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Reading books fiction Have you ever thought about what fiction is? Probably, such a question may seem surprising: and so everything is clear. Every person throughout his life has to repeatedly create the works he needs for specific purposes - statements, autobiographies, dictations - using not gypsum or clay, not musical notes, not paints, but just a word. At the same time, almost every person will be very surprised if he is told that he thereby created a work of fiction, which is very different from visual art, music and sculpture making. However, everyone understands that a student's essay or dictation is fundamentally different from novels, short stories, news that are created by professional writers. In the works of professionals there is the most important difference - excogitation. But, oddly enough, in a school literature course, you don’t realize the full power of fiction. So using our website in your free time discover fiction for yourself.



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The genre of fiction is interesting to read not only by the process of cognition and the desire to empathize with the fate of the hero, this genre is interesting for the ability to rethink one's own life. Of course the reader may accept the author's point of view or disagree with them, but the reader should understand that the author has done a great job and deserves respect. Take a closer look at genre fiction in all its manifestations in our elibrary.



Read books online » Fiction » The Parisians — Complete by Baron Edward Bulwer Lytton Lytton (beautiful books to read TXT) 📖

Book online «The Parisians — Complete by Baron Edward Bulwer Lytton Lytton (beautiful books to read TXT) 📖». Author Baron Edward Bulwer Lytton Lytton



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sentiment which she thought must be so obvious if we cared a straw about her, and which, though we prize her above the Indies, is by our dim, horn-eyed, masculine vision undiscernible. It may be something in itself the airiest of trifles: the anniversary of a day in which the first kiss was interchanged, nay, of a violet gathered, a misunderstanding cleared up; and of that anniversary we remember no more than we do of our bells and coral. But she—she remembers it; it is no bells and coral to her. Of course, much is to be said in excuse of man, brute though he be. Consider the multiplicity of his occupations, the practical nature of his cares. But granting the validity of all such excuse, there is in man an original obtuseness of fibre as regards sentiment in comparison with the delicacy of woman’s. It comes, perhaps, from the same hardness of constitution which forbids us the luxury of ready tears. Thus it is very difficult for the wisest man to understand thoroughly a woman. Goethe says somewhere that the highest genius in man must have much of the woman in it. If this be true, the highest genius alone in man can comprehend and explain the nature of woman, because it is not remote from him, but an integral part of his masculine self. I am not sure, however, that it necessitates the highest genius, but rather a special idiosyncrasy in genius which the highest may or may not have. I think Sophocles a higher genius than Euripides; but Euripides has that idiosyncrasy, and Sophocles not. I doubt whether women would accept Goethe as their interpreter with the same readiness with which they would accept Schiller. Shakspeare, no doubt, excels all poets in the comprehension of women, in his sympathy with them in the woman-part of his nature which Goethe ascribes to the highest genius; but, putting aside that “monster,” I do not remember any English poet whom we should consider conspicuously eminent in that lore, unless it be the prose poet, nowadays generally underrated and little read, who wrote the letters of Clarissa Harlowe. I say all this in vindication of Graham Vane, if, though a very clever man in his way, and by no means uninstructed in human nature, he had utterly failed in comprehending the mysteries which to this poor woman-child seemed to need no key for one who really loved her. But we have said somewhere before in this book that music speaks in a language which cannot explain itself except in music. So speaks, in the human heart, much which is akin to music. Fiction (that is, poetry, whether in form of rhyme or prose) speaks thus pretty often. A reader must be more commonplace than, I trust, my gentle readers are, if he suppose that when Isaura symbolized the real hero of her thoughts in the fabled hero of her romance, she depicted him as one of whom the world could say, “That is Graham Vane.” I doubt if even a male poet would so vulgarize any woman whom he thoroughly reverenced and loved. She is too sacred to him to be thus unveiled to the public stare; as the sweetest of all ancient love-poets says well— “Qui sapit in tacito gaudeat ille sinu.”

But a girl, a girl in her first untold timid love, to let the world know, “that is the man I love and would die for!”—if such a girl be, she has no touch of the true woman-genius, and certainly she and Isaura have nothing in common. Well, then, in Isaura’s invented hero, though she saw the archetypal form of Graham Vane,—saw him as in her young, vague, romantic dreams idealized, beautified, transfigured,—he would have been the vainest of men if he had seen therein the reflection of himself. On the contrary he said, in the spirit of that jealousy to which he was too prone, “Alas! this, then, is some ideal, already seen perhaps, compared to which how commonplace am I!” and thus persuading himself, no wonder that the sentiments surrounding this unrecognized archetype appeared to him over-romantic. His taste acknowledged the beauty of form which clothed them; his heart envied the ideal that inspired them. But they seemed so remote from him; they put the dreamland of the writer farther and farther from his workday real life.

In this frame of mind, then, he had written to Savarin, and the answer he received hardened it still more. Savarin had replied, as was his laudable wont in correspondence, the very day he received Graham’s letter, and therefore before he had even seen Isaura. In his reply, he spoke much of the success her work had obtained; of the invitations showered upon her, and the sensation she caused in the salons; of her future career, with hope that she might even rival Madame de Grantmesnil some day, when her ideas became emboldened by maturer experience, and a closer study of that model of eloquent style,—saying that the young editor was evidently becoming enamoured of his fair contributor; and that Madame Savarin had ventured the prediction that the Signorina’s roman would end in the death of the heroine, and the marriage of the writer.





CHAPTER V.

And still the weeks glided on: autumn succeeded to summer, the winter to autumn; the season of Paris was at its height. The wondrous capital seemed to repay its Imperial embellisher by the splendour and the joy of its fetes. But the smiles on the face of Paris were hypocritical and hollow. The Empire itself had passed out of fashion. Grave men and impartial observers felt anxious. Napoleon had renounced les ideas Napoleoniennes. He was passing into the category of constitutional sovereigns, and reigning, not by his old undivided prestige, but by the grace of party. The press was free to circulate complaints as to the past and demands as to the future, beneath which the present reeled, ominous of earthquake. People asked themselves if it were possible that the Empire could co-exist with forms of government not imperial, yet not genuinely constitutional, with a majority daily yielding to a minority. The basis of universal suffrage was sapped. About this time the articles in the “Sens Commun” signed Pierre Firmin were creating not only considerable sensation, but marked effect on opinion; and the sale of the journal was immense.

Necessarily the repute and the position of Gustave Rameau, as the avowed editor of this potent journal, rose with its success. Nor only his repute and position; bank-notes of considerable value were transmitted to him by the publisher, with the brief statement that they were sent by the sole proprietor of the paper as the editor’s fair share of profit. The proprietor was never named, but Rameau took it for granted that it was M. Lebeau. M. Lebeau he had never seen since the day he had brought him the list of contributors, and was then referred to the publisher, whom he supposed M. Lebeau had secured, and received the first quarter of his salary in advance. The salary was a trifle compared to the extra profits thus generously volunteered. He called at Lebeau’s office, and saw only the clerk, who said that his chef was abroad.

Prosperity produced a marked change for the better, if not in the substance of Rameau’s character, at least in his manners and social converse. He no longer exhibited that restless envy of rivals, which is the most repulsive symptom of vanity diseased. He pardoned Isaura her success; nay, he was even pleased at it. The nature of her work did not clash with his own kind of writing. It was so thoroughly woman like that one could not compare it to a man’s. Moreover, that success had contributed largely to the profits by which he had benefited, and to his renown as editor of the journal which accorded place to this new-found genius. But there was a deeper and more potent cause for sympathy with the success of his fair young contributor. He had imperceptibly glided into

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