Work
Some of Jules Renard's works take their inspiration from the countryside he loved in the Nièvre region. His character portraits are sharp, ironic and sometimes cruel (in his Histoires naturelles he humanizes animals and animalizes men) and he was an active supporter of pacifism and anticlericalism (apparent in La Bigote).
His journal (1897 to 1910, published in 1925) is a masterpiece of introspection, irony, humor and nostalgia, and also provides an important glimpse into the literary life.
The British writer Somerset Maugham was influenced to publish his own well-known journals by the example of Renard. In the introduction to his own work A Writer's Notebook, Maugham wrote an apt summary of the virtues of Renard's journal: "The journal is wonderfully good reading. It is extremely amusing. It is witty and subtle and often wise... Jules Renard jotted down neat retorts and clever phrases, epigrams, things seen, the sayings of people and the look of them, descriptions of scenery, effects of sunshine and shadow, everything, in short, that could be of use to him when he sat down to write for publication."
American novelist Gilbert Sorrentino based his 1994 work Red the Fiend on Renard's Poil de carotte.
For a great part, the 2008 memoir Nothing to Be Frightened Of by British novelist Julian Barnes is a homage to Jules Renard.
Renard is one of several popular philosophers whose quotations appear on the roadsigns of Project HIMANK in the Ladakh region of northern India. On one such sign in the Nubra Valley, he is quoted as saying Laziness is nothing more than the habit of resting before you get tired.
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Famous quotes containing the word work:
“Don’t you know there are 200 temperance women in this county who control 200 votes. Why does a woman work for temperance? Because she’s tired of liftin’ that besotted mate of hers off the floor every Saturday night and puttin’ him on the sofa so he won’t catch cold. Tonight we’re for temperance. Help yourself to them cloves and chew them, chew them hard. We’re goin’ to that festival tonight smelling like a hot mince pie.”
—Laurence Stallings (1894–1968)
“The Taylor and the Painter often contribute to the Success of a Tragedy more than the Poet. Scenes affect ordinary Minds as much as Speeches; and our Actors are very sensible, that a well-dressed Play has sometimes brought them as full Audiences, as a well-written one.... But however the Show and Outside of the Tragedy may work upon the Vulgar, the more understanding Part of the Audience immediately see through it, and despise it.”
—Joseph Addison (1672–1719)
“On a huge hill,
Cragged, and steep, Truth stands, and he that will
Reach her, about must, and about must go;
And what the hill’s suddenness resists, win so;
Yet strive so, that before age, death’s twilight,
Thy Soul rest, for none can work in that night.
To will, implies delay, therefore now do:
Hard deeds, the body’s pains; hard knowledge too
The mind’s endeavours reach, and mysteries
Are like the Sun, dazzling, yet plain to all eyes.”
—John Donne (1572–1631)