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190121356ed. Librairie Charpentier et Fasquelle 1901 plaquette in-12 br. de 40 pages, comedie en un acte representee sur le theâtre du Grand Guignol le 29 oct. 1900, edition originale, ex. numerote à la presse sur papier de Hollande (seul grand papier)
0353742600.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
0282184988.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
0666667411.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
25541Librairie Charpentier et Fasquelle 1901. In-12 broché de 35 pages au format 12,5 x 19 cm. Couvertures brunes avec titre et choix de pièces imprimés en rouge. Dos carré un peu insolé, avec titre en rouge. Infimes frottis aux coins. Intérieur frais. Contient cette pièce de théâtre en un acte, par Octave Mirbeau, stigmatisant la médiocrité bourgeoise et représentée pour la première fois le 29 octobre 1900 sur la scène du Grand Guignol. Edition originale en superbe état général. Peu courant.
190146402639Paris, Charpentier et Fasquelle, 1901 ; in-12, broché. 35 pp.ÉDITION ORIGINALE de cette comédie acerbe : médiocrité bourgeoise, duperie de l’amour... du pur grand-guignol à la Mirbeau. UN DES 20 EXEMPLAIRES SUR HOLLANDE, seul grand papier.
190411461904. Near fine. 3pp 4to. Holograph manuscript in pen in French writing on the rectos only the first two pages are filled with text the last page is trimmed with only 4 lines and Mirbeau’s signature. Creases stains smudges offsetting but cleanly written legible and very good. An article for the left-wing newspaper L’Humanité published 25/Sept/1904. The newspaper was founded only a few months earlier by SFIO leader Jean Jaures who also served as editor. In the article Mirbeau criticizes France for its refusal to intervene in the Russo-Japanese war. With biting irony he mimics the indifferent French attitude: "Let's wait two five ten twenty years if we have to. We'll keep on slaughtering each other over there. But what are we risking. Life is good our restaurants are still the best in the world. There are still the prettiest girls in the theaters of Paris." He exposes the hypocrisy of French foreign policy: "as allies not of the Russian people whose infinite sufferings like those of all peoples are of absolutely no concern to us but as allies of the czar whose glory alone is important to us let us be no less faithful czarists than the czar himself is." Drawing a powerful parallel Mirbeau connects the mounting casualties of the Russo-Japanese conflict with the Armenian massacres—which had already reached devastating proportions by 1904. A different but contemporary newspaper clipping is laid in seemingly part 2 by Mirbeau: it records a conversation with a merchant marine captain recently returned from the Far East who despite personally witnessing naval battles admits he comprehends little of the war's true nature beyond scattered disturbing details he finds too horrific to fully describe.<br /> <br /> The early 1900s particularly 1904-1905 marked a transformative period in the development of anti-imperialist critique within European leftist thought. The Russo-Japanese conflict illuminated the contradictions within Western powers' foreign policies particularly France's relationship with Tsarist Russia. The French left's growing disillusionment with the Franco-Russian alliance exemplified broader ideological shifts that would shape socialist internationalism for decades. As ordinary Russians died for imperial ambitions while French elites remained indifferent behind a facade of nationalist solidarity socialist thinkers increasingly recognized patterns linking capitalist interests to colonial violence. This period also witnessed the emergence of more sophisticated leftist analyses connecting imperial competition abroad with class exploitation at home. The juxtaposition of European indifference toward both the Russo-Japanese War casualties and the Armenian massacres demonstrated how Western powers selectively applied humanitarian concerns based on strategic interests—a critique that would become central to anti-colonial movements throughout the 20th century and presage the internationalist anti-war position that would later fracture the European left during World War I.<br /> <br /> Octave Mirbeau 1848-1917 emerged as one of France's most incisive social critics during the Belle Époque developing a literary voice defined by moral outrage and stylistic innovation that transcended conventional boundaries between journalism and literature. His artistic sensibilities were profoundly shaped by traumatic experiences—including abuse at a Jesuit school and service in the Franco-Prussian War—which fostered his lifelong commitments to anarchism pacifism and the defense of individual dignity against institutional power. Beyond his novels exposing societal hypocrisy including the controversial "Le Jardin des supplices" 1899 and "Le Journal d'une femme de chambre" 1900 Mirbeau distinguished himself as a prescient art critic who championed misunderstood avant-garde figures like Van Gogh Rodin and Monet recognizing artistic genius that his contemporaries often dismissed. His prolific output—spanning over twelve hundred works across multiple genres—consistently demonstrated his willingness to confront uncomfortable truths about violence sexuality and power that bourgeois society preferred to ignore establishing him as an intellectual forerunner to modernist aesthetic and political movements of the twentieth century. unknown
