Project Gutenberg's Monsieur de Camors, Complete, by Octave Feuillet

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Title: Monsieur de Camors, Complete

Author: Octave Feuillet

Last Updated: March 3, 2009
Release Date: October 5, 2006 [EBook #3946]

Language: English

Character set encoding: ASCII

*** START OF THIS PROJECT GUTENBERG EBOOK MONSIEUR DE CAMORS, COMPLETE ***

Produced by David Widger

MONSIEUR DE CAMORS

By Octave Feuillet

With a Preface by MAXIME DU CAMP, of the French Academy

OCTAVE FEUILLET

OCTAVE FEUILLET'S works abound with rare qualities, forming a harmonious
ensemble; they also exhibit great observation and knowledge of humanity,
and through all of them runs an incomparable and distinctive charm. He
will always be considered the leader of the idealistic school in the
nineteenth century. It is now fifteen years since his death, and the
judgment of posterity is that he had a great imagination, linked to
great analytical power and insight; that his style is neat, pure, and
fine, and at the same time brilliant and concise. He unites suppleness
with force, he combines grace with vigor.

Octave Feuillet was born at Saint-Lo (Manche), August 11, 1821, his
father occupying the post of Secretary-General of the Prefecture de la
Manche. Pupil at the Lycee Louis le Grand, he received many prizes, and
was entered for the law. But he became early attracted to literature,
and like many of the writers at that period attached himself to the
"romantic school." He collaborated with Alexander Dumas pere and with
Paul Bocage. It can not now be ascertained what share Feuillet may have
had in any of the countless tales of the elder Dumas. Under his own
name he published the novels 'Onesta' and 'Alix', in 1846, his first
romances. He then commenced writing for the stage. We mention 'Echec
et Mat' (Odeon, 1846); 'Palma, ou la Nuit du Vendredi-Saint' (Porte St.
Martin, 1847); 'La Vieillesse de Richelieu' (Theatre Francais, 1848);
'York' (Palais Royal, 1852). Some of them are written in collaboration
with Paul Bocage. They are dramas of the Dumas type, conventional, not
without cleverness, but making no lasting mark.

Realizing this, Feuillet halted, pondered, abruptly changed fron