920:; it physically represents the life force of its owner, and is reduced with each exercise of the will. The shopkeeper tries to warn Valentin that the wisest path lies not in exercising his will or securing power, but in developing the mind. "What is folly", he asks Valentin, "if not an excess of will and power?" Overcome with the possibilities offered by the skin, however, the young man throws caution to the wind and embraces his desire. Upon grabbing the talisman, he declares: "I want to live with excess." Only when his life force is nearly depleted does he recognize his mistake: "It suddenly struck him that the possession of power, no matter how enormous, did not bring with it the knowledge of how to use it ... had had everything in his power, and he had done nothing."
581:"L'Agonie" begins several years after the feast of parts one and two. Valentin, having used the talisman to secure a large income, finds both the skin and his health dwindling. He tries to break the curse by getting rid of the skin, but fails. The situation causes him to panic, horrified that further desires will hasten the end of his life. He organizes his home to avoid the possibility of wishing for anything: his servant, Jonathan, arranges food, clothing, and visitors with precise regularity. Events beyond his control cause him to wish for various things, however, and the skin continues to recede. Desperate, the sickly Valentin tries to find some way of stretching the skin, and takes a trip to the
904:. A scene in which Valentin hides in Foedora's bedroom to watch her undress is said to come from a similar situation wherein Balzac secretly observed Pélissier. It's probable that Pélissier was not the model for Foedora, however, since she accepted Balzac's advances and wrote him friendly letters; Foedora, by contrast, declares herself outside the reach of any interested lover. Critics agree that the "Woman without a Heart" described in the novel is a composite of other women Balzac knew. The character of Pauline, meanwhile, was likely influenced by another of Balzac's mistresses, Laure de Berny.
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1182:, with the hope that she would see the notice. She did not, but wrote again in November: "Your soul embraces centuries, monsieur; its philosophical concepts appear to be the fruit of long study matured by time; yet I am told you are still young. I would like to know you, but feel I have no need to do so. I know you through my own spiritual instinct; I picture you in my own way, and feel that if I were to actually set eyes upon you, I should instantly exclaim, 'That is he!'"
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965:. In one scene, a group of doctors offer a range of quickly formulated opinions as to the cause of Valentin's feebleness. In another, a physicist and a chemist admit defeat after employing a range of tactics designed to stretch the skin. All of these scientific approaches lack an understanding of the true crisis, and are therefore doomed to fail. Although it is only shown in glimpses – the image of Christ, for example, painted by Valentin's
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849:, Herbert J. Hunt connects the "serpentine squiggle" to the "sinuous design" of Balzac's novel. Critic Martin Kanes, however, suggests that the image symbolizes the impossibility of language to express an idea fully. This dilemma, he proposes, is directly related to the conflict between will and knowledge indicated by the shopkeeper at the start of the novel.
481:. Balzac and Pélissier had a brief affair, and she became the first lover with whom he appeared in public. Eventually he removed himself from Paris by staying with friends in the suburbs, where he committed himself to finishing the work. In late spring he allowed Sand to read a nearly-finished manuscript; she enjoyed it and predicted it would do well.
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204:. Balzac's renowned attention to detail is used to describe a gambling house, an antique shop, a royal banquet, and other locales. He also includes details from his own life as a struggling writer, placing the main character in a home similar to the one he occupied at the start of his literary career. The central theme of
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that goes beyond simple narration or dialogue. "When the characters reappear", notes the critic Samuel Rogers, "they do not step out of nowhere; they emerge from the privacy of their own lives which, for an interval, we have not been allowed to see." Although the complexity of these characters' lives
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The novel extrapolates Balzac's analysis of desire from the individual to society; he feared that the world, like
Valentin, was losing its way due to material excess and misguided priorities. In the gambling house, the orgiastic feast, the antique shop, and the discussions with men of science, Balzac
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leaf, he is visited by
Pauline in his room; she expresses her love for him. When she learns the truth about the shagreen and her role in Raphaël's demise, she is horrified. Raphaël cannot control his desire for her and she rushes into an adjoining room to escape him and so save his life. He pounds on
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At the start of the book, the shopkeeper discusses with
Valentin "the great secret of human life". They consist of three words, which Balzac renders in capital letters: VOULOIR ("to will"), POUVOIR ("to be able"), and SAVOIR ("to know"). Will, he explains, consumes us; power (or, in one translation,
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Other parts of the story also derive from the author's life: Balzac once attended a feast held by the
Marquis de Las Marismas, who planned to launch a newspaper – the same situation in which Valentin finds himself after expressing his first wish to the talisman. Later, Valentin visits the opera
562:. The skin promises to fulfill any wish of its owner, shrinking slightly upon the fulfillment of each desire. The shopkeeper is willing to let Valentin take it without charge, but urges him not to accept the offer. Valentin waves away the shopkeeper's warnings and takes the skin, wishing for a royal
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Eventually she revealed herself to him, and they began a correspondence that lasted for fifteen years. Although she remained faithful to her husband Wacław, Mme. Hańska and Balzac enjoyed an emotional intimacy through their letters. When the baron died in 1841, the French author began to pursue the
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The novel sold out immediately after going on sale, and was reviewed in every major
Parisian newspaper and magazine. In some cases Balzac wrote the reviews himself; using the name "Comte Alex de B—", he announced that the book proved he had achieved "the stature of genius". Independent reviews were
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The corruption of excess is related to social disorganization in a description at the start of the final section. Physically feeble though living in absolute luxury, Raphaël de
Valentin is described as retaining in his eyes "an extraordinary intelligence" with which he is able to see "everything at
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from
Valentin's point of view. He complains to his friend Émile about his early days as a scholar, living in poverty with an elderly landlord and her daughter Pauline, while trying fruitlessly to win the heart of a beautiful but aloof woman named Foedora. Along the way he is tutored by an older man
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Before the book was completed, Balzac created excitement about it by publishing a series of articles and story fragments in several
Parisian journals. Although he was five months late in delivering the manuscript, he succeeded in generating sufficient interest that the novel sold out instantly upon
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Robb, p. 182; Maurois, p. 179. Robb notes that the rumor first appeared in a review that Balzac "had an opportunity to correct" – thus proving either its veracity or a mutual agreement that it was a satisfying lie. He adds that "it is hard to imagine Balzac standing still behind a curtain for
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The full translation in the book is as follows: "Possessing me thou shalt possess all things. / But thy life is mine, for God has so willed it. / Wish, and thy wishes shall be fulfilled; / but measure thy desires, according / to the life that is in thee. / This is thy life, / with each wish I must
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for
Valentin's future self, offering study and mental development as an alternative to consuming desire. Foedora also serves as a model for resistance to the corruption of will, insofar as she seeks at all times to excite desire in others while never giving in to her own. That Valentin is happiest
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houses whereby "the law despoils you of your hat at the outset." The atmosphere of the establishment is described in precise detail, from the faces of the players to the "greasy" wallpaper and the tablecloth "worn by the friction of gold". The emphasis on money evoked in the first pages – and
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inevitably led Balzac to make errors of chronology and consistency, the mistakes are considered minor in the overall scope of the project. Readers are more often troubled by the sheer number of people in Balzac's world, and feel deprived of important context for the characters. Detective novelist
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That expression was painful to see ... It was the inscrutable glance of helplessness that must perforce consign its desires to the depths of its own heart; or of a miser enjoying in imagination all the pleasures that his money could procure for him, while he declines to lessen his hoard; the
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to drown himself. During this early stage, Balzac did not think much of the project. He referred to it as "a piece of thorough nonsense in the literary sense, but in which has sought to introduce certain of the situations in this hard life through which men of genius have passed before achieving
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had only begun to achieve recognition as a writer. Although his parents had persuaded him to make his profession the law, he announced in 1819 that he wanted to become an author. His mother was distraught, but she and his father agreed to give him a small income, on the condition that he dedicate
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is the conflict between desire and longevity. The magic skin represents the owner's life-force, which is depleted through every expression of will, especially when it is employed for the acquisition of power. Ignoring a caution from the shopkeeper who offers him the skin, the protagonist greedily
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The novel established Balzac as a prominent figure in the world of French literature. Publishers fought among themselves to publish his future work, and he became a mainstay on the list of invitation for social functions around Paris. Balzac took pride in his novel's success, and declared to the
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allusions to Balzac's earliest days as an author: "Nothing could be uglier than this garret, awaiting its scholar, with its dingy yellow walls and odor of poverty. The roofing fell in a steep slope, and the sky was visible through chinks in the tiles. There was room for a bed, a table, and a few
578:, who encourages him to immerse himself in the world of high society. Benefiting from the kindness of his landladies, Valentin maneuvers his way into Foedora's circle of friends. Unable to win her affection, however, he becomes the miserable and destitute man found at the start of "Le Talisman".
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had to stop everything to read it, because the librarian sent round every half-hour to ask if he had finished." Friends near and far wrote to Balzac indicating their similar difficulties in locating copies. The second edition was released one month later, and it was followed by parodies and
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was published in two volumes. It was a commercial success, and Balzac used his connections in the world of
Parisian periodicals to have it reviewed widely. The book sold quickly, and by the end of the month another contract had been signed: Balzac would receive 4,000 francs to publish
654:, on the other hand, the talisman represents Valentin's soul; at the same time, his demise is symbolic of a greater social decline. Balzac's real foci in the 1831 novel are the power of human desire and the nature of society after the July Revolution. French writer and critic
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the object to be described, whether the object comes to them or they go toward the object ... Have men the power to bring the universe into their brain, or is their brain a talisman with which they abolish the laws of time and space?" Critics agree that Balzac's goal in
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shop; the store represents the planet itself. As he wanders about, he tours the world through the relics of its various epochs: "Every land of earth seemed to have contributed some stray fragment of its learning, some example of its art." The shop contains a painting of
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living in the material squalor of his tiny garret – lost in study and writing, with the good-hearted Pauline giving herself to him – underscores the irony of his misery at the end of the book, when he is surrounded with the fruits of his material desire.
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firmly established Balzac as a writer of significance in France. His social circle widened significantly, and he was sought eagerly by publishers for future projects. The book served as the catalyst for a series of letters he exchanged with a Polish baroness named
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Millott, pp. 68–69; Robb, p. 179; Gerson, p. 103; Maurois, p. 175. The exact amount of the fee is disputed: Millott and Robb list 1,125 francs; Maurois lists 1,135; and Gerson writes: "Canel paid him an advance royalty of two thousand francs for the
352:). Although he planned a novel in the same tradition, Balzac disliked the term "fantastic", referring to it once as "the vulgar program of a genre in its first flush of newness, to be sure, but already too much worn by the mere abuse of the word".
458:; it concerns the difficulties of a would-be poet as he tries to compensate for his lack of funds. Although the three fragments were not connected into a coherent narrative, Balzac was excerpting characters and scenes from his novel-in-progress.
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indicated approvingly that it highlighted the need for more spirituality in society as a whole. Although some critics chastised Balzac for reveling in negativity, others felt it simply reflected the condition of French society. German writer
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Hunt, p. 40; Bertault, p. viii; Gerson, pp. 29–30; Maurois, p. 178. Gerson writes: "those who saw the garret, his sisters and Dr. Nacquart among them, agreed that he did not exaggerate." On the other hand, Balzac's most recent biographer,
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Russian literature specialist Priscilla Meyer maintains in her book How the Russians Read the French, that both La Peau de Chagrin and Pere Goriot were extensively paralleled, subverted and inverted, by Dostoevsky in Crime and Punishment.
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the door and declares both his love and his desire to die in her arms. She, meanwhile, is trying to kill herself to free him from his desire. He breaks down the door, they consummate their love in a fiery moment of passion, and he dies.
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Robb, pp. 52–53; Gerson, p. 29; Maurois, pp. 51–54. The amount he received from his parents is disputed; Gerson says it was 750 francs per year; Maurois indicates 1500. Robb writes that his parents supported his new career "quite
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Robb, p. 182; Maurois, p. 179; Oliver, p. 85; Hunt, p. 46; Pritchett, p. 108. Maurois insists: "hat warm-hearted trollop bore no resemblance to the brilliant, mocking phantom of the story ... Foedora was certainly not Olympe
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More significant is the connection between the women in the novel and the women in Balzac's life. Some critics have noted important similarities between Valentin's efforts to win the heart of Foedora and Balzac's infatuation with
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that allow him to observe every flaw in the women on stage (to guard against desire). These may also have been drawn from Balzac's experience, as he once wrote in a letter about a set of "divine" opera glasses he ordered from the
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under the pseudonym Alfred Coudreux. His scrapbook includes the following note, probably written at the same time: "L'invention d'une peau qui représente la vie. Conte oriental." ("The invention of a skin that represents life.
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examines this dilemma in various contexts. The lust for social status to which Valentin is led by Rastignac is emblematic of this excess; the gorgeous but unattainable Foedora symbolizes the pleasures offered by high society.
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During the intervening months, however, he provided glimpses of his erratic progress. Two additional fragments appeared in May, part of a scheme to promote the book before its publication. "Une Débauche", published in the
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when, during a recreation of the feast from Balzac's novel, a character says: "This is the point at which I'm supposed to pour wine down my waistcoat ... It says so in black and white on page 171 of
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chairs, and beneath the highest point of the roof my piano could stand." Although they allow for a degree of embellishment, biographers and critics agree that Balzac was drawing from his own experience.
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look of a bound Prometheus, of the fallen Napoleon of 1815, when he learned at the Elysee the strategical blunder that his enemies had made, and asked for twenty-four hours of command in vain ...
613:, for example, he explains how he need neither avoid his opponent's gunshot nor aim his own weapon; the outcome is inevitable. He fires without care, and kills the other man instantly. Elsewhere, the
841:: a curvy line drawn in the air by a character seeking to express the freedom enjoyed "whilst a man is free". Balzac never explained his purpose behind the use of the symbol, and its significance to
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offered the potential to temper deadly excess. After failing in their efforts to stretch the skin, the chemist declares: "I believe in the devil"; "And I in God", replies the physicist.
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to drown himself. On the way, however, he decides to enter an unusual shop and finds it filled with curiosities from around the world. The elderly shopkeeper leads him to a piece of
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shrink / even as thy own days. / Wilt thou have me? Take me. / God will hearken unto thee. / So be it!" Balzac, p. 30. ("Amen" may be a more accurate translation of the final line.)
454:, describes an orgiastic feast that features constant bantering and discussion from its bourgeois participants. The other fragment, "Le Suicide d'un poète", was printed in the
801:. It does not deter him from his goal, however; only when he finds the skin does Valentin decide to abort his suicidal mission. In doing so, he demonstrates humanity favoring
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By January 1831 Balzac had generated enough interest in his idea to secure a contract with publishers Charles Gosselin and Urbain Canel. They agreed on 750 copies of an
1212:, Balzac suddenly crossed out the name he had been using for a character – Massiac – and used Rastignac instead. The relationship between teacher and student in
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Balzac used the character Foedora in three other stories, but eventually wrote her out of them after deciding on other models for social femininity. In later editions of
301:, a treatise on the institution of marriage. Bolstered by its popularity, he added to his fame by publishing a variety of short stories and essays in the magazines
1511:, he said to his doctor: "This was the proper book for me to read; it deals with shrinking and starvation." The next day, his doctor administered a lethal dose of
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read about Balzac's novels in newspapers she received from Paris. Intrigued, she ordered copies of his work, and she read them with her cousins and friends around
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declared it a shining example of the "incurable corruption of the French nation". Critics argue about whether Goethe's comments were praise for the novel or not.
1367:, although this hypothesis is rejected by most scholars. The protagonist, Dorian Gray, acquires a magical portrait that ages while he remains forever youthful.
566:, filled with wine, women, and friends. He is immediately met by acquaintances who invite him to such an event; they spend hours eating, drinking, and talking.
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546:"Le Talisman" begins with the plot of "Le Dernier Napoléon": A young man named Raphaël de Valentin wagers his last coin and loses, then proceeds to the river
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1260:(1831). He also used the name Horace Bianchon for one of the doctors, thus connecting the book to the famous physician who appears in thirty-one stories in
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1,200 additional copies. This second edition included a series of twelve other stories with fantastic elements, and was released under the title
650:. Whereas he had used fantastic objects and events in earlier works, they were mostly simple plot points or uncomplicated devices for suspense. With
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The novel's delayed publication was a result of Balzac's active social life. He spent many nights dining at the homes of friends, including novelist
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of other Balzac novels; by removing the analysis to an abstract level, it becomes less complicated by variations of individual personality. As an
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295:, did not succeed commercially, but it made Balzac known in literary circles. He achieved a major success later the same year when he published
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866:, and he likely modeled the protagonist Raphaël de Valentin on himself. Details recounted by Valentin of his impoverished living quarters are
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In his Preface to the novel's first edition, Balzac meditates on the usefulness of fantastic elements: " invent the true, by analogy, or they
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felt a special connection to Balzac's novel, since he believed that his world was shrinking like Valentin's talisman. Diagnosed with a fatal
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The will, Balzac cautions, is a destructive force that seeks only to acquire power unless tempered by knowledge. The shopkeeper presents a
666:, Valentin displays the essential characteristics of human nature, not a particular person's approach to the dilemma offered by the skin.
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and the novel's "Woman without a Heart", but critics and biographers agree that the character is a composite of women from Balzac's life.
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The use of recurring characters lends Balzac's work a cohesion and atmosphere unlike any other series of novels. It enables a depth of
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from previous works. He did, however, introduce several individuals who resurfaced in later stories. Most significant of these is
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913:"to have your will") destroys us; and knowledge soothes us. These three concepts form the philosophical foundation of the novel.
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himself to writing, and deliver to them half of his gross income from any published work. After moving into a tiny room near the
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This storm of publicity caused a flurry of activity as readers around France scrambled to obtain the novel. Balzac's friend and
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for which Balzac became famous. Descriptions of Paris are one example: the novel is filled with actual locations, including the
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its publication. A second edition, which included a series of twelve other "philosophical tales", was released one month later.
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and borrowed money from his parents to pursue his literary ambitions further. He spent the next several years writing simple
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Workman, Christopher; Howarth, Troy (2016). Tome of Terror: Horror Films of the Silent Era. Midnight Marquee Press. p. 269.
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Workman, Christopher; Howarth, Troy (2016). Tome of Terror: Horror Films of the Silent Era. Midnight Marquee Press. p. 157.
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Hunt, pp. 42–43; Robb, p. 178; Bertault, p. 62; Raffini, pp. 217–218; Maurois, p. 174; Pasco, pp. 127–128; Kanes, pp. 66–67.
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Workman, Christopher; Howarth, Troy (2016). Tome of Terror: Horror Films of the Silent Era. Midnight Marquee Press. p. 64.
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premise. The skin grants a world of possibility to Valentin, and he uses it to satisfy many desires. Pressured into a
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The politics and culture of France, meanwhile, were in upheaval. After reigning for six controversial years, King
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1109:(1832) – it deals with philosophy and the supernatural. But it also provides a bridge to the realism of the
1103:("Philosophical Studies"). Like the other works in this category – including the similarly autobiographical
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2843:. The Project for American and French Research on the Treasury of the French Language. Retrieved on 22 May 2008.
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paid to the author upon receipt of the manuscript – by mid-February. Balzac delivered the novel in July.
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its contrast with the decrepit surroundings – mirrors the novel's themes of social organization and
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Because it was among the first novels he released under his own name, Balzac did not use characters in
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The book's third paragraph contains a long description of the process and purpose behind the ritual in
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first appeared in print on 9 December 1830, as a passing mention in an article Balzac wrote for
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portrayed them in a cruel and unforgiving light. Hańska wrote a letter to Balzac, signed it as
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surrounds himself with wealth, only to find himself miserable and decrepit at the story's end.
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Sprenger, Scott. "Death by Marriage in Balzac’s Peau de chagrin", Dix-Neuf, Oct. 2008, 59–75.j
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This inclusion of the fantastic, however, is mostly a framework by which the author discusses
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In 1915, American director Richard Ridgely made a film adaptation of Balzac's novel entitled
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The confluence of realist detail with symbolic meaning continues when Valentin enters the
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even suggests that the symbolism in the novel allows a purer analysis than the individual
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story.") One week later, he published a story fragment called "Le Dernier Napoléon" in
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hanging on the wall. It is inscribed with "Oriental" writing; the old man calls it "
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said that he never tried to read Balzac, because he "did not know where to begin".
974:
950:
798:
703:
629:
614:
431:
267:
1386:, which, despite its brief 19-minute running time, was formatted into three acts.
1336:
17:
3548:
2766:
1874:
1433:
1358:
1315:
1222:
789:; and hundreds of other objects. The panorama of human activity reaches a moral
767:
606:
474:
442:
341:
321:
287:
198:
190:
37:
1737:
Hunt, p. 39; Bertault, p. 61; Millott, p. 74; Affron, p. 84; Pritchett, p. 108.
605:
Although he preferred the term "philosophical", Balzac's novel is based upon a
385:
3217:
3182:
2486:. Vol. I. Trans. Ellen Marriage. Philadelphia: Avil Publishing Company, 1901.
1463:
1426:
directed yet another version of the story, a 1923 American silent film called
1059:
659:
419:
2427:
Freud's Requiem: Mourning, Memory, and the Invisible History of a Summer Walk
1036:
wrote to the author one week after publication: "there is no getting hold of
953:
is able to "cease the burning torment that consumed the marrow of his bones".
497:). A third edition, rearranged to fill four volumes, appeared in March 1833.
3523:
3449:
3077:
2302:
American Silent Horror, Science Fiction and Fantasy Feature Films, 1913-1929
2272:
How the Russians Read the French, Meyer, 2008; University of Wisconsin Press
1187:
622:
374:
275:
271:
2888:
1512:
1285:
1156:
966:
917:
756:
749:
732:
720:
711:
663:
638:
582:
555:
551:
539:
470:
292:
157:
2853:
2690:
2605:
2491:
1836:. p. 426. The image in Balzac's novel is a mirror image of the original.
1573:
Robb, pp. 162–167; Gerson, p. 92; Maurois, pp. 155–156; Bellos, pp. 5–6.
1408:
In 1920, it was adapted again as a 54-minute British silent film called
617:
qualities of the skin are demonstrated when it resists the efforts of a
3785:
3189:
2635:
2571:
2552:
2529:
2473:
1504:
1227:
1144:
970:
940:
794:
760:
744:
633:
618:
563:
414:, under the name "Henri B...". In it, a young man loses his last
1319:
1172:
1159:. They were impressed by the understanding he showed toward women in
1113:("Study of Manners"), where the majority of his novels were located.
771:
647:
407:
161:
2793:
2586:
1374:
The story was first adapted into a 1909 French silent film entitled
377:
attitudes, in which Balzac saw disorganization and weak leadership.
2446:
445:
was among the first to read the manuscript as it neared completion.
423:
anything". Before long, though, his opinion of the story improved.
389:
Balzac publicized the novel he was writing in the Parisian journal
2755:. Ed. Harold Bloom. Philadelphia: Chelsea House Publishers, 2003.
1500:
1332:
1232:
1148:
1122:
1078:
for my body of work"). Consistently popular even after his death,
994:
935:
886:
812:
778:
753:
681:
680:
593:
547:
530:
436:
384:
324:
stories had been whetted by the 1829 translation of German writer
279:
263:
237:
153:
141:
2658:
How the Russians Read the French; Lermontov, Dostoevsky, Tolstoy
610:
3006:
2897:
2678:. Ed. E. Preston Dargan. New York: Russell & Russell, 1967.
2299:
Soister, John T.; Nicolella, Henry; Joyce, Steve (2014-01-10).
1186:
relationship outside the written page. They wed in the town of
1016:
praised the rhythm of the novel, and the religious commentator
698:
The novel is widely cited as an important early example of the
156:, it tells the story of a young man who finds a magic piece of
1416:), written and directed by George Edwardes-Hall, and starring
2260:
2129:
is sometimes translated as "The Unknown" or "The Foreigner".
1003:
paid tribute to Balzac's novel in his 1833 story collection
862:
Balzac mined his own life for details in the first parts of
285:
He published for the first time under his own name in 1829.
2579:
The Prodigal Genius: The Life and Times of Honoré de Balzac
2125:
Robb. pp. 223–224; Gerson, pp. 154–155. Hańska's signature
1600:
Robb, pp. 177–178; Gerson, pp. 98–99; Maurois, pp. 192–193.
1220:, when the young Rastignac is guided in the ways of social
2429:. London: Continuum International Publishing Group, 2006.
1993:
Bertault, p. 62; Maurois, pp. 174–175; Pasco, pp. 127–128.
2630:. Trans. Derek Coltman. New York: The Orion Press, 1966.
2214:
1357:
The novel has also been cited as a possible influence on
1240:
is one of nearly 100 stories in Balzac's collection
845:
is the subject of debate. In his comprehensive review of
831:
At the start of the novel, Balzac includes an image from
418:
coin at a Parisian gambling house, then continues to the
2581:. Garden City, NY: Doubleday & Company, Inc., 1972.
1178:
With no return address, Balzac was left to reply in the
1139:("The Stranger", "The Foreigner"). They married in 1850.
2562:. Ed. E. Preston Dargan and Bernard Weinberg. Chicago:
2543:. Ed. E. Preston Dargan and Bernard Weinberg. Chicago:
1049:
included a comical homage in his 1833 story collection
646:
signaled a turning point in his approach to the use of
2747:
Raffini, Christine. "Balzac's Allegories of Energy in
2535:
Dedinsky, Brucia L. "Development of the Scheme of the
1082:
was republished nineteen times between 1850 and 1880.
1062:
coin in the air to see whether or not there's a God."
916:
The talisman connects these precepts to the theory of
1045:
derivative works from other writers. Balzac's friend
245:
spent ten years failing as an author before he wrote
3794:
3773:
3748:
3597:
3565:
3540:
3487:
3350:
3262:
3055:
2973:
2938:
2874:(scanned books original editions color illustrated)
97:
85:
73:
65:
55:
542:promises that the owner "shal possess all things".
2698:Balzacian Montage: Configuring La Comédie humaine
1058: ... And this is where I have to toss a 100-
569:Part two, "La Femme sans cœur", is narrated as a
2011:Marceau, p. 93; Hunt, pp. 44–45; Millott, p. 77.
1471:2010, a French and Belgian television production
1346:in the form of an opera-film based on his opera
520:" ("The Agony"). The first edition contained a "
2615:. Princeton: Princeton University Press, 1975.
1682:Todd, Jane Marie. "Balzac's Shaggy Dog Story".
373:. The July Monarchy brought an entrenchment of
2773:. New York: W. W. Norton & Company, 1994.
2700:. Toronto: University of Toronto Press, 1991.
2138:Quoted in Gerson, p. 155, and Maurois, p. 218.
2046:
2044:
1828:. New York: W. W. Norton & Company, 1980.
1190:on 14 March 1850, five months before he died.
949:comforts the novel's protagonist; the face of
274:novels, which he published under a variety of
220:, who later became his wife. It also inspired
3018:
2909:
1755:Quoted in Bertault, p. 45. Original emphasis.
1331:), based on Balzac's text, which included an
973: – Balzac wished to remind readers that
817:The curvy line from Volume IX, Chapter IV of
8:
2098:Quoted in Dedinsky, p. 37. Original emphasis
1904:Oliver, p. 85; Gerson, p. 103; Robb, p. 182.
1733:
1731:
1012:less sweeping, but also very positive. Poet
827:is reprinted at the start of Balzac's novel.
30:
2201:Quoted in Robb, p. 254; see generally Pugh.
1641:
1639:
320:At the time, French literary appetites for
3025:
3011:
3003:
2916:
2902:
2894:
2089:Gerson, pp. 105–106; Maurois, pp. 180–181.
1799:
1797:
1654:Gerson, pp. 103–104; Maurois, pp. 175–176.
36:
29:
2560:The Evolution of Balzac's Comédie humaine
2541:The Evolution of Balzac's Comédie humaine
2518:The Evolution of Balzac's Comédie humaine
2516:Dargan, E. Preston and Bernard Weinberg.
2462:Patterns of Failure in La Comédie Humaine
2211:"Klebe, Giselher – Die tödlichen Wünsche"
2067:
2065:
1820:
1818:
1694:
1692:
1663:Millott, pp. 70–71; Maurois, pp. 180–181.
350:The Dead Donkey and the Guillotined Woman
2717:. New York: Alfred A. Knopf Inc., 1973.
1962:
1960:
1941:
1939:
1610:
1608:
1606:
1564:Gerson, pp. 90–92; Maurois, pp. 142–144.
1420:, Yvonne Arnaud and Christine Maitland.
1382:, written by Michel Carre and starring
1143:The popularity of the novel extended to
710:cathedral. The narration and characters
589:in the hope of recovering his vitality.
50:and published by George Barrie & Son
3436:Les Secrets de la princesse de Cadignan
2660:. University of Wisconsin Press, 2008.
1582:Bertault, pp. 59–60; Pritchett, p. 108.
1555:Maurois, pp. 72–128; Gerson, pp. 52–83.
1538:
486:La Peau de chagrin: Conte philosophique
152:(1799–1850). Set in early 19th-century
2804:Balzac, James, and the Realistic Novel
2645:. New York: Carroll & Graf, 1965.
793:when the shopkeeper leads Valentin to
516:" ("The Woman without a Heart"), and "
3359:Splendeurs et misères des courtisanes
2376:
2374:
2259:, No. 909: 14 August 1969. Online at
1492:Toward the end of his life, Austrian
1456:adapted for French television in 1980
1171:("The Stranger"), and mailed it from
116:
7:
1314:. In 1989–1990 the Russian composer
714:repeatedly to art and culture, from
3764:Petites misères de la vie conjugale
2501:. Trans. Richard Monges. New York:
2408:. Cambridge, MA: Capo Press, 1992.
1462:, Anne Caudry, Richard Fontana and
1284:Balzac's novel was adapted for the
1099:at the start of the section called
1018:Charles Forbes René de Montalembert
291:, a novel about royalist forces in
1975:Robb, pp. 178–179; Hunt, p. 43–44.
430:edition, with a fee of 1,125
359:was forced to abdicate during the
346:L'Âne Mort et la Femme Guillotinée
25:
2788:. New York: Octagon Books, 1953.
2558:Dunn, Ruth B. "L'Auberge rouge".
2020:Maurois, p. 183; Bertault, p. 92.
1302:). 1977–1978 the German composer
3853:French novels adapted into films
2877:
2685:. London: Sheed and Ward, 1959.
2539:: Distribution of the Stories".
1443:made an animated short entitled
495:Philosophical Novels and Stories
3148:Mémoires de deux jeunes mariées
2564:The University of Chicago Press
2545:The University of Chicago Press
2522:The University of Chicago Press
592:With the skin no larger than a
491:Romans et contes philosophiques
3858:Novels set in the 19th century
3804:Armorial de la Comédie Humaine
2643:Prometheus: The Life of Balzac
1686:. 44.3 (Summer 1993): 268–279.
1451:) inspired by Balzac's novel.
1131:wrote to Balzac after reading
1074:de mon ouvrage" ("This is the
193:elements, its main focus is a
27:1831 novel by Honoré de Balzac
1:
2730:Balzac's Recurring Characters
2484:The Works of Honoré de Balzac
2257:The Times Literary Supplement
2246:"Vivien Grey and Dorian Gray"
1449:The Piece of Shagreen Leather
1397:. The 50-minute film starred
875:armed with a powerful set of
508:consists of three sections: "
197:portrayal of the excesses of
3566:Scènes de la vie de campagne
3387:Les Comédiens sans le savoir
3263:Scènes de la vie de province
3064:La Maison du chat-qui-pelote
1339:of the same name. In 1992 a
908:Vouloir, pouvoir, and savoir
363:of 1830. He was replaced by
3843:Books of La Comédie humaine
3828:French philosophical novels
3351:Scènes de la vie Parisienne
2887:public domain audiobook at
2734:University of Toronto Press
2676:Studies in Balzac's Realism
2499:Balzac and the Human Comedy
2263:. Retrieved on 26 May 2008.
1933:Hunt, p. 46; Oliver, p. 85.
1503:, Freud resolved to commit
891:Similarities exist between
3879:
3848:Novels by Honoré de Balzac
3690:Un drame au bord de la mer
3556:Une passion dans le désert
3541:Scènes de la vie militaire
3503:Un épisode sous la Terreur
3488:Scènes de la vie politique
2834:Balzac: La Comédie humaine
2808:Princeton University Press
2147:Robb, pp. 223–230 and 403.
2050:Quoted in Maurois, p. 180.
1623:Quoted in Maurois, p. 174.
1591:Quoted in Bertault, p. 60.
1439:In 1960 Croatian animator
1432:starring George Walsh and
1364:The Picture of Dorian Gray
1226:by the incognito criminal
1023:Johann Wolfgang von Goethe
538:writing engraved into the
3757:La Physiologie du mariage
3046:
2503:New York University Press
1161:La Physiologie du mariage
969:, the Renaissance artist
689:approach to storytelling.
484:Finally, in August 1831,
298:La Physiologie du mariage
260:Bibliothèque de l'Arsenal
35:
3718:Sur Catherine de Médicis
3613:La Recherche de l'absolu
2613:Balzac's Comedy of Words
2594:Balzac's Comédie Humaine
2217:. Retrieved 26 May 2008.
1522:staged an adaptation of
1518:In 2011 French director
1489:and Annabelle Hettmann.
642:, but their presence in
189:Although the novel uses
148:novelist and playwright
3795:Related works by others
3634:Le Chef-d'œuvre inconnu
3620:Jésus-Christ en Flandre
3401:La Duchesse de Langeais
3327:Le Cabinet des Antiques
3056:Scènes de la vie privée
2406:Freud and His Followers
2388:(in French), 2020-06-06
2071:Quoted in Robb, p. 181.
1116:
1070:that "Elle est donc le
805:over divine salvation.
558:", but it is imprecise
381:Writing and publication
125:), known in English as
3704:L'Elixir de longue vie
3574:Le Médecin de campagne
3510:Madame de la Chanterie
3496:Une ténébreuse affaire
3408:La Fille aux yeux d'or
3366:Un prince de la bohème
3313:La Muse du département
3162:La Femme de trente ans
2786:Balzac & The Novel
2674:: Method in Madness".
2425:von Unwerth, Matthew.
2244:Nickerson, Charles C.
2174:Robb, pp. 255 and 409.
1684:Comparative Literature
1458:, with Marc Delsaert,
1352:«Chagrenevaia Kost»,ru
1247:
1140:
1066:editor of the journal
1008:
988:
954:
896:
828:
690:
543:
446:
394:
250:
160:(untanned skin from a
118:[lapodəʃaɡʁɛ̃]
3833:French fantasy novels
3598:Études philosophiques
3334:Le Lys dans la vallée
3306:L'illustre Gaudissart
3197:Le Contrat de mariage
2982:Die tödlichen Wünsche
2600:Athlone Press, 1959.
2466:Yale University Press
2360:Zagreb Film catalogue
1481:, Jean-Paul Dubois,
1395:Thomas A. Edison, Inc
1295:Die tödlichen Wünsche
1236:
1175:on 28 February 1832.
1135:, signing her letter
1126:
1101:Études philosophiques
998:
983:
939:
890:
816:
684:
534:
512:" ("The Talisman"), "
452:Revue des deux mondes
440:
388:
241:
227:Die tödlichen Wünsche
170:Études philosophiques
114:French pronunciation:
42:1897 illustration of
3478:Les Petits Bourgeois
3204:Un début dans la vie
3127:Autre étude de femme
2832:(French). Online at
2823:"La Peau de chagrin"
2821:Tournier, Isabelle.
2628:Balzac and His World
2598:University of London
2497:Bertault, Philippe.
2482:. "The Magic Skin".
2382:"La Peau de chagrin"
1707:Balzac, pp. 210–221.
1487:Jean-Pierre Marielle
1418:Dennis Neilson-Terry
1310:after a libretto by
1194:Recurring characters
991:Reception and legacy
738:economic materialism
340:; and French author
123:The Skin of Shagreen
3863:Novels set in Paris
3781:Eugène de Rastignac
3676:Le Réquisitionnaire
3373:Un homme d’affaires
3239:La Messe de l'athée
3169:La Femme abandonnée
3113:La Fausse Maîtresse
2771:Balzac: A Biography
2763:. pp. 211–222.
2683:Balzac the European
2626:Marceau, Felicien.
2574:. pp. 378–382.
2215:Boosey & Hawkes
1791:Millott, pp. 75–76.
1764:Millott, pp. 74–75.
1746:Marceau, pp. 37–38.
1645:Millott, pp. 69–71.
1520:Marianne Badrichani
1507:. After re-reading
1376:The Wild Ass's Skin
1361:for his 1890 novel
1204:Eugène de Rastignac
946:The Transfiguration
708:Notre-Dame de Paris
576:Eugène de Rastignac
134:The Wild Ass's Skin
32:
31:La Peau de chagrin
3838:1831 French novels
3749:Études analytiques
3627:Melmoth réconcilié
3606:La Peau de chagrin
3581:Le Curé de village
3429:La Maison Nucingen
3232:Le Colonel Chabert
3134:La Grande Bretèche
3099:Une double famille
3035:La Comédie humaine
2930:La Peau de chagrin
2839:2008-05-25 at the
2828:2005-10-27 at the
2802:Stowe, William W.
2749:La Comédie humaine
2672:La Peau de Chagrin
2656:Meyer, Priscilla.
2555:. pp. 22–187.
2447:La Peau De Chagrin
2365:2011-07-21 at the
2251:2008-05-12 at the
2165:Dunn, pp. 379–380.
1824:Sterne, Laurence.
1803:Balzac, pp. 14–17.
1524:La Peau de Chagrin
1515:, and Freud died.
1509:La Peau de chagrin
1384:Henri Desfontaines
1344:pseudo-documentary
1274:Arthur Conan Doyle
1262:La Comédie humaine
1252:La Peau de chagrin
1248:
1243:La Comédie humaine
1238:La Peau de chagrin
1214:La Peau de chagrin
1200:La Peau de chagrin
1165:La Peau de chagrin
1141:
1133:La Peau de chagrin
1097:La Peau de chagrin
1092:La Comédie humaine
1080:La Peau de chagrin
1076:point of departure
1056:La Peau de chagrin
1038:La Peau de chagrin
1009:
961:Science offers no
955:
897:
864:La Peau de Chagrin
847:La Comédie humaine
843:La Peau de chagrin
829:
691:
676:La Peau de chagrin
652:La Peau de chagrin
544:
514:La Femme sans cœur
506:La Peau de chagrin
447:
399:La Peau de chagrin
395:
251:
247:La Peau de chagrin
213:La Peau de chagrin
206:La Peau de chagrin
179:La Comédie humaine
174:sequence of novels
172:group of Balzac's
166:La Peau de chagrin
109:La Peau de chagrin
79:La Comédie humaine
44:La Peau de chagrin
18:La Peau de Chagrin
3813:
3812:
3531:Le Député d'Arcis
3341:Illusions perdues
3106:La Paix du ménage
3000:
2999:
2990:The Shagreen Bone
2955:The Dream Cheater
2860:Project Gutenberg
2728:Pugh, Anthony R.
2592:Hunt, Herbert J.
2480:Balzac, Honoré de
2460:Affron, Charles.
2348:978-1-936168-68-2
2331:978-1-936168-68-2
2287:978-1-936168-68-2
1854:Kanes, pp. 82–84.
1328:The Shagreen Bone
1300:The Deadly Wishes
1180:Gazette de France
1051:Les Jeunes-France
1047:Théophile Gautier
1005:Les Jeunes-France
1001:Théophile Gautier
882:Paris Observatory
759:; an idol of the
724:to the statue of
716:Gioachino Rossini
469:, as well as the
465:and his mistress
326:E. T. A. Hoffmann
105:
104:
98:Publication place
16:(Redirected from
3870:
3711:Maître Cornélius
3464:La Cousine Bette
3320:La Vieille Fille
3292:Le Curé de Tours
3071:Le Bal de Sceaux
3040:Honoré de Balzac
3027:
3020:
3013:
3004:
2925:Honoré de Balzac
2918:
2911:
2904:
2895:
2881:
2880:
2872:Internet Archive
2784:Rogers, Samuel.
2753:Honoré de Balzac
2712:Pritchett, V. S.
2696:Pasco, Allan H.
2670:Millott, H. H. "
2641:Maurois, André.
2577:Gerson, Noel B.
2449:
2444:
2438:
2423:
2417:
2402:
2396:
2395:
2394:
2393:
2378:
2369:
2357:
2351:
2340:
2334:
2323:
2317:
2316:
2296:
2290:
2279:
2273:
2270:
2264:
2242:
2236:
2235:
2224:
2218:
2208:
2202:
2199:
2193:
2190:
2184:
2181:
2175:
2172:
2166:
2163:
2157:
2154:
2148:
2145:
2139:
2136:
2130:
2123:
2117:
2114:
2108:
2105:
2099:
2096:
2090:
2087:
2081:
2080:Maurois, p. 180.
2078:
2072:
2069:
2060:
2057:
2051:
2048:
2039:
2036:
2030:
2027:
2021:
2018:
2012:
2009:
2003:
2000:
1994:
1991:
1985:
1984:Hunt, pp. 43–44.
1982:
1976:
1973:
1967:
1964:
1955:
1952:
1946:
1943:
1934:
1931:
1925:
1921:
1915:
1911:
1905:
1902:
1896:
1893:
1887:
1884:
1878:
1870:
1864:
1861:
1855:
1852:
1846:
1843:
1837:
1822:
1813:
1810:
1804:
1801:
1792:
1789:
1783:
1780:
1774:
1771:
1765:
1762:
1756:
1753:
1747:
1744:
1738:
1735:
1726:
1725:Dedinsky, p. 36.
1723:
1717:
1714:
1708:
1705:
1699:
1696:
1687:
1680:
1674:
1670:
1664:
1661:
1655:
1652:
1646:
1643:
1634:
1630:
1624:
1621:
1615:
1612:
1601:
1598:
1592:
1589:
1583:
1580:
1574:
1571:
1565:
1562:
1556:
1553:
1547:
1543:
1460:Catriona MacColl
1380:Albert Capellani
1354:) was released.
1308:Das Chagrinleder
1269:characterization
1163:, but felt that
1127:Polish baroness
1111:Études des mœurs
1095:, Balzac placed
1034:Charles Philipon
999:Balzac's friend
902:Olympe Pélissier
893:Olympe Pélissier
868:autobiographical
791:fork in the road
776:Ancient Egyptian
678:was the former.
656:Félicien Marceau
467:Olympe Pélissier
441:Balzac's friend
255:Honoré de Balzac
243:Honoré de Balzac
150:Honoré de Balzac
120:
115:
87:Publication date
60:Honoré de Balzac
40:
33:
21:
3878:
3877:
3873:
3872:
3871:
3869:
3868:
3867:
3818:
3817:
3814:
3809:
3801:Fernand Lotte:
3790:
3769:
3744:
3697:L'Auberge rouge
3655:Massimilla Doni
3641:L'Enfant maudit
3593:
3561:
3536:
3483:
3422:César Birotteau
3346:
3299:La Rabouilleuse
3278:Eugénie Grandet
3258:
3155:Une fille d'Eve
3092:Madame Firmiani
3051:
3042:
3031:
3001:
2996:
2969:
2963:Slave of Desire
2934:
2922:
2878:
2850:
2841:Wayback Machine
2830:Wayback Machine
2611:Kanes, Martin.
2537:Comédie Humaine
2457:
2452:
2445:
2441:
2424:
2420:
2403:
2399:
2391:
2389:
2380:
2379:
2372:
2367:Wayback Machine
2358:
2354:
2341:
2337:
2324:
2320:
2313:
2298:
2297:
2293:
2280:
2276:
2271:
2267:
2253:Wayback Machine
2243:
2239:
2233:
2225:
2221:
2209:
2205:
2200:
2196:
2191:
2187:
2183:Rogers, p. 182.
2182:
2178:
2173:
2169:
2164:
2160:
2155:
2151:
2146:
2142:
2137:
2133:
2124:
2120:
2115:
2111:
2106:
2102:
2097:
2093:
2088:
2084:
2079:
2075:
2070:
2063:
2058:
2054:
2049:
2042:
2038:Balzac, p. 181.
2037:
2033:
2029:Balzac, p. 221.
2028:
2024:
2019:
2015:
2010:
2006:
2001:
1997:
1992:
1988:
1983:
1979:
1974:
1970:
1965:
1958:
1953:
1949:
1944:
1937:
1932:
1928:
1922:
1918:
1914:several hours."
1912:
1908:
1903:
1899:
1894:
1890:
1885:
1881:
1871:
1867:
1862:
1858:
1853:
1849:
1844:
1840:
1826:Tristram Shandy
1823:
1816:
1811:
1807:
1802:
1795:
1790:
1786:
1781:
1777:
1772:
1768:
1763:
1759:
1754:
1750:
1745:
1741:
1736:
1729:
1724:
1720:
1715:
1711:
1706:
1702:
1698:Balzac, p. 250.
1697:
1690:
1681:
1677:
1671:
1667:
1662:
1658:
1653:
1649:
1644:
1637:
1631:
1627:
1622:
1618:
1614:Millott, p. 68.
1613:
1604:
1599:
1595:
1590:
1586:
1581:
1577:
1572:
1568:
1563:
1559:
1554:
1550:
1544:
1540:
1536:
1479:Mylène Jampanoï
1441:Vladimir Kristl
1429:Slave of Desire
1424:George D. Baker
1399:Mabel Trunnelle
1348:L'os de Chagrin
1323:L’Os de chagrin
1282:
1257:L'Auberge rouge
1216:is mirrored in
1196:
1121:
1072:point de départ
1014:Émile Deschamps
993:
934:
910:
860:
855:
838:Tristram Shandy
833:Laurence Sterne
824:Tristram Shandy
819:Laurence Sterne
811:
797:'s portrait of
763:; portraits of
696:
644:Peau de chagrin
625:to stretch it.
603:
503:
383:
361:July Revolution
330:Fantastic Tales
236:
168:belongs to the
113:
88:
51:
28:
23:
22:
15:
12:
11:
5:
3876:
3874:
3866:
3865:
3860:
3855:
3850:
3845:
3840:
3835:
3830:
3820:
3819:
3811:
3810:
3808:
3807:
3798:
3796:
3792:
3791:
3789:
3788:
3783:
3777:
3775:
3771:
3770:
3768:
3767:
3760:
3752:
3750:
3746:
3745:
3743:
3742:
3735:
3728:
3721:
3714:
3707:
3700:
3693:
3686:
3679:
3672:
3665:
3658:
3651:
3644:
3637:
3630:
3623:
3616:
3609:
3601:
3599:
3595:
3594:
3592:
3591:
3584:
3577:
3569:
3567:
3563:
3562:
3560:
3559:
3552:
3544:
3542:
3538:
3537:
3535:
3534:
3527:
3520:
3513:
3506:
3499:
3491:
3489:
3485:
3484:
3482:
3481:
3474:
3471:Le Cousin Pons
3467:
3460:
3453:
3446:
3439:
3432:
3425:
3418:
3415:Le Père Goriot
3411:
3404:
3397:
3390:
3383:
3376:
3369:
3362:
3354:
3352:
3348:
3347:
3345:
3344:
3337:
3330:
3323:
3316:
3309:
3302:
3295:
3288:
3281:
3274:
3271:Ursule Mirouët
3266:
3264:
3260:
3259:
3257:
3256:
3253:Pierre Grassou
3249:
3246:L'Interdiction
3242:
3235:
3228:
3221:
3214:
3211:Modeste Mignon
3207:
3200:
3193:
3186:
3179:
3172:
3165:
3158:
3151:
3144:
3141:Albert Savarus
3137:
3130:
3123:
3120:Étude de femme
3116:
3109:
3102:
3095:
3088:
3081:
3074:
3067:
3059:
3057:
3053:
3052:
3049:List of titles
3047:
3044:
3043:
3032:
3030:
3029:
3022:
3015:
3007:
2998:
2997:
2995:
2994:
2986:
2977:
2975:
2971:
2970:
2968:
2967:
2959:
2951:
2942:
2940:
2936:
2935:
2923:
2921:
2920:
2913:
2906:
2898:
2892:
2891:
2884:The Magic Skin
2875:
2867:The Magic Skin
2863:
2855:The Magic Skin
2849:
2848:External links
2846:
2845:
2844:
2819:
2800:
2797:
2782:
2764:
2745:
2726:
2709:
2694:
2681:Oliver, E. J.
2679:
2668:
2654:
2639:
2624:
2609:
2590:
2575:
2556:
2533:
2514:
2495:
2477:
2456:
2453:
2451:
2450:
2439:
2437:. pp. 187–189.
2418:
2404:Roazen, Paul.
2397:
2370:
2352:
2335:
2318:
2311:
2291:
2274:
2265:
2237:
2219:
2203:
2194:
2185:
2176:
2167:
2158:
2156:Dargan, p. 19.
2149:
2140:
2131:
2118:
2116:Oliver, p. 84.
2109:
2107:Bellos, p. 92.
2100:
2091:
2082:
2073:
2061:
2052:
2040:
2031:
2022:
2013:
2004:
2002:Balzac, p. 26.
1995:
1986:
1977:
1968:
1966:Balzac, p. 33.
1956:
1947:
1945:Balzac, p. 31.
1935:
1926:
1916:
1906:
1897:
1888:
1879:
1865:
1863:Balzac, p. 87.
1856:
1847:
1838:
1814:
1812:Pasco, p. 131.
1805:
1793:
1784:
1775:
1766:
1757:
1748:
1739:
1727:
1718:
1716:Oliver, p. 82.
1709:
1700:
1688:
1675:
1665:
1656:
1647:
1635:
1625:
1616:
1602:
1593:
1584:
1575:
1566:
1557:
1548:
1537:
1535:
1532:
1475:Thomas Coumans
1445:Šagrenska koža
1414:The Magic Skin
1403:Bigelow Cooper
1391:The Magic Skin
1378:, directed by
1312:Günther Deicke
1292:'s 1959 opera
1290:Giselher Klebe
1281:
1278:
1218:Le Père Goriot
1209:Le Père Goriot
1195:
1192:
1153:Ewelina Hańska
1129:Ewelina Hańska
1120:
1115:
992:
989:
933:
930:
909:
906:
859:
856:
854:
851:
835:'s 1759 novel
821:'s 1759 novel
810:
807:
787:Chinese dragon
695:
692:
602:
599:
502:
499:
477:and her lover
456:Revue de Paris
382:
379:
365:Louis-Philippe
344:'s 1829 novel
334:gothic fiction
328:'s collection
304:Revue de Paris
235:
232:
222:Giselher Klebe
218:Ewelina Hańska
128:The Magic Skin
103:
102:
99:
95:
94:
89:
86:
83:
82:
75:
71:
70:
67:
63:
62:
57:
53:
52:
41:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
3875:
3864:
3861:
3859:
3856:
3854:
3851:
3849:
3846:
3844:
3841:
3839:
3836:
3834:
3831:
3829:
3826:
3825:
3823:
3816:
3806:
3805:
3800:
3799:
3797:
3793:
3787:
3784:
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3778:
3776:
3772:
3766:
3765:
3761:
3759:
3758:
3754:
3753:
3751:
3747:
3741:
3740:
3736:
3734:
3733:
3732:Les Proscrits
3729:
3727:
3726:
3725:Louis Lambert
3722:
3720:
3719:
3715:
3713:
3712:
3708:
3706:
3705:
3701:
3699:
3698:
3694:
3692:
3691:
3687:
3685:
3684:
3680:
3678:
3677:
3673:
3671:
3670:
3666:
3664:
3663:
3659:
3657:
3656:
3652:
3650:
3649:
3645:
3643:
3642:
3638:
3636:
3635:
3631:
3629:
3628:
3624:
3622:
3621:
3617:
3615:
3614:
3610:
3608:
3607:
3603:
3602:
3600:
3596:
3590:
3589:
3585:
3583:
3582:
3578:
3576:
3575:
3571:
3570:
3568:
3564:
3558:
3557:
3553:
3551:
3550:
3546:
3545:
3543:
3539:
3533:
3532:
3528:
3526:
3525:
3521:
3519:
3518:
3514:
3512:
3511:
3507:
3505:
3504:
3500:
3498:
3497:
3493:
3492:
3490:
3486:
3480:
3479:
3475:
3473:
3472:
3468:
3466:
3465:
3461:
3459:
3458:
3454:
3452:
3451:
3447:
3445:
3444:
3440:
3438:
3437:
3433:
3431:
3430:
3426:
3424:
3423:
3419:
3417:
3416:
3412:
3410:
3409:
3405:
3403:
3402:
3398:
3396:
3395:
3391:
3389:
3388:
3384:
3382:
3381:
3380:Gaudissart II
3377:
3375:
3374:
3370:
3368:
3367:
3363:
3361:
3360:
3356:
3355:
3353:
3349:
3343:
3342:
3338:
3336:
3335:
3331:
3329:
3328:
3324:
3322:
3321:
3317:
3315:
3314:
3310:
3308:
3307:
3303:
3301:
3300:
3296:
3294:
3293:
3289:
3287:
3286:
3282:
3280:
3279:
3275:
3273:
3272:
3268:
3267:
3265:
3261:
3255:
3254:
3250:
3248:
3247:
3243:
3241:
3240:
3236:
3234:
3233:
3229:
3227:
3226:
3222:
3220:
3219:
3215:
3213:
3212:
3208:
3206:
3205:
3201:
3199:
3198:
3194:
3192:
3191:
3187:
3185:
3184:
3180:
3178:
3177:
3176:La Grenadière
3173:
3171:
3170:
3166:
3164:
3163:
3159:
3157:
3156:
3152:
3150:
3149:
3145:
3143:
3142:
3138:
3136:
3135:
3131:
3129:
3128:
3124:
3122:
3121:
3117:
3115:
3114:
3110:
3108:
3107:
3103:
3101:
3100:
3096:
3094:
3093:
3089:
3087:
3086:
3082:
3080:
3079:
3075:
3073:
3072:
3068:
3066:
3065:
3061:
3060:
3058:
3054:
3050:
3045:
3041:
3037:
3036:
3028:
3023:
3021:
3016:
3014:
3009:
3008:
3005:
2993:(1990 ballet)
2992:
2991:
2987:
2984:
2983:
2979:
2978:
2976:
2972:
2965:
2964:
2960:
2957:
2956:
2952:
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2948:
2944:
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2937:
2932:
2931:
2926:
2919:
2914:
2912:
2907:
2905:
2900:
2899:
2896:
2890:
2886:
2885:
2876:
2873:
2869:
2868:
2864:
2861:
2857:
2856:
2852:
2851:
2847:
2842:
2838:
2835:
2831:
2827:
2824:
2820:
2817:
2816:0-691-06567-5
2813:
2809:
2806:. Princeton:
2805:
2801:
2798:
2795:
2791:
2787:
2783:
2780:
2779:0-393-03679-0
2776:
2772:
2768:
2765:
2762:
2761:0-7910-7042-5
2758:
2754:
2750:
2746:
2743:
2742:0-8020-5275-4
2739:
2735:
2731:
2727:
2724:
2723:0-394-48357-X
2720:
2716:
2713:
2710:
2707:
2706:0-8020-2776-8
2703:
2699:
2695:
2692:
2688:
2684:
2680:
2677:
2673:
2669:
2667:
2663:
2659:
2655:
2652:
2651:0-88184-023-8
2648:
2644:
2640:
2637:
2633:
2629:
2625:
2622:
2621:0-691-06282-X
2618:
2614:
2610:
2607:
2603:
2599:
2595:
2591:
2588:
2584:
2580:
2576:
2573:
2569:
2565:
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2557:
2554:
2550:
2546:
2542:
2538:
2534:
2531:
2527:
2523:
2519:
2515:
2512:
2511:0-8147-0042-X
2508:
2504:
2500:
2496:
2493:
2489:
2485:
2481:
2478:
2475:
2471:
2467:
2464:. New Haven:
2463:
2459:
2458:
2454:
2448:
2443:
2440:
2436:
2435:0-8264-8032-2
2432:
2428:
2422:
2419:
2415:
2414:0-306-80472-7
2411:
2407:
2401:
2398:
2387:
2383:
2377:
2375:
2371:
2368:
2364:
2361:
2356:
2353:
2349:
2345:
2339:
2336:
2332:
2328:
2322:
2319:
2314:
2312:9780786487905
2308:
2305:. McFarland.
2304:
2303:
2295:
2292:
2288:
2284:
2278:
2275:
2269:
2266:
2262:
2261:The Oscholars
2258:
2254:
2250:
2247:
2241:
2238:
2232:
2231:Os de Chagrin
2228:
2223:
2220:
2216:
2212:
2207:
2204:
2198:
2195:
2192:Robb, p. 254.
2189:
2186:
2180:
2177:
2171:
2168:
2162:
2159:
2153:
2150:
2144:
2141:
2135:
2132:
2128:
2122:
2119:
2113:
2110:
2104:
2101:
2095:
2092:
2086:
2083:
2077:
2074:
2068:
2066:
2062:
2059:Bellos, p. 6.
2056:
2053:
2047:
2045:
2041:
2035:
2032:
2026:
2023:
2017:
2014:
2008:
2005:
1999:
1996:
1990:
1987:
1981:
1978:
1972:
1969:
1963:
1961:
1957:
1951:
1948:
1942:
1940:
1936:
1930:
1927:
1920:
1917:
1910:
1907:
1901:
1898:
1895:Robb, p. 183.
1892:
1889:
1886:Robb, p. 182.
1883:
1880:
1876:
1869:
1866:
1860:
1857:
1851:
1848:
1842:
1839:
1835:
1834:0-393-95034-4
1831:
1827:
1821:
1819:
1815:
1809:
1806:
1800:
1798:
1794:
1788:
1785:
1782:Balzac, p. 4.
1779:
1776:
1773:Balzac, p. 2.
1770:
1767:
1761:
1758:
1752:
1749:
1743:
1740:
1734:
1732:
1728:
1722:
1719:
1713:
1710:
1704:
1701:
1695:
1693:
1689:
1685:
1679:
1676:
1669:
1666:
1660:
1657:
1651:
1648:
1642:
1640:
1636:
1629:
1626:
1620:
1617:
1611:
1609:
1607:
1603:
1597:
1594:
1588:
1585:
1579:
1576:
1570:
1567:
1561:
1558:
1552:
1549:
1542:
1539:
1533:
1531:
1529:
1525:
1521:
1516:
1514:
1510:
1506:
1502:
1498:
1497:Sigmund Freud
1495:
1494:psychoanalyst
1490:
1488:
1484:
1483:Julien Honoré
1480:
1476:
1472:
1467:
1465:
1461:
1457:
1452:
1450:
1446:
1442:
1437:
1435:
1431:
1430:
1425:
1421:
1419:
1415:
1411:
1406:
1404:
1400:
1396:
1392:
1387:
1385:
1381:
1377:
1372:
1368:
1366:
1365:
1360:
1355:
1353:
1349:
1345:
1342:
1338:
1334:
1330:
1329:
1324:
1321:
1317:
1313:
1309:
1305:
1304:Fritz Geißler
1301:
1297:
1296:
1291:
1287:
1279:
1277:
1275:
1270:
1265:
1263:
1259:
1258:
1253:
1245:
1244:
1239:
1235:
1231:
1229:
1225:
1224:
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370:Ancien Régime
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338:Ann Radcliffe
336:of England's
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2985:(1959 opera)
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2866:
2862:(plain text)
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2767:Robb, Graham
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2016:
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1845:Hunt, p. 39.
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1546:generously".
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1526:in London's
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975:Christianity
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951:Jesus Christ
944:
943:'s painting
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799:Jesus Christ
770:; a bust of
768:burgomasters
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719:
704:Palais Royal
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660:case studies
651:
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630:human nature
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615:supernatural
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77:
43:
3588:Les Paysans
3549:Les Chouans
3457:Facino Cane
3085:La Vendetta
2974:Stage works
2732:. Toronto:
2666:029922934-3
2520:. Chicago:
2127:L'Étrangere
1924:Pélissier."
1875:Graham Robb
1473:featured
1434:Bessie Love
1359:Oscar Wilde
1316:Yuri Khanon
1223:realpolitik
1169:L'Étrangère
1137:L'Étrangère
1118:L'Étrangère
510:Le Talisman
475:George Sand
443:George Sand
342:Jules Janin
288:Les Chouans
202:materialism
46:, drawn by
3822:Categories
3683:El Verdugo
3662:Les Marana
3183:Le Message
2596:. London:
2455:References
2392:2020-09-25
2227:Etv.net.ca
1464:Alain Cuny
1341:biographic
1318:wrote the
1147:, where a
1042:Grandville
594:periwinkle
463:Eugène Sue
420:Pont Royal
397:The title
276:pseudonyms
234:Background
3739:Séraphîta
3524:Z. Marcas
3450:Sarrasine
3285:Pierrette
3078:La Bourse
2587:78-175376
2416:. p. 541.
2386:Wikipédia
1337:interlude
1306:composed
1280:Influence
1188:Berdychiv
718:'s opera
648:symbolism
623:physicist
607:fantastic
571:flashback
524:" and a "
375:bourgeois
357:Charles X
322:fantastic
272:potboiler
224:'s opera
199:bourgeois
195:realistic
191:fantastic
3517:L'Initié
3394:Ferragus
3225:Honorine
2889:LibriVox
2837:Archived
2826:Archived
2810:, 1983.
2794:75-76005
2736:, 1974.
2566:, 1942.
2547:, 1942.
2524:, 1942.
2505:, 1963.
2468:, 1966.
2363:Archived
2249:Archived
1513:morphine
1286:libretto
1157:Volhynia
1149:baroness
1087:sequence
1068:L'Avenir
967:namesake
918:vitalism
785:vase; a
783:Etruscan
757:yataghan
750:Napoleon
733:gambling
721:Tancredi
706:and the
664:everyman
583:spa town
556:Sanskrit
552:shagreen
540:shagreen
526:Moralité
518:L'Agonie
501:Synopsis
471:feminist
416:Napoleon
408:Oriental
293:Brittany
253:In 1830
162:wild ass
158:shagreen
137:, is an
66:Language
3786:Vautrin
3774:Related
3648:Gambara
3218:Béatrix
3190:Gobseck
2691:4298277
2606:4566561
2492:9435435
1505:suicide
1454:It was
1228:Vautrin
1145:Ukraine
1089:called
1032:editor
971:Raphael
963:panacea
941:Raphael
932:Society
877:glasses
795:Raphael
761:Tartars
754:Moorish
745:antique
700:realism
694:Realism
687:realist
634:society
619:chemist
564:banquet
522:Preface
473:writer
315:La Mode
2966:(1923)
2958:(1920)
2950:(1920)
2947:Desire
2933:(1831)
2814:
2792:
2777:
2759:
2740:
2721:
2715:Balzac
2704:
2689:
2664:
2649:
2636:236621
2634:
2619:
2604:
2585:
2572:905236
2570:
2553:905236
2551:
2530:905236
2528:
2509:
2490:
2474:275265
2472:
2433:
2412:
2346:
2329:
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2285:
1832:
1633:work."
1410:Desire
1320:ballet
1173:Odessa
1151:named
981:once":
853:Themes
772:Cicero
712:allude
621:and a
574:named
560:Arabic
536:Arabic
432:francs
428:octavo
332:; the
313:, and
280:francs
146:French
101:France
74:Series
69:French
56:Author
3669:Adieu
2939:Films
1534:Notes
1501:tumor
1412:(aka
1333:opera
781:; an
779:mummy
774:; an
765:Dutch
601:Style
548:Seine
264:Paris
154:Paris
142:novel
2812:ISBN
2790:LCCN
2775:ISBN
2757:ISBN
2738:ISBN
2719:ISBN
2702:ISBN
2687:OCLC
2662:ISBN
2647:ISBN
2632:OCLC
2617:ISBN
2602:OCLC
2583:LCCN
2568:OCLC
2549:OCLC
2526:OCLC
2507:ISBN
2488:OCLC
2470:OCLC
2431:ISBN
2410:ISBN
2344:ISBN
2327:ISBN
2307:ISBN
2283:ISBN
1830:ISBN
1393:for
925:foil
752:; a
632:and
611:duel
139:1831
131:and
92:1831
3038:by
2927:'s
2870:at
2858:at
2751:".
1469:In
1288:of
1060:sou
803:ego
671:see
585:of
262:in
144:by
3824::
2769:.
2384:,
2373:^
2255:.
2229:,
2213:.
2064:^
2043:^
1959:^
1938:^
1817:^
1796:^
1730:^
1691:^
1638:^
1605:^
1530:.
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1477:,
1466:.
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1230:.
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176:,
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3012:v
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