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“... presses her arm.) CYNTHIA: Don’t touch me. From Act One, Scene Three. Estate of the late Noël ...”

“... for attention, an embittered soldier who resented the profiteers who stayed at home, a chancer, a coward prepared to bully the weak to make his small self seem larger. In 1978, three years before he died, he gave an interview to L’Express, which Callil translates. In it he denies the Holocaust, saying that all the evidence for it is Jewish propaganda and ...”

“... Was the creator of Figaro on the side of the angels or simply president of Beaumarchais Enterprises? In his lifetime, he was an upstart in the eyes of the great and the good, and governments suspected his motives. The middle classes envied his wealth and rejoiced at his failures, but saw him as the embodiment of successful enterprise and the defender of their cause ...”

“... In August 1914, France mobilised jubilantly. ‘La Patrie’ was in danger and men and women of all classes and stations rallied to its defence. Florid voices on the clerical, aristocratic, conservative right defined patriotism grandly, as a mystical religion rooted in the land. Others, more worldly but no less exalted, were clear that patriotism was a hard-won secular tradition under constant threat from socialism, collectivism, anarchism, internationalism, individualism and now, most urgently, from the latest migration of Teutonic barbarism ...”

“... Jean-Marie Déguignet was born near Quimper, in Brittany, in 1834, the fifth of ten children born to an illiterate tenant farmer. A succession of bad harvests drove the family off the land into the town and at six, Jean-Marie was sent out to beg. He survived fevers, the potato famine of 1845, and a near-fatal accident which happened when he was ‘no taller than a riding-boot ...”

“... One day in about 1820, so the story goes, a peasant appeared at the Bibliothèque Nationale with a cart drawn by a mule. In the cart, he said, were ‘tous les papiers de Molière’ and they were for sale. But the Library was closed and the concierge told him to come back another day. He never did and ‘Molière’s papers’ were doubtless offloaded as wrapping for fish and onions for the grocers of Paris ...”

“... La Fontaine’s permanent place in the schoolroom has made him the most widely read of all French writers. Children take his menagerie of talking flora and fauna in their stride. Grown-ups, however, worry about his howlers (grasshoppers don’t eat worms) and mutter about the ambiguity of his moral lessons. Lamartine winced at his cynical promotion of self-interest, and for Rousseau the method employed by the fox to relieve the crow of its cheese was as much an advertisement for flattery as a warning against flatterers ...”

“... Alexandre Dumas was a force of nature. The 650 or so books he published might not seem an extraordinary tally for such as Barbara Cartland, who could dictate six thousand words between lunch and tea, or Georges Simenon, who rarely spent more than a fortnight on a novel. But Dumas was not merely a novelist: he also wrote plays, travel books, memoirs, histories, accounts of great crimes plus a mass of ‘occasional’ writings which include his vast Grand Dictionnaire de cuisine ...”

“... In the film about Noël Coward that Adam Low made for Arena in 1998, there is a shot of Arnold Wesker watching a recording of a Royal Court fundraising gala in which Coward is marvellous but clearly miserable as the restaurant owner in an extract from Wesker’s The Kitchen. Less emblematic but equally germane is the story, told in Philip Hoare’s 1995 biography, of Coward’s visit to the Court to see David Storey’s grittily realistic Rugby League play The Changing Room ...”

“... It makes an undistinguished stopover, but has one claim to notice: it is where, in 1930, Noël Coward holed up, suffering from flu and, with only a pad of paper and an Eversharp pencil, wrote Private Lives in four days (having earlier conceived the plot during a restless night in Tokyo, when he was visited by a shimmering vision of Gertrude Lawrence). Four ...”

“... Noël Coward never believed he had just a talent to amuse. A man who spent a lifetime merchandising his de-luxe persona, Coward liked to make a distinction between accomplishment and vanity: ‘I’m bursting with pride, which is why I have no vanity.’ A performer’s job is to be sensational; and in his songs, plays and public performances, Coward lived up to the responsibility of making a proper spectacle of himself ...”

“... temperament, it is the treat of the year. It was the treat of a lifetime for Noel Coward. His diaries open in 1941, when he was already enjoying a warm bath of celebrity. ‘Lunched Dorchester with Bob Menzies,’ he begins. ‘He was absolutely charming. Came away comfortably reassured that I had done a really good job there.’ Meetings for ...”

“... startling good looks with his massive creative intelligence and devastating wit, and that was Noel Coward. In the presence of both I suffer, or suffered, from a raging feeling of inadequacy. My inferiority was not helped in the case of my first meeting with Noel Coward by being invited by him in his suite in the Savoy Hotel ...”

“... Ariane Deume, née Ariane Cassandre Corisande d’Auble, ‘very top-drawer in Geneva’ as David Coward nicely renders ‘ce qui se fait de mieux à Genève’. The two horses suggest Solal hopes to abduct the girl right now, but he has other tricks up his sleeve, in spite of his bare breast. He appears to be thinking of killing himself, and he dons an old ...”

“... Is Robert Lowell Better than Noel Coward, Howard? W.H. Auden’s little poem has passed into the folk memory without, so far as we know, ever having seen print. The editor in question is Howard Moss, who runs the poetry in the New Yorker ...”