First edition, number 7 of 20 on grand vèlin francaise with two states of the frontis. portrait by Jacques E[mile] Blanche. 8vo., in the original light buff wrappers lettred in black. An inscribed and signed presentation copy from the author to Phillippe Gille, the author has also corrected the text changing a phrase trois francs on page 63 to trois cent francs. Paris, Librairie de la Revue Indépendante. 1888
A remarkably nice copy albeit a little dusty. Very rare.
Philippe Gille was a noted librettist who had, in the 1860s, worked on an operetta with Bizet and Clarissa Harlow in 1871. This is a remarkable association copy for the author and recipient had collaborated but two years earlier on an 1886 edition of 'Revue Wagnérienne'. Dujardin was a prominent member of the Wagner cult and of the racist ideology of Houston Stewart Chamberlain, even going so far as to have musical bars and symbols embroidered on his waistcoats. He was instrumental in founding the 'Revue Wagnerienne'.
In 1934, in the James Joyce Issue of "Contempo", Stuart Gilbert wrote of the monologue intérieur that "in this respect, as it happens, Ulysses had a precursor. An entire French novel, M. Edouard Dujardin's Les Lauriers sont coupés, was written in the silent monologue form, in the eighties of the past century. M. Dujardin's masterpiece shared the common lot of prodigies born out of their due time. It was remaindered and for nearly four decades .. entombed in almost complete oblivion; then by a miracle the stone was rolled away and it rose to occupy the distinctive place it now holds in French literature." Indeed, when Dujardin inscribed a copy of the book to Joyce, he signed himself "Lazare".
