Classic French Course in English


This collection of literature attempts to compile many of the classic, timeless works that have stood the test of time and offer them at a reduced, affordable price, in an attractive volume so that everyone can enjoy them.
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Classic French Course in English

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This collection of literature attempts to compile many of the classic, timeless works that have stood the test of time and offer them at a reduced, affordable price, in an attractive volume so that everyone can enjoy them.
Read More Show Less

Product Details

  • ISBN-13: 9781500604332
  • Publisher: CreateSpace Publishing
  • Publication date: 7/22/2014
  • Pages: 106
  • Product dimensions: 6.00 (w) x 9.00 (h) x 0.22 (d)

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II. FEOISSART. 1337-1410. French literature, for the purposes of the present volume, may be said to commence with Froissart. Froissart is a kind of medifeval Herodotus. His time is, indeed, almost this side the Middle Ages; but by character and by sympathy he belongs rather to the mediaeval than to the modern world. He is delightfully like Herodotus in the style and the spirit of his narrative. Like Herodotus, he became a traveler in order to become an historian. Like Herodotus, he was cosmopolite enough not to be narrowly patriotic. Frenchman though he was, he took as much pleasure in recounting English victories as he did in recounting French. His countrymen have even accused him of unpatriotic partiality for the English. His Chronicles have been, perhaps, more popular in their English form than in their original French. Two prominent English translations have been made, of which the later, that by Thomas Johnes, is now most read. Sir Walter Scott thought the earlier excelled in charm of style. Jehan or Jean Froissart was a native of Valenciennes. His father meant to" make a priest of him, but the boy had tastes of his own. Before he was well out of his teens he began writing history. This was under the patronage of a great noble. Froissart was all his life a natural courtier. He throve on the patronage of the great. It was probably not a fawning spirit in him that made him this kind of man; it was rather an innate love of splendor and high exploit. He admired chivalry, then in its last days, and he painted it with the passion of an ideal izer. His father had been an heraldic painter, so it was perhaps an hereditary strain in theson that naturally attached him to rank androyalty. The people—that is, the promiscous mass of mankind—hardly exist to Froissart. His pages, ...
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