Works
- Les Plus anciens monuments de la langue française (1875)
- Manuel d'ancien Français (1888)
- Mystère de la passion d'Arnoul Greban (1878), in collaboration with Gaston Raynaud
- Deux rédactions du roman des sept sages de Rome (1876)
- a translation of the Grammaire des langues romanes (1874–1878) of Friedrich Diez, in collaboration with MM. Brachet and Morel-Fatio.
- La Poésie du Moyen Âge (1885 and 1895)
- Penseurs et poètes (1897)
- Poèmes et légendes du moyen âge (1900)
- François Villon (1901), an admirable monograph contributed to the "Grands Écrivains Français" series
- Legendes du Moyen Âge (1903).
- Summary of medieval French literature forms a volume of the Temple Primers.
Paris endeared himself to a wide circle of scholars outside his own country by his unfailing urbanity and generosity. In France he trained a band of disciples at the École des Chartes and the College de France who continued the traditions of exact research that he established. Among them were Leopold Pannier; Marius Sepet, the author of Le Drame chrétien au Moyen Âge (1878) and Origines catholiques du théâtre moderne (1901); Charles Joret; Alfred Morel-Fatio; Gaston Raynaud, who was responsible for various volumes of the excellent editions published by the Société des anciens textes français; Arsène Darmesteter; and others.
Read more about this topic: Gaston Paris
Famous quotes containing the word works:
“The subterranean miner that works in us all, how can one tell whither leads his shaft by the ever shifting, muffled sound of his pick?”
—Herman Melville (18191891)
“We all agree nowby we I mean intelligent people under sixtythat a work of art is like a rose. A rose is not beautiful because it is like something else. Neither is a work of art. Roses and works of art are beautiful in themselves. Unluckily, the matter does not end there: a rose is the visible result of an infinitude of complicated goings on in the bosom of the earth and in the air above, and similarly a work of art is the product of strange activities in the human mind.”
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“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.”
—Benjamin Haydon (17861846)