Jules Romans
Jules Romans , of his true name Louis Henri Jean Farigoule (August 26th 1885 with Saint-Julien-Chapteuil (Haute-Loire) - August 14th 1972 with Paris), is a poet and French writer.
Raise Lycée Condorcet and National university, it is aggregate of philosophy in 1909.
It is close to the group of the Abbaye of Creteil (Groupe of the Abbey) founded in 1906 by Charles Vildrac and Rene Arcos, which joins together, inter alia, the writer Georges Duhamel, the painter Gleizes and the musician Albert Doyen.
In 1927, it signs the petition (appeared on April 15th in the review Europe) against the law on the general organization of the nation for the time of war, which repeals any intellectual independence and any freedom of thought. Its name côtoie those of Lucien Descaves, Louis Guilloux, Henry Poultry, Severine… and those of the young people normaliens Raymond Aron and Jean-Paul Sartre.
During the Second world war it is exiled in the United States, where it is expressed sometimes with the radio (Radio Boston or Voice off America), then as from 1941 in Mexico, where it takes part with other refugees in the foundation of the French Institute of Latin America (IFAL) in Mexico City.
Author polygraph, it is elected with the French Academy in 1946, with the armchair 12, succeeding Abel Bonnard, which had been erased the previous year for national unworthiness noted by legal judgment. In 1964, Jules Romains is named citizen of honor of Saint-Avertin. After its disappearance, it is replaced with the French Academy, in 1973, by Jean d' Ormesson.
It is at the origin of the concept of Unanimisme, of which he was the principal representative, and whose gigantic fresco the Men of good will , odyssey of two friends, Jallez and Jerphanion, the writer and the politician, told over one twenty-five years period, constitutes the most remarkable romantic example.
Men of Good will
Romantic fresco made up of 27 volumes, published regularly between 1932 and 1946, the Men of Good will starts on October 6th, 1908, in a presentation of Paris, and main characters, and ends on October 7th, 1933. This work is based on some principles of construction:
- the characters are numerous, and supposed being representative of the various classes of the company. One finds there for example politicians, actresses, a child who lives in Montmartre, a family of the 16th district, a dog, students, a priest…
- even if certain novels are focused rather on one of the characters, the goal of the author is rather to return account, at a given date, life of each one. With the wire of these 24 years, one thus sees characters evolving/moving in the company, to marry, go bankrupt or die. There is thus the great history (the First World War, the construction of Europe) and the small one (criminals, business men, the fashionable ones and demi-mondaines…)
- a great part of works is reserved for the thoughts of each one. Jules Romans " puts itself in the peau" of each one, with its daily interrogations, its thoughts, its personal feelings.
- finally, being used as red wire, two characters find themselves regularly with the wire of the novels: Pierre Jallez and Jean Jerphanion meet at the Teacher training school, street of Ulm, in the first novel, where they enter as students. In spite of their differences in origins (Jerphanion is provincial, wire of peasants, Jallez is Parisian), they become friendly, and do not have of cease to include/understand and to comment on their time, both anxious to add their contribution, was it small, at the human building. The last novel is finished on a sentence launched by one of both.
Analyzes Men of Good will and critical
In a detailed introduction, Jules Romains describes what it wished to do:- to describe the company by layers, in a simultaneous way, at the same periods
- to be based on a multiplicity from point of view, and to give an account of the personal feelings as much as general thoughts
- to establish a correspondence between its characters, whose sum of the personal hearts leads to a collective heart (it is the principle of unanimism), that of the men of good will.
This study, naturalist and romantic, make think of work Emile Zola with Rougon-Macquart. Jules Romains dissociated himself some in his introduction to the Hommes of Good will , by explaining the major differences. Nevertheless, certain authors considered that the work of Jules Romains was surface, as testifies the following quotation to it.
- In one of the last books of its epopee, Romains apparently puts in scene itself, under the name of the Strigelius writer (it is that, I believe). This S. knows and can to do all that the other writers know, and not badly of other things still in addition. But its capacities are not only of one writer. He understood that " the art" (genius) is universal. It also knows in other branches - in particular in policy - more than the others. From where the " Plan of July 9th " and J.R. delivers it on the reports/ratios of France and Germany.
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No doubt that the head turned to this writer of talent. It includes/understands many things in policy, but rather visually, therefore superficially. The deep social springs of the phenomena remain to him hidden. In the field of individual psychology it is remarkable, although without depth. What it misses as writer (and all the more as political) it is obviously the character. He is spectator, not taking part. And only the participant can be deep like spectator. Zola was participating. This is why, despite everything its vulgarities and its failures, it is much higher than Romains, deeper, hotter, more human. Jules Romains qualifies itself (this time without pseudonym, under its own name): distant. It is true. But the distance at his place is not only optical, it is also moral. Its lights morals enable him to see the things only one some, immutable distance. Also it seems excessively far away from small the Country house, and excessively near to the Quinette assassin. At the participant, the " distance" vary according to the character of its participation; at the spectator not. A spectator as Romains can be a remarkable writer, it cannot be a great writer.
- Leon Trotsky, Newspaper of exile , 21 March 22nd, 1935.
Principal works
- the Heart of the Men , poetry (Crès, 1904)
- the unanimous Life , poetry (Abbey, 1908 and Mercure de France, 1913)
- First book of prayers, (Towards and prose, 1909)
- a being goes from there , poetry (Mercure de France, 1910)
- Odes and prayers , poetry (Mercure de France, 1913 and N.R.F., 1923)
- the Buddies , novel (1913)
- Europe , poetry (N.R.F., 1916)
- the four seasons , poetry (1917)
- extra-retinal Vision and the paroptic direction , treated (1920)
- Knock or triumph of medicine , theater (1923)
- Mr Trouhadec seized by the vice , theater (1923)
- Psyché (Lucienne; God of the bodies; When the ship…) , romantic trilogy (1922-1929)
- Men of good will , romantic cycle in 27 volumes (1932-1946)
- 1908 : on October Six (1932)
- 1908:
Crime of Quinette (1932)- 1908:
childish Loves (1932)- 1908:
Eros of Paris (1932)- 1908-1909:
Superb the (1933)- 1909-1910:
Humble the (1933)- 1910:
Search for a Church (1934)- 1910:
Province (1934)- 1910-1911:
Assembled dangers (1935)- 1911:
the Capacities (1935)- 1911-1912:
Recourse to the abyss (1936)- 1912:
the Creators (1936)- 1913:
Mission in Rome (1937)- 1913-1914:
the black Flag (1937)- 1914-1916:
Prelude to Verdun (1938)- 1916:
Verdun (1938)- 1919:
Vorge against Quinette (1939)- 1919-1920:
the Softness of the life (1939)- 1922:
This great gleam in the East (1945)- 1922:
Le Monde is your adventure (1945)- 1923:
Days in the mountain (1946)- 1923-1924:
Work and the joys (1946)- 1926:
Birth of the band (1946)- 1928:
Appearances (1946)- 1933:
the magic Carpet (1946)- 1933:
Francoise (1946)- 1933:
on October Seven
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