophe Colomb.

(Clapin) ..... i 6
Lamartine. Jeanne d'Arc. (Oger) i 6

*Lamartine. Le Tailleur de Pierres

de Saint-Point. (Barlet) i 6

Mace. Contes du Petit Chateau.

Ire Serie. (Barlet) - - - i o
Mace. Contes du Petit Chateau.

2* Serie. (Barlet) - - - i o
*Mace, Contes du Petit Chateau.

3 Serie. (Barlet) - - - i o
Maistre.X. de La Jeune SiWrienne;

Le Lupreux de la Cite 1 d'Aoste.

(V. Kitstner) - - - - i 6

- Vocabulary to same - -06
Maistre, X, de. Les Prisonniers

du Caucase. (J. Spiers) - - o 10
Maistre, X. de. Un Voyage autour

de ma Chambre. (Bue) - - o 10
"Malot. Capi et sa Troupe. Episode

de "Sans Famille." (F. Tarver) i 6
'Malot. L'lle Deserte. (Naftel) i 6
Malot. Renii et ses Amis. Episode

de "Sans Famille." (Rey) i 6

- Exercises for re-translation
based on ' Remi et ses Amis ' o 8



'Malot. Remi en Angleterre. (Naftel) i
- Exercises for re-translation

n ' Remi en Angleterre - o
Malot. Sous Terre. Episode de

" Sans Famille " (Dupuis) - i
Malot. Sur Mer. (Testard) - - i
Marmier. I-e Protege de Marie-

.tie. (Helfond) - 2
*Merimee. Chronique du Regne de

Charles IX. (key)
Merimee. Culomba. (Brette) 2
Vocabulary to " Colomba " - - o
Michaud. Ilistoire de la Premiere

Croisade (Naftel) - - -2
Michelet. Louis XI et Charles le

Tdmeraire. (l).i\i>) - - - 2
Michelet. Remits d'Histoire de
France. (Esclangon). Part I. j



The Volumes indicated by Asterisks (') have French-English Vocabularies appended.
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Hachette's Modern French Authors. Continued.

(The Editor's Names are placed in Parenthesis.)



Michelet. Recits d'Histoire de

France. (Esclangon). Part II. - 2 o
Musset. Croisilles. (Masson et

H. Tarver) o 10

*Musset. Histoire d'un Merle blanc.

(Delhave) o 10

Musset. Pierre et Camille. (Masson

et H. Tarver) - - - - o 10
Musset. Selections. (Masson) - 2 o
*Ohnet, G. Le Chant du Cygne.

(Testard) 20

Ponsard. Charlotte Corday.(Davis) 2 o
Ponsard. Le Lion Amoureux.

(De Candole) - - - -20

Pressense. Rosa. (Masson) - -20

Quinet. Lettres a sa Mere. (Kastner) 2 o

*Richebourg. Deux Amis. (Julien) o 10

'Rousset. Alma et Balaclava.

(Huguenet) o 10

*Rousset. La Batailled'Inkermann.

(L. Sers) - - - - o 10

Saint-Germain. Pour une Epingle.

(Kastner) 20

Saintine. Picciola. (Baume) - i 6

Vocabulary to "Picciola" o 6

Sand. La Mare au Diable. (Davis) i 6
Sardou. Perle Noire. (Lamart) - i 6
Scribe. Bertrand et Raton (Bue) - i 6
Souvestre. Au Coin dii Feu.

(Lallemand) - - - - i 6
Souvestre. Un Philosophe sous les
Toils (J. Bue) - - . - i 6

Vocabulary to same - -06

*Souvestre. Une Philosophe sous les

Toits. (H. Attwell) - - - i 6



Souvestre. Le Serf. (Davis) - o 10

Souvestre. Le Chevrier de Lor-
raine. (Davis) - - - - o 10

"Souvestre. Le Serf. Le Chevrier

de Lorraine (in one vol.) i 6

The Vocabulary to '' Le Serf"

and " Le Chevrier de Lorraine,'
separately - - - - -06

Stael, Mme de. Le Directoire.
(Oger) ... . i 6

Key to a Series of Examina-
tion Papers on " Directoire."
(Oger) i 6

Theuriet. Les Enchantements de
la Foret. (Lallemand) - - 2 6

Thierry, Aug. Remits des Temps

Merovingiftis. I. -III. (Testard) 2 o

Thierry, Augustin. Recits IV.-

VII. (Testard) - - - -20

Topffer. Histoire de Charles, Hist-
oire de Jules. (Brette) - - o 10

Vigny. Cinq Mars. (Oger) - -36
Vigny. Le Canne de Jonc.

(Clapin) ... - i 6

Villemain. Lascaris. (Dupuis) i 6

Witt. De Glajons en Glagons. (L.

Delbos) i 6

Witt. DerrierelesHaies. (DeBussy) 2 o
Witt. Les Heroines de Harlem.

(Barbier) 20

Zeller. Francois ler. (Petilleau) 2 o
Zeller. Henri IV. (Barlet) - -20

Zola. L'Attaque du Moulin.

(Julien) i 6



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Short Stories from Modern French Authors. Selected as Subjects of
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MS



OF



MODERN FRENCH POETRY



FOR



READING AND RECITATION



BY THE SAME EDITOR

s. d.

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GEMS



OF



MODERN FRENCH POETRY

FOR

READING AND RECITATION



COMPILED AND EDITED

With Introductory Remarks on the Principles of

French Versification, Short Biographical Notices,

and a full Phraseological French-English

Vocabulary in the Order of the Text



BY
JULES LAZARE

Bachelier es Lettres



LIBRAIRIE HACHETTE & O

LONDON : 18 KING WILLIAM STREET, CHARING CROSS

PARIS : 79 BOULEVARD SAINT-GERMAIN

1899

A II rights restrved



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U

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SANTA BARBARA



CONTENTS



No.



X.
..



9.

^^ 10.
11.
12.



13.

11.
15.
N>.
17.
,18.
1U.
20.
21.




Title.

Un songe, ....
Clair de lune,

Appareillage, ....
Atterrissage, ....
Les yeux, ....
Carcassonne, ....
La chanson du vannier, .
Le roi d'Yvetot,
Le bon gite, ....
Une apparition,
Mes boaufs, ....
Sur la mort d'une jeune fille

de sept ans,

Le phare, ....
La joie du foyer,
La bataille, ....
La libellule, ....
Le sommeil de bebe,
La mort d'un bouvreuil,
Marine, .....
L'envers du ciel,
Le psaume de la vie,

es naufrages,
A la France, ....
La conscience,
La fregate ' La Serieuse,'



Author.


Page


Sully Prudhomme,


1


Paul Verlaine,


2


J. Autran,


3


J. Autran,


3


Sully Prudhomme,


4


G. Nadaud, .


5


A, Theuriet, .


7


J. P. Beranger, .


8


Deroulede, .


10


A. de Musset,


12


Pierre Dupont,


15


Hegesippe Moreau,


16


Du Pontavice de Heussey,


17


V.Hugo,


18


A. Lemoyne, .


20


Th. Gautier, .


21


V. Hugo,


24


A. Brizeux, .


26


E. Deschamps.


27


A. Besse,


29


Mme de Pressensc,


30


V. Hugo,


31


A. Chenier,


33


V. Hugo,


34


A. de Vigny, .


36



VI



GEMS OF MODERN FRENCH POETRY




.*

^T 36.

^ 0-7



No Title.

L'ame du vin,

27. Souvenir

28. Les mineurs de Newcastle, .

29. Mon chien, ....
Les trois jours de Christophe

Colomb, ....
31. Excelsior

Pour les pauvres, .

Le crucifix, ....
34. La mere et 1'enfaiit,

La priere de 1'enfant,

Le rouet, ....

37. Les mondes, ....

38. Le troubadour,

39. La robe

Les pauvres gens, .

Biographical Notices,
French-English Vocabulary, .



Author.

Ch. Baudelaire,
A. Brizeux, .
H. A. Barbier,
A. de Lamartine,

C. Delavigne, .
Henriette Hollard,
V. Hugo,
A. de Lamartine,

E. Manuel,
V. Hugo,

L. Tournier, .

F. Ponsard, .
F. Coppee,

E. Manuel,
V. Hugo,



Page
39
40
41
44

46
47
49
52
56
58
60
63
65
68
72

79



INTRODUCTION

ALL syllables in modern French poetry are in a sense equal,
since" tne pronunciation of French words does not show
any well-marked distinctions of stress or accentuation. It
follows, therefore, that the measure of French verse is
reckoned solely by the number of soxtnded syllables irre-
spective of emphasis or length.

The so-called E mute, although not emphasized in reading poetry, forms
one syllable with the consonants belonging to it, except before a vowel or
an ITmute, or at the end of the line.

French lines consist of any number of syllables up to
twelve. Those, however, of one, nine, and eleven are rarely
used. The most important is the famous Alexandrine or
twelve-syllable line :

123 45 6 789 10 11 12

Et s'il n'en res-te qu'un, || je se-rai ce-lui-la.

(VICTOR HUGO.)

Each line is divided into two equal parts called hemistichs, the last_word

of the first part always ending with a sounded syllable or with a mute e
which is elided, the next word beginning with a vowel or silent h. This
division or metrical pause is called the Csesura (see page xiii).

Epic, dramatic, satirical, and didactic poetry is almost '
invariably written in Alexandrines which are also employed
in modern sonnets and other forms of lyric poetry.

Ten-syllable lines, the oldest form of French verse, usually
take the Caesura after the fourth syllable :

1234 567 89 10

Je veux ce soir, II vi - si-tant tes ri - vages
Y pro - me-ner II raes re-ves les plus chers.

(No. 19. Marine, by E. DESCHAMPS.)

Nearly all the old epic or heroic French poetry, most of the
didactic poems of the eighteenth century, and the old Chan-
sons de geste are written in this measure. It does not offer
the same facilities as the Alexandrine for pauses or general
effect, but the inequality of the hemistichs gives a pleasing

vii



Vlii GEMS OP MODERN FRENCH POETRY

variety to the lines. Less majestic than twelve-syllable verse,
it has a quicker movement, and is often preferred in modern
odes, narratives, songs, etc.

Eight-syllable lines are the freest and lightest form of
French verse :

1 2 :: 4 5 6 78

Je vois bien qu'il n'est i - ci bas
De bon - heur com - plet pour per-sonne.

(Xo. 6. Carcassonne, by G. NADAUD.)

It is suited to many styles : epistles (serious or humorous),
descriptive pieces, sustained narratives, odes, elegies, songs,
the modern French ballade, etc.

Lines of seven syllables are employed in familiar epistles,
anecdotes, songs, lays, and ditties, sometimes alone, more
often mingled with longer or shorter lines :

123 4 567

Sur la bru-yere ar-ro-s6e

123

I)e ro-s6e.

(Xo. 16. La Libellitle, by TH. GAUTIEK.)

Some of La Fontaine's best-known fables are in seven-
syllable lines :

1234 5 6 7

Ju-pi-ter voy-ant nos fautes
Dit un jour du haut des airs.

Six-syllable lines are, strictly speaking, half Alexandrine.s
or hemistichs rhyming with each other. Light and graceful,
they are frequently found in lyrics, interspersed with lines
of greater measure :

1 234 5 fi 789 10 11 12

Sym-bo-le deux fois saint, don d'u-ne main mou-rante,

12345 6

I-ma-ge de mon Dieu.

(Xo. 33. Le Crucifix, by LAMAHTINK.I

Lines of five syllables are used more frequently in light
poetry than six-syllable lines, especially in pieces of a descrip-
tive character, musical compositions, and allegorical subjects.
Entire poems are sometimes written in this measure, one of
the best known specimens of the kind being Mine Deshoulieres'
idyll commencing as follows :

12 3 4 r,

Dans ces pr&s neu-ri"
Qu'ar- ro- sc la Seine.



INTRODUCTION IX



Lines of four syllables or less are rare :



1234

La lu - ne blanche
Luit dans les bois.

(No. 2. Clair de Lime, by P. VERLAINE.)



They are generally found interspersed with verses of
various lengths. Some very striking examples of whole
stanzas in two-, three-, and four-syllable verse respectively
can be seen in V. Hugo's famous poem 'Les Djinns' (Ori-
entales xxvm).



RHYME.

Rhyme is the correspondence of the last sound of one line
to the last sound of another which follows immediately or
at no great distance. Besides being in itself a pleasing
musical accord, it serves to mark the ending of the lines.
So much is this the case in French, where the language is
homotonic, that mgtre without rhyme is almost undis-
tinguishable from prose, and blank verse practically non-
existent.

There are two kinds of rhyme in French : Masculine and
Feminine.

A rhyme is masculine when the final syllable of each of the
corresponding lines is soimded (i.e. does not contain an e
mute).

Dans 1'etroite mansarde oil glisse un jour dou-teux
La femme et le mari se querellaient tous deux.

(No. 39. La Robe, by E. MANUEL.)

NOTE. The term 'masculine rhyme' probably originates from the fact
that substantives not ending in a mute syllable are generally of masculine
gender. It will be noticed, however, that masculine and feminine rhymes
are not governed by the gender of words in the corresponding lines, but
depend solely upon the formation of the final syllables. Thus pere, frere,
although of masculine gender, form, nevertheless, feminine rhyme, whilst
the feminine substantives s<Kiir,fleur, constitute masculine rhyme.

A rhyme is feminine when the final syllable of each of the
corresponding lines endsinemute alone, or e mute followed
by s or the nt of the third person plural of veros. Tnese



X GEMS OF MODERN FRENCH POETRY

terminations, not being pronounced, are not reckoned in the
syllabic quantity of the verse :

Ma fllle ! va prier ! Vois, la nuit est venu-e
Une planete d'or la-bas perce la nu-e.

(No. 35. La Priere de VEnfant, by V. HUGO.)

EXCEPTIONS. The termination aient of the imperfect and conditional,
and the subjunctiveS"&ient and'sdleHE (from avoir and" WreJ are 1 fflflho-
syllabic. The e mute being merged or lost in the vowels which precede, the
whole termination forms a final sounded syllable and is therefore classed
among masculine rhymes.

;It should be noted that in the feminine form the rhyme
must be doubled, i.e. must agree not only in the final e, es, or
ent termination, but also in the assonant vowel.

Thus, for instance, au-da-ce and es-p^-ce cannot rhyme ;
both have the same mute termination, but the assonant
vowels differ. On the other hand, the assonant vowels in
pr&tre and inattre, though unlike in orthography, are, never-
theless, pronounced alike. Both words have, in addition,
identical terminations, and therefore form good feminine
rhyme.

A rhyme is called sufficient in French when the final
vowel-sounds and the following articulations (if any) are
alike in the corresponding lines :

II est nuit ; la cabane est pauvre, mais bien close.
Le logis est plein d'ombre, et Ton sent quelque chose
Qui rayonne a travers le cr6puscule obscur.
Des filets de pecheur sont accroches au mur.

(No. 40. Les Pauvres Gens, by V. HUGO.)

EXCEPTIONS : 1. The terminations a, e, ee, er, and i, by themselves are
insufficient. They can only form sufficient rhyme when preceded by an
identical articulation, e.g. :

Bon\te rhymes with san\te orfier\te, but not with don ne.

Sor\ti rhymes with par \ti but not with j!ini.

2. The termination u must likewise be preceded by an identical articula-
tion, e.g. :

Fen\du rhymes with descen\du but not with rc.nu.

If, however, one or both words are monosyllabic, the final u alone con-
stitutes sufficient rhyme. Thus: pu, tu, vu, mu, etc., rhyme sufficiently
with each other or with polysyllables ending in u, such as absolu, dissohi,
etc.

A rich rhyme consists of a sufficient rhyme preceded by



INTRODUCTION XI

one or more letters having identical pronunciation in each
of the corresponding syllables :

Helas! si j'avais su, lorsque ma voix qui pr6che
T'ennuyait de lemons, que sur toi, rose et fralche.

(No. 12. Sur la Mart d'une Jeune Fille de sept ans,

by HEGESIPPE MOKEATJ.)

Oh ! combien de marins, combien de capitaines,
Qui sont partis joyeux pour des courses lointaines.

(No. 22. Les Naufrages, by V. HUGO.)

NOTE. The terminations of such words as aus-tere, salu-taire ; tra-vaux,
de-vots, etc., although differing in orthography, form, nevertheless, rich
rhyme, the rhyme being governed by the sound and not by the spelling.
On the other hand, such words as al-tier and fier, aimer and mer, cannot
rhyme ; the terminations are spelt alike but the pronunciation differs.

One of the richest rhymes occurs when the entire word is
identical in sound and articulation with part of the word in
the corresponding line :

Sur la bruyere arrosee
De rosee.

(No. 16. La Libellule, par TH. GAUTIER.)

From the preceding examples it will be easily felt that the
fuller the sound, the richer the rhyme.
The following cannot rhyme :

(a) A word with itself,

(6) A substantive with its verb : arme, il arme,
(c) A simple word with its compound or derivative :
prudent, imprudent,

but two words of entirely different meaning, although
identical in sound ami spelling, constitute good rhyme. Thus
the negative pas rEyiiiei} Vvilll llie HUTjytilllliv*e pas = steps,
and porte (fr. porter} with porte= door.

II marche, et des trois jours le premier jour a lui ;
II marche, et 1'horizon recule devant lui.

(No. 30. Les trois jours de Christophe Colomb,
by C. DELAVIGNE.)

Two hemistichs in the same line must not rhyme together.

The' end of a line must not rhyme with the first hemistich
of tlie following line.

'The two first hemistichs of two consecutive lines must not
rh y me with each other.



Xli GEMS OP MODERN FRENCH POETRY

The foregoing examples of rich rhyme illustrate a remark-
able and fundamental difference in the construction of English
and French rhyme. Rhyming syllables differ in English in
the articulation preceding the accented vowel-sound, whereas
complete identity in sound and articulation of all the parts of
the rhyming syllable is much sought after by French poets.
Such correspondence as dent and ardent, port and support.
constitute what the French call very rich rhyme, but in
English they would be considered faulty, or inadmissible.

Rimes plates (close rhymes) consist of masculine and femi-
nine couplets or vice-versa, following each other in regular
alternation :

La nuit et 1'ouragan ! La lueur d'un eclair m.

Dessine un grand rocher qui domine la mer. m.


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