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100	1		_aBoylesve, René, _d1867-1926
245	1	0	_aOpinions sur le roman
264		1	_aSalt Lake City, UT : _bProject Gutenberg, _c2026
300			_a1 online resource : _bmultiple file formats
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
500			_aRelease date is 2026-02-09
508			_aLaurent Vogel and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by the Polona digital library)
520			_a"Opinions sur le roman" by René Boylesve is a collection of literary essays and criticism written in the early 20th century. It gathers the author’s reflections on what the novel should be—its aesthetics, truthfulness, and relation to society—alongside broader views on criticism, theater, and the cult of nature. Expect a defense of the French realist tradition (Balzac–Flaubert), skepticism toward moralizing or programmatic fiction, and a consistent call for clarity, discipline, and beauty in prose. The opening of this collection presents an editorial preface explaining that scattered papers—articles, survey replies, notes, and letters spanning about a quarter-century—were assembled posthumously and arranged roughly chronologically, with some omissions. It begins with Boylesve’s preference for art over nature, then argues for “decentralization” in art (true works arising from rooted provincial milieus rather than chaotic Paris). He diagnoses modern literary “confusion” (blurring art with politics, science, and morality), urges discipline and schools, distinguishes serious novels from feuilleton sensationalism, and champions the novel of mores grounded in psychological and social truth that charms through exactness and style. He rejects making moral instruction the aim of fiction, critiques the state of criticism (calling for informed, situating reviews), questions the vague cult of nature fed by music, and rates reading above theater for deep intellectual nourishment. He restates his allegiance to the Balzac–Flaubert line, explains he writes to fix characteristic states of manners without courting popularity or overt pathos, debates books “for young girls” (truth over edifying falsification), and sketches a poetics of comedy where “nothing happens” yet character and milieu reveal themselves. The section closes as he invokes Molière’s centrality despite contemporary indifference. (This is an automatically generated summary.)
534			_pOriginally published: _cParis: Plon, 1929
653			_aFrench literature -- History and criticism
653			_aFrench fiction -- History and criticism
856	4		_uhttps://polona.pl/preview/e77dad21-c99b-4379-86a2-a4507495b194
856	4	0	_uhttps://www.gutenberg.org/ebooks/77899
999			_c118619 _d118619