Works
To modern readers, Florian is chiefly known as the author of pretty fables well suited as reading for the young, but his contemporaries praised him also for his poetical and pastoral novels. Florian was very fond of Spain and its literature, doubtless owing to the influence of his Castilian mother, and both abridged and imitated the works of Cervantes.
Florian's first literary efforts were comedies; his verse epistle Voltaire et le serf du Mont Jura and an eclogue Ruth were crowned by the French Academy in 1782 and 1784 respectively. In 1782 also he produced a one-act prose comedy, Le Bon Ménage, and in the next year Galatie, a romantic tale in imitation of the Galatea of Cervantes. Other short tales and comedies followed, and in 1786 appeared Numa Pompilius, an undisguised imitation of Fénelon's Telémaque.
In 1788 he became a member of the French Academy, and published Estelle, a pastoral of the same class as Galatie. Another romance, Gonzalve de Cordoue, preceded by an historical notice of the Moors, appeared in 1791, and his famous collection of Fables in 1802. Among his posthumous works are La Jeunesse de Florian, ou Mémoires d'un Jeune Espagnol (1807), and an abridgment (1809) of Don Quixote, which, though far from being a correct representation of the original, had great and merited success.
Florian imitated Salomon Gessner, the Swiss idyllist, and his style has all the artificial delicacy and sentimentality of the Gessnerian school. Perhaps the nearest example of the class in English literature is afforded by John Wilson's Lights and Shadows of Scottish Life (written as Christopher North). Among the best of his fables are reckoned The Monkey showing the Magic Lantern, The Blind Man and the Paralytic, and The Monkeys and the Leopard.
Read more about this topic: Jean-Pierre Claris De Florian
Famous quotes containing the word works:
“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)
“One of the surest evidences of an elevated taste is the power of enjoying works of impassioned terrorism, in poetry, and painting. The man who can look at impassioned subjects of terror with a feeling of exultation may be certain he has an elevated taste.”
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“Do not worry about the incarnation of ideas. If you are a poet, your works will contain them without your knowledge—they will be both moral and national if you follow your inspiration freely.”
—Vissarion Belinsky (1810–1848)