Jules-Amédée Barbey d'Aurevilly (2 November 1808 – 23 April 1889) was a French novelist, poet, short story writer, and literary critic. He specialised in mystery tales that explored hidden motivation and hinted at evil without being explicitly concerned with anything supernatural. He had a decisive influence on writers such as Auguste Villiers de l'Isle-Adam, Henry James, Leon Bloy, and Marcel Proust.
His greatest successes as a literary writer date from 1852 onwards, when he became an influential literary critic at the Bonapartist paper Le Pays, helping to rehabilitate Balzac and effectually promoting Stendhal, Flaubert, and Baudelaire. Paul Bourget describes Barbey as an idealist, who sought and found in his work a refuge from the uncongenial ordinary world. Jules Lemaître, a less sympathetic critic, thought the extraordinary crimes of his heroes and heroines, his reactionary opinions, his dandyism and snobbery were a caricature of Byronism.
Beloved of fin-de-siècle decadents, Barbey d'Aurevilly remains an example of the extremes of late romanticism. Barbey d'Aurevilly held strong Catholic opinions,[4][5] yet wrote about risqué subjects, a contradiction apparently more disturbing to the English than to the French themselves. Barbey d'Aurevilly was also known for having constructed his own persona as a dandy, adopting an aristocratic style and hinting at a mysterious past, though his parentage was provincial bourgeois nobility, and his youth comparatively uneventful. Inspired by the character and ambience of Valognes, he set his works in the society of Normand aristocracy. Although he himself did not use the Norman patois, his example encouraged the revival of vernacular literature in his home region.
Jules-Amédée Barbey d'Aurevilly died in Paris and was buried in the cimetière du Montparnasse. During 1926 his remains were transferred to the churchyard in Saint-Sauveur-le-Vicomte.
L'Ensorcelée (The Bewitched, 1852; an episode of the royalist rising among the Norman peasants against the first republic).
Le Chevalier Des Touches (1863)
Un Prêtre Marié (1864)
Les Diaboliques (The She-Devils, 1874; a collection of short stories, each of which relates a tale of a woman who commits an act of violence or revenge, or other crime).
Á Rebours (1884), in Le Constitutionnel, 28 July 1884. (An English translation can be found in the appendix of On Huysmans' Tomb: Critical reviews of J.-K. Huysmans and À Rebours, En Rade, and Là-Bas. Portland, OR: Sunny Lou Publishing, 2021).
"Next to the wound, what women make best is the bandage."[7]
"The mortal envelope of the Middle Age has disappeared, but the essential remains. Because the temporal disguise has fallen, the dupes of history and of its dates say that the Middle Age is dead. Does one die for changing his shirt?"[8]
"In France everybody is an aristocrat, for everybody aims to be distinguished from everybody. The red cap of the Jacobins is the red heel of the aristocrats at the other extremity, but it is the same distinctive sign. Only, as they hated each other, Jacobinism placed on its head what aristocracy placed under its foot."[9]
"In the matter of literary form it is the thing poured in the vase which makes the beauty of the vase, otherwise there is nothing more than a vessel."[10]
"Books must be set against books, as poisons against poisons."[11]
"When superior men are mistaken they are superior in that as in all else. They see more falsely than small or mediocre minds."[12]
"The Orient and Greece recall to my mind the saying, so coloured and melancholic, of Richter: 'Blue is the colour of mourning in the Orient. That is why the sky of Greece is so beautiful'."[13]
"Men give their measure by their admiration, and it is by their judgements that one may judge them."[14]
"The most beautiful destiny: to have genius and be obscure."[15]
^Attacked at the time of its publication on a charge of immorality, it was adapted for the cinema by Catherine Breillat. Its English title is The Last Mistress.
Bradley, William Aspenwall (1910). "Barbey D'Aurevilly: A French Disciple of Walter Scott," The North American Review, Vol. 192, No. 659, pp. 473–485.
Buckley, Thomas (1985). "The Priest or the Mob: Religious Violence in Three Novels of Barbey D'Aurevilly," Modern Language Studies, Vol. 15, No. 4, pp. 245–260.
Chartier, Armand B. (1977). Barbey d'Aurevilly. Boston: Twayne Publishers.
Eisenberg, Davina L. (1996). The Figure of the Dandy in Barbey d'Aurevilly's "Le Bonheur dans le Crime". New York: Peter Lang.
Respaut, Michèle M. (1999). "The Doctor's Discourse: Emblems of Science, Sexual Fantasy, and Myth in Barbey d'Aurevilly's 'Le Bonheur dans le Crime'," The French Review, Vol. 73, No. 1, pp. 71–80.
Rogers, B. G. (1967). The Novels and Stories of Barbey d'Aurevilly. Genève: Librairie Droz.
Saltus, Edgar (1919). "Introduction." In: The Story without a Name. New York: Brentano's, pp. 5–23.
Scott, Malcolm (1990). The Struggle for the Soul of the French Novel: French Catholic and Realist Novelists, 1850–1970. Washington, D.C.: Catholic University of America Press.
