Marcel Achard (b. 5 July 1899, in Sainte-Foy-lès-Lyon, Rhône; d. 4 September 1974, Paris) was a French playwright and screenwriter whose popular sentimental comedies^[1] maintained his position as a highly-recognizable name in his country's theatrical and literary circles for five decades.^[2] He was elected to the Académie française in 1959.

Themes and variations within a philosophical outlook[link]

A native of the Rhône département's Urban Community of Lyon, France's second largest metropolitan area, Marcel-Auguste Ferréol was born in Sainte-Foy-lès-Lyon, one of the city's suburbs, and adopted his nom de plume at the start of his writing career in the early 1920s. Able to absorb knowledge quickly, he became, in 1916, in the midst of World War I, a village schoolteacher at the age of 17. In 1919, a few months after the end of the war, the 20-year-old aspiring writer arrived in Paris and found jobs as a prompter at the Théâtre du Vieux-Colombier and as a journalist for various publications, including the major daily newspaper, Le Figaro.

Marcel Achard wrote his first play in 1922 and had a major success the following year when renowned actor-director Charles Dullin staged his play Voulez-vous jouer avec moâ? [Would You Like to Play with Me?], a sensitively delicate comedy about circus and its clowns, casting the playwright in a small part, as one of the clowns. The production set a pattern for the remainder of his theatrical output, most of which can be considered as 20th century reworkings of stock characters and situations from the Italian traditional Commedia dell'arte. The personages of Pierrot and Columbine are transported into modern-day settings and inserted into an occasionally mawkish or nostalgic love plot with equal doses of laughter mingled with pain and regret.

These themes were expanded upon in two of his most popular plays of the period—1929's Jean de la Lune [John of the Moon a/k/a The Dreamer] and 1932's Domino. Jean showed how the unwavering trust of Jef, the faithful Pierrot prototype, transforms his scandalously adulterous wife into his idealized image of her, while Domino presented another unfaithful wife who pays a gigolo to make a pretense of courting her so as to distract her husband from her real lover, but the gigolo manages to act his character with such pretend sincerity that she winds up falling in love with this fictional persona.

The distinctive quality of Achard's plays was their dreamlike mood of sentimental melancholy, underscored by the very titles which were primarily taken from popular bittersweet songs of the day. 1924's Marlbrough s'en va-t-en guerre [Marlborough Gets Himself Off to War], 1935's Noix de coco [Coconuts], 1946's Auprès de ma blonde [Close to My Girlfriend] and Savez-vous planter les choux? [Do You Know How to Plant Cabbage?] and 1948's Nous irons à Valparaiso [We're Going to Valparaiso] are among some examples of this specific style.

Career peak in the interwar period[link]

Achard's greatest successes and popularity were in the period between the two World Wars when contemporary critics favorably compared him to some of his renowned French predecessors such as Pierre de Marivaux and Alfred de Musset. Postwar pundits were not as kind, pointing out the rather narrow scope of human psyche that he represented and deprecatingly referring to him as a "spécialiste de l'amour" ["love specialist"] for the sickly-sweet characteristics of his poetic imagination.

The critics focused, of course, on Achard's most popular plays, disregarding the fact that the reason Achard continued to write them is precisely because they met with such unvarying success. His less-well known works, however, show innovative techniques and original themes. 1929's La Belle Marinière^[1] [The Beautiful Lady of the Canals a/k/a The Beautiful Bargewoman] still has some of the excessively-poetic dialogue, but is overall a realistic play about a love triangle involving a bargeman, his wife and his best friend and companion. Similarly, 1933's La femme en blanc [The Woman in White] uses a then-new technique of recreating for the audience events as they are being described by the play's characters. In 1938's Le corsaire [The Privateer], a "play-in-a-play" device, pioneered by Luigi Pirandello, depicts film actors portraying the life of a long-ago pirate, finding themselves caught in an endless loop of similarities. The same year saw the production of his most controversial play, Adam, which strove to give insight into the conflicted emotions of an unhappy homosexual. Although the very subject matter caused it to be considered scandalous at the time, its brief revival three decades later, in the open and radicalized culture of the late 1960s, when the author was approaching his 70th birthday, found the once-ahead-of-its-time work judged as a tame and dated period piece below Achard's usual literary standard.

Successful postwar plays[link]

After World War II, despite the criticism, Achard's literary output continued unabated. Among his most successful later plays were 1952's Les compagnons de la Marjolaine [The Companions of Marjoram] and 1955's Le mal d'amour [Love Sickness]. The greatest popularity, however, was achieved by a 1957 comedy about a testy, ill-tempered character nicknamed Patate [Spud] and a 1962 comic mystery L'Idiote [The Idiot], best known in America as the basis for the play and film A Shot in the Dark.

Four of Achard's plays also had Broadway runs. Domino, adapted by actress-writer Grace George, opened at the Playhouse Theatre on 16 August 1932 and closed after seven performances. The title role went to Rod La Rocque, a top star of the silent cinema, whose career was on the wane following the advent of the talkies, and the lead actress was Jessie Royce Landis. Seventeen years later, a much better run was enjoyed by Auprès de ma blonde, which was reworked by famed scenarist S. N. Behrman into I Know My Love. It opened at the Shubert Theatre on 2 November 1949 and ran for 247 performances, closing on 3 June 1950. It was directed by and starred Alfred Lunt and his leading lady was, as always, his wife, Lynn Fontanne. Nine years after that premiere, however, Patate, which played to sold-out theaters in Paris, could not translate its elusive charm to American audiences and repeated the seven-performance fiasco of the previous single-name character, Domino. The fellow whose nickname made up the title was played by Tom Ewell, and the female lead, Susan Oliver, won the Theatre World Award for her performance, while the Irwin Shaw adaptation opened at Henry Miller's Theatre on 28 October 1958 and closed on November 1. Ultimately, it would be A Shot in the Dark, three years later, which would boast the longest run. Adapted by Harry Kurnitz and directed by Harold Clurman, it racked up an impressive 389 performances, opening at the Booth Theatre on 18 October 1961 and closing on 22 September 1962. The stars were Julie Harris, Walter Matthau and William Shatner.

Achard's numerous screenplays, frequently centering on relatively recent historical events and personalities, include 1936's Mayerling, 1938's Orage and 1942's Félicie Nanteuil. He presided over the Cannes Film Festival in 1958 and 1959 and had a similar role at the Venice Film Festival in 1960. It was also in 1959 that he was finally, at the age of 60, elected to the Académie française.

Marcel Achard died of diabetes in his Paris home two months after his 75th birthday. He was survived by his wife, Lily.

Citations[link]

References[link]

External links[link]

• Marcel Achard at the Internet Broadway Database
• Marcel Achard at the Internet Movie Database
• Marcel Achard quotations
• Additional quotations from Marcel Achard

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2012)

Théâtre de l'Athénée Louis-Jouvet, Paris, named for Jouvet

Louis Jouvet (24 December 1887 - 16 August 1951) was a renowned French actor, director, and theatre director.

Life[link]

Overcoming speech impediments and sometimes paralyzing stage fright as a young man, Jouvet's first important association was with Jacques Copeau's Théâtre du Vieux-Colombier, beginning in 1913. Copeau's training included a varied and demanding schedule, regular exercise for agility and stamina, and pressing his cast and crew to invent theatrical effects in a bare-bones space. It was there Jouvet developed his considerable stagecraft skills, particularly makeup and lighting (he developed a kind of accent light named the jouvet). These years included a successful tour to the United States.

While influential, Copeau's theater was never lucrative. Jouvet left in October 1922 for the Comédie des Champs-Élysées (the small stage of the Théâtre des Champs-Élysées). In December 1923 he staged his single most successful production, the satire Dr. Knock, written by Jules Romains. Jouvet's meticulous characterization of the manipulative crank doctor was informed by his own experience in pharmacy school. It became his signature and his standby; "Jouvet was to produce it almost every year until the end of his life".^[1]

Jouvet began an ongoing close collaboration with playwright Jean Giraudoux in 1928, with a radical streamlining of Giraudoux's 1922 Siegfried et le Limousin for the stage. Their work together included the first staging of The Madwoman of Chaillot in 1945, at the Théâtre de l'Athénée, where Jouvet served as director from 1934 through his death in 1951.

Jouvet starred in some 34 films, including two records of Dr. Knock, once in 1933 and again in 1951. He was professor at the French National Academy of Dramatic Arts. He had a heart attack while at his beloved Théâtre de l'Athénée and died in his dressing room on Thursday, August 16, 1951.^[2] Louis Jouvet is buried in the Montmartre Cemetery in Paris. The Athénée theatre now bears his name.

He was the uncle of Anglo-French actor Peter Wyngarde.

Theatre[link]

• 1931: original production of Judith, written by Jean Giraudoux, at the Théâtre Pigalle
• 1935: original production of The Trojan War Will Not Take Place, written by Jean Giraudoux, starring Jouvet as Homer, also starring Madeleine Ozeray, at the Athénée in Paris
• 1947: directed the première of Jean Genet's The Maids at the Athénée in Paris on 17 April.
• 1951: directed the première of Jean-Paul Sartre's The Devil and the Good Lord at the Théâtre-Antoine in Paris on 7 June.

Filmography[link]

References[link]

External links[link]

• Louis Jouvet at the Internet Movie Database
• Louis Jouvet at the Internet Broadway Database
• Louis Jouvet at Find a Grave
• full text of English-language Jouvet biography online
• youtube clip of Jouvet as Dr. Knock

This article or section reads like an editorial or opinion piece and may require cleanup. Please improve this article by rewriting this article or section in an encyclopedic style to make it neutral in tone. Please see WP:No original research and WP:NOTOPINION for further details. (March 2011)

Michel Simon (9 April 1895, Geneva, Switzerland – 30 May 1975, Bry-sur-Marne, France), was a Swiss actor. He appeared in the notable films La Chienne (1931), Boudu Saved from Drowning (1932), L'Atalante (1934), Port of Shadows (1938) and The Train (1964). The actor François Simon is his son.

Early years[link]

Simon used to say about himself that he was born in 1895 and, "as misfortune never comes singly, cinema was born the same year".

Son of a Protestant sausage maker, Simon soon left his family and town to go to Paris, where he first lived at the Hotel Renaissance, Saint-Martin Street, then in Montmartre. He worked many different jobs to survive, such as giving boxing lessons or peddling smuggled lighters. He devoured every book he could find, with special preference for Georges Courteline's writings.

His artistic beginnings in 1912 were modest: magician, clown and acrobat stooge in a dancers' show called "Ribert's and Simon's", in the Montreuil-sous-Bois Casino.

Conscripted into the Swiss Army in 1914, he was often insubordinate, spending a lot of time in the stockade. He also contracted tuberculosis.

In 1915, while on leave, he saw Georges Pitoëff's early work in the French language, at the Theatre de la Comédie of Geneva, acting in Hedda Gabler.

He then decided to become an actor too, but had to wait until 1920 before making his first brief appearance on stage, with Pitoëff's company, speaking three lines for the registrar role in the Shakespeare's Measure for Measure. He also worked at this time as the company's photographer. He was spotted for the first time in a supporting role in George Bernard Shaw's Androcles and the Lion. In 1922, his company moved to Paris at the Comédie des Champs-Élysées.

He quit the following year to become a light comedy actor in plays by Tristan Bernard, Marcel Achard and Yves Mirande. Marcel Achard presented him to Charles Dullin, in whose company he acted in Je ne vous aime pas with Valentine Tessier.

Later years[link]

Louis Jouvet, who had meanwhile replaced Pitoëff, hired him at the Comédie des Champs-Élysées. Simon then gave a brilliant performance in Jean de la Lune, a play by Marcel Achard. His inimitable talent transformed his Cloclo supporting role to the big attraction of the play.

His theatrical career then blossomed with a large repertoire: Shakespeare, Bernard Shaw, Pirandello, Oscar Wilde, Bourdet, Henri Bernstein, but it was film that made him most popular. His first film appearance was Feu Mathias Pascal, adapted from Pirandello and directed by Marcel L'Herbier. Very soon after, he appeared in La vocation d'André Carel, directed by Jean Choux. The film used small-scale production methods, just as the Nouvelle Vague would do starting in 1958.

In silent movies, he brought his amazing appearance and his unusual face - a talent with an exceptional mobility, but truly without mannerism. He easily played with his body using an unlimited virtuosity, especially his ugliness, evolving from smartness to sympathy, goodness to naivety, ludicrousness to frightening, stupidity to comical, mischievousness to cruelty.

His film career was really boosted with the advent of talking pictures. People remarked that his elocution and voice tone were as original as his appearance and play. He then revealed his unclassifiable talent: action comedy, drama, tragedy, light comedy.

He appeared in 55 plays from 1920 to 1965, and 101 from 1965 to 1975.

He appeared in Dreyer's 1928 The Passion of Joan of Arc. He acted in films for Jean Renoir (La Chienne, Boudu Saved From Drowning), Jean Vigo (L'Atalante) and Marcel Carné (Port of the Shadows, Bizarre, Bizarre).

In the 1950s, he reined in his activities following an accident involving a makeup dye that left part of his face and body paralysed.

In 1967, he won the Silver Bear for Best Actor at the 17th Berlin International Film Festival for his role in Le vieil homme et l'enfant (The Two of Us).^[1]

He died at 80 years of age from a pulmonary embolism and is buried in the Grand-Lancy Cemetery of Geneva, next to his parents, as per his testamentary wishes.

The eccentric[link]

In the 1920s/1930s, Simon enjoyed associating with the Parisian lower classes.

Simon would say that he preferred "living with animals than humans". He lived for a long time in a kind of bohemian house in Noisy-le-Grand, near Paris. The house was surrounded by rank weeds, and filled with amazing bric-a-brac, including his large collection of erotica, including photographs and films. This collection was dispersed after his death.

Select filmography[link]

• 1925 Feu Mathias Pascal by Marcel L'Herbier ... Pomino
• 1928 The Passion of Joan of Arc by Carl Theodor Dreyer
• 1931 On purge bébé by Jean Renoir
• 1931 La Chienne by Jean Renoir ... Maurice Legrand
• 1932 Boudu Saved from Drowning by Jean Renoir ... Priape Boudu
• 1933 High and Low by G. W. Pabst
• 1934 L'Atalante by Jean Vigo ... Old Jules
• 1934 Le Bonheur by Marcel L'Herbier ... Noël Malpiaz
• 1937 Bizarre, Bizarre by Marcel Carné ... Irwin Molyneux
• 1938 Boys' School by Christian-Jaque ... Lemel, the drawing teacher
• 1939 Port of Shadows by Marcel Carné ... Zabel
• 1939 Le Dernier tournant
• 1939 Fric-Frac by Claude Autant-Lara & Maurice Lehmann ... Jo
• 1940 Les Musiciens du ciel
• 1940 La Comédie du bonheur by Marcel L'Herbier ... M. Jourdain
• 1941 The Story of Tosca by Carl Koch ... Scarpia
• 1946 Panic by Julien Duvivier ... Monsieur Hire
• 1947 Les Amants du pont Saint-Jean
• 1949 Fabiola
• 1950 La Beauté du diable by René Clair ... Mephistopheles/Old Professor Henri Faust
• 1951 Poison by Sacha Guitry ... Paul-Louis Victor Braconnier
• 1952 Monsieur Taxi
• 1953 La Vie d'un honnête homme (1953)
• 1953 L'Étrange Désir de monsieur Bard (1954)
• 1955 The Impossible Mr. Pipelet by André Hunebelle ... Maurice Martin
• 1959 Die Nackte und der Satan by Victor Trivas ... Professor Abel
• 1960 Pete the Tender by François Villiers ... Pierrot
• 1960 Candide ou l'optimisme au XXe siècle
• 1962 Le Diable et les Dix Commandements by Julien Duvivier
• 1964 The Train by John Frankenheimer ...Papa Boule
• 1967 The Two of Us by Claude Berri ... Pepe
• 1971 Blanche by Walerian Borowczyk
• 1972 The Most Wonderful Evening of My Life by Ettore Scola ... Attorney Zorn
• 1975 The Red Ibis by Jean-Pierre Mocky ... Zizi with Michel Serrault and Michel Galabru

References[link]

External links[link]

• Michel Simon at the Internet Movie Database
• Michel Simon at AllRovi
• Michel Simon at Hollywood.com
• Michel Simon at Find A Grave
• Michel Simon at Films de France
• Geneva tourism website about his life

Sketch for Artémis troublée by Léon Bakst

Paul Paray (French pronunciation: [pɔl paʁɛ]) (born Le Tréport, 24 May 1886 - died Monte Carlo, 10 October 1979) was a French conductor, organist and composer. He is best remembered in the United States for being the resident conductor of the Detroit Symphony Orchestra for more than a decade.^[1] He married Yolande Falck on 25 August 1944.

Biography[link]

Paray's father, Auguste, was a sculptor and organist at St. Jacques church, and leader of an amateur musical society. He put young Paul in the society's orchestra as a drummer. Later, Paul Paray went to Rouen to study music with the abbots Bourgeois and Bourdon, and organ with Haelling. This prepared him to enter the Paris Conservatoire. In 1911, Paul Paray won the Premier Grand Prix de Rome for his cantata Yanitza.

As World War I started, Paul Paray heeded the call to arms and joined the French Army. In 1914, he was a prisoner of war at the Darmstadt camp, where he composed a string quartet.

After the war, Paray was invited to conduct the orchestra of the Casino de Cauterets, which included players from the Lamoureux Orchestra. This was a springboard for him to conduct this Orchestra in Paris. Later he was music director of the Monte Carlo Orchestra, and president of the Concerts Colonne.

In 1922, Paray composed music for the Ida Rubinstein ballet Artémis troublée. In 1931, he wrote the Mass for the 500th Anniversary of the Death of Joan of Arc, which was premiered at the cathedral in Rouen to commemorate the quincentenary of Joan of Arc's martyr death. In 1935, he wrote his Symphony No. 1 in C major, which was premiered at the Concerts Colonne. He composed his Symphony No. 2 in A major in 1941.

Paray made his American debut with the New York Philharmonic-Symphony Orchestra in 1939. In 1952, he was appointed music director of the Detroit Symphony Orchestra, conducting them in numerous recordings for Mercury Records' "Living Presence" series.

Paray could and did conduct the entire orchestral repertoire well, but he specialized in the French symphonic literature. One of Paray's most renowned recordings, made in October 1957, is that of the Saint-Saëns' Symphony No. 3 in C minor. The circumstances surrounding the recording were fortuitous. Paray had built the Detroit Symphony Orchestra into one of the world's most distinguished. Marcel Dupré, a friend and fellow student from childhood, was organist for the session. Dupré, as a young student, had pulled the organ stops for the composer Camille Saint-Saëns in a performance of the Symphony No. 3 in Paris, and the organ of Ford Auditorium in Detroit was well suited to the work. As well as being among the most authoritative readings of the work, the original analogue recording on the Mercury label remains an audiophile reference in vinyl, and the analogue-to-digital transfer produced by the original recording director Wilma Cozart for compact disc is also available from Mercury (recording number 432 719-2).

He was a National Patron of Delta Omicron, an international professional music fraternity.^[2]

Selected works[link]

Stage

• Yanitza, Scène lyrique d'après une légende albanaise (1911); poem by Georges Spitzmuller
• Artémis troublée, Ballet by Léon Bakst (1911–1912)

Orchestral

• Symphonie d'archets for string orchestra (1919); orchestration of the String Quartet
• Nocturne for chamber orchestra
• Symphony No. 1 (1934)
• Symphony No. 2 (1936)

Concertante

• Fantaisie for piano and orchestra (1909)
• Humoresque for violin and chamber orchestra (1910)

Chamber music

• Piano Trio (1905)
• Sérénade for violin (or flute) and piano (1908)
• Sonata in C minor for violin and piano (1908)
• Humoresque for violin and piano (or chamber orchestra) (1910)
• Nocturne for violin (or cello) and piano (1910)
• String Quartet in E minor (1919)
• Sonata No. 1 in B♭ major for cello and piano (1919)
• Sonata No. 2 in C major for cello and piano

Piano

• Tarantelle
• Scherzetto
• Impromptu
• Vertige
• Incertitude
• Entêtement
• Berceuse
• Valse-caprice (1906)
• Romance (1909)
• Portraits d'enfants (1910)
• Valse sur un thème de Franz Schubert (1911)
• Impressions (1912)

1. Nostalgie
2. Eclaircie
3. Primesaut

• Reflets romantiques (1912)

1. Avec esprit et charme
2. Ardemment
3. En rêvant
4. Avec fougue
5. Souple
6. Léger
7. Tender
8. Energique

• Sept pièces (1913)
• Presto (1913)
• Prélude, scherzo et allegro
• Thème et variations (1913)
• Prélude en fa majeur (1913)
• Allegro (1913)
• Scherzo (1913)
• D'une âme... (1914)
• Pièces pour piano à quatre mains for piano 4-hands (1914)
• Éclaircie (1923)
• Prélude (1930)
• Allegretto
• Prélude en mi bémol mineur
• Prélude en fa mineur
• Sur la mer
• Valse en fa dièse mineur
• Valse en fa mineur
• Vertige
• La vraie furlana

Vocal

• Nuit d'Italie for voice and piano; words by Paul Bourget
• Laurette for voice and piano; words by Alfred de Vigny
• Sépulcre for voice and piano; words by Leon Volade
• Paroles à la lune for voice and piano (1903); words by Anna de Noailles
• Panis Angelicus for voice and cello (1904)
• Dans les bois for voice and piano (1904); words by Gérard de Nerval
• La promesse for voice and piano or orchestra (1910); words by Gabriel Montoya
• La plainte for voice and piano or orchestra (1911); words by Lucien Paté
• Le papillon for voice and piano or orchestra (1911); words by Jean Aicard
• Le champ de bataille (1912); words by Théophile Gautier
• Trois mélodies for voice and piano or orchestra (1912); words by Théophile Gautier

1. Infidélité
2. La Dernière feuille
3. Serment

• Villanelle for voice and piano or orchestra (1912); words by Théophile Gautier
• Chanson violette for voice and piano or orchestra (1913); words by Albert Samain
• Le chevrier for voice and piano or orchestra (1913); words by José-Maria de Heredia
• Il est d'étranges soirs for voice and piano or orchestra (1913) words by Albert Samain
• Viole for voice and piano (1913); words by Albert Samain
• In manus tuas for voice, oboe and organ (1914)
• Quatre poèmes de Jean Lahor for voice and piano or orchestra (1921)

1. Après l'orage
2. Adieux
3. Après le bal
4. Dèsir de mort

• Vocalise-étude for medium voice and piano (1924)
• Le Poèt et la muse for voice and piano; words by E. Thévenet
• L'embarquement pour l'idéal for voice and piano; words by Catulle Mendès
• Mortes les fleurs for voice and piano; words by P. May
• Chanson napolitaine for voice and piano; words by P. May

Choral

• Os Justi, Offertorium for chorus and organ (1903)
• Acis et Galatée, Cantata (1910)
• Jeanne d'Arc, Oratorio (1913); words by Gabriel Montoya
• Salve Regina for chorus a cappella (1929)
• Messe du cinquième centenaire de la mort de Jeanne d'Arc (Mass for the Fifth Centenary of the Death of Joan of Arc) for soloists, chorus and orchestra (1931)
• Nuit tombante for chorus and orchestra
• Pastorale de Noël pour for soloists, chorus and orchestra
• Soleils de septembre for chorus and orchestra

References[link]

External links[link]

• "A Frenchman in Detroit"
• Cercle Paul Paray

Bibliography (in French): Jean-Philippe Mousnier: "Paul Paray", Editions L'Harmattan (1998).

Jean Rostand (October 30, 1894, Paris - September 4, 1977) was a French biologist and philosopher.

Active as an experimental biologist, Rostand became famous for his work as a science writer, as well as a philosopher and an activist. His scientific work covered a variety of biological fields such as amphibian embryology, parthenogenesis and teratogeny, while his literary output extended into popular science, history of science and philosophy. His work in the area of cryogenics gave the idea of cryonics to Robert Ettinger.^[1]

Biography[link]

Rostand was born to playwright Edmond Rostand and poetess Rosemonde Gérard as well as the brother of novelist and playwright Maurice Rostand.^{[citation needed]}

Following the footsteps of his father, Rostand was elected to the Académie française in 1959.^{[citation needed]}

Rostand was active in several causes, in particular against nuclear proliferation and the death penalty.^{[citation needed]} An agnostic, he demonstrated humanist convictions.^{[citation needed]} He wrote several books on the question of eugenism and the responsibilities of mankind regarding its own fate and its place in nature.^{[citation needed]}

He married Andrée Mante in 1920. His son François was born the following year.^{[citation needed]}

Famous for the following quotation: "Kill one man, and you are a murderer. Kill millions of men, and you are a conqueror. Kill them all, and you are a god." From Thoughts of a Biologist, 1938.

Works[link]

• Le retour des pauvres , 1919 - Return of the poor
• La loi des riches, 1920 - The law of the rich
• Pendant qu’on souffre encore, 1921 - While suffering endures
• Ignace ou l'Écrivain , 1923 - Ignace or the writer
• Deux angoisses : la mort, l’amour, 1924 - Two anguishes: love and death
• De la vanité et de quelques autres sujets , 1925 - Of vanity and several other subjects
• Les familiotes et autres essais de mystique bourgeoise, 1925 - The familiotes and other essayd of the bourgeois mystique
• De l’amour des idées , 1926 - On the love of ideas
• Le mariage, 1927 - Marriage
• Valère ou l’Exaspéré , 1927 - Valère or The exasperated
• Julien ou Une conscience, 1928 - Julien or A conscience
• Les chromosomes, artisans de l’hérédité et du sexe, 1929 - Chromosomes, artesans of heredity and sex
• De la mouche à l’Homme, 1930 - From fly to man
• L’état présent du transformisme, 1931 - The current state of transformism
• Journal d’un caractère, 1931 - Journal of a character
• L’Évolution des espèces, 1932 - The evolution of species
• Les problèmes de l’hérédité et du sexe, 1933 - The problems of heredity and sex
• L’aventure humaine, 1933 - The human adventure
• La vie des libellules, 1935 - The life of dragonflies
• Insectes, 1936 - Insects
• La nouvelle biologie, 1937 - The new biology
• Biologie et médecine, 1938 - Biology and medicine
• Hérédité et racisme, 1938 - Heredity and racism
• Pensée d’un biologiste, 1938 - Thoughts from a biologist
• La vie et ses problèmes, 1938 - Life and its problems
• Science et génération, 1940 - Science and generation
• Les idées nouvelles de la génétique, 1941 - New ideas in genetics
• L’Homme, introduction à l’étude de la biologie humaine , 1941 - Man, introduction to the study of human biology
• L’Homme, maître de la vie, 1941 - Man, master of life
• Hommes de vérité 1942 - Men of truth
• L’avenir de la biologie, 1943 - The future of biology
• La genèse de la vie, histoire des idées sur la génération spontanée , 1943 - Genesis of life, a history of the ideas on spontaneous generation
• La vie des vers à soie , 1944 - The life of silkworms
• Esquisse d’une histoire de la biologie , 1945 - Sketch of a history of biology
• L’avenir de la biologie, 1946 - The future of biology
• Qu’est-ce qu’un enfant ?, 1946 - What is a child?
• Charles Darwin , 1947
• Nouvelles pensées d’un biologiste, 1947 - New thoughts from a biologist
• L’hérédité humaine , 1948 - Human heredity
• Hommes de vérité II , 1948 - Men of truth II
• La biologie et l’avenir humain, 1949 - Biology and the human future
• L’Homme devant la biologie, 1949 - Man facing biology
• La parthénogenèse, reproduction virginale chez les animaux, 1949 - Parthenogenesis, virginal reproduction in animals
• La parthénogenèse animale, 1949 - Animal parthenogenesis
• La génétique des batraciens, 1951 - Batrachian genetics
• Les grands courants de la biologie , 1951 - Great trends in biology
• Les origines de la biologie expérimentale et l’abbé Spallanzani , 1951 - The origins of experimental biology and the abbott Spallanzani
• L’hérédité humaine, 1952 - Human heredity
• Pages d’un moraliste , 1952 - Pages by a moralist
• Ce que nous apprennent les crapauds et les grenouilles, 1953 - What toads and frogs teach us
• La vie, cette aventure, 1953 - Life, that adventure
• Ce que je crois, 1953 - What I believe
• Instruire sur l’Homme, 1953 - To instruct on Man
• Notes d’un biologiste , 1954 - Notes from a biologist
• Les crapauds et les grenouilles et quelques grands problèmes biologiques, 1955 - Toads, frogs and a few great problems in biology
• Le problème biologique de l’individu, 1955 - The biological problem of the individual
• L’Homme en l’an 2000 , 1956 - Man in the year 2000
• Peut-on modifier l’Homme ?, 1956 - Can we modify Man?
• L’atomisme en biologie, 1956- Atomism in biology
• Bestiaire d’amour, 1958 - A bestiary of love
• Aux sources de la biologie, 1958 - At the sources of biology
• Anomalies des amphibiens anoures, 1958 - Anomalies of anurian amphibians
• Science fausse et fausses sciences, 1958 - Erroneous science and false science
• Les origines de la biologie expérimentale , 1959 - Origins of experimental biology
• Carnet d’un biologiste , 1959 - Notepad of a biologist
• Espoirs et inquiétudes de l’homme , 1959 - The hopes and worries of Man

References[link]

Further reading[link]

• Marcel Migeo: Les Rostand, Paris, Stock, 1973. About Edmond, Rosemonde, Jean and Maurice Rostand.

External links[link]

Wikiquote has a collection of quotations related to: Jean Rostand

• Jean Rostand "homme de vérité"