Works
Major works, and works in English translation (date given of first translation). For a complete bibliography see Alphonse Daudet Bibliography
- Les Amoureuses (1858; poems, first published work)
- Le Petit Chose (1868; English: Little Good-For-Nothing (1885) or Little What's-His-Name (1898))
- Lettres de Mon Moulin (1869; English: Letters from my Mill (1880), short stories)
- Tartarin de Tarascon (1872; English: Tartarin of Tarascon (1896))
- L'Arlésienne (1872; novella originally part of Lettres de Mon Moulin made into a play)
- Contes du Lundi (1873; English: The Monday Tales (1900); short stories)
- Les Femmes de Artistes (1874; English: Artists' Wives (1896))
- Robert Helmont (1874; English: Robert Helmont: the Diary of a Recluse (1896))
- Fromont jeune et Risler aîné (1874; English: Fromont Junior and Risler Senior (1894))
- Jack (1876; English: Jack (1897))
- Le Nabab (1877; English: The Nabob (1878))
- Les Rois en Exil (1879; English: Kings in Exile (1896))
- Numa Roumestan (1880; English: Numa Roumestan: or, Joy Abroad and Grief at Home (1884))
- L'Evangéliste (1883; English: The Evangelist (1883))
- Sapho (1884; English: Sappho (1886))
- Tartarin sur les Alpes (1885; English: Tartarin on the Alps (1896))
- Le Belle Nivernaise (1886; English: Le Belle Nivernaise (1892); juvenile)
- L'Immortel (1888; English: One of the Forty (1888))
- Port-Tarascon (1890; English: Port Tarascon (1890))
- Rose and Ninette (1892; English: Rose and Ninette (1892))
- La Doulou (1930; English: In The Land of Pain (2003; translator: Julian Barnes))
Read more about this topic: Alphonse Daudet
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—Jean Genet (19101986)
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—Joan Sheingold Ditzion, Dennie, and Palmer Wolf. Ourselves and Our Children, by Boston Womens Health Book Collective, ch. 2 (1978)
“Was it an intellectual consequence of this rebirth, of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.”
—Thomas Mann (18751955)