Project Gutenberg's Monsieur, Madame and Bebe, Complete, by Gustave Droz

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.net

Title: Monsieur, Madame and Bebe, Complete

Author: Gustave Droz

Last Updatee: March 2, 2009
Release Date: October 5, 2006 [EBook #3926]

Language: English

Character set encoding: ASCII

*** START OF THIS PROJECT GUTENBERG EBOOK MONSIEUR, MADAME AND BEBE, ***

Produced by David Widger

MONSIEUR, MADAME AND BEBE

By Gustave Droz

Antoine-Gustave Droz was born in Paris, June 9, 1832. He was the son of
Jules-Antoine Droz, a celebrated French sculptor, and grand son of Jean
Pierre Droz, master of the mint and medalist under the Directoire. The
family is of Swiss origin. Gustave entered L'Ecole des Beaux Arts and
became quite a noted artist, coming out in the Salon of 1857 with the
painting 'L'Obole de Cesar'. He also exhibited a little later various
'tableaux de genre': 'Buffet de chemin de fer' (1863), 'A la Sacristie'
and 'Un Succes de Salon' (1864), 'Monsieur le Cure, vous avez Raison'
and 'Un Froid Sec' (1865).

Toward this period, however, he abandoned the art of painting and
launched on the career of an author, contributing under the name of
Gustave Z.... to 'La Vie Parisienne'. His articles found great favor,
he showed himself an exquisite raconteur, a sharp observer of intimate
family life, and a most penetrating analyst. The very gallant sketches,
later reunited in 'Monsieur, Madame, et Bebe' (1866), and crowned by the
Academy, have gone through many editions. 'Entre nous' (1867) and 'Une
Femme genante', are written in the same humorous strain, and procured
him many admirers by the vivacious and sparkling representations of
bachelor and connubial life. However, Droz knows very well where to draw
the line, and has formally disavowed a lascivious novel published in
Belgium--'Un Ete a la campagne', often, but erroneously, attributed to
him.

It seems that Gustave Droz later joined the pessimistic camp. His works,
at least, indicate other qualities than those which gained for him the
favor of the reading public. He becomes a more ingenious romancer, a
more delicate psychologist. If some of his sketches are realistic, we
must consider that realism is not intended