Word: gide
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Dates: during 1950-1959
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...years, the great dialogue in France has been between Faith and Reason, between Pascal, Bossuet and Chateaubriand on one hand, Descartes, Voltaire, Rousseau on the other. That dialogue animated the 27-year correspondence between Poet-Diplomat Paul Claudel, an unswerving Catholic who never doubted God, and André Gide. the backslid Protestant who never doubted the individual-a controversy generally conducted in scrupulously courteous and self-Centered letters, but frequently so agitated that one or the other broke off the correspondence. They ended by not speaking to each other...
...dazzling transitions and far-flung references, he is a conversational wonder of the world made the more difficult to follow by his nervous facial tics and a constant snuffling into his hand caused by lifelong asthma. He is too intelligent for me," his brilliant old friend, André Gide, once confessed in admiration...
...intellectual revolutionists spoke of revolution as lyrically as a mystical communion, a tragic but glorious experience which transfigured men. It made his generation aware of a new kind of contemporary hero, the "engaged man," at grips with the vital issues of history. It won the Prix Goncourt, and Gide described it as "panting with an anguish almost unbearable." Cried François Mauriac: "Here is a youth who since adolescence has been moving against society, a dagger in his hand, and who to stab it has sought out its most vulnerable point, in Asia . . . But look! He has talent, more...
...revolutionary vagabonds. Often they were Communists, and at first Malraux saw in Communism something which gave "dignity back to all those I fight with." In the 1930s, the Communists claimed Malraux as their own. Malraux wrote a pro-Communist novel (Days of Wrath), went to Moscow several times, with Gide carried a protest to Hitler against the conviction of Bulgarian Communist Georgi Dimitrov for the Reichstag fire...
...staging, he became a popular as well as a critical success in later years with the postwar productions of his operas, Christophe Colomb (music by Darius Milhaud) and Joan at the Stake (music by Arthur Honegger). Claudel insisted, in his 27-year correspondence with his friend, Novelist André Gide (The Correspondence Between Paul Claudel and Andre Gide) that art must bear witness to Christ, assailed modern literary introspectionists as "horrible little terriers who put their paws on one and make one feel the convulsive shivering which animates their wretched bodies...