L'amant de ma femme me trompe


Book Description

Michel, un producteur de spectacle coureur de jupons, est en instance de divorce de sa femme Fran oise. Sa ma"tresse actuelle, Aline, qui est aussi sa secrZtaire, lui annonce quOelle doit quitter son travail DEGREES cause de la jalousie maladive de son mari, Olivier, un agent spZcial du GIGN. Afin dOapaiser les soup ons dOOlivier, Michel va se faire passer pour un homosexuel lors dOun d"ner organisZ avec la complicitZ de Fran oise, o Olivier et Aline sont invitZs. Mais la soirZe va prendre une tournure inattendue, surtout pour Michel.





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A History of the French Novel, Vol. 2


Book Description

Reproduction of the original: A History of the French Novel, Vol. 2 by George Saintsbury







The Father and Daughter: A Tale in Prose


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The night was dark,—the wind blew keenly over the frozen and rugged heath, when Agnes, pressing her moaning child to her bosom, was travelling on foot to her father's habitation. "Would to God I had never left it!" she exclaimed, as home and all its enjoyments rose in fancy to her view:—and I think my readers will be ready to join in the exclamation, when they hear the poor wanderer's history. Agnes Fitzhenry was the only child of a respectable merchant in a country town, who, having lost his wife when his daughter was very young, resolved for her sake to form no second connection. To the steady, manly affection of a father, Fitzhenry joined the fond anxieties and endearing attentions of a mother; and his parental care was amply repaid by the love and amiable qualities of Agnes. He was not rich; yet the profits of his trade were such as to enable him to bestow every possible expense on his daughter's education, and to lay up a considerable sum yearly for her future support: whatever else he could spare from his own absolute wants, he expended in procuring comforts and pleasures for her.—"What an excellent father that man is!" was the frequent exclamation among his acquaintance—"And what an excellent child he has! well may he be proud of her!" was as commonly the answer to it. Nor was this to be wondered at:—Agnes united to extreme beauty of face and person every accomplishment that belongs to her own sex, and a great degree of that strength of mind and capacity for acquiring knowledge supposed to belong exclusively to the other. For this combination of rare qualities Agnes was admired;—for her sweetness of temper, her willingness to oblige, her seeming unconsciousness of her own merits, and her readiness to commend the merits of others,—for these still rarer qualities, Agnes was beloved: and she seldom formed an acquaintance without at the same time securing a friend. Her father thought he loved her (and perhaps he was right) as never father loved a child before; and Agnes thought she loved him as child never before loved father.—"I will not marry, but live single for my father's sake," she often said;—but she altered her determination when her heart, hitherto unmoved by the addresses of the other sex, was assailed by an officer in the guards who came to recruit in the town in which she resided.







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Comedy in Arthurian Literature


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Articles on comedy in Arthurian romance - French, Dutch, Italian, Scottish and English. The texts analyzed underline the wide dissemination of the Arthurian story in medieval and post-medieval Europe, from Scotland to Italy, while the various analyses of the manifestations of comedy refute the notion of romance as ahumourless genre. Indeed, the comic treatment of conventional themes and motifs appears to be not only characteristic of later romance but an essential element of the genre from its beginnings and from its earliest development. Authors of Arthurian romance, from Chrétien de Troyes to Malory, writing in French, Italian, Middle Dutch, and Middle English, and the creators of an Irish prose-tale, all question the fundamental assumptions of romance and romancevalues through the medium of comedy. The theme of comedy in Arthurian romance has been developed from the orignal session at the Arthurian Congress in Toulouse. Contributors: ELIZABETH ARCHIBALD, FRANK BRANDSMA, CHRISTINE FERLAMPIN-ACHER, LINDA GOWANS, DONALD L. HOFFMAN, MARGOLEIN HOGENBIRK, NORRIS J. LACY, MARILYN LAWRENCE, BENEDICTE MILLAND-BOVE, PETER S. NOBLE, KAREN PRATT, ANGELICA RIEGER, ELIZABETH S. SKLAR, FRANCESCO ZAMBON.