Saturday, 28 October 2017

New Addition: Charivari on the "Hugophiles"

Le Charivari (The Hullabaloo). March 7, Year 11, No. 66 (Monday, March 7, 1842) Paris. Paperback Quarto, 4 pp.


Despite its early association with Romanticism and continued publication of Romanticist cartoonists, the satirical journal Charivari had established a position outside the Romanticist-Classicist debate by the 1840s, and was in a position to skewer both sides. By 1842, Classicism was experiencing a resurgence as Romanticism, now infiltrating every aspect of French culture, was beginning to split into several divergent subcultures and cultural tendencies, many adherents to which felt little connection with the movement in its current, mainstream form. While young people in the Romanticist orbit did not remember the movement in its underground, revolutionary stage but simply as the backdrop of further innovation, young Classicists were now able to see themselves as rebels against Romanticist hegemony. 
 
In 1842, a renewed Classicist campaign was launched, ultimately aiming to bring down the impending premier in 1843 of Hugo's new Romanticist play The Burgraves. This issue of Charivari contains a quirky relic of this critical campaign, which resulted in a Classicist riot at the premier, and the end of organised Romanticism in France. It addresses the critical debate swirling around Victor Hugo's Romantic travel guide of The Rhine, between the "Hugophiles" (Romanticists) and "Hugophobes" (Classicists), though generally sympathetic to Hugo. At issue is an argument about a side-comment there in which Hugo suggests the orthography Asculum for a (possibly apocryphal) Roman town briefly mentioned in Horace, OEquotuticum, which Hugo argues cannot be scanned within a French alexandrine line of verse. The Classicist press, it seems, was outraged, asserting that one must retain the Latin at all costs; as more publications joined the fray, this spiraled into a heated battle about poetic scansion. The article pokes fun at both sides in the debate, but unequivocally blames the Classicists for stirring it up, hearkening back to, "the beautiful evening on which the two enemy camps [the Romantics and Classicists] had at it not only with the mouth, but even with hair in the stalls of the Théâtre-Français, over the first performance of Hernani."



 
The featured cartoon in this issue caricatures a group of dandies (or "lions" in Parisian slang) at the opera, peering about the audience with opera-glasses from their private box. It is labelled "The Lions' Pit" (a double-pun, since the cheapest seats, below them, were known as "the pit"). One dandy exclaims, "Naught shall have talent, save us and our friends," to which his companion/s respond in English: "Yes!" Dandy subculture was strongly anglophilic, owing in part to the movement's British roots.

 

Sunday, 22 October 2017

New Expansion to the 'Guêpes' Collection: 1871 post-Paris Commune reboot!

The Revenant Archive maintains a growing collection of Gustave Karr's rare, self-published avant-garde satirical magazine Les Guêpes (The Wasps), a milestone series in the history of avant-garde and DIY publishing, and an important potential resource for researchers of the counter-cultural milieu of the time.

After the convulsions of the Paris Commune (whose stated goals Karr seems to have generally supported, with some reservations) and the fall of Napoleon III's regime, the sixty-year-old Karr was able to write relatively free of censorship for the first time in his life. In response, he re-launched Les Guêpes, unfettered for the first time, and probably closer in many ways to his ideal conception of the journal when he had first begun in more than 30 years earlier. While the magazine had always pushed the boundaries of political expression, even for a small-run self-published journal, the political content in this new incarnation is much more predominant and specific, reflecting both his greater sense of freedom and the fact that he now lived in Nice, far removed from the Parisian Bohemian community whose chronicles had supplied so much of the first incarnation's material.

It is thus particularly interesting to peruse these issues, the first of which he must have started writing soon after his 1871 letter included in the archive, for a glimpse of the immediate post-commune period. As usual, Karr's satire and criticism cuts in every direction, refusing any doctrinaire position on the event or its fallout. While censorship had been officially abolished for the first time in France's history, it should be remembered that this lifting of censorship came fast on the heels of around ten-thousand summary executions of communards and around an equal number imprisoned or deported by the new government, and an untold number of participants in permanent exile. Out-and-out support of the Communard cause, then, remained potentially dangerous should the political winds change direction slightly. Nonetheless, Karr evinces considerably more sympathy with the Communards than the large majority of intellectuals at the time, even on the Left. He supports clemency for Communards, a position for which Victor Hugo's home had been attacked by a mob, even in neighbouring Belgium, affirms many of their concerns and criticizes the Liberal capitalist Republic for its shortcomings (as his 1871 letter would imply), and indicates that he had indeed fought at the barricades against the Imperial government in Nice.

Although the underground status that Les Guêpes had acquired since its initial series expanded Karr's potential readership and distribution network (this new series was published and sold jointly in both Nice and Paris), it remained as close to a DIY endeavour as the technology of the day allowed. Since binding remained prohibitively expensive, each number was issued in the form of a set of unbound signatures lain into the paper wrap. This set includes an extra Supplement signature in each issue, probably indicating that the original owner was a subscriber; they cut and read every page except the several pages of adverts at the end of each supplement–every single one of which remains uncut.

Les Guêpes: Revue politique, philosophique et littéraire. No. 1, Oct. 15, 1871. Ed. & written by Alphonse Karr.  Wrap: Second Edition, interior First; w/supplement. Librairie Nouvelle: Paris / A. Gilletta: Nice. Two unbound duodecimo signatures in paper wrap, 44 pp.



Although the outside wrap of this issue is from the 2nd Edition, the interior pages give no edition number and match the rest of the first-edition set with which it was purchased; most likely, the initial wrap was damaged early in this copy's life and a wrap from the 2nd edition supplied by the publisher.

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Les Guêpes: Revue politique, philosophique et littéraire. No. 2, Oct. 22, 1871. Ed. & written by Alphonse Karr. First Edition, w/supplement. Librairie Nouvelle: Paris / A. Gilletta: Nice. Two unbound duodecimo signatures in paper wrap, 48 pp.


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Les Guêpes: Revue politique, philosophique et littéraire. No. 3, Oct. 29, 1871. Ed. & written by Alphonse Karr. First Edition, w/supplement. Librairie Nouvelle: Paris / A. Gilletta: Nice. Two unbound duodecimo signatures in paper wrap, 48 pp.


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Les Guêpes: Revue politique, philosophique et littéraire. No. 4, Nov. 5, 1871. Ed. & written by Alphonse Karr. First Edition, w/supplement. Librairie Nouvelle: Paris / A. Gilletta: Nice. Two unbound duodecimo signatures in paper wrap, 48 pp.


  
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Les Guêpes: Revue politique, philosophique et littéraire. No. 5, Nov. 12, 1871. Ed. & written by Alphonse Karr. First Edition, w/supplement. Librairie Nouvelle: Paris / A. Gilletta: Nice. Two unbound duodecimo signatures in paper wrap, 48 pp.
 


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Les Guêpes: Revue politique, philosophique et littéraire. No. 7, Nov. 26, 1871. Ed. & written by Alphonse Karr. First Edition, w/supplement. Librairie Nouvelle: Paris / A. Gilletta: Nice. Two unbound duodecimo signatures in paper wrap, 48 pp.

 

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Les Guêpes: Revue politique, philosophique et littéraire. No. 8, Dec. 3, 1871. Ed. & written by Alphonse Karr. First Edition, w/supplement. Librairie Nouvelle: Paris / A. Gilletta: Nice. Two unbound duodecimo signatures in paper wrap, 48 pp.

  
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Les Guêpes: Revue politique, philosophique et littéraire. No. 10, Dec. 17, 1871. Ed. & written by Alphonse Karr. First Edition, w/supplement. Librairie Nouvelle: Paris / A. Gilletta: Nice. Two unbound duodecimo signatures in paper wrap, 48 pp.


  
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Les Guêpes: Revue politique, philosophique et littéraire. IInd Volume: Booklet No. 13, Jan. 7, 1872. Ed. & written by Alphonse Karr. First Edition, w/supplement. Librairie Nouvelle: Paris / A. Gilletta: Nice. Two unbound duodecimo signatures in paper wrap, 48 pp.

  
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Monday, 16 October 2017

Exciting Addition: Three Volumes of the Annales Romantiques!

Due to a quite astounding and fortuitous discovery of a batch of under-priced (around 60% of their value on the bourgeois bibliographic market) books, a few months ago the Revenant Archive became considerably nearer to the long-time goal of assembling a complete set of the seminal anthology series, the Annals Romantiques. All three of the new additions are quite rare and in very good condition, all originally owned and bound by the same unidentified owner.
 
One of the most influential anthologies of the first-generation avant-garde, the Annales Romantiques were yearly compendia of work by the Romanticist underground, published from 1823–1838 and sporadically thereafter, and thus covered nearly the whole period of the concentrated Romanticist assault on culture. It provides the most textured and complete window into the Parisian Romanticist community of the time, when that community was still in the process of defining itself; for rather than focusing like retrospective anthologies on the few most canonized representatives of the movement, the Annales printed work by between 60 and 80 Romanticist writers each year, and provide a comprehensive glimpse of the entire community, including avant-gardists who never published complete books and represented only here and in various journals that have lain nearly unread since 1835.

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Annales Romantiques: Recueil de morceaux choisis de litterature contemporaine. (Romanticist Annals: Anthology of Choice Morsels of Contemporary Literature) Ed. Charles Malo. (1830) Sole Edition. Louis Janet: Paris. Hardbound 32mo, 367 pp.

 
The 1830 volume collects work by 71 Romanticist writers submitted in the summer of 1829, and thus presents French Romanticism on the eve of the Battle of Hernani and the radicalization of the movement. The community's increasing self-assertion is manifested in various ways including Cyprian Desmarais' essay on the 'Character of Civilisation and Literature Since 1814'. The communal nature of the emerging avant-garde is subtly signaled by 'Bertrand of Dijon', aka Aloysius Bertrand (aka Louis Bertrand), in his prose poem 'Ma Chamière' ('My Cottage'), when after mentioning the king he adds in a footnote to the poem that, "The king will never read this piece; but my friends shall read it, and will know that I also dream in total wakefulness . . ." The most recent Romanticist icon, Joseph Delorme (Charles Saint-Beuve), appears with his own contribution and a dedication by Émile Deschamps. Rumblings of the revolution that would erupt within months of the book's publication appear, such as 'Liberty' by Nestor de Lamarque, together with the imperialist, ultra-Nationalist monarchist ode (awarded by the Royal Academy) by Anne Bignan, who was something of a laughingstock in intellectual circles for his slavishness for official honours. His militarist poem, which feels icily fascist, is an odd fit yet is the first piece in the whole volume, and may have been included as a 'balance' to the liberal material in a compromise with government censors, who were in the midst of a clamp-down as the anthology was being assembled.

The Orientalist thrust of the Annales volumes from the 1820s is continued here, in the form of poems on middle-eastern themes but also in a collection of traditional Arab maoual songs, preceded by a scholarly essay on Arab literature, with a footnote by Malo that this excerpt from a forthcoming volume was being printed here in advance for the advantage of "young orientalists" engaged in poetic research. Though Frenetic Romanticism remains just beyond the horizon, there are bubblings of the germanophilic gothic-fantastic Romanticism exemplified by Hoffman and Göethe (the subject of Paul Foucher's contribution), such as Dumas' 'The Sylph', Delavigne's 'The Bandit's Death', and Victor Pavie's treatment of the Wandering Jew legend, a staple of Gothic subculture.

Though books at the time were sold unbound, to then be taken to a binder, as literacy outpaced economic prosperity many people – especially students and young intellectuals in the Paris underground – could not regularly afford binding, leading to the development of paperbacks. Romanticist publishers such as Janet and Ladvocat began issuing some copies in lavishly designed paper wrappers. Though the owner of this volume did bind their copies quite nicely, they also preserved the wrappers at front and back and by preserving the spine of the paper wrapper at the rear of the textblock.

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Annales Romantiques: Recueil de morceaux choisis de litterature contemporaine. (Romanticist Annals: Anthology of Choice Morsels of Contemporary Literature) Ed. Charles Malo. (1831) Sole Edition. Louis Janet: Paris. Hardbound 32mo, 368 pp.

With its deadline six months after the Romanticist watershed of Hernani and only weeks after the July Revolution, the work in this volume from 81 Romanticist writers represents the movement at the most confident and optimistic moment in its development. One outlet of this optimism was in the array of quasi-heretical liberal and socialist Christian movements that intersected with Romanticism, particularly the one led by the rapidly radicalizing Lammenais, who would be cast out of the Church within a couple years. The deadline was so close to the July Revolution that this volume essentially still wears the shackles of government censorship, and it is not until the next year that the celebrations of the revolution appear. Non-persecutable hints do appear here, such as "The Poet Prisonner by the obscure Norman poet Alphonse Le Flaguais

The Saint-Simonian Romanticist Léon Halévy contributes extracts of a translation of Macbeth, signalling Shakespeare's preeminent position in the Romantic dramatic canon. The Orientalist strain of the anthologies continues unabated with "The Banquet of Esther", written by the anthology's editor Charles Malo (which owes a good deal to Bechford's gothic Orientalist novel Vathek); "The Palace of Nagasaki" by by Denne-Baron. Medievalism also makes a strong showing, with pieces such as the arch-Medievalist Bibliophile Jacob's "Potency"; Charles Dovalle's "The Fairy of the Lake"; Himly's "The School of the Magician"; and Brès' avant-Mystery play "The Man Who Went to See the Devil".
 
The avant-garde shows its head in the Annales for the first time in this year; frenetic Romanticism again makes its presence felt in pieces such as Nestor de Lamarque's "Despair" and Adolphe Mathieu's "The Execution"; "The Vision" by the poet-archaeologist Boucher de Perthes; "A Night Scene in a Moastery" by the Baron Talairat, later elected mayor of Brioud, France; Henri de Latouche's poem on "The Last Day of Salvatore Rosa", the prototypical visual artist of Frenetic Romanticism (ironically, given Latouche's animosity toward the arch-frenetic Jeunes-France group); Auguste Desportes' frenetic 'imitation' (loose translation-as-rewriting) of a Hebrew song on "The Destruction of Sennacharib"; a Anglemont's morbid ballad "The Orphans"; Théodore Carlier's sonnet epigraphed by Byron; and the translation of Bürger's "Lenore," an iconic poem of French freneticism. The latter and/or the passage by Goëthe were likely translated (anonymously) by Gérard (later Nerval) of the Jeunes-France, who contributes an oddly-constructed lyric on "Disease" under his own name. Throughout the volume we see the proliferation of intertextuality that permeated the Romanticist avant-garde, in the form of many more epigraphs, dedications, and other intracommunal references than had appeared in the previous year. 

As usual in this series, the engravings are quaint, mainstream English prints in a compromise with the market (bourgeois households would buy them for the engravings, regardless of the often challenging literary content, which they simply ignored); however, this volume does contain one engraving reproducing a painting by Turner. As in the other two copies bound by this book's first owner, the wrappers have been preserved at front and back, with the spine of the original paper wrapper at the rear of the textblock.

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Annales Romantiques: Recueil de morceaux choisis de litterature contemporaine. (Romanticist Annals: Anthology of Choice Morsels of Contemporary Literature) Ed. Charles Malo. (1835) Sole Edition. Louis Janet: Paris. Hardbound 32mo, 295 pp.
  
 
This volume collects work by 47 Romanticist writers. The anthology's editor, Charles Malo, contributes a weirdly experimental frenetic poem called "Nightmare!" that explores the theme of parricide in verses rhythmically and syntactically fractured by dozens of elipses and dashes, and dozens more semicolons and exclamation marks. The frenetic tendency dominates this year's anthology, with works such as Carlier's "Book of Death", Peyronnet's ode to "Misfortune", Anaïs Ségelas' meditation on "A Death's-Head", Gautier's long poem "Malancholia", and the macabre tale "The Cavern of the Cadavers," under the pseudonym Achille Jubinal. Liberal Nationalism – with both its progressive and its reactionary/Eurocentric problematics – is on the rise; Émile Deschamps contributes an ode to the liberal nationalist movement "Young Germany" and the socialist Alphonse Esquiros to the Greek rebellion against the Ottoman Empire, in which Byron had died. Gérard de Nerval is represented by a series of lyric "Odelettes", Emile Saladin by a short story (his only non-Orientalist piece in the entire series), and Auguste Bouzenot furnishes an essay on Hindu mythology.

Saturday, 14 October 2017

'Autographe' journal of literary history & archiving

L'Autographe.ed. G. Bourdin. No.1, Saturday Dec. 5, 1863. Softcover Folio, 8 pp.

 
L'Autographe was a large-format journal catering to historians and archivists of 19th century (primarily French cultural) history, and an influence for this archive's associated journal, Rêvenance. It reproduced an eclectic array of handwritten notes, drawings, and other documents. The items in this issue of particular interest for the Revenant Archive include a notes by the avant-garde composer Hector Berlioz (see his Grotesques of Music in the Archive), the revolutionary activist Garibaldi, the Romanticist writers Alfred de Musset, Jules Sandeau (George Sand's estranged husband) and Jules Janin (enemy of frenetic ultra-Romanticism), the moderate Romanticist Léon Gozlan (probable coiner of the term "bousingo" in his satirical attacks on Radical Romanticism), plus a drawing by the liberal cartoonist Cham, a number of whose satires of Anarchism are included in the archive.

Saturday, 7 October 2017

Exciting New Addition: Original drawing by Louis Boulanger

Louis Boulanger, Untitled drawing of an unidentified woman. (c. 1827–1867.) Pencil and conte on paper, 11" x 16".

 
Though he has since been written out of art history, from the late 1820s to the mid-1830s Louis Boulanger was one of the most influential and progressive visual artists in France, usually grouped with Eugène Devéria and Eugène Delacroix as the three leaders of the Romanticist revolution in the plastic arts. His large-scale history paintings, particularly his violent and colourful 1827 Torture of Mazeppa, did much to establish the visual tropes that would come to define mainstream French Romanticist painting, while his weird, dark prints of demons, ghouls and murderers made him one of the leading exponents of underground Frenetic Romanticism. Like many artists of the first-generation avant-garde, he was taught by Achille Déveria (Eugène's older brother), and helped to determine the form of avant-garde art as a co-founder of the Petit-Cénacle group, later renamed the Jeunes-France and the Bouzingo.

This original portrait is undated, and its subject unidentified. As most of the original sketches in the Revenant Archive show, female relatives and friends were frequent subjects for drawings not destined for sale, probably in part as a reflection to the hegemony of the male gaze at the time, but also because they were often sketching or drawing at home while socializing, and hence drew whomever was present. This example is pretty finely rendered, and evinces a particularly sensitive attention to rendering and line, including highlights in white conte. The drawing has markings of previous archivists – a catalog No. 30 in the top left corner, and a hardened glob of mounting wax in the top right.

Monday, 25 September 2017

Berlioz, Grotesques de la Musique

Hector Berlioz, Les Grotesques de la musique (The Grotesques of Music). Undated (1871). 2nd Ed? Calmann-Lévy: Paris. Hardcover, Rebound with original spine and boards incorporated. Sextodecimo, 311 pp.



Hector Berlioz was among the most fervent, militant and radical Romanticist musicians, and one of the principal representatives of its avant-garde Frenetic subcurrent, through his wildly experimental, narratively-driven gothic pieces such as the Fantastic Symphony and Faust (based on the Bouzingo poet Nerval's translation of Goethe's text). He was also a gifted and lively writer, whose criticism and satire contributed substantially to the development not only of Romanticist musical theory but also to Romanticist satire. His prose-style – with its colourful but sardonic tone, jarring combination of informal flippancy with complex syntax, rare and archaic words, neologisms, mania for obscure, off-hand intellectual references, and an elliptical, disconnected discourse often marked off or disrupted by ironic subtitles, strings of punctuation, and interjections – connect his writing strongly to that of the Jeunes-France group and the Romanticist avant-garde generally. The word 'Grotesque' is a key term in French Romanticist theory (particularly important to the avant-garde elements of the movement), denoting that in literature which is unique, surprising, exceptional rather than typical, which flaunts convention and accepted norms, combining humour, horror, idealism and cynicism.

This work in particular is explicitly inspired by the Jeunes-France co-founder Théophile Gautier's seminal 1834-35 work of avant-garde historiography, The Grotesques. (see the Historiography tab for this archive's later edition) In it, Gautier had sought out obscure or vilified writers and artists proscribed by the Classicist establishment, often out of print for nearly two centuries, and from them identified and brought together a subversive tradition upon which to build a subversive, pre-Romanticist arsenal of literary techniques. In this book, Berlioz extends Gautier's search for the grotesque into the realm of music, though in a less focused and more wide-ranging way that brings to light all kinds of obscure musical figures, practices, new instruments (including the saxophone and other, less durable innovations), and oddities both of the past and his own day. It is interspersed with scraps of libretti and popular songs and snippets of staff music.

This (probably second) edition includes a letter of protest from the professional singers of Paris, who are mercilessly skewered throughout the book, then Berlioz's drippingly sarcastic "apology". The copy was thoroughly read by an early reader (presumably its first), after which its binding subsequently damaged or decayed, and it was nicely rebound in the twentieth century with its original boards intact and much of the spine re-incorporated.

Though this work has not been translated (look for translations of some of the articles in future editions of Rêvenance, etc.), Jacques Barzun's translation of his somewhat similar, though less heterogeneous, Evenings With the Orchestra offers a look at Berlioz's fun, lively style.

Friday, 8 September 2017

Major New Addition: Ten-volume anthology of Romanticist Satire from 1831 !

Le Livre des Cest-et-un (The Book of a Hundred-and-One). (1831) First Edition. Ladvocat: Paris. Frontispiece by Henry Monnier. Paperback Octavo in Ten Volumes, 421 pp. each.


Volume 5
 
This panoramic Romanticist view of Parisian life during the movement's period of most intense activity is not only a rich literary and historical resource, but also a testimony to the breadth, diversity, cameraderie and solidarity of the movement.

It was not until later in the 19th Century that experimental and avant-garde writing as such developed its own market, and dedicated publishers have become (sometimes) able to design business models to focus exclusively on such work's publication (keeping in mind that the mimeograph revolution, which would allow small runs to be published at a low overhead to be distributed as gifts or in trade, was 130 years in the future). Until then, publishers were forced to hedge financially risky experimental work with sure-thing mainstream publications to absorb the losses usually incurred by avant-garde books. Anything could disrupt this delicate balance: an unexpected flop, fines from government censors, a sudden change in public taste (not yet controlled by the still-nascent media industry), or personal tragedy could bankrupt a publisher, especially one dependent on cutting-edge literature.

The Romanticist publisher François-Pierre Ladvocat was one of the leading publishers of Romanticist and experimental French literature between 1821 and 1840, as well as translations of British and German Romanticism. He was described as an intellectual whirlwind, and while he supported writers from a wide variety of camps, he was firmly committed to the Romanticist cause. He was first involved with publishing work by the Arsenal group: Charles Nodier, Victor Hugo, Vigny, Lamartine, Saint-Beuve, and others, many of whom are represented in this archive. Throughout his publishing career, he braved the vagaries of a still-emerging and unpredictable literary market and consistently took chances on new writers and experimental work. His bookshop and reading-room was also an important meeting-place for the Romanticist community, and he stocked most of the small journals and reviews that made up the literary underground of the period.

Ladvocat was also a dandy; unlike the aristocratic dandies of the Jockey Club but like many Romanticist dandies such as Alfred de Musset, Roger de Beauvoir, and Charles Baudelaire, his income was not sufficient for his habit. Between his personal debts and his financial risks on progressive literature, compounded by the strains of increasing literary censorship, he was forced into bankruptcy in 1833. In response, dozens of writers from across literary camps came together to organise a campaign to save the press. (Here's a contemporary article on the situation and review of the anthology.)

It took the form of this project: a massive, multi-volume anthology in which the whole panorama of Parisian society and daily life – including the underground network of intersecting subcultures – would be chronicled from a satirical and generally (though not exclusively) Romanticist perspective. A glance through the voluminous tables of contents below indicate how detailed and diverse this survey was; the set constitutes a treasury of potential translation and research. Reactions were also diverse, and those by English reviewers indicate that Romanticism, in its self-declared and militantly experimental French form, was even more threatening to mainstream anglophone readers than to their counterparts in France (a situation which has never ceased to be the case).

The collection was successful (though Ladvocat went out of business around 1840), and went on to a second series of ten further volumes. There was some criticism close to home: the Romanticist-dandyist journal Le Dandy, in a semi-satirical review, not surprisingly praises the Ladvocat press and bookshop to the skies, but nonetheless accuses the anthology of sacrificing quality for quantity – facetiously worrying that he might end up asking mythical gnomes and salamanders to write for him, or – worse – the fashionable writer Ancelot, who had recently premiered a play parodying Dandyism.

This rare full set of the initial 10-volume series was almost certainly originally owned by somebody fully engaged within the Romanticist community, for all of its over 4,000 pages have been cut, and therefore presumably read. The books are large, dense paperbacks, which implies that their owner was, moreover, not particularly wealthy, though they were well-taken care of. A substantial enough proportion of the intended readership was in the same situation that Ladvocat designed and printed elaborate wraps for the spines. Though some of these wraps are peeling and some of the bindings beginning to loosen, the volumes are in surprisingly good condition overall, for neatly two-century-old paperbacks that have been thoroughly read.

Only one image has posted here; each volume's cover and spine are identical with the obvious exceptions of volume numbers. The full table of contents of each volume is listed below:


Vol. 1
  1. Jules Janin, "Asmodée" ("Asmodeus)
  2. E. Roch, "La Palais-Royal" ("The Royal Palace")
  3. A. Bazin, "Le Bourgeois de Paris" ("The Paris Bourgeois")
  4. Auguste-Marseille Barthélemy & Joseph Méry, "Le Jardin des plantes" ("The Garden of Plants")
  5. Gustave Drouineau, "Une Maison de la Rue l'École de Médecine" ("A Mason of Medical-School Street")
  6. Charles Nodier, "Le Bibliomane" ("The Bibliomaniac") This story, still current in French bibliographic circles and worthy of translation, exerted an important influence on avant-garde bibliography and archiving through its melding of Frenetic Romanticism,  Roman-à-clef, and sociological treatise. Nodier was, among much else, director of the Arsenal Library, the second-largest in Paris.
  7. A. Jal, "Les Soirées d'Artistes" ("The Artists' Parties) This essay, worthy of eventual translation, surveys the emergence, in the wake of the 1789 and 1830 Revolutions, of new ways that artists organised themselves socially.
  8. Philarète Chasles, "La Conciergerie" ( "The Conciergerie Prison")
  9. P.L. Jacob (Paul Lacroix/Bibliophile Jacob), "Les Bibliothèques Publiques" (The Public Libraries") A disciple of Nodier who would later fill his role as head of the Arsenal Library, Bibliophile Jacob, as he was often known, was the foremost Frenetic Romanticist bibliographer and archivist, as well as a novelist of historical Gothic Fiction and historian of Medieval culture, collaborating as researcher for Hugo on Notre Dame de Paris (known in English as The Hunchback of Notre Dame). 
  10. Béranger, "Chanson à M. Chateaubriand" ("Song for Mr. Chateaubriand")


Vol. 2
  1. A. Bazin, "La Chambre des Députés" ("The Chamber of Deputies")
  2. Népomusène Lemercier, "Candidats académiques et Politiques" (Academic and Political Candidates)
  3. Ernest Fouinet, "Un Voyage en Omnibus, de la la barrière du Trône à la barrière de l'Étoile" (A Trip on the Bus, from the Barrier of the Throne to the Star)
  4. André Delrieu, "Les Enfants-Trouvés" (The Abandoned Children) On the chronic problem of infants abandonned at Parisian orphanages STATS FROM 'YOUTH AND HISTORY
  5. Auguste Luchet, "Le Salon de Lafayette" (Lafayette's Salon)
  6. Charles Saint-Beuve, "Des Soirées Littéraires, ou Les Poètes entre eux" (Literary Soirées, or the Poets Amongst Themselves) The leading mainstream Romanticist critic presents a history of literary collectivity in France, culminating in the Cénacle Group, of which he was a central member. Conspicuously missing is any mention of the Petit-Cénacle group, which was at the height of its activity and influence at the time but against whom Saint-Beuve was leading a critical campaign.
  7. Charles Nodier, "Polichinelle" (Punchinello)
  8. Jules Janin, "L'Abbé Chatel et son Église" (The Abbé Chatel and his Church)
  9. Amédée Pommier, "Charlatans, Jongleurs, Phénomènes vivants, etc." (Tricksters, Jugglers, Freaks, etc.)
  10. Casimir Cordellier-Délanoue, "Un Atelier de la Rue de l'Ouest" (A Studio on Rue de l'Ouest) The editor of the ultra-Romanticist mouthpiece Tribune Romantique here describes the studio of an avant-garde artist, in an entertaining story that warrants translation and could be usefully compared with O'Neddy's description of Jehan Duseigneur's studio and Gautier's descriptions in "The Bowl of Punch" and other stories from The Jeunes-France. 
  11. Alexandre Dumas, "Le cocher de cabriolet" (The Cabby) In this rambling tale, Dumas (at this time just beginning to grow into his fame) describes a conversation with a Parisian cab-driver about the work of his friends and enemies, providing a tongue-in-cheek glimpse into how the Romanticist-Classicist war was perceived and discussed by average Frenchmen.
  12. Le Comte [Alexis?] de Saint-Priest, "Les deux Saint-Simoniens" (The Two Saint-Simonians) In this extremely clever satire, a follower of the Duc Louis de Saint-Simon (the aristocratic courtier and memoirist), and a disciple of the Comte Henri de Saint-Simon (founder of the proto-Socialist movement at the height of its influence in 1831) meet via a quite fiunny vaudevillian conversation of mutual misunderstanding, which becomes the pretext for a satirical meditation on how these two coincidentally-namrd figures signify the socio-economic shifts as France was self-consciuosly entering the Modern age.
  13. Charles Dupeuty, "Un Conseil de Discipline de la Garde Nationale" (A Bit of Advice on the Discipline of the National Guard)
  14. La Comtesse de Bradi, "Un Bal chez le comte d'Appony" (A Ball at the Count of Appony's)
  15. Castil-Blaze, "Les Musiciens" (The Musicians)
  16. Auguste Hilarion de Kératry, "Les Gens de Lettres d'autrefois" (The Men of Letters of Yesteryear)


Vol. 3

  1. Victor Ducange, "Un Duel" (A Duel)
  2. Jean-Nicolas Bouilly, "Les Jeunes Filles de Paris" (The Young girls of Paris)
  3. Louis Desnoyers, "Les Béotiens de Paris" (The Boeotians/Uncouth of Paris)
  4. François Andrieux, "Le Prix Montyon" (The Montyon Prize) This prize was given by the Académie each year for work improving the effect of industrialisation on the working class, and was a fore-runner of the Nobel Prize.
  5. Eugène Briffault, "La Nuit de Paris" (Night in Paris)
  6. Félix Bodin, "Le Juste Milieu et la Popularité" (The Jet-Set and Pop Culture)
  7. J. Bousquet, "La Cour d'Assises" ("The Criminal Court")
  8. Casimir Bonjour, "Les Comédiens d'autrefois et ceux d'aujourd'hui" (The Actors of Yesteryear and Those of Today)
  9. Maximilian de Villemarest, "Le Barrière du Mont-Parnasse" (The Montparnasse Gate)
  10. Marceline Debord-Valmore, "Un Élève de David" (A Disciple of David) A satirically bathetic portrayal of a Classicist painter, a rare bit of humorous prose from the frenetic Romanticist female poet, a major influence on Jarry. Worth translating.
  11. Paulmier, "Une Séance de Sourds-Muets" (A Session With Deaf-Mutes)
  12. L. Montigny, "Paris, Ville de Garnison" (Paris, Garrison Town)
  13. Éduard Mennechet, "La Cour de France en 1830" (France's Heart in 1830)
  14. Jules Janin, "Les Petits Métiers" (The Minor Trades)
  15. A. Bazin, "Nécrologie" (Necrology)
  16. Alphonse de Lamartine, "Les Révolutions" (The Revolutions) 
Vol. 4
  1. Camille Ladvocat, "Au Public" (To the Public)
  2. De Peyronnet, "Vincennes" (Vincennes Prison)
  3. A. de la Ville, "Les Semainiers du Théatre-Français chez le Ministre de l'Intérieur" (The Weekly Managers of the Théatre-Français in the Minister of the Interior)
  4. Ernest Fuinet, "Une Maison de la Cité" (A House in the City)
  5. Charles Nodier, "Les Monuments expiatoires" (The Expiatory Monuments) Nodier, who was spearheading a massive campaign to save the remnants of France's medieval past from complete destruction in the face of the 'modernizing' mania of the time, here suggests monuments of past social crimes and rejected ideas.
  6. The Hermit of the Antin Street, "L'Église, le Temple et la Synagogue" (The Church, the Temple, and the Synogogue)
  7. Amédée Pommier, "Les Fêtes publiques à Paris" (The Public Festivals in Paris)
  8. Eugène Roch, "Le Cimetière du Père Lachaise" (Père Lachaise Cemetary) Now arguably the most famous cemetery in the world, in 1832 it was still relatively new, and its park-like design a novelty.
  9. Paul David, "L'Ouvreuse de Loges" (The Green Room Attendant)
  10. Jacques Arago, "Une Maison de Fous (Maison du Docteur Blanche)" (A House of Fools [House of Dr. Blanche]) Here, Arago describes the mental hospital run by the alienist Esprit Blanche, a leading proponent of experimental psychology. Blanche had strong connections with the avant-garde, and his asylum would host Jeunes-France cofounder Gérard de Nerval, musicians Fromental Halévy and Charles Gounod, and the Decadent/Realist novelest Guy de Maupassant. His grandson was the avant-garde painter Jacques-Émile Blanche. The author, Arago, came from a prominent intellectual family, and was best-known for his drawings and memoir of a scientific expedition in which he circumnavigated the globe. The year before his death, in 1853, he forshadowed Oulipean texts by nearly a century when he wrote and published a travel memoir without using the letter A once. A text quite worth translating.
  11. Sophie Gay, "Les trois Lecteurs: The Three Readings". Sophie Gay, later Sophie Girardin, was one of the leading female Romanticist poets and 'fought' at the 'Battle of Hernani'. Here she describes the differences in readings of prospective plays at three different Parisian theatres.
  12. Armand Marrast, "Sainte-Pélagie: détention politique" (Saint-Pélagie Prison: Political Arrest)
  13. Alexandre Duval, "L'Apprenti Journaliste" (The Apprenticed Journalist)
  14. Michaud & A. Bazin, "Constantinople et Paris" (Constantinople and Paris)
  15. Alexandre Soumet, "L'Archevèque de Paris" (The Paris Archivist)
  16. Prospectus for new journal: Répertoire Historique, edited by Eugène Roch.
Vol. 5
  1. Émile Deschamps, "Une Matinée aux Invalides" (A Matinee at the Paris Veteran's Hospital")
  2. Victorine Collin, "Les Jeunes personnes sans fortune à Paris" (Young People Without Fortunes in Paris")
  3. Étienne-Jean Delécluze, "De la Barbarie de ce Temps, 1832" (On the Barbarism of our Times, 1832) A contentious manifesto on art theory, worth a full read.
  4. James Rousseau, "Monsieur de Paris" (Sir of Paris)
  5. Astolphe de Custine, "Les Amitiés Littéraires en XDCCCXXXI" (Literary Friendship in 1831) Coustine was particularly well-situated to write this essay: he was heavily involved with Romanticist subculture and his vacation home, built the year of publication, hosted many prominent members of the movement, while his mother had been a close friend of Madame de Staël and immersed in the first emergence of Romanticism in France two decades earlier. Worth translating.
  6. Pierre-François Tissot, "Les Convois" (The Convoys)
  7. Maurice Pallut, "Une visite à Charonton" (A Visit to Charenton Asylum) 
  8. Amable Tastu, "Les migrations du Port Saint-Nicolas" (The Migrations of the Saint NicholasHarbour)
  9. Henry Monnier, "Le Manie des Albums" (The Mania for Albums)
  10. Félix Pyat, "Un Café de Vaudevillistes en MDCCCXXXI" (A Vaudevillians' Café in 1831) Pyat, who here portrays the culture surrounding the working-class popular entertainment industry, was a major force for most of the century both as a chronicler of Bohemian and other Parisian subcultures, and as a leading Socialist activist and politician.
  11. Saint-Marc Girardin, "Paris il y a Mille Ans" (Paris a Millennium Old)
  12.  Goethe, "Les Naturalistes Français" (The French Naturalists)
  13. The Count Armand d'Allonville, "Les Maisons de Jeu" (The Gambling-Houses)
  14. Bert, "Le Typographe" (The Typographer)
  15. Louis Desnoyers, "Les Béotiens de Paris: 2e Série" (The Boeotians/Uncouth of Paris: Episode 2)
  16. J.-T. Merle, "Mademoiselle Montansier, son Salon et son Théatre" (Miss Montansier, her Salon and her Theatre) Montansier, one-time directress of the Théatre-Française, had hosted an important salon before, during, and after the French Revolution.
  17. A. Bazin, "Le Choléra-Morbus à Paris" (The Cholera-Morbus in Paris)
  18. Arago, Jouy, Villemain, & Geoffroy Saint-Hillaire, "Les Obsèques de M. Cuvier" (The Obsequies for Mr. Cuvier) The French paleontologist Pierre-François Cuvier had died very recently.


Vol. 6
  1. Charles Dupin, "Les Monuments d'Italie a Paris" (The Italian Monuments in Paris)
  2. Nestor de Lamarque, "Les Catacombes" (The Catacombs)
  3. Auguste Hilarion, Comte de Kératry, "Les Gens de Lettres d'aujourd'hui" (The People of Letters of Yesteryear)
  4. Eugène Sue, "Le Parisien en Mer" (The Parisian at Sea)
  5. Un Flaneur, "Le Flaneur à Paris" (The Flaneur in Paris)
  6. Régnier Destourbet, "Les Demoiselles à marier" (Young Women to Wed)
  7. Gustave Planche, La Journée d'un Journaliste (The Journey of a Journalist)
  8. Élise Voiart, "L'Église des Petits-Pères a Paris"
  9. Jean-Pons-Guillaume Viennet, La Vie d'un Député" 
  10. Ernest Desprez, "Les Grisettes a Paris"
  11. Alphonse François, "Une Audience de Justice de Paix" 
  12. Narcisse-Achille de Salvandy, "La Place Louis XV"
  13. Louis Desnoyers (Derville), "Les Tables d'hôte parisiennes" 
  14. Guilbert de Pixérécourt, "Le Mélodrame"
  15.  Jean-Pierre Lesguillon, "Les Vices a la mode"
  16.  Alphonse de Lamartine, "Épître à Walter Scott" & "Homage à l'Académie de Marseille" 
 
Vol. 7
  1. Prospectus for forthcoming book: Paul Robert, ou, Mémoires d'un Fils de famille, published by Jules Mayret.
  2. Charles Lenormand, "Du Costume Parisien, et de son avenir" (On Parisian Dress, and its Future)
  3. Léon Guérin, "Les Comités de Lecture" (The Reading Committees) The theatrical reading committees were in charge of determining whether submitted plays would be produced; they were notoriously contemptuous of writers and tended to be aesthetically conservative.
  4. Étienne-Jean Delécluze, "Les Barbus d'a-présent et les Barbus de 1800"
  5. N. Brazier, "Les Sociétés Chantantes" (The Singing Clubs)
  6. G. d'Outrepont, "Le Gamin de Paris"
  7. Benjamin Constant, "Portraits inédits" (Unpublished Portraits)
  8. Ernest Fouinet, "Un Jour de paiement de rentes au Trésor" (A Day of Paying Revenues to the Treasury)
  9. Edmond Mennechet, "Les Théatres de Société" (The Classy Theatres)
  10. Félix Bodin, "Une Scène de Magnétisme" (A Scene of Magnetism)
  11. Jal, "La Faction des Ennuyés"
  12. Dupin Ainé, "De l'Improvisation" (On Improvisation)
  13. Gaillardet, "La Rue des Postes"
  14. A. Fontaney, "Un Magasin de modes"
  15. Peyronnet, "Ham"
  16. Victor Hugo, "Napoléon II"
 
Vol. 8
  1. Prospectus for forthcoming book: La Chronique de France (The Chronicle of France), ed. Eduard Mennechet, and adverts for other new titles on Ladvocat. 
  2. Frédéric Soulié, "L'Écrivain public" (The Popular Writer) 
  3. Victor Ducange, "Une Demoiselle de Paris, en 1832" (A Young Lady of Paris, 1832)
  4. Émile Deschamps, "Les Appartements a Louer" (The Rooms for Rent)
  5. Léon Gozlan, "Le Napoléon Noir" (The Black Napoleon)
  6. Amédée Pommier, "Les Musées en plein vent" (The Open Air Museums)
  7. Jules Mayret, "Les Filles d'actrices" (The Actresses' Daughters)
  8. Loève-Veimars, "L'Hôtel Carnavalet"
  9. V. Schoelcher, "Les Amours de diligence" ( Loves of Exactitude / Hasty Loves)
  10. A. Félix Joncières, "Le Luxembourg" (The Luxembourg Gardens)
  11. Jules Janin, "Le Marchand de chiens" (The Dog-Seller)
  12. Victorine Collin, "Deux Ménages Parisiens" (Two Parisian Households)
  13. Charles Liadières, "L'Élève de l'École polytechnique" (The Engineering Graduate)
  14. Éduard Anglemont, "L'Ouverture de la Chasse aux environs de Paris" (The Opening of the Hunt in the Vicinity of Paris)
  15. Charles Duveyrier, "Le Ville Nouvelle, ou le Paris des Saints-Simoniens" (The New Town, or the Paris of the Saint-Simonians)
  16. Jacques Raphael, "Le Portier de Paris" (The Paris Doorman)
  17. Al. Donné, "L'Étudiant en Médicine" (The Medical Student)
  18. René de Chateaubriand, "Le Naufrage" (The Shipwreck)
 
Vol. 9
  1.  Cormenin,"Napoléon au Conseil d'État" (Napoleon to the State Council)
  2. A. de Latour, "Le Sorbonne" (The Sorbonne University)
  3. A. Luchet, "Une représentation a bénéfice" (A Benefit Performance)
  4. A. Barginet, "Le Pont-Neuf et L'Isle-aux-Juifs" (The Pont-Neuf Bridge and the Isle-aux-Juifs)
  5. Jules de Rességuier, "Les chevaux de poste" (The Postal Horses)
  6. A. Gratiot, "Le bois de Boulogne" (The Forest of Boulogne)
  7. Un Prévenu (A Defendant), "La Force" (Force)
  8. N. Brazier, "Le Boulevard du Temple" 
  9. Henri Martin, "Un visite à St.-Germain" (A Visit to the Saint-Germaine-de-Près Neighbourhood) 
  10. Merville, "La vie de café" (Café Life)
  11. James Fenimore Cooper, "Une Vision (Point de bateaux a vapeur)" (A Vision: Steamboat Stop)
  12. A. Fontenay, "Une séance dans un cabinet de lecture" (A Meeting in a Reading-Room). Many people took their daily news from public reading-rooms, which stocked numerous newspapers and journals, and which were often the scene of spirited political debates, speeches, and planning.
  13. Léon Halévy, "L'agence dramatique" (The Theatrical Agency)
  14. Frédéric Soulié, "La Librairie à Paris" (The Paris Bookshop)
  15. Le Bon Pasquier, "Éloge historiques de G. Cuvier" (Historic Elogies of G. Cuvier)
  16. The Editor of the Cent-et-un [Ladvocat], "Dix heurs au chateau de Ham" (Ten Hours in the Ham Mansion)
 
Vol. 10
  1.  Dupin Ainé, "Le Révolution de Juillet 1830" (The Revolution of July 1830)
  2. A. Kermel, "Les Passages de Paris" (The Paris Alleyways)
  3. de Pongerville, "Épître au Roi de Bavière" (Epistle of the King of Bavaria)
  4. Dufau, "Les Jeunes Aveugles" (The Young Blind People)
  5. d'Hervilly, "La Roulette" (Roulette)
  6. Dumersan, "Le Cabinet de Médailles" (The Cabinet of Medals) 
  7. O. Le Roy, "Un Élève de Ducis à Paris" (A Graduate of Ducis) A satire of Classicism, starring a student from the studio of the Classicist painter Louis Ducis. Worth a read.
  8. Arnold d'a-Costa, "La Place Royale" (The Place Royale Square)
  9. Sophie Pannier, "Un Jeune Républicain en 1832" (A Young Republican [hard-Leftist] in 1832)
  10. Hennequin, "Le Commissaire de Police" (The Police Superintendent)
  11. Rey Dussueil, "Le Siècle au Bal" (The Century at the Ball) 
  12. Marceline Desbordes-Valmore, "Souvenirs du Couvent des Capucines à Paris" (Memories of the Capuchin Convent of Paris)
  13. Jacques Arago, "Les Chevaliers d'Industrie" (The Knights of Indistry)
  14. Comte Alexandre de Laborde, "Paris Municipe, ou Chronique de l'Hotel-de-Ville" (Municipal Paris, or Chronicle of the Hotel-de-Ville Mansion)
  15. Félix Pyat, "Le Théatre Français" (The French National Theatre)
  16. Andrieux, Casimir-Delavigne, & Chateaubriand, "Lettres sur Mlle Cotte" (Letters on Miss Cotte)
  17. Mlle. Cotte, "La Jeune Fille Mourante: Mon dernier chant" (The Young Girl Dying: My Final Song)

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