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Updated: June 12, 2025
He turned to the novelist "These painter chaps, you know, Lagrange, like to have a few hours for a last touch or two before I come around." He laughed pompously at his own words the others joining. When Mrs. Taine and her companions were gone, the artist said hurriedly to his friend, "Come on, let's get it over." He led the way back to the studio.
My Wish to See Paris Dualism in our Modern Philosophy A Journey Impressions of Paris Lessons in French Mademoiselle Mathilde Taine. I had wished for years to see Paris, the city that roused my most devout feelings.
I was afraid that I had created a bad impression, as I had wasted the time raising objections; but Taine knew human nature well enough to perceive the personality behind the clumsy form and the admiration behind the criticism. In reality, I was filled with passionate gratitude towards Taine, and this feeling remained unaltered until his latest hour.
Turgenev did for Russian literature what Byron did for English literature; he led the genius of Russia on a pilgrimage throughout all Europe. And in Europe his work reaped a glorious harvest of praise. Flaubert was astounded by him, George Sand looked up to him as to a master, Taine spoke of his work as being the finest artistic production since Sophocles.
Is Miss Taine with you?" "Louise is abroad," she answered. "I I preferred California. I arrived this afternoon." She went a step toward him. "You you don't seem very glad to see me." The painter colored, but she continued impulsively, without waiting for his reply.
He recited with shamefaced rapidity: "It is my sentry-go to-night, And when I watch the moon so bright, Shining o'er South Africa plain, I'll think of thee, sweet Greta Du Taine." Her eyes were full of awe and wonder. "Lor! you don't mean to say you made up that by yourself?" The poet nodded. "Reckon about as much. Like it?" "It's perfect lovely! Better than they 'ave in the penny books."
Both of the dramas are not only built directly out of Scriptural events, but imply a far wider knowledge of Scripture than their mere titles suggest. Taine, English Literature, II., 279. There are striking references in many other poems, even in his almost vile poem, "Don Juan."
And he was not the only deeply idealistic artist with whom Taine was connected in the bonds of friendship. Although a fundamental element of Taine's nature drew him magnetically to the art that was the expression of strength, tragic or carnal strength, a swelling exuberance of life, there was yet room in his soul for sympathy with all artistic endeavour, even the purely emotional.
The young man was M. Paul Bourget, who had not yet begun to write novels, while his literary and philosophical essays seemed rather to mark him out as the disciple of M. Taine than as the Catholic protagonist he was soon to become.
There is the absence of plot which is the natural outcome of such lack of story interest. A wide survey of the English essay from its inception with Bacon in the early seventeenth century will impress the inquirer with its fluid nature and natural outflow into full-fledged fiction. The essay has a way, as Taine says, of turning "spontaneously to fiction and portraiture."
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