Works
His early successes were works such as Les Célibataires (The Bachelors) in 1934, and the tetralogy Les Jeunes Filles (The Young Girls) (1936–1939), which sold millions of copies and was translated into 13 languages. At this time, Montherlant traveled regularly, mainly to Spain, Italy, and Algeria.
He wrote plays such as La Reine morte (1934), Pasiphaé (1936), Le Maître de Santiago (1947), Port-Royal (1954) and Le Cardinal d'Espagne (1960). He is particularly remembered as a playwright. In his plays as well as in his novels he frequently portrayed heroic characters displaying the moral standards he professed.
In Le Songe he described the courage and camaraderie of soldiers, based on his experiences in World War I. In the 1930s, he wrote numerous articles and books advocating intervention against Nazi Germany. During the German Occupation, his book L'Équinoxe de Septembre was banned by the German authorities. However, in Le Solstice de Juin, a book about the defeat of France in May and June 1940 (which he had covered as a reporter), he expressed his admiration for Wehrmacht and claimed that France had been justly defeated. This earned him the reputation of a collaborator, and got him in trouble after the Liberation. Like many scions of the old aristocracy, he had hated the Third Republic, especially as it had become in the aftermath of the Dreyfus Affair.
Although not openly gay, Montherlant treated homosexual themes in his work, including his play La Ville dont le prince est un enfant (1952) and novel Les Garçons (The Boys), published in 1969 but written four or five decades earlier. He maintained a private correspondence with Roger Peyrefitte—author of Les Amitiés particulières (Special Friendships, 1943), also about sexual relationships between boys at a Roman Catholic boarding school.
Montherlant is remembered for his aphorism "Happiness writes in white ink on a white page," often misquoted in the shorter form "Happiness writes white."
Read more about this topic: Henry De Montherlant
Famous quotes containing the word works:
“My first childish doubt as to whether God could really be a good Protestant was suggested by my observation of the deplorable fact that the best voices available for combination with my mother’s in the works of the great composers had been unaccountably vouchsafed to Roman Catholics.”
—George Bernard Shaw (1856–1950)
“Most young black females learn to be suspicious and critical of feminist thinking long before they have any clear understanding of its theory and politics.... Without rigorously engaging feminist thought, they insist that racial separatism works best. This attitude is dangerous. It not only erases the reality of common female experience as a basis for academic study; it also constructs a framework in which differences cannot be examined comparatively.”
—bell hooks (b. c. 1955)
“The slightest living thing answers a deeper need than all the works of man because it is transitory. It has an evanescence of life, or growth, or change: it passes, as we do, from one stage to the another, from darkness to darkness, into a distance where we, too, vanish out of sight. A work of art is static; and its value and its weakness lie in being so: but the tuft of grass and the clouds above it belong to our own travelling brotherhood.”
—Freya Stark (b. 1893–1993)