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19 th-century French literature concerns the developments in French literature during a dynamic period in French history that saw the rise of Democracy and the fitful end of Monarchy and Empire. The period covered spans the following political regimes: Napoleon Bonaparte's Consulate (1799–1804) and Empire (1804–1814), the Restoration under Louis XVIII and Charles X (1814–1830), the July Monarchy under Louis Philippe d'Orléans (1830–1848), the Second Republic (1848–1852), the Second Empire under Napoleon III (1852–1871), and the first decades of the Third Republic (1871–1940). French literature enjoyed enormous international prestige and success in the 19th century. The first part of the century was dominated by Romanticism, until around the mid-century Realism emerged, at least partly as a reaction. In the last half of the century, "naturalism", "parnassian" poetry, and "symbolism", among other styles, were often competing tendencies at the same time. Some writers did form into literary groups defined by a name and a program or manifesto. In other cases, these expressions were merely pejorative terms given by critics to certain writers or have been used by modern literary historians to group writers of divergent projects or methods. Nevertheless, these labels can be useful in describing broad historical developments in the arts. ==Romanticism== (詳細はRomanticism, which is associated with such authors as Victor Hugo, Alexandre Dumas, père, François-René de Chateaubriand, Alphonse de Lamartine, Gérard de Nerval, Charles Nodier, Alfred de Musset, Théophile Gautier and Alfred de Vigny. Their influence was felt in theatre, poetry, prose fiction. The effect of the romantic movement would continue to be felt in the latter half of the century in diverse literary developments, such as "realism", "symbolism", and the so-called fin de siècle "decadent" movement. French romanticism used forms such as the historical novel, the romance, the "roman noir" or Gothic novel; subjects like traditional myths (including the myth of the romantic hero), nationalism, the natural world (i.e. elegies by lakes), and the common man; and the styles of lyricism, sentimentalism, exoticism and orientalism. Foreign influences played a big part in this, especially those of Shakespeare, Sir Walter Scott, Byron, Goethe, and Friedrich Schiller. French Romanticism had ideals diametrically opposed to French classicism and the classical unities, but it could also express a profound loss for aspects of the pre-revolutionary world in a society now dominated by money and fame, rather than honor. Key ideas from early French Romanticism: * "Le vague des passions" (vagueness, uncertainty of sentiment and passion): Chateaubriand maintained that while the imagination was rich, the world was cold and empty, and civilization had only robbed men of their illusions; nevertheless, a notion of sentiment and passion continued to haunt men. * "Le mal du siècle" (the pain of the century): a sense of loss, disillusion, and aporia, typified by melancholy and lassitude. Romanticism in England and Germany largely predate French romanticism, although there was a kind of "pre-romanticism" in the works of Senancour and Jean-Jacques Rousseau (among others) at the end of the 18th century. French Romanticism took definite form in the works of François-René de Chateaubriand and Benjamin Constant and in Madame de Staël's interpretation of Germany as the land of romantic ideals. It found early expression also in the sentimental poetry of Alphonse de Lamartine. The major battles of romanticism in France was in the theater. The early years of the century were marked by a revival of classicism and classical-inspired tragedies, often with themes of national sacrifice or patriotic heroism in keeping with the spirit of the Revolution, but the production of Victor Hugo's ''Hernani'' in 1830 marked the triumph of the romantic movement on the stage (a description of the turbulent opening night can be found in Théophile Gautier). The dramatic unities of time and place were abolished, tragic and comic elements appeared together and metrical freedom was won. Marked by the plays of Friedrich Schiller, the romantics often chose subjects from historic periods (the French Renaissance, the reign of Louis XIII of France) and doomed noble characters (rebel princes and outlaws) or misunderstood artists (Vigny's play based on the life of Thomas Chatterton). Victor Hugo was the outstanding genius of the Romantic School and its recognized leader. He was prolific alike in poetry, drama, and fiction. Other writers associated with the movement were the austere and pessimistic Alfred de Vigny, Théophile Gautier a devotee of beauty and creator of the "Art for art's sake" movement, and Alfred de Musset, who best exemplifies romantic melancholy. All three also wrote novels and short stories, and Musset won a belated success with his plays. Alexandre Dumas, père wrote ''The Three Musketeers'' and other romantic novels in an historical setting. Prosper Mérimée and Charles Nodier were masters of shorter fiction. Charles Augustin Sainte-Beuve, a literary critic, showed romantic expansiveness in his hospitality to all ideas and in his unfailing endeavour to understand and interpret authors rather than to judge them. Romanticism is associated with a number of literary salons and groups: the Arsenal (formed around Charles Nodier at the Arsenal Library in Paris from 1824-1844 where Nodier was administrator), the Cénacle (formed around Nodier, then Hugo from 1823–1828), the salon of Louis Charles Delescluze, the salon of Antoine (or Antony) Deschamps, the salon of Madame de Staël. Romanticism in France defied political affiliation: one finds both "liberal" (like Stendhal), "conservative" (like Chateaubriand) and socialist (George Sand) strains. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「19th-century French literature」の詳細全文を読む スポンサード リンク
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