Among the novices and postulants at this period were Joris-Karl Huysmans and Paul Claudel, who wrote of their experiences at Ligugé in "L'Oblat" and "Partage de Midi" respectively.
He was born in Villeneuve-sur-Fère (Aisne), into a family of farmers and government officials.
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He was French consul in China (1895–1909), including consul in Shanghai (June 1895), and vice-consul in Fuzhou (October 1900), consul in Tianjin (Tientsin) (1906–1909), in Prague (December 1909), Frankfurt am Main (October 1911), Hamburg (October 1913), ministre plénipotentiaire in Rio de Janeiro (1916), Copenhagen (1920), ambassador in Tokyo (1922–1928), Washington, D.C. (1928–1933) and Brussels (1933–1936).
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The libretto, by the poet Paul Claudel, is based on his own play Le livre de Christophe Colomb about the life of Christopher Columbus.
As an actor, Damien Luce studied at the Alain De Bock drama studio, where he worked on authors such as Racine (Pyrrhus and Oreste in Andromaque), Antiochus in Bérénice), Claudel (Mesa in Le Partage de midi), Marivaux (Arlequin in Arlequin poli par l’amour), Anouilh (The King in Becket) Romains (Knock), Albee (George in Who is afraid of Virginia Wolf ?), Ribes (George in Les Cent Pas).
His first works, Orto (Dawn, 1922) and Bazar (Bazaar, 1922), written following the principles of ultraism, along with Alcándara (Perch, 1935), connected him to the postmodernist era, but since the publication of El buque (The Ship, 1935), he dealt with religious subjects with the classic style of Paul Claudel and Charles Péguy.
As a composer, he has elaborated on the tradition of the Second Viennese School and his small oeuvre includes settings of poems by Hans Arp, Paul Claudel, Stefan George, and Pablo Neruda.
His poetry, with its heavy Biblical overtones, is comparable to that of Paul Claudel (which he translated into Italian), and contrasts interestingly with most Novecento work.