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George Moore’s Paris and his Ongoing French Connections


Edited By Michel Brunet, Fabienne Gaspari and Mary Pierse

The formative influences of Paris and France on the Anglo-Irish writer George Moore (1852–1933) cannot be underestimated. While the years Moore spent in Paris in the 1870s were seminal for his artistic awakening and development, the associations and friendships he formed in French literary and artistic circles exerted an enduring influence on his creative career. Moore maintained close ties with France throughout his life and his numerous contacts extended to social, musical and cultural spheres. He introduced the Impressionists to a British audience and his importation of French literary innovation into the English novel was remarkable.
Exploring Moore’s early years in Paris and his ongoing engagement with the experimental modernity of his French models, these essays offer new insights into this cosmopolitan writer’s work. Moore emerges as a turn-of-the-century European artist whose eclectic writings reflect the complex evolution of literature from Naturalism to Modernism through Symbolism and Decadence.
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María Elena Jaime de Pablos - Melancholia and the Feminine in ‘Priscilla and Emily Lofft’


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Melancholia and the Feminine in ‘Priscilla and Emily Lofft’

George Moore’s Bovarysme

At the beginning of his writing career, George Moore ‘was full of France’.1 He had learned a great deal from French writers such as Gautier, Balzac, Zola, Goncourt, and Flaubert, to mention just a few,2 but that last-mentioned author would for decades be ‘the master’. As he confessed in 1894,3 ‘if I have a master it is Flaubert’.4 At that time certainly, he seemed ← 173 | 174 → to admire Flaubert more than any other writer, and he was particularly impressed by Flaubert’s Madame Bovary.5 He worked to organise its publication in England, obtaining a contract from Vizetelly for Eleanor Marx to translate the text, and his influence is apparent in Marx’s introduction:

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