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螒喂蟽胃畏渭伪蟿喂魏萎 伪纬蠅纬萎
螣 桅蟻蔚谓蟿蔚蟻委魏 螠慰蟻蠈, 苇谓伪蟼 谓蔚伪蟻蠈蟼 蔚蟺伪蟻蠂喂蠋蟿畏蟼 蟺慰蠀 蟺蟻蠈魏蔚喂蟿伪喂 谓伪 尉蔚魏喂谓萎蟽蔚喂 蟽蟺慰蠀未苇蟼 蟽蟿慰 螤伪蟻委蟽喂, 蟺喂蟽蟿蔚蠉蔚喂 蠈蟿喂 蔚委谓伪喂 蟺蟻慰慰蟻喂蟽渭苇谓慰蟼 纬喂伪 蟿伪 渭蔚纬伪位蠉蟿蔚蟻伪 蟺维胃畏, 纬喂伪 位慰纬慰蟿蔚蠂谓喂魏苇蟼 魏伪喂 魏伪位位喂蟿蔚蠂谓喂魏苇蟼 蔚蟺喂蟿蠀蠂委蔚蟼. 韦慰 1840, 蟽蟿慰 魏伪蟿维蟽蟿蟻蠅渭伪 蔚谓蠈蟼 蟺位慰委慰蠀 纬慰畏蟿蔚蠉蔚蟿伪喂 伪蟺蠈 蟿畏谓 魏蠀蟻委伪 螒蟻谓慰蠉, 蟽蠉味蠀纬慰 蔚谓蠈蟼 蔚渭蟺蠈蟻慰蠀 蟺喂谓维魏蠅谓, 魏伪喂 蠁蟻慰谓蟿委味蔚喂 谓伪 纬谓蠅蟻委蟽蔚喂 伪蠀蟿蠈 蟿慰 伪谓蟿蟻蠈纬蠀谓慰 渭蔚 蟽魏慰蟺蠈 谓伪 魏伪蟿伪魏蟿萎蟽蔚喂 蟿慰 伪谓蟿喂魏蔚委渭蔚谓慰 蟿慰蠀 蟺蠈胃慰蠀 蟿慰蠀.
螌渭蠅蟼 蟿伪 蠂蟻蠈谓喂伪 魏蠀位慰蠉谓, 慰 桅蟻蔚谓蟿蔚蟻委魏 蟺伪蟻伪渭苇谓蔚喂 维蟿慰位渭慰蟼 魏伪喂 伪未蟻伪谓萎蟼, 魏伪喂 蟿伪 蠈谓蔚喂蟻伪 尉蔚蠁蟿委味慰蠀谓 蟽蟿畏 味蠅萎 蟿畏蟼 渭蔚纬维位畏蟼 蟺蠈位畏蟼. 螚 魏蠀蟻委伪 螒蟻谓慰蠉, 蠅蟽蟿蠈蟽慰, 胃伪 蔚委谓伪喂 蟺维谓蟿伪 渭苇蟽伪 蟿慰蠀 慰 苇蟻蠅蟿伪蟼 蟿畏蟼 蔚蠁畏尾蔚委伪蟼 蟿慰蠀, 畏 纬蠀谓伪委魏伪 蟺慰蠀 胃伪 渭蟺慰蟻慰蠉蟽蔚 谓伪 蟿慰谓 蟺蟻慰蠁蠀位维尉蔚喂 伪蟺蠈 蟿畏 蠂蠀未伪喂蠈蟿畏蟿伪 蟿慰蠀 魏蠈蟽渭慰蠀.
螌渭蠅蟼 蟿伪 蠂蟻蠈谓喂伪 魏蠀位慰蠉谓, 慰 桅蟻蔚谓蟿蔚蟻委魏 蟺伪蟻伪渭苇谓蔚喂 维蟿慰位渭慰蟼 魏伪喂 伪未蟻伪谓萎蟼, 魏伪喂 蟿伪 蠈谓蔚喂蟻伪 尉蔚蠁蟿委味慰蠀谓 蟽蟿畏 味蠅萎 蟿畏蟼 渭蔚纬维位畏蟼 蟺蠈位畏蟼. 螚 魏蠀蟻委伪 螒蟻谓慰蠉, 蠅蟽蟿蠈蟽慰, 胃伪 蔚委谓伪喂 蟺维谓蟿伪 渭苇蟽伪 蟿慰蠀 慰 苇蟻蠅蟿伪蟼 蟿畏蟼 蔚蠁畏尾蔚委伪蟼 蟿慰蠀, 畏 纬蠀谓伪委魏伪 蟺慰蠀 胃伪 渭蟺慰蟻慰蠉蟽蔚 谓伪 蟿慰谓 蟺蟻慰蠁蠀位维尉蔚喂 伪蟺蠈 蟿畏 蠂蠀未伪喂蠈蟿畏蟿伪 蟿慰蠀 魏蠈蟽渭慰蠀.
469 pages, Hardcover
First published April 15, 1869
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About the author
Gustave Flaubert
2,271听books3,760听followersGustave Flaubert was a French novelist. He has been considered the leading exponent of literary realism in his country and abroad. According to the literary theorist Kornelije Kvas, "in Flaubert, realism strives for formal perfection, so the presentation of reality tends to be neutral, emphasizing the values and importance of style as an objective method of presenting reality". He is known especially for his debut novel Madame Bovary (1857), his Correspondence, and his scrupulous devotion to his style and aesthetics. The celebrated short story writer Guy de Maupassant was a prot茅g茅 of Flaubert.
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Displaying 1 - 30 of 1,398 reviews
January 16, 2016
This one is often described as 鈥渢he novel to end all novels鈥� and I understand why 鈥� when you are reading it you say to yourself very frequently 鈥渋f this is what novels are like I am never going to read another one in my entire life鈥�.
From about page 50 until when I stopped, I was having these strong bibliocidal fantasies. I thought 鈥� maybe I will leave this accidentally on the bus to work. But I forgot to forget it, like that country song. Then I thought 鈥� maybe a column of army ants will chomp it up so that not a shred remains. But army ants are never seen in Nottingham, only the friendly variety who bid you good day as they pass by. I tried to donate my copy to Oxfam but the shop assistant, having turned very pale when she saw the title, summoned up a courage I had not thought her to possess and said they could not accept that particular title. When I asked why she referred me to the Oxfam standard operating procedures, something about health and safety, which includes of course mental health. They had accepted copies of Sentimental Education in previous years but there had been some incidents and now all shops had been explicitly warned not to.
I see that many of my most respected GR friends hand out the big four and five stars to this novel and describe it as brilliantly comic. I was trembling in my boots until I found that none other than Henry James was on my side. Here is his considered opinion:
Here the form and method are the same as in "Madame Bovary"; the studied skill, the science, the accumulation of material, are even more striking; but the book is in a single word a dead one. "Madame Bovary" was spontaneous and sincere; but to read its successor is, to the finer sense, like masticating ashes and sawdust. L'Education Sentimentale is elaborately and massively dreary. That a novel should have a certain charm seems to us the most rudimentary of principles, and there is no more charm in this laborious monument to a treacherous ideal than there is interest in a heap of gravel.
However I did notice something what Henry James did not notice, and felt quite smug about that. It is this 鈥� that the main part of the plot of Sentimental Education is almost the same as the plot of Shampoo, the Warren Beattie movie from 1975, which I saw only last week so it was fresh in my memory. In Shampoo, hairdresser George鈥檚 former girlfriend Jackie now has a rich sugar daddy boyfriend Lester, whose wife Felicia is one of George鈥檚 best customers. Naturally George is shagging Felicia as it would seem unkind not to, and, because he keeps bumping into Jackie as they move in the same social circles, he realises he never wanted to break up with her so he starts shagging Jackie as well. Then comes the really shocking scene 鈥� Lester鈥檚 daughter who I guess is supposed to be around 16 or so comes on to George when he鈥檚 visiting Felicia. And she is played by none other than 19 year old Carrie Fisher, two years before Princess Leia. What a shock that was. So in Sentimental Education Frederic, the world鈥檚 most dreary young bachelor, wants to shag the wife of Monsieur Arnoux, a publisher. And eventually this guy introduces Frederic to his mistress Roseanne who he鈥檚 got fed up with, the idea being that Frederic will take her over, I suppose they used to do this in those days as they did not have Tinder. So Frederic is nearly shagging the guy鈥檚 wife and nearly shagging the guy鈥檚 mistress at the same time. Just like in Shampoo, except that George the hairdresser was a lot less dreary. Also in Shampoo and Sentimental Education there are these long long long boring party scenes where I think the effect is supposed to be scintillatingly socially satirical.
I did not notice any specific Star Wars connections in Sentimental Education, but neither did Henry James.
If I am ever taken hostage and this is the only reading material available in my rat infested dungeon then I will definitely finish this.
From about page 50 until when I stopped, I was having these strong bibliocidal fantasies. I thought 鈥� maybe I will leave this accidentally on the bus to work. But I forgot to forget it, like that country song. Then I thought 鈥� maybe a column of army ants will chomp it up so that not a shred remains. But army ants are never seen in Nottingham, only the friendly variety who bid you good day as they pass by. I tried to donate my copy to Oxfam but the shop assistant, having turned very pale when she saw the title, summoned up a courage I had not thought her to possess and said they could not accept that particular title. When I asked why she referred me to the Oxfam standard operating procedures, something about health and safety, which includes of course mental health. They had accepted copies of Sentimental Education in previous years but there had been some incidents and now all shops had been explicitly warned not to.
I see that many of my most respected GR friends hand out the big four and five stars to this novel and describe it as brilliantly comic. I was trembling in my boots until I found that none other than Henry James was on my side. Here is his considered opinion:
Here the form and method are the same as in "Madame Bovary"; the studied skill, the science, the accumulation of material, are even more striking; but the book is in a single word a dead one. "Madame Bovary" was spontaneous and sincere; but to read its successor is, to the finer sense, like masticating ashes and sawdust. L'Education Sentimentale is elaborately and massively dreary. That a novel should have a certain charm seems to us the most rudimentary of principles, and there is no more charm in this laborious monument to a treacherous ideal than there is interest in a heap of gravel.
However I did notice something what Henry James did not notice, and felt quite smug about that. It is this 鈥� that the main part of the plot of Sentimental Education is almost the same as the plot of Shampoo, the Warren Beattie movie from 1975, which I saw only last week so it was fresh in my memory. In Shampoo, hairdresser George鈥檚 former girlfriend Jackie now has a rich sugar daddy boyfriend Lester, whose wife Felicia is one of George鈥檚 best customers. Naturally George is shagging Felicia as it would seem unkind not to, and, because he keeps bumping into Jackie as they move in the same social circles, he realises he never wanted to break up with her so he starts shagging Jackie as well. Then comes the really shocking scene 鈥� Lester鈥檚 daughter who I guess is supposed to be around 16 or so comes on to George when he鈥檚 visiting Felicia. And she is played by none other than 19 year old Carrie Fisher, two years before Princess Leia. What a shock that was. So in Sentimental Education Frederic, the world鈥檚 most dreary young bachelor, wants to shag the wife of Monsieur Arnoux, a publisher. And eventually this guy introduces Frederic to his mistress Roseanne who he鈥檚 got fed up with, the idea being that Frederic will take her over, I suppose they used to do this in those days as they did not have Tinder. So Frederic is nearly shagging the guy鈥檚 wife and nearly shagging the guy鈥檚 mistress at the same time. Just like in Shampoo, except that George the hairdresser was a lot less dreary. Also in Shampoo and Sentimental Education there are these long long long boring party scenes where I think the effect is supposed to be scintillatingly socially satirical.
I did not notice any specific Star Wars connections in Sentimental Education, but neither did Henry James.
If I am ever taken hostage and this is the only reading material available in my rat infested dungeon then I will definitely finish this.
Read
February 9, 2025is set in the 1840s, and the political upheavals of those years are referenced constantly鈥攖hough they don't impinge as much as they might on the main character, Fr茅d茅ric Moreau. Fr茅d茅ric is a law student who'd like to be a writer, but he doesn't find it easy to study or write, so he leads the typical student life, sleeping, eating and drinking鈥攁nd enjoying the cartoons in the Charivari newspaper: Fr茅d茅ric avala un verre de rhum, puis un verre de kirsch, puis un verre de cura莽ao, puis diff茅rents grogs, tant froids que chauds. Il lut tout le journal, et le relut; il examina, jusque dans les grains du papier, la caricature du Charivari; 脿 la fin, il savait par coeur les annonces.
But while Fr茅d茅ric spends time examining every detail of the cartoons and the advertisments in the Charivari, his friends are variously involved in preparing the revolt which will eventually depose King Louis Philippe in 1848. Fr茅d茅ric is not a revolutionary himself, in fact he's not sure what he is yet. His male friends don't know either and they constantly pull him in different directions in an effort to find out.
Fr茅deric has women friends too, and one of them sounds a lot like , from the top of her dark tresses which 'lovingly framed her ovale face鈥� to the toe of her little boot. This Madame Bovary look-alike is called Madame Arnoux, and she gradually becomes the key love interest in Fr茅deric鈥檚 life, though she keeps herself in the background of the story. And although she's a very faithful spouse to M. Arnoux, she reminded me of Emma Bovary every time she swayed into a scene, especially when it was a question of her 'bottines'; Flaubert and Fr茅d茅ric seem to have a thing about slim leather-clad feet peeping out from underneath the vastness of a crinoline. And since Fr茅d茅ric had been studying the caricatures in the Charivari so closely, I began studying them too, especially the ones by Honor茅 Daumier, and stumbled on many parallels between Flaubert鈥檚 scenarios and Daumier's sketches.
When Fr茅d茅ric accompanies Madame Arnoux on her shopping trips, it鈥檚 hard not to imagine the scene like this, especially since Fr茅d茅ric is such a very flexible character:
(The text underneath Daumier's sketch says that since women now wear skirts made of steel, men would need to be made of rubber to give them their arm in the street!)
Daumier intends to be funny of course, and you might argue that Flaubert is being serious much of the time. But even when Flaubert is describing something potentially sedate or serious, he makes me laugh. So when I came on this description of the kind of elaborate curtsies people make in polite society, I couldn't help matching the passage with another Daumier cartoon: Les invit茅s arrivaient; en mani猫re de salut, ils jetaient leur torse de c么t茅, ou se courbaient en deux, ou baissaient la figure seulement
Sometimes, I was convinced that Flaubert himself had been studying Daumier's cartoons before writing certain scenes because they just match together so well. One of Fr茅d茅ric's least bright friends tries his hand at a witty remark about a French writer called La Bruy猫re, known for his book 'Les Caract猫res', while passing a plate of grouse (coq de bruy猫re) to his friends at table: il tenta m锚me un calembour, car il dit, comme on passait un coq de bruy猫re, "Voil脿 le meilleur des caract猫res de bruy猫re"!
And of course, Daumier just happens to have a witty cartoon about a grouse too:
At the same dinner, the Wit insults one of Fr茅d茅ric's women friends, and next thing he knows, Fr茅d茅ric is involved in a duel鈥攐ne of the funniest scenes in the book. As the duel is about to begin, someone runs up to shout stop, and the Wit, thinking it鈥檚 the police, faints in fear and scratches his thumb whereupon the duel is abandoned because blood has been spilled.
Has Daumier such a scene? But of course!
The more I looked for correspondences between Flaubert's and Daumier's scenes, the more I found. Take this one for example, where Fr茅deric spots a crowd in front of a painting of a young woman he has become slightly involved with and discovers that the painting has his own name under it, F Moreau鈥攁s the owner, of both the painting and the lady, it is implied! And he's not even Rosanette's lover as yet! Complications seem to follow him about!
Daumier just happens to have a drawing of some people in front of a painting of a young woman too - and the name 鈥楳oreau鈥� is associated with it:
But it's Gustave Moreau鈥檚 Sphinx,
about which the pair in the cartoon are having a conversation: "Un chat d茅collet茅 avec une t锚te de femme, 莽a s'appelle donc un Sphinx?" "Certainement鈥n grec!" ("So a bare-breasted cat with a woman's head is called a Sphinx?" asks the man with the catalogue. "Certainly," says the woman, "- in Greek!" (clearly she doesn't want to think such creatures can exist in French))
Meantime, in spite of his complicated love life, Fr茅d茅ric continues to sit over the dinner table discussing the state of the nation with some smug characters: Cependant, objecta M, la mis猫re existe, avouons-le! Mais le rem猫de ne d茅pend ni de la Science ni du Pouvoir. C'est une question purement individuelle. Quand les basses classes voudront se d茅barrasser de leurs vices, elles s'affranchiront de leurs besoins. Que le peuple soit plus moral, et il sera moins pauvre!
Daumier was obviously at the same dinner!
The summer of 1848 arrives, and Fr茅d茅ric hasn't passed his bar exams, he hasn't written the book he planned to write, and he hasn't got involved in the Reform movement. One of his friends turns up with the news that the time has finally come to remove King Louis Philippe from power, and he strongly urges Fr茅d茅ric to join the fight to topple the 'poire': Mon vieux, La poire est m没re. Selon ta promesse, nous comptons sur toi. On se r茅unit demain au petit jour, place du Panth茅on. Entre au caf茅 Soufflot. Il faut que je te parle avant la manifestation.
Daumier has some great caricatures of Louis Philippe as the 'poire', ripe for harvesting:
So Paris is in uproar and people are on the barricades:
But where is Fr茅d茅ric? Did he answer the call?
Hmm, he has his own way of addressing Reform. He decides to stop shilly-shallying and to finally sleep with Rosanette (his passion for Mme Arnoux being still unconsummated): Mille pardons ! 禄 dit Fr茅d茅ric, en lui saisissant la taille dans les deux mains. -芦 Comment ? que fais-tu ?禄 balbutia Rosanette. Il r茅pondit : -芦 Je suis la mode, je me r茅forme. 禄 Elle se laissa renverser sur le divan, et continuait 脿 rire sous ses baisers.
Later Fr茅d茅ric's conscience wakes up and he becomes concerned for his comrades. He searches for them in the Palace which the People have invaded, and comes on a crazy scene in which a group of people try out the throne for size:
ils arriv猫rent dans la salle des Mar茅chaux. Les portraits de ces illustres, sauf celui de Bugeaud perc茅 au ventre, 茅taient tous intacts..Sur le tr么ne 茅tait assis un prol茅taire 脿 barbe noire, la chemise entrouverte, l'air hilare et stupide comme un magot. D'autres gravissaient l'estrade pour s'asseoir 脿 sa place.
Then for twenty pages, while Paris rumbles explosively, Flaubert sends Fr茅deric and Rosanette on a sightseeing holiday to Fontainebleau, visiting the Chateau which was the country residence of many former kings鈥攍ike the most carefree of tourists (allowing Flaubert to offer us fine descriptive passages), while back in Paris, the world as they knew it is balancing on the tip of a bayonet.
But of course Flaubert isn鈥檛 ignoring the troubles in Paris at all, just showing us how good he is at metaphor : des ch锚nes rugueux, 茅normes, qui se convulsaient..s'茅treignaient les uns les autres, et fermes sur leurs troncs, pareils 脿 des torses, se lan莽aient avec leurs bras nus des appels de d茅sespoir, des menaces furibondes..immobilis茅s dans leur col猫re
While reading that description of an oak wood near the Chateau, in which the enormous trees surge and sway like a seething mass of angry beings, we can鈥檛 but think immediately of the confrontations between the people and the monarchy during the uprisings, as in this sketch by Daumier of the Peasant鈥檚 Revolt:
A little further on, Flaubert describes a granite quarry in terms that make it resemble a long-forgotten ruined city, a Sodom and Gomorrah:
Un bruit de fer, des coups drus et nombreux sonnaient: c'茅tait, au flanc d'une colline, une compagnie de carriers battant les roches. Elles se multipliaient de plus en plus, et finissaient par emplir tout le paysage, cubiques comme des maisons, plates comme des dalles, s'茅tayant, se surplombant, se confondant, telles que les ruines m茅connaissables et monstrueuses de quelque cit茅 disparue
Daumier has just such a scene, which he calls Paris in Revolt or Sodom and Gomorrah:
Fr茅d茅ric eventually returns to the city, and the city eventually returns to a semblance of order, though no political group gets quite what they sought, and crazy compromises are made, with bankers getting into bed with socialists. Fr茅d茅ric鈥檚 life is equally complicated. He's involved with four different women so he has to make constant compromises. One compromise he's faced with is marrying a rich widow: Fr茅d茅ric baissait la voix, en se penchant vers son visage..Mme D ferma les yeux, et il fut surpris par la facilit茅 de sa victoire. Les grands arbres du jardin qui frissonnaient mollement s'arr锚t猫rent...et il y eut comme une suspension universelle des choses.
But similarly to the political scene where temporary allies were constantly breaking their promises and betraying one another, and betraying the spirit of Liberty at the same time, Fred茅ric finds himself breaking his promises and betraying all the women in his life: Bient么t ces mensonges le divertirent; il r茅p茅tait 脿 l'une le serment qu'il venait de faire 脿 l'autre, leur envoyait deux bouquets semblables, leur 茅crivait en m锚me temps, puis 茅tablissait entre elles des comparaisons; - il y en avait une troisi猫me toujours pr茅sente 脿 sa pens茅e鈥�
And just as you might be tempted to wonder what had become of the spirit of Liberty in the Paris of the day, you might also wonder what had become of Fr茅d茅ric鈥檚 first love, Mme Arnoux. Well, like Liberty, she does turn up鈥攚hen least expected:
The Reform movements may not welcome the ghost of Liberty, but Fr茅d茅ric is glad to see Mme Arnoux, though she's a bit of a ghost of her former self. Still, their meeting towards the end of the book provides a sweet scene in which the two finally admit their deep love for each other:
elle lui dit 芦Quelquefois, vos paroles me reviennent comme un 茅cho lointain, comme le son d'une cloche apport茅 par le vent; et il me semble que vous 锚tes l脿, quand je lis des passages d'amour dans les livres.禄
芦Tout ce qu'on y bl芒me d'exag茅r茅, vous me l'avez fait ressentir禄, dit Fr茅d茅ric. 芦Je comprends Werther, que ne d茅go没tent pas les tartines de Charlotte禄.
In a scene which starts out very movingly, Fr茅d茅ric somehow ends up drawing a parallel between his love for Mme Arnoux and the ridiculous quantities of bread and jam that Werther鈥檚 great love Charlotte was constantly preparing for her little brothers and sisters, which convinces me that Flaubert was always ready to see the ridiculous side of life, and that he shared Daumier鈥檚 view, as demonstrated in this cartoon, that life, love and lunacy might be more closely linked than we admit:
According to Flaubert's account, it did seem as if a lot of time was spent howling at the moon during those decades!
鈥︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌�
I鈥檓 hoping that Flaubert鈥檚 sense of fun would have prevented him from objecting to me using illustrations in this review鈥攖hough he never allowed any of his books to be illustrated in his lifetime...
December 13, 2024
Flaubert said of "L'Education Sentimentale": "I want to write the moral history of the men of my generation; "sentimental" would be more accurate. It is a book of love, of passion; but of desire such as 'it can exist, i.e. inactive ". I find that this paragraph perfectly illustrates the book's idea, namely that Flaubert offers us a book of Passions through this story, and who says Passions also says Suffering.
Indeed, the author sets up a wide range of characters, each more passionate than the other, and this by their actions or their ambitions: whether it is the fiery and sublime Passion between Fr茅d茅ric Moreau and Mme Arnoux - but also carnal love with Rosanette, or interested with Mme Dambreuse, which nonetheless both remain passionate loves -, or that of Deslauriers for his career and glory, that of Arnoux for Money and Beauty, that of Pilgrim for Art.
But, like the silent and impossible love between the hero and Madame Arnoux, we see that each individual's search for the ideal and happiness is in vain. Moreover, in the novel's last pages, Fr茅d茅ric and Deslauriers dwell on their past and note their failure: "And they summed up their life. They both missed it, the one who had dreamed of love [ Fr茅d茅ric], the one who dreamed of power [Deslauriers]."
Not having heard, a priori, that novel's praise by Flaubert, I opened this book with many apprehensions and the fear of being bored during this reading. But it does not. There is nothing in the end! Of course, there are many lengths, but I enjoyed this read despite that. Fans of Flaubert's style will certainly not be disappointed by "L '脡ducation Sentimentale."
Indeed, the author sets up a wide range of characters, each more passionate than the other, and this by their actions or their ambitions: whether it is the fiery and sublime Passion between Fr茅d茅ric Moreau and Mme Arnoux - but also carnal love with Rosanette, or interested with Mme Dambreuse, which nonetheless both remain passionate loves -, or that of Deslauriers for his career and glory, that of Arnoux for Money and Beauty, that of Pilgrim for Art.
But, like the silent and impossible love between the hero and Madame Arnoux, we see that each individual's search for the ideal and happiness is in vain. Moreover, in the novel's last pages, Fr茅d茅ric and Deslauriers dwell on their past and note their failure: "And they summed up their life. They both missed it, the one who had dreamed of love [ Fr茅d茅ric], the one who dreamed of power [Deslauriers]."
Not having heard, a priori, that novel's praise by Flaubert, I opened this book with many apprehensions and the fear of being bored during this reading. But it does not. There is nothing in the end! Of course, there are many lengths, but I enjoyed this read despite that. Fans of Flaubert's style will certainly not be disappointed by "L '脡ducation Sentimentale."
October 6, 2021
A "sentimental education" means your first love, and if Fr茅d茅ric鈥檚 not careful he isn鈥檛 going to learn shit from it. He鈥檚 an aimless, pointless little man, slowly failing to do anything whatsoever with his life. He鈥檚 in love with his friend鈥檚 wife, and you sortof wish they'd bang just so we'd all have something to watch.
鈥淭he story or the plot of a novel is quite indifferent to me,鈥� though, Flaubert said. He wanted real life! He鈥檚 the champion of realism, the late 1800s movement away from moral lessons and towards the real world. It鈥檚 brilliant in Madame Bovary, his first novel. By the time he finished Sentimental Education 12 years later in 1862 he seems to have remembered something crucial about the real world: its plot is a fucking mess.
Fr茅d茅ric hems and haws about Madame Arnoux, while having affairs with a trio of other women: a courtesan, the girl next door, a different friend鈥檚 wife. They have varying levels of intensity and consummation, from one to鈥�.maybe six? Fr茅d茅ric doesn鈥檛 go all the way to ten. Will he get anything going with Madame Arnoux? Certainly not if he鈥檚 the one who has to do it. He can鈥檛 even get a job.
You hear 鈥渕erciless鈥� about Flaubert a lot, and I appreciate the mercilessness of this picture. There are a lot of dudes like Fr茅d茅ric in the world, these Cabbage Patch AirPod holders, and Flaubert鈥檚 not going to let any of them get away with it.
But this is a book Henry James thought was boring. Called it 鈥渁 curiosity for a literary museum.鈥� Let that sink in for a minute, right? Henry James! If you're boring Henry James, you have a real problem. I couldn鈥檛 keep any of the male characters straight. The character arc is more like dropped spaghetti. And when Flaubert decided to write about the real world, he meant the real world, like not just what actually happens but what actually happened, and that means you鈥檙e getting the intricate details of the Insurrection of June 1848, which isn鈥檛 even France鈥檚 best revolution.
This isn鈥檛 France鈥檚 best novel about idle rich idiots fucking each other鈥檚 spouses, either. That鈥檚 Dangerous Liaisons by a mile. This one has its moments, but mostly it feels as aimless as Fr茅d茅ric. As aimless as real life, even, and if I wanted that I wouldn鈥檛 be reading a book, would I?
鈥淭he story or the plot of a novel is quite indifferent to me,鈥� though, Flaubert said. He wanted real life! He鈥檚 the champion of realism, the late 1800s movement away from moral lessons and towards the real world. It鈥檚 brilliant in Madame Bovary, his first novel. By the time he finished Sentimental Education 12 years later in 1862 he seems to have remembered something crucial about the real world: its plot is a fucking mess.
Fr茅d茅ric hems and haws about Madame Arnoux, while having affairs with a trio of other women: a courtesan, the girl next door, a different friend鈥檚 wife. They have varying levels of intensity and consummation, from one to鈥�.maybe six? Fr茅d茅ric doesn鈥檛 go all the way to ten. Will he get anything going with Madame Arnoux? Certainly not if he鈥檚 the one who has to do it. He can鈥檛 even get a job.
You hear 鈥渕erciless鈥� about Flaubert a lot, and I appreciate the mercilessness of this picture. There are a lot of dudes like Fr茅d茅ric in the world, these Cabbage Patch AirPod holders, and Flaubert鈥檚 not going to let any of them get away with it.
But this is a book Henry James thought was boring. Called it 鈥渁 curiosity for a literary museum.鈥� Let that sink in for a minute, right? Henry James! If you're boring Henry James, you have a real problem. I couldn鈥檛 keep any of the male characters straight. The character arc is more like dropped spaghetti. And when Flaubert decided to write about the real world, he meant the real world, like not just what actually happens but what actually happened, and that means you鈥檙e getting the intricate details of the Insurrection of June 1848, which isn鈥檛 even France鈥檚 best revolution.
This isn鈥檛 France鈥檚 best novel about idle rich idiots fucking each other鈥檚 spouses, either. That鈥檚 Dangerous Liaisons by a mile. This one has its moments, but mostly it feels as aimless as Fr茅d茅ric. As aimless as real life, even, and if I wanted that I wouldn鈥檛 be reading a book, would I?
June 26, 2022
Notes:
1. A beautiful book. Highly readable and gratifying. Too much description, but that was a convention of Flaubert鈥檚 day. The book is full of history, the abortive Revolution of 1848, the rise and fall of the French Second Republic and so on. The story of Frederic Moreau himself is the faux-biographical thread that ties it all together.
2. The Alhambra sequence here is reminiscent in the phantasmagoric 鈥淣ighttown鈥� chapter in James Joyce knew Sentimental Education well. A later costume ball echoes the Alhambra scene, and it鈥檚 just as wild, just as frenetic. In other ways, in how it deals with the tribulations of Frederic鈥檚 desire, the book reminds me of Knut Hamsun鈥檚 . At one point he鈥檚 running between three women 鈥� not unlike the protagonist of Isaac Bashevis Singer鈥榮 . Love is mad.
3. Frederic Moreau has been pining away for years for Madame Arnoux, the wife of a wealthy gallerist. He earns his law license but after five years gives up. He admits that Madame Arnoux is unattainable. Much disappointment arises from his low income. He cannot remain on the same playing field as the Arnouxs if he is poor. He moves back to his mother鈥檚 house in the provinces. He takes walks with a four-year-old girl. His hygiene starts to go. He loses touch with his Paris friends, especially Deslauriers, with whom he had shared boyhood dreams. But then, when all hope is lost, he receives an enormous inheritance from his sourpuss uncle. Everything changes, so he feels.
Yet Madame Arnoux is out of his reach. She鈥檚 a good woman. He鈥檒l never have her. He presses on making strange plans to further ingratiate himself and make him look even more pathetic. M. Arnoux starts borrowing money from Frederic. Strangely, our hero traipses about with the husband, the man he鈥檚 trying to cuckold, and is a witness to some of his extramarital affairs. Meanwhile Frederic remains a virgin. They鈥檙e being nothing to indicate he鈥檚 ever had a woman. Interestingly other characters can claim relationships with available women.
4. This novel uses Paris in the same way Woody Allen uses New York in his films. Here鈥檚 one colorful passage. It occurs when Frederic, flush with his legacy, is returning to Paris impatient to see Madame Arnoux.
鈥淭hey stopped a good while at the city gate, for it was blocked by poultry-farmers, carriers, and a flock of sheep. The sentry, his hood thrown back, walked up and down in front of his box to keep warm. The toll-clerk clambered on to the top of the coach, and a fanfare on a coronet rang out. They went down the boulevard at a brisk trot with swingle-bars rattling and traces flying. The thong of the long whip crackled in the damp air. The guard gave his ringing shout: 鈥楲ook sharp there! Hullo!鈥� And crossing-sweepers stood aside, passersby jumped out of the way, and mud splashed against the windows. They passed wagons, carriages, and omnibuses, and finally reached the iron gate of the Jardin des Plantes.鈥� (p. 115)
When Frederic returns to Paris he finds the Arnouxs in reduced circumstances. All the luxury and grandeur have gone. The husband鈥榮 gallery has failed and he now lives with his family above his pottery shop; this as opposed to his former gallery 鈥渏ust beyond the rue Monmartre,鈥� the family home in rue de Choiseul, and the country place in Saint-Cloud. Madame Arnoux is dressed with a simplicity Frederic has never seen before.
5. At times Flaubert鈥檚 description becomes cloying in its excess; a writer today could suffice with ten percent of it, if that. These descriptive flights are the only bits where one feels oneself slogging through.
6. This novel was published in 1869 and one thing is clear, capitalism has not changed, except perhaps in the variety of its cons. Frederic鈥檚 position in uneasy; he is at heart not social, and yet he is condemned to negotiate so-called high society. He鈥檚 such a timid little man. Everyone鈥檚 robbing him blind. When failed bomber S茅n茅cal is released from Sainte-P茅lagie for lack of evidence, Dusardiers gives a party in his flat to celebrate; it鈥檚 here that Flaubert eviscerates the socialist, ostensibly pro-Republic, mindset. The monarchists don鈥檛 come out much better; everyone gets it in the neck.
So eventually, at a restaurant, Madame Armoux鈥檚 honor is besmirched; Frederick throws a plate at Viscount Cisy, the besmircher, and a particularly hilarious duel ensues in the Bois de Boulogne. The duel is called with off when Cisy faints under pressure and accidentally cuts himself with the knife with which he was to have fought Frederic. Too funny. When Madame Arnoux learns about the duel she realizes she loves Frederic. They then enter upon a difficult platonic friendship; difficult because of their physical lust for each other. And who hasn鈥檛 at some time in life been in such a fix, forswearing sex for friendship? It鈥檚 utter torture.
7. It鈥檚 impressive how adroitly Flaubert incorporates the 1848 Revolution 鈥� also known as the February Revolution it ended the July Monarchy and led to the brief French Second Republic 鈥� into the narrative. It corroborates for the most part what I had recently read in . The revolution begins, however, on the very day Frederic was to have taken Madame Arnoux to a love nest he had designed presumptuously without her consent. She never shows. Frederic is humiliated and angry. In something like retaliation he picks up the Marshall, a prostitute, and takes her to the love nest prepared for Madam Arnoux. This is Frederic鈥檚 first sexual experience; he is 28 or 29.
8. We watch Frederic enter the Imperial palace as it鈥檚 vandalized by the 鈥渃ommon people.鈥� Frederic is encouraged to stand for office by M. Dambreuse, an arch monarchist who hopes to control him in that role. Frederic prepares a speech and goes to deliver it at a ribald meeting. He steps up to speak and is called an aristocrat by his erstwhile friend, S茅n茅cal, a sociopathic 鈥渞evolutionary鈥� who has him booed into the street. It鈥檚 hard to know what the gathering鈥檚 true purpose is since it鈥檚 such a zoo. For example, before Frederic is sent away, 鈥淎 man in a cassock, with crinkly hair and a peevish expression, had already put up his hand. He mumbled that his name was Ducretot, and that he was a priest and an agronomist, the author of a work entitled Manure. He was advised to join a horticultural society.鈥� (p. 329)
9. The street names and place names and palace names of Flaubert鈥榮 day have for the most part not changed and can be easily looked up, but then many nineteeth century books are 鈥渋llustrated鈥� for us in this way.
10. The coda is lovely.
1. A beautiful book. Highly readable and gratifying. Too much description, but that was a convention of Flaubert鈥檚 day. The book is full of history, the abortive Revolution of 1848, the rise and fall of the French Second Republic and so on. The story of Frederic Moreau himself is the faux-biographical thread that ties it all together.
2. The Alhambra sequence here is reminiscent in the phantasmagoric 鈥淣ighttown鈥� chapter in James Joyce knew Sentimental Education well. A later costume ball echoes the Alhambra scene, and it鈥檚 just as wild, just as frenetic. In other ways, in how it deals with the tribulations of Frederic鈥檚 desire, the book reminds me of Knut Hamsun鈥檚 . At one point he鈥檚 running between three women 鈥� not unlike the protagonist of Isaac Bashevis Singer鈥榮 . Love is mad.
3. Frederic Moreau has been pining away for years for Madame Arnoux, the wife of a wealthy gallerist. He earns his law license but after five years gives up. He admits that Madame Arnoux is unattainable. Much disappointment arises from his low income. He cannot remain on the same playing field as the Arnouxs if he is poor. He moves back to his mother鈥檚 house in the provinces. He takes walks with a four-year-old girl. His hygiene starts to go. He loses touch with his Paris friends, especially Deslauriers, with whom he had shared boyhood dreams. But then, when all hope is lost, he receives an enormous inheritance from his sourpuss uncle. Everything changes, so he feels.
Yet Madame Arnoux is out of his reach. She鈥檚 a good woman. He鈥檒l never have her. He presses on making strange plans to further ingratiate himself and make him look even more pathetic. M. Arnoux starts borrowing money from Frederic. Strangely, our hero traipses about with the husband, the man he鈥檚 trying to cuckold, and is a witness to some of his extramarital affairs. Meanwhile Frederic remains a virgin. They鈥檙e being nothing to indicate he鈥檚 ever had a woman. Interestingly other characters can claim relationships with available women.
4. This novel uses Paris in the same way Woody Allen uses New York in his films. Here鈥檚 one colorful passage. It occurs when Frederic, flush with his legacy, is returning to Paris impatient to see Madame Arnoux.
鈥淭hey stopped a good while at the city gate, for it was blocked by poultry-farmers, carriers, and a flock of sheep. The sentry, his hood thrown back, walked up and down in front of his box to keep warm. The toll-clerk clambered on to the top of the coach, and a fanfare on a coronet rang out. They went down the boulevard at a brisk trot with swingle-bars rattling and traces flying. The thong of the long whip crackled in the damp air. The guard gave his ringing shout: 鈥楲ook sharp there! Hullo!鈥� And crossing-sweepers stood aside, passersby jumped out of the way, and mud splashed against the windows. They passed wagons, carriages, and omnibuses, and finally reached the iron gate of the Jardin des Plantes.鈥� (p. 115)
When Frederic returns to Paris he finds the Arnouxs in reduced circumstances. All the luxury and grandeur have gone. The husband鈥榮 gallery has failed and he now lives with his family above his pottery shop; this as opposed to his former gallery 鈥渏ust beyond the rue Monmartre,鈥� the family home in rue de Choiseul, and the country place in Saint-Cloud. Madame Arnoux is dressed with a simplicity Frederic has never seen before.
5. At times Flaubert鈥檚 description becomes cloying in its excess; a writer today could suffice with ten percent of it, if that. These descriptive flights are the only bits where one feels oneself slogging through.
6. This novel was published in 1869 and one thing is clear, capitalism has not changed, except perhaps in the variety of its cons. Frederic鈥檚 position in uneasy; he is at heart not social, and yet he is condemned to negotiate so-called high society. He鈥檚 such a timid little man. Everyone鈥檚 robbing him blind. When failed bomber S茅n茅cal is released from Sainte-P茅lagie for lack of evidence, Dusardiers gives a party in his flat to celebrate; it鈥檚 here that Flaubert eviscerates the socialist, ostensibly pro-Republic, mindset. The monarchists don鈥檛 come out much better; everyone gets it in the neck.
So eventually, at a restaurant, Madame Armoux鈥檚 honor is besmirched; Frederick throws a plate at Viscount Cisy, the besmircher, and a particularly hilarious duel ensues in the Bois de Boulogne. The duel is called with off when Cisy faints under pressure and accidentally cuts himself with the knife with which he was to have fought Frederic. Too funny. When Madame Arnoux learns about the duel she realizes she loves Frederic. They then enter upon a difficult platonic friendship; difficult because of their physical lust for each other. And who hasn鈥檛 at some time in life been in such a fix, forswearing sex for friendship? It鈥檚 utter torture.
7. It鈥檚 impressive how adroitly Flaubert incorporates the 1848 Revolution 鈥� also known as the February Revolution it ended the July Monarchy and led to the brief French Second Republic 鈥� into the narrative. It corroborates for the most part what I had recently read in . The revolution begins, however, on the very day Frederic was to have taken Madame Arnoux to a love nest he had designed presumptuously without her consent. She never shows. Frederic is humiliated and angry. In something like retaliation he picks up the Marshall, a prostitute, and takes her to the love nest prepared for Madam Arnoux. This is Frederic鈥檚 first sexual experience; he is 28 or 29.
8. We watch Frederic enter the Imperial palace as it鈥檚 vandalized by the 鈥渃ommon people.鈥� Frederic is encouraged to stand for office by M. Dambreuse, an arch monarchist who hopes to control him in that role. Frederic prepares a speech and goes to deliver it at a ribald meeting. He steps up to speak and is called an aristocrat by his erstwhile friend, S茅n茅cal, a sociopathic 鈥渞evolutionary鈥� who has him booed into the street. It鈥檚 hard to know what the gathering鈥檚 true purpose is since it鈥檚 such a zoo. For example, before Frederic is sent away, 鈥淎 man in a cassock, with crinkly hair and a peevish expression, had already put up his hand. He mumbled that his name was Ducretot, and that he was a priest and an agronomist, the author of a work entitled Manure. He was advised to join a horticultural society.鈥� (p. 329)
9. The street names and place names and palace names of Flaubert鈥榮 day have for the most part not changed and can be easily looked up, but then many nineteeth century books are 鈥渋llustrated鈥� for us in this way.
10. The coda is lovely.
December 18, 2022
Si Emma Bovary 茅tait une version f茅minine et romantique de , Fr茅d茅ric Moreau est peut-锚tre une version juv茅nile, id茅aliste et vell茅itaire de . En tout cas, c鈥檈st l鈥檜n des personnages les plus fascinants de la litt茅rature fran莽aise ; 脿 la fois portrait semi-autobiographique du jeune Flaubert, amoureux d鈥櫭塴isa Schl茅singer, et dans la lign茅e d鈥檃utres personnages fascin茅s par l鈥檃mour et l鈥檃mbition (signes ext茅rieurs de la r茅ussite) : avant lui, Julien Sorel, Rastignac ; apr猫s lui, le jeune Marcel de la .
Voil脿 donc un provincial qui 芦 monte 禄 脿 la capitale pour y faire carri猫re ; et sur le bateau entre Nogent et Paris, il a le typique coup de foudre romantique pour une inconnue, dont la pens茅e quasi-f茅tichiste ne le quittera plus par la suite : Marie Arnoux. D猫s ce moment, la vie de Fr茅d茅ric gravite autour d鈥檈lle, au travers d鈥檌nnombrables noces, revers et vicissitudes, en ce mouvement de chute libre tourbillonnante qui ne parvient jamais au but ; et malgr茅 ou 脿 cause de cela, Fr茅d茅ric deviendra aussi un coureur de jupons inv茅t茅r茅 et sans scrupules (Mme Dambreuse, Louise Roque, la Mar茅chale, la Vatnaz鈥�). Mais qu鈥檌mporte ces badineries passag猫res, si cela lui permet d鈥檃vancer sa carri猫re ou gagner de l鈥檃rgent, puisque c鈥檈st l鈥檌naccessible Madame Arnoux qu鈥檌l aime et aimera toujours鈥� Le lecteur d鈥檃ppr茅ciera.
En effet, comme Flaubert le d茅sirait, 尝鈥櫭塪耻肠补迟颈辞苍 sentimentale est un faux Bildungsroman, 芦 un livre sur rien 禄, un r茅cit sans climax, ou les entreprises 茅chouent, les paroles tombent 脿 plat, les amours avortent, les duels ne tuent pas, les rendez-vous n鈥檃boutissent pas, les r茅volutions ratent, les projets s鈥檈nlisent, les aventures font fiasco. Et pourtant, dans ce roman, que d鈥櫭﹙茅nements, que de personnages, que de rencontres, que d鈥檃ngoisses, que d鈥檈spoirs et que de contrari茅t茅s, quelle foultitude de d茅tails anodins de toute sorte ! C鈥檈st sans doute l鈥檜n des livres les plus ambitieux et les plus denses du post-romantisme fran莽ais.
Car il s鈥檃git avant tout, pour Flaubert, de peindre une 茅poque, 茅tablir 芦 l鈥檋istoire morale des hommes de ma g茅n茅ration 禄, c鈥檈st-脿-dire des hommes qui ont cru aussi bien 脿 l鈥檃mour romantique qu鈥櫭� l鈥檌d茅al socialiste. La monarchie de Juillet et les soul猫vements populaires de 1848, summum des turpitudes bourgeoises et de la stupidit茅 populaire, briseront tous ces id茅aux. Et lorsque Flaubert 茅crit 尝鈥櫭塪耻肠补迟颈辞苍, l鈥檌ronie acerbe de sa plume, ses assauts contre la m茅diocrit茅 et la langue de bois, expriment le d茅senchantement de l鈥檃pr猫s coup. Au fond, cette 茅ducation sentimentale de Fr茅d茅ric Moreau, tout comme l鈥檌ntoxication romantique d鈥橢mma Bovary, n鈥檈st qu鈥檜n apprentissage semi-livresque et languissant qui n鈥檃boutit 脿 rien ; et ce 芦 livre sur rien 禄 est en fait un livre ou tout, le romantisme amoureux comme les turbulences de l鈥檋istoire, sont tourn茅s en d茅rision.
Ce qui reste de tout cela, le c艙ur du roman, c鈥檈st sans aucun doute la langue de Flaubert, ses peintures, ses m茅lodies et ses tempos, les d茅tails qui tuent, les juxtapositions de sc猫nes sans solution de continuit茅, les ellipses qui sautent par-dessus les 茅poques, les arr锚ts sur image o霉 se d茅ploient le chatoiement d鈥檜ne f锚te, la succulence d鈥檜n banquet, la fr茅n茅sie d鈥檜ne 茅meute, la contemplation d鈥檜n paysage de campagne, l鈥櫭゜louissement d鈥檜n regard, Paris. Et puis cette fin path茅tique, 脿 la fois risible et d茅chirante... Bref, 尝鈥櫭塪耻肠补迟颈辞苍 sentimentale est avant toute autre chose une extase esth茅tique, l鈥檌d茅al transmut茅 ; et Flaubert se trahit 脿 nouveau comme le vieux romantique 芦 encrout茅 禄 et sublime qu鈥檌l n鈥檃 jamais cess茅 d鈥櫭猼re.
Comme souvent, lu en bin么me avec Michelle. Qu鈥檈lle en soit remerci茅e.
Voil脿 donc un provincial qui 芦 monte 禄 脿 la capitale pour y faire carri猫re ; et sur le bateau entre Nogent et Paris, il a le typique coup de foudre romantique pour une inconnue, dont la pens茅e quasi-f茅tichiste ne le quittera plus par la suite : Marie Arnoux. D猫s ce moment, la vie de Fr茅d茅ric gravite autour d鈥檈lle, au travers d鈥檌nnombrables noces, revers et vicissitudes, en ce mouvement de chute libre tourbillonnante qui ne parvient jamais au but ; et malgr茅 ou 脿 cause de cela, Fr茅d茅ric deviendra aussi un coureur de jupons inv茅t茅r茅 et sans scrupules (Mme Dambreuse, Louise Roque, la Mar茅chale, la Vatnaz鈥�). Mais qu鈥檌mporte ces badineries passag猫res, si cela lui permet d鈥檃vancer sa carri猫re ou gagner de l鈥檃rgent, puisque c鈥檈st l鈥檌naccessible Madame Arnoux qu鈥檌l aime et aimera toujours鈥� Le lecteur d鈥檃ppr茅ciera.
En effet, comme Flaubert le d茅sirait, 尝鈥櫭塪耻肠补迟颈辞苍 sentimentale est un faux Bildungsroman, 芦 un livre sur rien 禄, un r茅cit sans climax, ou les entreprises 茅chouent, les paroles tombent 脿 plat, les amours avortent, les duels ne tuent pas, les rendez-vous n鈥檃boutissent pas, les r茅volutions ratent, les projets s鈥檈nlisent, les aventures font fiasco. Et pourtant, dans ce roman, que d鈥櫭﹙茅nements, que de personnages, que de rencontres, que d鈥檃ngoisses, que d鈥檈spoirs et que de contrari茅t茅s, quelle foultitude de d茅tails anodins de toute sorte ! C鈥檈st sans doute l鈥檜n des livres les plus ambitieux et les plus denses du post-romantisme fran莽ais.
Car il s鈥檃git avant tout, pour Flaubert, de peindre une 茅poque, 茅tablir 芦 l鈥檋istoire morale des hommes de ma g茅n茅ration 禄, c鈥檈st-脿-dire des hommes qui ont cru aussi bien 脿 l鈥檃mour romantique qu鈥櫭� l鈥檌d茅al socialiste. La monarchie de Juillet et les soul猫vements populaires de 1848, summum des turpitudes bourgeoises et de la stupidit茅 populaire, briseront tous ces id茅aux. Et lorsque Flaubert 茅crit 尝鈥櫭塪耻肠补迟颈辞苍, l鈥檌ronie acerbe de sa plume, ses assauts contre la m茅diocrit茅 et la langue de bois, expriment le d茅senchantement de l鈥檃pr猫s coup. Au fond, cette 茅ducation sentimentale de Fr茅d茅ric Moreau, tout comme l鈥檌ntoxication romantique d鈥橢mma Bovary, n鈥檈st qu鈥檜n apprentissage semi-livresque et languissant qui n鈥檃boutit 脿 rien ; et ce 芦 livre sur rien 禄 est en fait un livre ou tout, le romantisme amoureux comme les turbulences de l鈥檋istoire, sont tourn茅s en d茅rision.
Ce qui reste de tout cela, le c艙ur du roman, c鈥檈st sans aucun doute la langue de Flaubert, ses peintures, ses m茅lodies et ses tempos, les d茅tails qui tuent, les juxtapositions de sc猫nes sans solution de continuit茅, les ellipses qui sautent par-dessus les 茅poques, les arr锚ts sur image o霉 se d茅ploient le chatoiement d鈥檜ne f锚te, la succulence d鈥檜n banquet, la fr茅n茅sie d鈥檜ne 茅meute, la contemplation d鈥檜n paysage de campagne, l鈥櫭゜louissement d鈥檜n regard, Paris. Et puis cette fin path茅tique, 脿 la fois risible et d茅chirante... Bref, 尝鈥櫭塪耻肠补迟颈辞苍 sentimentale est avant toute autre chose une extase esth茅tique, l鈥檌d茅al transmut茅 ; et Flaubert se trahit 脿 nouveau comme le vieux romantique 芦 encrout茅 禄 et sublime qu鈥檌l n鈥檃 jamais cess茅 d鈥櫭猼re.
Comme souvent, lu en bin么me avec Michelle. Qu鈥檈lle en soit remerci茅e.
September 16, 2015
賮賱賵亘乇 丿乇 蹖讴 賳丕賲賴 丿乇 1852 亘賴 賱賵蹖蹖夭 讴賵賱賴 賲蹖 賳賵蹖爻丿:
"丿賵爻鬲 丿丕乇賲 讴鬲丕亘賷 亘賳賵賷爻賲 丿乇亘丕乇賴 賴賷趩貙 讴鬲丕亘賷 讴賴 亘乇 賴賷趩 趩賷夭 亘賷乇賵賳賷 讴賴 禺丕乇噩 丕夭 禺賵丿 亘丕卮丿 丿賱丕賱鬲 賳讴賳丿貙 讴鬲丕亘賷 讴賴 亘鬲賵丕賳丿 亘賴 賳賷乇賵賷 丿乇賵賳賷 爻亘讴卮貙 乇賵賷 倬丕賷 禺賵丿卮 亘丕賷爻鬲丿貙 丿乇爻鬲 亘丿丕賳 诏賵賳賴 讴賴 讴乇賴 夭賲賷賳 亘賷 賴賷趩 鬲讴賷賴 诏丕賴賷 禺賵丿 乇丕 丿乇 賮囟丕 賳诏丕賴 丿丕乇丿... 讴鬲丕亘蹖 亘蹖鈥屬囒屭� 賵丕亘爻鬲诏蹖 亘賴 丿賳蹖丕蹖 亘蹖乇賵賳貙 讴鬲丕亘蹖 讴賴 亘賴 蹖賲賳 賳蹖乇賵蹖 丿乇賵賳蹖 爻亘讴卮貙 賯丕卅賲 亘賴 匕丕鬲 亘丕卮丿貙 賴賲趩賳丕賳 讴賴 夭賲蹖賳 禺賵丿 乇丕 丿乇 禺賱丕亍 賮囟丕 賳诏賴 賲蹖鈥屫ж必� 賵 丕夭 賴乇 倬丕蹖賴鈥屫й� 亘蹖鈥屬嗃屫ж� 丕爻鬲貙 讴鬲丕亘蹖 讴賴 讴賲鈥屬堌ㄛ屫� 賴蹖趩 賲賵囟賵毓蹖 賳丿丕乇丿貙 蹖丕 丿爻鬲鈥屭┵� 賲賵囟賵毓 丌賳 賳丕丿蹖丿賳蹖 丕爻鬲貙 丕賱亘鬲賴 丕诏乇 趩賳蹖賳 趩蹖夭蹖 賲賲讴賳 亘丕卮丿...賴賲 丕夭 丕賷賳 乇賵 丕爻鬲 讴賴 賲賷 诏賵賷賷賲 賳賴 賲賵囟賵毓 禺賵亘 賵噩賵丿 丿丕乇丿 賵 賳賴 賲賵囟賵毓 亘丿.禄 芦丿賷诏乇賷禄 賷丕 賴賲丕賳 芦鬲讴賷賴 诏丕賴禄 賲爻丕賱賴 丕禺賱丕賯 丕爻鬲. 芦丕禺賱丕賯賷禄 夭賳丿诏賷 讴乇丿賳 賷毓賳賷 夭賳丿诏賷 賲胤丕亘賯 賲毓賷丕乇賷 讴賴 芦丿賷诏乇賷禄 鬲毓賷賷賳 賲賷 讴賳丿. 丕賷賳 芦丿賷诏乇賷禄 賲賷 鬲賵丕賳丿 丕賷丿賴 賴丕貙 丕爻胤賵乇賴 賴丕貙 亘丕賵乇賴丕貙 噩丕賲毓賴 賷丕 丨鬲賷 賲賳丕賮毓 賲毓賷賳 賷讴 胤亘賯賴 賵... 亘丕卮丿. 毓賱丕賵賴 亘乇 丌賳 丿乇 丕禺賱丕賯 芦禺賵亘禄 賷丕 芦亘丿禄 賷丕 亘賴 毓亘丕乇鬲 丿賯賷賯 鬲乇 禺賷乇 賵 卮乇 賵噩賵丿 丿丕乇丿 賵 賳賴 亘乇丨爻亘 丌賳趩賴 賮乇丿 乇丕 禺賵卮 丌賷丿 賷丕 禺賵卮 賳賷丕賷丿. 賵賱賷 賲賳 賲賷 禺賵丕賴賲 讴鬲丕亘賷 亘賳賵賷爻賲 丿乇亘丕乇賴 賴賷趩 讴賴 亘丿賵賳 賴賷趩 诏賵賳賴 鬲讴賷賴 诏丕賴賷 禺賵丿 乇丕 丿乇 賮囟丕 賳诏丕賴 丿丕乇丿貙 賷毓賳賷 亘賴 禺賵丿 賵 亘丕賵乇賴丕賷 禺賵丿 賵 賳賷乇賵賷 丿乇賵賳賷 丕卮(賵 賳賴 丿賷诏乇賷) 賲鬲讴賷 亘丕卮丿. 亘賳丕亘乇丕賷賳 賲賳 倬賷卮丕倬賷卮 賯氐丿 賳賵卮鬲賳 讴鬲丕亘賷 乇丕 讴乇丿賴 丕賲 讴賴 賲胤丕亘賯 鬲毓乇賷賮 诏賮鬲賴 卮丿賴 賳賲賷 鬲賵丕賳丿 丕禺賱丕賯賷 亘丕卮丿 夭賷乇丕 亘賴 芦禺賵丿禄 賲鬲讴賷 丕爻鬲 賵 賴賲 丕夭 丕賷賳 乇賵 丕爻鬲 讴賴 禺賵丿 賳賷夭 亘乇 丕賷賳 賲爻丕賱賴 氐丨賴 賲賷 诏匕丕乇賲 讴賴 賳賴 賲賵囟賵毓 禺賵亘賷 賵噩賵丿 丿丕乇丿 賵 賳賴 賲賵囟賵毓 亘丿賷. 讴賱 丕丿亘賷丕鬲賷 讴賴 丨丕賵賷 丿乇爻 丕禺賱丕賯賷 丕爻鬲貙 匕丕鬲丕賸 賵 丕爻丕爻丕賸 讴丕匕亘 丕爻鬲貙 丕夭 賴賲丕賳 賱丨馗賴 賷賷 讴賴 丕孬亘丕鬲 賲賷 讴賳賷貙 丿乇賵睾 賲賷 诏賵賷賷. 丕賵賱 賵 丌禺乇 乇丕 禺丿丕 賲賷 丿丕賳丿貙 丕賳爻丕賳 丕夭 賵爻胤 禺亘乇 丿丕乇丿 賴賳乇 賲孬賱 禺丿丕 亘丕賷丿 丿乇 亘賷讴乇丕賳 賲毓賱賯 亘丕卮丿貙 丿乇 禺賵丿 讴丕賲賱 亘丕卮丿貙 賲爻鬲賯賱 丕夭 禺丕賱賯卮 亘丕卮丿."
賴乇 趩賳丿 賴賳诏丕賲 賳賵卮鬲賳 丕蹖賳 賳丕賲賴貙賮賱賵亘乇 爻乇诏乇賲 賳诏丕乇卮 賲丕丿丕賲 亘賵賵丕乇蹖 亘賵丿賴 貙 丕賲丕 亘賴 賳馗乇 賲蹖鈥屫必池� 讴賴 丿乇 賳賴丕蹖鬲 丿乇 "鬲乇亘蹖鬲 丕丨爻丕爻丕鬲" 丕爻鬲 讴賴 鬲丕 丕賳丿丕夭賴 亘賴 丕蹖賳 禺賵丕爻鬲賴鈥� 禺賵丿 賲蹖 乇爻丿 賵 蹖讴 乇賲丕賳 賲蹖賳賵蹖爻丿 讴賴 賲蹖 鬲賵丕賳 诏賮鬲 賲賵囟賵毓 賳丿丕乇丿貙 蹖丕 丕賱亘鬲賴 丿乇爻鬲 鬲乇 丕爻鬲 讴賴 亘诏賵蹖賲 蹖讴 乇賲丕賳 賳賵卮鬲賴 讴賴 賲賵囟賵毓 丌賳 賳丕丿蹖丿賳蹖爻鬲. 丿乇 賲丕丿丕賲 亘賵賵丕乇蹖 丌賳趩賳丕賳 讴賴 蹖賵爻丕 丿乇 毓蹖卮 賲丿丕賲 賲蹖 賳賵蹖爻丿 賲賵囟賵毓 讴鬲丕亘 亘爻蹖丕乇 乇賵卮賳丕爻鬲. 丕賲丕 賮賱賵亘乇 丿乇 鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 賲賵賮賯 賲蹖鈥屫促堌� 鬲丕 丿乇 賳賴丕蹖鬲 蹖讴 賲賵囟賵毓 乇丕 亘賴丕賳賴鈥� 趩蹖夭蹖 亘讴賳丿 讴賴 丿乇 賵丕賯毓 賲蹖鈥屫堌з囏� 丿乇亘丕乇賴鈥� 丌賳 丨乇賮 亘夭賳丿. 丿乇 賲丕丿丕賲 亘賵賵丕乇蹖貙 "丕賲丕 亘賵賵丕乇蹖" 讴丕乇丕讴鬲乇 丕氐賱蹖 丿丕爻鬲丕賳 丕爻鬲 賵 鬲賲丕賲 丕鬲賮丕賯賴丕 賵 丨丕丿孬賴 賴丕 賵 丨鬲丕 鬲賮爻蹖乇賴丕 貙 丕乇鬲亘丕胤 亘丕 丕賵 賲蹖鈥屫促堌� 賵 亘賴 丕賵 亘丕夭 賲蹖 诏乇丿丿貙 丕賲丕 丿乇 鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 丕蹖賳趩賳蹖賳 賳蹖爻鬲貙 趩乇丕 讴賴 "賮乇丿乇蹖讴 賲賵乇賵" 賴乇丕賳丿丕夭賴 賴賲 讴賴 讴丕乇丕讴鬲乇 丕氐賱蹖 丿丕爻鬲丕賳 亘丕卮丿貙 亘賴 賴蹖趩 賵噩賴 丌賳 噩丕蹖诏丕賴 乇丕 賳丿丕乇丿 讴賴 "丕賲丕 " 丿乇 賲丕丿丕賲 亘賵賵丕乇蹖 丿丕乇丿. 丿乇賵丕賯毓 "賮乇丿乇蹖讴 賲賵乇賵" 亘蹖卮鬲乇 蹖讴 亘賴丕賳賴鈥� 丕爻鬲 亘乇丕蹖 賲卮丕賴丿賴鈥� 丕鬲賮丕賯賴丕 賵 噩乇蹖丕賳賴丕蹖蹖 讴賴 丿乇 丨丕卮蹖賴鈥� 夭賳丿诏蹖 賮乇丿乇蹖讴 丿乇 噩乇蹖丕賳 賴爻鬲 丿乇 丨丕賱蹖 讴賴 丿乇 賲丕丿丕賲 亘賵賵丕乇蹖 賴乇 丌賳趩賴 讴賴 丕鬲賮丕賯 賲蹖鈥屫з佖� 倬蹖乇丕賲賵賳 讴丕乇丕讴鬲乇 丕氐賱蹖 賴爻鬲 賵 亘賴 丕賵 亘丕夭 賲蹖鈥屭必�. 亘賳丕亘乇丕蹖賳 賲蹖 鬲賵丕賳 诏賮鬲 丿乇 鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 賴爻鬲 讴賴 賮賱賵亘乇 賲賵賮賯 賲蹖鈥屫促堌� 亘乇丕蹖 丕賵賱蹖賳 丿賮毓賴 賲賵囟賵毓 丕氐賱蹖 禺賵丿 乇丕 亘賴 卮蹖賵賴 噩丿蹖丿 乇賵丕蹖鬲 讴賳丿貙 丌賳 乇丕 丿乇 賲蹖丕賳 讴丕乇丕讴鬲乇 賮乇丿乇蹖讴 賲賵乇賵 倬賳賴丕賳 讴賳丿 賵 丿乇 賳賴丕蹖鬲 丌賳趩賳丕賳 讴賴 禺賵丿 賲蹖 诏賵蹖丿貙蹖讴 乇賲丕賳 亘賳賵蹖爻丿 讴賴 "賯丕卅賲 亘賴 匕丕鬲" 亘丕卮丿.
"鬲乇亘蹖鬲 丕丨爻丕爻丕鬲蹖" 蹖丕 丌賳趩賳丕賳 讴賴 "賲賴丿蹖 爻丨丕亘蹖" 丌賳乇丕 "鬲乇亘蹖鬲 丕丨爻丕爻丕鬲" 亘賴 賮丕乇爻蹖 亘乇诏乇丿丕賳 讴乇丿賴 貙 丿丕爻鬲丕賳 "鬲乇亘蹖鬲 爻丕賳鬲蹖鈥屬呚з嗀з�" 蹖丕 "鬲乇亘蹖鬲 丕丨爻丕爻丕鬲蹖" 賳爻賱 賵 噩丕賲毓賴鈥� 丕夭 賮乇丕賳爻賴 乇丕 賳卮丕賳 賲蹖鈥屫囏� 讴賴 禺賵丕爻鬲賴鈥屬囏� 賵 丕賴丿丕賮 乇丕爻鬲蹖賳 禺賵丿 乇丕 賮乇丕賲賵卮 讴乇丿賴 賵 丿乇诏蹖乇 丕丨爻丕爻丕鬲 禺賵丿 卮丿賴 賵 趩卮賲丕賳 禺賵丿 乇丕 亘乇 賵丕賯毓蹖鬲 讴卮賵乇 禺賵丿 亘爻鬲賴 丕爻鬲.
鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 丿丕爻鬲丕賳 夭賳丿诏蹖 "賮乇丿乇蹖讴 賲賵乇賵" 蹖讴 噩賵丕賳 丕丨爻丕爻丕鬲蹖 鈥屬囏池� 讴賴 亘賴 胤賵乇 丕鬲賮丕賯 亘丕 禺丕賳賵丕丿賴鈥� 丌賯丕蹖 "跇丕讴 丌乇賳賵" 丌卮賳丕 賲蹖鈥屫促堌� 賵 丿賱亘丕禺鬲賴 禺丕賳賲 丌乇賳賵 賲蹖 卮賵丿. "賮乇丿乇蹖讴" 讴賴 丿乇 丕亘鬲丿丕蹖 乇賲丕賳 蹖讴 噩賵丕賳 亘丕賲氐賲賲貙 亘丕 丕乇丕丿賴 賵 亘丕 丌乇夭賵賴丕蹖 亘夭乇诏 鬲氐賵蹖乇 卮丿賴 丕爻鬲貙 讴賲鈥屭┵� 丕夭 禺賵丕爻鬲賴鈥屬囏й� 禺賵丿 丿爻鬲 賲蹖鈥屭┴簇� 賵 丿乇诏蹖乇 賲丕噩乇丕賴丕 賵 丕丨爻丕爻鬲 讴賴 亘丕 禺丕賳賲 丌乇賳賵 丿丕乇丿貙 鬲賲丕賲 丌賳鈥屬囏� 乇丕 賮乇丕賲賵卮 賲蹖鈥屭┵嗀�. 丿乇 賳賴丕蹖鬲貙鈥� 賮乇丿乇蹖讴 讴賴 倬蹖卮 丕夭 丕蹖賳 亘賴 鬲丨氐蹖賱丕鬲 丿丕賳卮诏丕賴蹖鈥� 禺賵丿 丿乇 乇卮鬲賴鈥� 丨賯賵賯 賵 賴賲趩賳蹖賳 賳賵蹖爻賳丿诏蹖 毓賱丕賯賴鈥屰� 夭蹖丕丿蹖 丿丕卮鬲賴 丕爻鬲 賵 丨鬲丕 賴賲蹖卮賴 賲蹖鈥屫堌ж池� 賵夭蹖乇 亘卮賵丿貙 亘賴 賴蹖趩鈥屭┴з� 丕夭 丌乇夭賵賴丕 賵 禺賵丕爻鬲賴鈥屬囏й� 诏匕卮鬲賴鈥� 禺賵丿 賳賲蹖鈥屫必池� 賵 夭賳丿诏蹖鈥� 丕賵 鬲賲丕賲 丿乇 乇丕賴 丕丨爻丕爻丕鬲 賲蹖 乇賵丿. 丿乇 賴賲丕賳 丨丕賱貙 蹖毓賳蹖 丿乇 賴賲丕賳鈥� 爻丕賱鈥屬囏й屰� 讴賴 賮乇丿乇蹖讴 丿乇诏蹖乇 丕丨爻丕爻丕鬲 亘丕 丕 禺丕賳賲 丌乇賳賵 丕爻鬲貙 賮乇丕賳爻賴 鬲丨賵賱丕鬲 賵 鬲睾蹖蹖乇丕鬲 爻蹖丕爻蹖 賵 丕噩鬲賲丕毓蹖 賲賴賲蹖 乇丕 倬卮鬲 爻乇 賲蹖鈥屭柏ж必� 丕賲丕 賮乇丿乇蹖讴 讴賴 亘賴鈥� 丿賱蹖賱 丿乇诏蹖乇蹖 丕丨爻丕爻蹖鈥� 禺賵丿 丕夭 鬲賲丕賲 丕蹖賳 噩乇蹖丕賳賴丕 亘賴鈥屫堌� 丕爻鬲貙 鬲賳賴丕 賲卮丕賴丿賴 讴賳賳丿賴 丌賳鈥屬囏� 賴爻鬲 賵 賴蹖趩 丿禺丕賱鬲 丿乇 爻賵賳賵卮鬲 爻蹖丕爻蹖 賵 丕噩鬲賲丕毓蹖 讴卮賵乇 禺賵丿 賳丿丕乇丿. 賮乇丕賳爻賴 丿乇 爻丕賱鈥屬囏й屰� 讴賴 亘禺卮 亘蹖卮鬲乇蹖 丕夭 鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 丿乇 丌賳 爻丕賱鈥屬囏� 乇賵丕蹖鬲 賲蹖鈥屫促堌� 丿乇 诏蹖乇 噩賳亘卮鈥屬囏� 賵 卮賵乇卮鈥屬囏й� 丕賳賯賱丕亘蹖 賴爻鬲. 丕賳賯賱丕亘 郾鄹鄞鄹 賮乇丕賳爻賴 丿乇 賴賲蹖賳 賲賵賯毓 丕鬲賮丕賯 賲蹖 卮賵丿 賵 丿乇 丕蹖賳 賲蹖丕賳 卮賵乇卮鈥屬囏й� 夭蹖丕丿 丿乇 倬丕乇蹖爻 丿乇 噩乇蹖丕賳 丕爻鬲 賵 丿乇 賳賴丕蹖鬲 倬丕丿卮丕賴蹖 賱賵蹖蹖 賮蹖賱蹖倬 倬丕蹖丕賳 賲蹖鈥屫促堌� 賵 "噩賲賴賵乇蹖 丿賵賲" 賮乇丕賳爻賴 亘乇賯乇丕乇 賲蹖鈥屫促堌�.
"丕賲蹖賱 夭賵賱丕" 丿乇 亘丕乇賴 丕蹖賳 乇賲丕賳 诏賮鬲賴 丕爻鬲 :" 鬲賲丕賲蹖 丌孬丕乇 賯亘賱 賵 亘毓丿 丕夭 丕蹖賳 乇賲丕賳 丿乇亘乇丕亘乇 賵丕賯毓蹖鬲 诏乇丕蹖蹖 丌賳 貙 亘蹖卮 丕夭 蹖讴 丕倬乇丕蹖 鬲乇丕跇蹖讴 賳蹖爻鬲 !"
"丿賵爻鬲 丿丕乇賲 讴鬲丕亘賷 亘賳賵賷爻賲 丿乇亘丕乇賴 賴賷趩貙 讴鬲丕亘賷 讴賴 亘乇 賴賷趩 趩賷夭 亘賷乇賵賳賷 讴賴 禺丕乇噩 丕夭 禺賵丿 亘丕卮丿 丿賱丕賱鬲 賳讴賳丿貙 讴鬲丕亘賷 讴賴 亘鬲賵丕賳丿 亘賴 賳賷乇賵賷 丿乇賵賳賷 爻亘讴卮貙 乇賵賷 倬丕賷 禺賵丿卮 亘丕賷爻鬲丿貙 丿乇爻鬲 亘丿丕賳 诏賵賳賴 讴賴 讴乇賴 夭賲賷賳 亘賷 賴賷趩 鬲讴賷賴 诏丕賴賷 禺賵丿 乇丕 丿乇 賮囟丕 賳诏丕賴 丿丕乇丿... 讴鬲丕亘蹖 亘蹖鈥屬囒屭� 賵丕亘爻鬲诏蹖 亘賴 丿賳蹖丕蹖 亘蹖乇賵賳貙 讴鬲丕亘蹖 讴賴 亘賴 蹖賲賳 賳蹖乇賵蹖 丿乇賵賳蹖 爻亘讴卮貙 賯丕卅賲 亘賴 匕丕鬲 亘丕卮丿貙 賴賲趩賳丕賳 讴賴 夭賲蹖賳 禺賵丿 乇丕 丿乇 禺賱丕亍 賮囟丕 賳诏賴 賲蹖鈥屫ж必� 賵 丕夭 賴乇 倬丕蹖賴鈥屫й� 亘蹖鈥屬嗃屫ж� 丕爻鬲貙 讴鬲丕亘蹖 讴賴 讴賲鈥屬堌ㄛ屫� 賴蹖趩 賲賵囟賵毓蹖 賳丿丕乇丿貙 蹖丕 丿爻鬲鈥屭┵� 賲賵囟賵毓 丌賳 賳丕丿蹖丿賳蹖 丕爻鬲貙 丕賱亘鬲賴 丕诏乇 趩賳蹖賳 趩蹖夭蹖 賲賲讴賳 亘丕卮丿...賴賲 丕夭 丕賷賳 乇賵 丕爻鬲 讴賴 賲賷 诏賵賷賷賲 賳賴 賲賵囟賵毓 禺賵亘 賵噩賵丿 丿丕乇丿 賵 賳賴 賲賵囟賵毓 亘丿.禄 芦丿賷诏乇賷禄 賷丕 賴賲丕賳 芦鬲讴賷賴 诏丕賴禄 賲爻丕賱賴 丕禺賱丕賯 丕爻鬲. 芦丕禺賱丕賯賷禄 夭賳丿诏賷 讴乇丿賳 賷毓賳賷 夭賳丿诏賷 賲胤丕亘賯 賲毓賷丕乇賷 讴賴 芦丿賷诏乇賷禄 鬲毓賷賷賳 賲賷 讴賳丿. 丕賷賳 芦丿賷诏乇賷禄 賲賷 鬲賵丕賳丿 丕賷丿賴 賴丕貙 丕爻胤賵乇賴 賴丕貙 亘丕賵乇賴丕貙 噩丕賲毓賴 賷丕 丨鬲賷 賲賳丕賮毓 賲毓賷賳 賷讴 胤亘賯賴 賵... 亘丕卮丿. 毓賱丕賵賴 亘乇 丌賳 丿乇 丕禺賱丕賯 芦禺賵亘禄 賷丕 芦亘丿禄 賷丕 亘賴 毓亘丕乇鬲 丿賯賷賯 鬲乇 禺賷乇 賵 卮乇 賵噩賵丿 丿丕乇丿 賵 賳賴 亘乇丨爻亘 丌賳趩賴 賮乇丿 乇丕 禺賵卮 丌賷丿 賷丕 禺賵卮 賳賷丕賷丿. 賵賱賷 賲賳 賲賷 禺賵丕賴賲 讴鬲丕亘賷 亘賳賵賷爻賲 丿乇亘丕乇賴 賴賷趩 讴賴 亘丿賵賳 賴賷趩 诏賵賳賴 鬲讴賷賴 诏丕賴賷 禺賵丿 乇丕 丿乇 賮囟丕 賳诏丕賴 丿丕乇丿貙 賷毓賳賷 亘賴 禺賵丿 賵 亘丕賵乇賴丕賷 禺賵丿 賵 賳賷乇賵賷 丿乇賵賳賷 丕卮(賵 賳賴 丿賷诏乇賷) 賲鬲讴賷 亘丕卮丿. 亘賳丕亘乇丕賷賳 賲賳 倬賷卮丕倬賷卮 賯氐丿 賳賵卮鬲賳 讴鬲丕亘賷 乇丕 讴乇丿賴 丕賲 讴賴 賲胤丕亘賯 鬲毓乇賷賮 诏賮鬲賴 卮丿賴 賳賲賷 鬲賵丕賳丿 丕禺賱丕賯賷 亘丕卮丿 夭賷乇丕 亘賴 芦禺賵丿禄 賲鬲讴賷 丕爻鬲 賵 賴賲 丕夭 丕賷賳 乇賵 丕爻鬲 讴賴 禺賵丿 賳賷夭 亘乇 丕賷賳 賲爻丕賱賴 氐丨賴 賲賷 诏匕丕乇賲 讴賴 賳賴 賲賵囟賵毓 禺賵亘賷 賵噩賵丿 丿丕乇丿 賵 賳賴 賲賵囟賵毓 亘丿賷. 讴賱 丕丿亘賷丕鬲賷 讴賴 丨丕賵賷 丿乇爻 丕禺賱丕賯賷 丕爻鬲貙 匕丕鬲丕賸 賵 丕爻丕爻丕賸 讴丕匕亘 丕爻鬲貙 丕夭 賴賲丕賳 賱丨馗賴 賷賷 讴賴 丕孬亘丕鬲 賲賷 讴賳賷貙 丿乇賵睾 賲賷 诏賵賷賷. 丕賵賱 賵 丌禺乇 乇丕 禺丿丕 賲賷 丿丕賳丿貙 丕賳爻丕賳 丕夭 賵爻胤 禺亘乇 丿丕乇丿 賴賳乇 賲孬賱 禺丿丕 亘丕賷丿 丿乇 亘賷讴乇丕賳 賲毓賱賯 亘丕卮丿貙 丿乇 禺賵丿 讴丕賲賱 亘丕卮丿貙 賲爻鬲賯賱 丕夭 禺丕賱賯卮 亘丕卮丿."
賴乇 趩賳丿 賴賳诏丕賲 賳賵卮鬲賳 丕蹖賳 賳丕賲賴貙賮賱賵亘乇 爻乇诏乇賲 賳诏丕乇卮 賲丕丿丕賲 亘賵賵丕乇蹖 亘賵丿賴 貙 丕賲丕 亘賴 賳馗乇 賲蹖鈥屫必池� 讴賴 丿乇 賳賴丕蹖鬲 丿乇 "鬲乇亘蹖鬲 丕丨爻丕爻丕鬲" 丕爻鬲 讴賴 鬲丕 丕賳丿丕夭賴 亘賴 丕蹖賳 禺賵丕爻鬲賴鈥� 禺賵丿 賲蹖 乇爻丿 賵 蹖讴 乇賲丕賳 賲蹖賳賵蹖爻丿 讴賴 賲蹖 鬲賵丕賳 诏賮鬲 賲賵囟賵毓 賳丿丕乇丿貙 蹖丕 丕賱亘鬲賴 丿乇爻鬲 鬲乇 丕爻鬲 讴賴 亘诏賵蹖賲 蹖讴 乇賲丕賳 賳賵卮鬲賴 讴賴 賲賵囟賵毓 丌賳 賳丕丿蹖丿賳蹖爻鬲. 丿乇 賲丕丿丕賲 亘賵賵丕乇蹖 丌賳趩賳丕賳 讴賴 蹖賵爻丕 丿乇 毓蹖卮 賲丿丕賲 賲蹖 賳賵蹖爻丿 賲賵囟賵毓 讴鬲丕亘 亘爻蹖丕乇 乇賵卮賳丕爻鬲. 丕賲丕 賮賱賵亘乇 丿乇 鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 賲賵賮賯 賲蹖鈥屫促堌� 鬲丕 丿乇 賳賴丕蹖鬲 蹖讴 賲賵囟賵毓 乇丕 亘賴丕賳賴鈥� 趩蹖夭蹖 亘讴賳丿 讴賴 丿乇 賵丕賯毓 賲蹖鈥屫堌з囏� 丿乇亘丕乇賴鈥� 丌賳 丨乇賮 亘夭賳丿. 丿乇 賲丕丿丕賲 亘賵賵丕乇蹖貙 "丕賲丕 亘賵賵丕乇蹖" 讴丕乇丕讴鬲乇 丕氐賱蹖 丿丕爻鬲丕賳 丕爻鬲 賵 鬲賲丕賲 丕鬲賮丕賯賴丕 賵 丨丕丿孬賴 賴丕 賵 丨鬲丕 鬲賮爻蹖乇賴丕 貙 丕乇鬲亘丕胤 亘丕 丕賵 賲蹖鈥屫促堌� 賵 亘賴 丕賵 亘丕夭 賲蹖 诏乇丿丿貙 丕賲丕 丿乇 鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 丕蹖賳趩賳蹖賳 賳蹖爻鬲貙 趩乇丕 讴賴 "賮乇丿乇蹖讴 賲賵乇賵" 賴乇丕賳丿丕夭賴 賴賲 讴賴 讴丕乇丕讴鬲乇 丕氐賱蹖 丿丕爻鬲丕賳 亘丕卮丿貙 亘賴 賴蹖趩 賵噩賴 丌賳 噩丕蹖诏丕賴 乇丕 賳丿丕乇丿 讴賴 "丕賲丕 " 丿乇 賲丕丿丕賲 亘賵賵丕乇蹖 丿丕乇丿. 丿乇賵丕賯毓 "賮乇丿乇蹖讴 賲賵乇賵" 亘蹖卮鬲乇 蹖讴 亘賴丕賳賴鈥� 丕爻鬲 亘乇丕蹖 賲卮丕賴丿賴鈥� 丕鬲賮丕賯賴丕 賵 噩乇蹖丕賳賴丕蹖蹖 讴賴 丿乇 丨丕卮蹖賴鈥� 夭賳丿诏蹖 賮乇丿乇蹖讴 丿乇 噩乇蹖丕賳 賴爻鬲 丿乇 丨丕賱蹖 讴賴 丿乇 賲丕丿丕賲 亘賵賵丕乇蹖 賴乇 丌賳趩賴 讴賴 丕鬲賮丕賯 賲蹖鈥屫з佖� 倬蹖乇丕賲賵賳 讴丕乇丕讴鬲乇 丕氐賱蹖 賴爻鬲 賵 亘賴 丕賵 亘丕夭 賲蹖鈥屭必�. 亘賳丕亘乇丕蹖賳 賲蹖 鬲賵丕賳 诏賮鬲 丿乇 鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 賴爻鬲 讴賴 賮賱賵亘乇 賲賵賮賯 賲蹖鈥屫促堌� 亘乇丕蹖 丕賵賱蹖賳 丿賮毓賴 賲賵囟賵毓 丕氐賱蹖 禺賵丿 乇丕 亘賴 卮蹖賵賴 噩丿蹖丿 乇賵丕蹖鬲 讴賳丿貙 丌賳 乇丕 丿乇 賲蹖丕賳 讴丕乇丕讴鬲乇 賮乇丿乇蹖讴 賲賵乇賵 倬賳賴丕賳 讴賳丿 賵 丿乇 賳賴丕蹖鬲 丌賳趩賳丕賳 讴賴 禺賵丿 賲蹖 诏賵蹖丿貙蹖讴 乇賲丕賳 亘賳賵蹖爻丿 讴賴 "賯丕卅賲 亘賴 匕丕鬲" 亘丕卮丿.
"鬲乇亘蹖鬲 丕丨爻丕爻丕鬲蹖" 蹖丕 丌賳趩賳丕賳 讴賴 "賲賴丿蹖 爻丨丕亘蹖" 丌賳乇丕 "鬲乇亘蹖鬲 丕丨爻丕爻丕鬲" 亘賴 賮丕乇爻蹖 亘乇诏乇丿丕賳 讴乇丿賴 貙 丿丕爻鬲丕賳 "鬲乇亘蹖鬲 爻丕賳鬲蹖鈥屬呚з嗀з�" 蹖丕 "鬲乇亘蹖鬲 丕丨爻丕爻丕鬲蹖" 賳爻賱 賵 噩丕賲毓賴鈥� 丕夭 賮乇丕賳爻賴 乇丕 賳卮丕賳 賲蹖鈥屫囏� 讴賴 禺賵丕爻鬲賴鈥屬囏� 賵 丕賴丿丕賮 乇丕爻鬲蹖賳 禺賵丿 乇丕 賮乇丕賲賵卮 讴乇丿賴 賵 丿乇诏蹖乇 丕丨爻丕爻丕鬲 禺賵丿 卮丿賴 賵 趩卮賲丕賳 禺賵丿 乇丕 亘乇 賵丕賯毓蹖鬲 讴卮賵乇 禺賵丿 亘爻鬲賴 丕爻鬲.
鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 丿丕爻鬲丕賳 夭賳丿诏蹖 "賮乇丿乇蹖讴 賲賵乇賵" 蹖讴 噩賵丕賳 丕丨爻丕爻丕鬲蹖 鈥屬囏池� 讴賴 亘賴 胤賵乇 丕鬲賮丕賯 亘丕 禺丕賳賵丕丿賴鈥� 丌賯丕蹖 "跇丕讴 丌乇賳賵" 丌卮賳丕 賲蹖鈥屫促堌� 賵 丿賱亘丕禺鬲賴 禺丕賳賲 丌乇賳賵 賲蹖 卮賵丿. "賮乇丿乇蹖讴" 讴賴 丿乇 丕亘鬲丿丕蹖 乇賲丕賳 蹖讴 噩賵丕賳 亘丕賲氐賲賲貙 亘丕 丕乇丕丿賴 賵 亘丕 丌乇夭賵賴丕蹖 亘夭乇诏 鬲氐賵蹖乇 卮丿賴 丕爻鬲貙 讴賲鈥屭┵� 丕夭 禺賵丕爻鬲賴鈥屬囏й� 禺賵丿 丿爻鬲 賲蹖鈥屭┴簇� 賵 丿乇诏蹖乇 賲丕噩乇丕賴丕 賵 丕丨爻丕爻鬲 讴賴 亘丕 禺丕賳賲 丌乇賳賵 丿丕乇丿貙 鬲賲丕賲 丌賳鈥屬囏� 乇丕 賮乇丕賲賵卮 賲蹖鈥屭┵嗀�. 丿乇 賳賴丕蹖鬲貙鈥� 賮乇丿乇蹖讴 讴賴 倬蹖卮 丕夭 丕蹖賳 亘賴 鬲丨氐蹖賱丕鬲 丿丕賳卮诏丕賴蹖鈥� 禺賵丿 丿乇 乇卮鬲賴鈥� 丨賯賵賯 賵 賴賲趩賳蹖賳 賳賵蹖爻賳丿诏蹖 毓賱丕賯賴鈥屰� 夭蹖丕丿蹖 丿丕卮鬲賴 丕爻鬲 賵 丨鬲丕 賴賲蹖卮賴 賲蹖鈥屫堌ж池� 賵夭蹖乇 亘卮賵丿貙 亘賴 賴蹖趩鈥屭┴з� 丕夭 丌乇夭賵賴丕 賵 禺賵丕爻鬲賴鈥屬囏й� 诏匕卮鬲賴鈥� 禺賵丿 賳賲蹖鈥屫必池� 賵 夭賳丿诏蹖鈥� 丕賵 鬲賲丕賲 丿乇 乇丕賴 丕丨爻丕爻丕鬲 賲蹖 乇賵丿. 丿乇 賴賲丕賳 丨丕賱貙 蹖毓賳蹖 丿乇 賴賲丕賳鈥� 爻丕賱鈥屬囏й屰� 讴賴 賮乇丿乇蹖讴 丿乇诏蹖乇 丕丨爻丕爻丕鬲 亘丕 丕 禺丕賳賲 丌乇賳賵 丕爻鬲貙 賮乇丕賳爻賴 鬲丨賵賱丕鬲 賵 鬲睾蹖蹖乇丕鬲 爻蹖丕爻蹖 賵 丕噩鬲賲丕毓蹖 賲賴賲蹖 乇丕 倬卮鬲 爻乇 賲蹖鈥屭柏ж必� 丕賲丕 賮乇丿乇蹖讴 讴賴 亘賴鈥� 丿賱蹖賱 丿乇诏蹖乇蹖 丕丨爻丕爻蹖鈥� 禺賵丿 丕夭 鬲賲丕賲 丕蹖賳 噩乇蹖丕賳賴丕 亘賴鈥屫堌� 丕爻鬲貙 鬲賳賴丕 賲卮丕賴丿賴 讴賳賳丿賴 丌賳鈥屬囏� 賴爻鬲 賵 賴蹖趩 丿禺丕賱鬲 丿乇 爻賵賳賵卮鬲 爻蹖丕爻蹖 賵 丕噩鬲賲丕毓蹖 讴卮賵乇 禺賵丿 賳丿丕乇丿. 賮乇丕賳爻賴 丿乇 爻丕賱鈥屬囏й屰� 讴賴 亘禺卮 亘蹖卮鬲乇蹖 丕夭 鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 丿乇 丌賳 爻丕賱鈥屬囏� 乇賵丕蹖鬲 賲蹖鈥屫促堌� 丿乇 诏蹖乇 噩賳亘卮鈥屬囏� 賵 卮賵乇卮鈥屬囏й� 丕賳賯賱丕亘蹖 賴爻鬲. 丕賳賯賱丕亘 郾鄹鄞鄹 賮乇丕賳爻賴 丿乇 賴賲蹖賳 賲賵賯毓 丕鬲賮丕賯 賲蹖 卮賵丿 賵 丿乇 丕蹖賳 賲蹖丕賳 卮賵乇卮鈥屬囏й� 夭蹖丕丿 丿乇 倬丕乇蹖爻 丿乇 噩乇蹖丕賳 丕爻鬲 賵 丿乇 賳賴丕蹖鬲 倬丕丿卮丕賴蹖 賱賵蹖蹖 賮蹖賱蹖倬 倬丕蹖丕賳 賲蹖鈥屫促堌� 賵 "噩賲賴賵乇蹖 丿賵賲" 賮乇丕賳爻賴 亘乇賯乇丕乇 賲蹖鈥屫促堌�.
"丕賲蹖賱 夭賵賱丕" 丿乇 亘丕乇賴 丕蹖賳 乇賲丕賳 诏賮鬲賴 丕爻鬲 :" 鬲賲丕賲蹖 丌孬丕乇 賯亘賱 賵 亘毓丿 丕夭 丕蹖賳 乇賲丕賳 丿乇亘乇丕亘乇 賵丕賯毓蹖鬲 诏乇丕蹖蹖 丌賳 貙 亘蹖卮 丕夭 蹖讴 丕倬乇丕蹖 鬲乇丕跇蹖讴 賳蹖爻鬲 !"
January 16, 2016
L'Education Sentimentale is well known to be one of Woody Allen's favourite books, and it explores one of Allen's favourite themes. Whether life is a tragedy or a comedy depends on hair-fine nuances. Melinda and Melinda is probably the clearest example: the perspective constantly, and rather confusingly, shifts back and forward between comedy and tragedy. A bit later, he redid the idea in a more convincing way, as the linked pair Match Point (the tragedy) and Scoop (the comedy).
In the same spirit, here's a linked pair of reviews. I wrote the tragic one first, but then felt that I really needed to balance it with a comic version.
________________________
Tragic review
On the surface, it's unremarkable, except for the lovely prose. Fr茅d茅ric is a stupid and shallow young man in 1840s France. After a chance meeting on a boat, he conceives a passion for Mme. Arnoux, a beautiful married woman. He manages to insinuate himself into her husband's social circle, and becomes friendly with him. After a while, M. Arnoux trusts young Fr茅d茅ric enough that he introduces him to his mistress, the charming and scatterbrained Roseanette. Fr茅d茅ric falls for her too, and then his romantic life becomes even more complicated. I'll try to avoid dropping any more spoilers, but I thought I should convince you that it's definitely not a book where nothing happens: as in Madame Bovary and 厂补濒补尘尘产么, there's ample sex and violence.
So, why's it so disquieting? One way to explain is to compare with two other novels, which were written not long after and certainly, at least in part, were inspired by it. In Proust's Le C么t茅 de Guermantes, Marcel becomes as obsessed with the Duchesse de Guermantes as Fr茅d茅ric does with Mme. Arnoux, but by the end of the novel he's got over her; we get a detailed account of how her charm gradually fades away, so that he can finally see her objectively. It's disappointing, but extremely rational. And in Maupassant's Bel-Ami, Georges Duroy cleverly exploits his series of mistresses to become rich and successful; this time, you're shocked at how cold-blooded he is, but it's also rational.
I thought at several points that Fr茅d茅ric was going to take one of these paths; he doesn't. The novel's extraordinary strength is to get inside his mind as he dithers between the various women he's involved with, and demonstrate how he simply isn't capable of any kind of rational thought whatsoever. He's with X, and Flaubert shows with his usual exactitude how blissfully in love he is with her. Then, a few pages later, he's with Y, and his protestations of eternal devotion don't come across as hypocritical: much worse, they're sincere! And, in the next chapter, with Z... well, you get the picture. It's horrifyingly well done.
In the middle of all this, the Revolution of 1848 breaks out. (By the way: if you're as ignorant about French history as I am, I strongly recommend getting an annotated edition. Flaubert assumes you know the story already, and keeps referring to people and events I'd never heard of - I was flipping to the endnotes like I was reading Infinite Jest). I did wonder for a moment what the politics had to do with the main story; alas, that rapidly becomes clear too. Like the eponymous hero of the Rabbit series, Fr茅d茅ric is constitutionally incapable of seeing past the end of his own dick. The fact that France has been given a once-in-a-century chance to establish a fairer and more democratic government completely escapes him. There is a magnificent sequence where a major event has occurred, and people are shooting at each other in the streets; all Fr茅d茅ric can think about is the fact that he's missed an important date with one of his loved ones. I was strongly reminded of the scene near the beginning of Shaun of the Dead, where Shaun, who's just been dumped by his girlfriend, stumbles home in a daze while somehow managing not to notice that London is being invaded by flesh-eating zombies.
You will gather that L'Education Sentimentale does not present a positive and uplifting view of human nature. If only it were ugly or hastily written, one could dismiss it. But no: as always with Flaubert, it's meticulously crafted and a delight to read. A lot of the time, it's even funny. You may occasionally want to fling it across the room; more often, you're going to react with a wry smile. He's witty and entertaining.
I started with a quote from Hamlet, arguably one of the book's ancestors, and I'll conclude with one from Cat's Cradle, probably a great-grandson, and also a very funny book. Here's Kurt Vonnegut on the same subject.
________________________
Comic review
["Sex and the City" theme tune. CARRIE is lying across her bed typing industriously on her laptop]
CARRIE: [voiceover] I read that over 60% of all American men cheat on their partners. That's a lot of cheating. It's happened to me. It's happened to my best friends. It may have happened to you. And, the other day, I started wondering [the title comes up as she speaks the words] When Men Cheat On Their Partners, What Are They Really Thinking?
[Dissolve to a trendy Manhattan restaurant. CARRIE is sitting alone at a table set for four people, reading a paperback novel. Camera zooms in to show the title, "Sentimental Education"]
CARRIE: [turns a page, and shakes her head reflectively] Jeez!
[CARRIE is so engrossed that she doesn't notice that CHARLOTTE, SAMANTHA and MIRANDA have arrived, and are looking at her curiously.]
CHARLOTTE: Good, isn't it?
CARRIE: [starts violently] Uh... yes! So you've read it too? Don't tell me how it ends...
SAMANTHA: [checking to see how far CARRIE has got] Oh, you're nearly finished. You know, this reminds me of something that happened to Charlotte and me a few years ago. [She gives CHARLOTTE a teasing look] You don't mind?
CHARLOTTE: Um...
CARRIE: [voiceover] Charlotte did mind, but Samantha steamrollered her.
SAMANTHA: [steamrollering her] Come on, babe, all ancient history now! But we need some cocktails first. [To waiter] Four Cosmopolitans!
CARRIE: [voiceover] This was during Charlotte's first marriage, a period she doesn't like to talk about. Her husband Jack was a lot older than her.
[Montage. CHARLOTTE'S FIRST HUSBAND evidently doesn't take her seriously.]
CARRIE: [voiceover] Samantha hadn't yet discovered she had a talent for PR. She was wondering if she would make it as an actress.
[Montage. SAMANTHA's movie roles don't require her to wear much.]
CARRIE: [voiceover] Samantha was also a close friend of Jack.
[Montage. JACK and SAMANTHA are having noisy sex. Dissolve back to restaurant.]
SAMANTHA: [smiles and pats CHARLOTTE on the arm] Of course, Charlotte and I didn't know each other yet.
CARRIE: [voiceover] Now Jack ran this publishing company. He had a cute intern called Fred. One day, Fred met Charlotte.
[Dissolve back to the past. Montage. FRED, very young and innocent, meets CHARLOTTE. He's obviously smitten.]
CARRIE: [voiceover] Fred had never seen anyone so beautiful in his life. He immediately knew he could never love another woman. But how could he meet her again?
[FRED looks sad and pensive, then suddenly brightens up.]
CARRIE: [voiceover] Fred needed to get friendly with Jack.
[Montage. JACK is talking, FRED is hanging on his every word.]
CARRIE: [voiceover] Jack liked the attention. He started inviting Fred to his dinner parties.
[Montage. Dinner party at JACK and CHARLOTTE's. FRED gazes raptly at CHARLOTTE, while she ignores him.]
CARRIE: [voiceover] Jack had really got to trust Fred. He started taking him to parties at Samantha's place too.
[Montage. A much wilder party. FRED looks embarrassed, but is clearly eyeing up SAMANTHA]
CARRIE: [voiceover] Pretty soon, Fred had fallen for Samantha as well. Oh, and somewhere around here he went back to Wisconsin for a couple of months and managed to get engaged to the girl next door.
[Montage. FRED is with the adoring GIRL-NEXT-DOOR, who's even younger and more innocent-looking than he is. Dissolve back to restaurant. MIRANDA is struggling to keep up with the story.]
MIRANDA: So, uh, let me see, he can only love Charlotte but he's got the hots for Samantha and he's engaged to the girl next door?
[CHARLOTTE looks like she wants to sink through the floor. She takes a large sip of her cocktail. SAMANTHA is having fun.]
SAMANTHA: [to MIRANDA] Don't worry, babe, it hasn't got complicated yet.
CARRIE: [voiceover] Fred made progress with Charlotte. She let him hold her hand while she told him about her problems. But that's all that happened.
[Montage. FRED and CHARLOTTE gaze soulfully into each other's eyes, go for walks hand-in-hand, pick flowers, etc]
CARRIE: [voiceover] Obviously, Fred wanted more. He made a date with Charlotte at the New York apartment he'd just started renting. This was going to be it.
[Montage. FRED, in an agony of suspense, is waiting outside the apartment block. He keeps looking at his watch.]
CARRIE: [voiceover] Unfortunately, the date was September 11, 2001.
[Montage. The Twin Towers erupt in flames. People screaming in the streets. FRED is still looking at his watch as they stream past.]
CARRIE: [voiceover] Fred was so angry with Charlotte for not turning up. He went to see Samantha.
[Montage. FRED and SAMANTHA are having sex. Dissolve back to restaurant.]
SAMANTHA: [elaborate shrug] Well, I needed a fuck pretty bad.
CARRIE: [voiceover] Fred liked being with Samantha. But deep down, he never forgave her for making him betray his true love. He started seeing someone else, the wife of a rich banker.
[Montage. FRED is having sex with RICH BANKER WIFE. Back to restaurant.]
MIRANDA: [completely lost] So, he's sleeping with you and the banker's wife because he can't be with his true love? And what's with the fianc茅e?
SAMANTHA: [large sip of cocktail] That's it, babe. He thought it was my fault, and the banker's wife's fault. And maybe the fianc茅e's fault too, but I was never quite sure about that. Of course, it all ended in tears.
[Montage. SEVERAL WOMEN are yelling at FRED, throwing things, etc]
SAMANTHA: [back in restaurant] Your friend Stanford told Charlotte and me we should read Sentimental Education. He was right. It's just uncanny. Flaubert is a bit of an asshole, but he sure spills the beans on how men think when they cheat. It helped. [putting an arm around CHARLOTTE] And somehow, Charlotte and I ended up friends. Sorry babe. [She drains her glass. CHARLOTTE drains hers and hugs her back. There are tears in her eyes.]
CARRIE: [voiceover] I swear, I'd become a lesbian if I didn't like cock so much. And I wish I'd read Flaubert earlier.
[Theme music, credits]
In the same spirit, here's a linked pair of reviews. I wrote the tragic one first, but then felt that I really needed to balance it with a comic version.
________________________
Tragic review
O Hamlet, speak no more:I'm afraid it's not exactly a fun beach read. If L'Education Sentimentale doesn't make you feel uneasy, you're either a remarkably secure person or you decided to quit before reaching the end. And Flaubert does a good job of sneaking up on you: for the first hundred pages or so, I felt it was one of those books where nothing was going to happen, and it wasn't until I was about halfway through that I really began to feel disquieted. He's good.
Thou turn'st mine eyes into my very soul;
And there I see such black and grained spots
As will not leave their tinct.
On the surface, it's unremarkable, except for the lovely prose. Fr茅d茅ric is a stupid and shallow young man in 1840s France. After a chance meeting on a boat, he conceives a passion for Mme. Arnoux, a beautiful married woman. He manages to insinuate himself into her husband's social circle, and becomes friendly with him. After a while, M. Arnoux trusts young Fr茅d茅ric enough that he introduces him to his mistress, the charming and scatterbrained Roseanette. Fr茅d茅ric falls for her too, and then his romantic life becomes even more complicated. I'll try to avoid dropping any more spoilers, but I thought I should convince you that it's definitely not a book where nothing happens: as in Madame Bovary and 厂补濒补尘尘产么, there's ample sex and violence.
So, why's it so disquieting? One way to explain is to compare with two other novels, which were written not long after and certainly, at least in part, were inspired by it. In Proust's Le C么t茅 de Guermantes, Marcel becomes as obsessed with the Duchesse de Guermantes as Fr茅d茅ric does with Mme. Arnoux, but by the end of the novel he's got over her; we get a detailed account of how her charm gradually fades away, so that he can finally see her objectively. It's disappointing, but extremely rational. And in Maupassant's Bel-Ami, Georges Duroy cleverly exploits his series of mistresses to become rich and successful; this time, you're shocked at how cold-blooded he is, but it's also rational.
I thought at several points that Fr茅d茅ric was going to take one of these paths; he doesn't. The novel's extraordinary strength is to get inside his mind as he dithers between the various women he's involved with, and demonstrate how he simply isn't capable of any kind of rational thought whatsoever. He's with X, and Flaubert shows with his usual exactitude how blissfully in love he is with her. Then, a few pages later, he's with Y, and his protestations of eternal devotion don't come across as hypocritical: much worse, they're sincere! And, in the next chapter, with Z... well, you get the picture. It's horrifyingly well done.
In the middle of all this, the Revolution of 1848 breaks out. (By the way: if you're as ignorant about French history as I am, I strongly recommend getting an annotated edition. Flaubert assumes you know the story already, and keeps referring to people and events I'd never heard of - I was flipping to the endnotes like I was reading Infinite Jest). I did wonder for a moment what the politics had to do with the main story; alas, that rapidly becomes clear too. Like the eponymous hero of the Rabbit series, Fr茅d茅ric is constitutionally incapable of seeing past the end of his own dick. The fact that France has been given a once-in-a-century chance to establish a fairer and more democratic government completely escapes him. There is a magnificent sequence where a major event has occurred, and people are shooting at each other in the streets; all Fr茅d茅ric can think about is the fact that he's missed an important date with one of his loved ones. I was strongly reminded of the scene near the beginning of Shaun of the Dead, where Shaun, who's just been dumped by his girlfriend, stumbles home in a daze while somehow managing not to notice that London is being invaded by flesh-eating zombies.
You will gather that L'Education Sentimentale does not present a positive and uplifting view of human nature. If only it were ugly or hastily written, one could dismiss it. But no: as always with Flaubert, it's meticulously crafted and a delight to read. A lot of the time, it's even funny. You may occasionally want to fling it across the room; more often, you're going to react with a wry smile. He's witty and entertaining.
I started with a quote from Hamlet, arguably one of the book's ancestors, and I'll conclude with one from Cat's Cradle, probably a great-grandson, and also a very funny book. Here's Kurt Vonnegut on the same subject.
And I remembered The Fourteenth Book of Bokonon, which I had read in its entirety the night before. The Fourteenth Book is entitled 'What Can a Thoughtful Man Hope for Mankind on Earth, Given the Experiences of the Past Million Years?'
It doesn't take long to read The Fourteenth Book. It consists of one word and a period.
This is it:
'Nothing.'
________________________
Comic review
["Sex and the City" theme tune. CARRIE is lying across her bed typing industriously on her laptop]
CARRIE: [voiceover] I read that over 60% of all American men cheat on their partners. That's a lot of cheating. It's happened to me. It's happened to my best friends. It may have happened to you. And, the other day, I started wondering [the title comes up as she speaks the words] When Men Cheat On Their Partners, What Are They Really Thinking?
[Dissolve to a trendy Manhattan restaurant. CARRIE is sitting alone at a table set for four people, reading a paperback novel. Camera zooms in to show the title, "Sentimental Education"]
CARRIE: [turns a page, and shakes her head reflectively] Jeez!
[CARRIE is so engrossed that she doesn't notice that CHARLOTTE, SAMANTHA and MIRANDA have arrived, and are looking at her curiously.]
CHARLOTTE: Good, isn't it?
CARRIE: [starts violently] Uh... yes! So you've read it too? Don't tell me how it ends...
SAMANTHA: [checking to see how far CARRIE has got] Oh, you're nearly finished. You know, this reminds me of something that happened to Charlotte and me a few years ago. [She gives CHARLOTTE a teasing look] You don't mind?
CHARLOTTE: Um...
CARRIE: [voiceover] Charlotte did mind, but Samantha steamrollered her.
SAMANTHA: [steamrollering her] Come on, babe, all ancient history now! But we need some cocktails first. [To waiter] Four Cosmopolitans!
CARRIE: [voiceover] This was during Charlotte's first marriage, a period she doesn't like to talk about. Her husband Jack was a lot older than her.
[Montage. CHARLOTTE'S FIRST HUSBAND evidently doesn't take her seriously.]
CARRIE: [voiceover] Samantha hadn't yet discovered she had a talent for PR. She was wondering if she would make it as an actress.
[Montage. SAMANTHA's movie roles don't require her to wear much.]
CARRIE: [voiceover] Samantha was also a close friend of Jack.
[Montage. JACK and SAMANTHA are having noisy sex. Dissolve back to restaurant.]
SAMANTHA: [smiles and pats CHARLOTTE on the arm] Of course, Charlotte and I didn't know each other yet.
CARRIE: [voiceover] Now Jack ran this publishing company. He had a cute intern called Fred. One day, Fred met Charlotte.
[Dissolve back to the past. Montage. FRED, very young and innocent, meets CHARLOTTE. He's obviously smitten.]
CARRIE: [voiceover] Fred had never seen anyone so beautiful in his life. He immediately knew he could never love another woman. But how could he meet her again?
[FRED looks sad and pensive, then suddenly brightens up.]
CARRIE: [voiceover] Fred needed to get friendly with Jack.
[Montage. JACK is talking, FRED is hanging on his every word.]
CARRIE: [voiceover] Jack liked the attention. He started inviting Fred to his dinner parties.
[Montage. Dinner party at JACK and CHARLOTTE's. FRED gazes raptly at CHARLOTTE, while she ignores him.]
CARRIE: [voiceover] Jack had really got to trust Fred. He started taking him to parties at Samantha's place too.
[Montage. A much wilder party. FRED looks embarrassed, but is clearly eyeing up SAMANTHA]
CARRIE: [voiceover] Pretty soon, Fred had fallen for Samantha as well. Oh, and somewhere around here he went back to Wisconsin for a couple of months and managed to get engaged to the girl next door.
[Montage. FRED is with the adoring GIRL-NEXT-DOOR, who's even younger and more innocent-looking than he is. Dissolve back to restaurant. MIRANDA is struggling to keep up with the story.]
MIRANDA: So, uh, let me see, he can only love Charlotte but he's got the hots for Samantha and he's engaged to the girl next door?
[CHARLOTTE looks like she wants to sink through the floor. She takes a large sip of her cocktail. SAMANTHA is having fun.]
SAMANTHA: [to MIRANDA] Don't worry, babe, it hasn't got complicated yet.
CARRIE: [voiceover] Fred made progress with Charlotte. She let him hold her hand while she told him about her problems. But that's all that happened.
[Montage. FRED and CHARLOTTE gaze soulfully into each other's eyes, go for walks hand-in-hand, pick flowers, etc]
CARRIE: [voiceover] Obviously, Fred wanted more. He made a date with Charlotte at the New York apartment he'd just started renting. This was going to be it.
[Montage. FRED, in an agony of suspense, is waiting outside the apartment block. He keeps looking at his watch.]
CARRIE: [voiceover] Unfortunately, the date was September 11, 2001.
[Montage. The Twin Towers erupt in flames. People screaming in the streets. FRED is still looking at his watch as they stream past.]
CARRIE: [voiceover] Fred was so angry with Charlotte for not turning up. He went to see Samantha.
[Montage. FRED and SAMANTHA are having sex. Dissolve back to restaurant.]
SAMANTHA: [elaborate shrug] Well, I needed a fuck pretty bad.
CARRIE: [voiceover] Fred liked being with Samantha. But deep down, he never forgave her for making him betray his true love. He started seeing someone else, the wife of a rich banker.
[Montage. FRED is having sex with RICH BANKER WIFE. Back to restaurant.]
MIRANDA: [completely lost] So, he's sleeping with you and the banker's wife because he can't be with his true love? And what's with the fianc茅e?
SAMANTHA: [large sip of cocktail] That's it, babe. He thought it was my fault, and the banker's wife's fault. And maybe the fianc茅e's fault too, but I was never quite sure about that. Of course, it all ended in tears.
[Montage. SEVERAL WOMEN are yelling at FRED, throwing things, etc]
SAMANTHA: [back in restaurant] Your friend Stanford told Charlotte and me we should read Sentimental Education. He was right. It's just uncanny. Flaubert is a bit of an asshole, but he sure spills the beans on how men think when they cheat. It helped. [putting an arm around CHARLOTTE] And somehow, Charlotte and I ended up friends. Sorry babe. [She drains her glass. CHARLOTTE drains hers and hugs her back. There are tears in her eyes.]
CARRIE: [voiceover] I swear, I'd become a lesbian if I didn't like cock so much. And I wish I'd read Flaubert earlier.
[Theme music, credits]
This entire review has been hidden because of spoilers.
September 15, 2021
Ni拧ta tako ne uni啪ava kao kad glupaci uspjevaju u poduhvatima u kojima pametan 膷ovjek propada.
Od mladosti do starosti, od ljubavi do prezira, od mirisa cvije膰a do mirisa baruta, od monarhije do republike; takvi su putevi Frederika Moroa.
Sentimentalno vaspitanje istorijski predstavlja jednu epohu koju oblikuju tada拧nji nara拧taji kroz ljubav i politiku. Pri膷a romana 啪ivi i danas. Fobler svjedo膷i o jednom vremenu gdje je postojala jaka volja, nada i ambicija. Sve se to vuklo kroz njegove likove, u njima tinjalo, ali je onda polako po膷injalo da se gasi. Istina je nadvladala iluzije. Slatko膰a i gor膷ina i dalje su ujedna膷ene. Svi likovi i doga膽aji su opisivani kroz vizuru Frederika Moroa. Njegov mikrokosmos obasjavaju velelepne ulice Pariza, pompa odre膽enih kutova, stravstveni ljubavni podvizi, dok je predstoje膰e varvarstvo negdje iznad gravitiralo i 膷ekalo svoj trenutak. Danas bi ovaj roman mo啪da bio okarakterisan kao jedna obi膷na sapunica, mo啪da 膷ak i kao bledunjav, pa ipak on je kristalno jasan. Strogim koracima je kora膷ao ka onome 拧to je zbilja neminovno i uzvi拧eno u takvoj stvarnosti, i 拧to estetski ironi膷no upotpunjuje jednu ta膷ku pro啪ivljenosti.
May 25, 2023
About A Sentimental Education Gustave Flaubert wrote, "I want to write the moral history of the men of my generation鈥攐r, more accurately, the history of their feelings. It's a book about love, about passion; but passion such as can exist nowadays鈥攖hat is to say, inactive." And the feeling of love and inactive passion of Frederic Moreau is the resulting story.
Setting in the time of the 1848 French Revolution which resulted in the formation of the nation's Second Republic, Gustave Flaubert writes a grand love story of Frederic Moreau, borrowing heavily from his personal experiences. When young Frederic falls in love with an older married woman at the age of 18, his "sentimental education" begins. Being at the impressionable, idol-worshipping age, the lady becomes the center in everything Frederic does. He knows that it is a love that would be frustrated and a romantic passion that would never be fulfilled, yet he hopes against all odds and is steadfast in his love. He stands by her through all her troubles without expecting any reward in return. When however after a long separation they meet again under favourable circumstances, Frederic is dismayed to see his idol thrown from his pedestal, and his life's love withers away under the change, completing his "sentimental education".
The protagonist, Frederic Moreau, is a sort of anti-hero. He is not industrious and wastes away in idle pursuits living on his inheritance. His great love doesn't shield him from the power of seduction and he has his fair share of mistresses. He is a good-hearted man nevertheless and lets every Tom, Dick, and Harry take advantage of him. Nothing major happens in his life except for his great love and inactive passion, and he stays much the same throughout the story pinning all his failures on "being sentimental". Frederic exasperated me to no end, and I disliked him in the beginning. But when the story progressed, I could come to better terms with him. And I truly felt sorry for him at the end.
A Sentimental Education is not only a love story, but also a historical account. There is a true account of the political failures of the Monarchy and the growing frustration of the intellectual youth that led them to take arms. I'm unaware of Flaubert's political allegiance, but I perceived satire on both the Monarchy and the Republic that followed.
Flaubert's writing is truly masterful. But it is something I didn't understand at once. The tone was so matter of fact at the beginning that I felt the whole thing is emotionally barren. I had to stop a little quarter way to breathe and repose. When I resumed, I found some mysterious enticement in Flaubert's words as he slowly worked his way on the different passions and sentiments of the characters bringing more warmth and feelings into the story. I was very much surprised by his style initially, but when I pondered over it, I realized that it was because Flaubert didn't want to define the characters nor the situation. He leaves it entirely to the readers, himself being detached from them. When the readers have sufficiently acquainted themselves with the characters and the situation of the story, Flaubert digs deeply into the lives and circumstances of the characters bringing out their inner feelings and passions. Although Flaubert took me on a ride, I was very much impressed by the ultimate destination to which he brought me.
There is nothing further to say. I'm sure you who read this review now understand why I enjoyed this book very much.
Setting in the time of the 1848 French Revolution which resulted in the formation of the nation's Second Republic, Gustave Flaubert writes a grand love story of Frederic Moreau, borrowing heavily from his personal experiences. When young Frederic falls in love with an older married woman at the age of 18, his "sentimental education" begins. Being at the impressionable, idol-worshipping age, the lady becomes the center in everything Frederic does. He knows that it is a love that would be frustrated and a romantic passion that would never be fulfilled, yet he hopes against all odds and is steadfast in his love. He stands by her through all her troubles without expecting any reward in return. When however after a long separation they meet again under favourable circumstances, Frederic is dismayed to see his idol thrown from his pedestal, and his life's love withers away under the change, completing his "sentimental education".
The protagonist, Frederic Moreau, is a sort of anti-hero. He is not industrious and wastes away in idle pursuits living on his inheritance. His great love doesn't shield him from the power of seduction and he has his fair share of mistresses. He is a good-hearted man nevertheless and lets every Tom, Dick, and Harry take advantage of him. Nothing major happens in his life except for his great love and inactive passion, and he stays much the same throughout the story pinning all his failures on "being sentimental". Frederic exasperated me to no end, and I disliked him in the beginning. But when the story progressed, I could come to better terms with him. And I truly felt sorry for him at the end.
A Sentimental Education is not only a love story, but also a historical account. There is a true account of the political failures of the Monarchy and the growing frustration of the intellectual youth that led them to take arms. I'm unaware of Flaubert's political allegiance, but I perceived satire on both the Monarchy and the Republic that followed.
Flaubert's writing is truly masterful. But it is something I didn't understand at once. The tone was so matter of fact at the beginning that I felt the whole thing is emotionally barren. I had to stop a little quarter way to breathe and repose. When I resumed, I found some mysterious enticement in Flaubert's words as he slowly worked his way on the different passions and sentiments of the characters bringing more warmth and feelings into the story. I was very much surprised by his style initially, but when I pondered over it, I realized that it was because Flaubert didn't want to define the characters nor the situation. He leaves it entirely to the readers, himself being detached from them. When the readers have sufficiently acquainted themselves with the characters and the situation of the story, Flaubert digs deeply into the lives and circumstances of the characters bringing out their inner feelings and passions. Although Flaubert took me on a ride, I was very much impressed by the ultimate destination to which he brought me.
There is nothing further to say. I'm sure you who read this review now understand why I enjoyed this book very much.
June 4, 2012
An exhausting thrill-ride through the zany world of womanising socialite Fr茅d茅ric, or鈥攆or the first 300 pages, at least鈥攚annabe womanising socialite Fr茅d茅ric. Because Fr茅d茅ric can鈥檛 make it happen with his mate Arnoux鈥檚 missus, nor his mate Arnoux鈥檚 mistress, this frustration is the bane of his existence as he falls in and out of money, society and love. Against the backdrop of the 1848 Paris uprising this novel heaves with ornate descriptive grandeur, political commentary and violence, a frenetic comic energy, and more love triangles than the HMS Hefner in Bermuda. A classic that delights, frustrates, amuses and teases in equal measure鈥攚hat more could you ask for? Sex? Well, there鈥檚 no sex. You have sex on the brain, you do. Take a cold shower.
August 31, 2019
Education is not a pleasant thing for the one who is subject to it. What does education mean?
Education means, simply speaking, taming, breaking, creating certain reflexes, correcting. However, to correct it is to break something and that is always painful at first. Of course after that it is fine, but at first it is not pleasant at all. If we go to school to be educated, it is because we have nowhere to go. Because our reflexes are crude, raw, virgin, because we can more easily change the nature of our passions.
But what about the grown-up man? A certain illusion is born in the mature man: I am as good as I am, I need nothing more. I'm coping with the way I am. This illusion is not at all unnatural and not at all condemnable. It is difficult to reconcile with the idea that you are unsuccessful, that you have stitches, that you are vicious, that you are tied to the senses, that your ideas are just prejudices and your feelings are confused and mediocre. It is difficult to accept because it is proper for man to believe in himself, without self-confidence he cannot have the feeling of fullness and freedom. For man to doubt himself, his own experience must restrain him. For example, he should believe himself in being unbearable to women and women, in dealing with him, to show him that he is unbearable, but not who knows what. He must believe himself intelligent, and in a determined circumstance to prove to him the opposite. It seems indisputable that in most cases things happen in this way, with the exceptions for which the educational precepts are not sufficient.
Literature is made for the vast majority of people and has an educational purpose. So, dear friend of my heart, I will want to reread your book someday..
<< ...I wanted to reread it (*ie, George Sand), my daughter-in-law has read it too, and some of my young people, all readers in earnest and of the first rank and not stupid at all (*thank you, George Sand!). We are all of the same opinion, that it is a beautiful book, equal in strength to the best ones of Balzac and truer, that is to say more faithful to the truth from one end to the other.
One needs the great art, the exquisite form and the severity of your work to do without flowers of fancy. However, you throw poetry with a full hand on your picture, whether your characters understand it or not. (Rosanette at Fontainebleau does not know on what grass she walks and nevertheless she is poetic.)
All that issues from a master's hand, and your place is well won for always. Live then as calmly as possible in order to last a long time and to produce a great deal. I have seen two short articles which did not seem to me to rebel against your success; but I hardly know what is going on, politics seems to me to absorb everything.
Keep me posted. If they did not do justice to you I should be angry and should say what I think. It is my right.>>
###
Dear good master,
Your old troubadour (ie, Gustave Flaubert) is vehemently slandered by the papers. Read the Constitutionnel of last Monday, the Gaulois of this morning, it is blunt and plain. They call me IDIOTC and COMMON.
Barbey d'Aurevilly's article (Constitutionnel) is a model of this character, and the good Sarcey's, although less violent, is in no way behind it. These gentlemen object in the name of MORALITY and the IDEAL! I have also been annihilated in le Figaro and in Paris, by Cesana and Duranty.
I most profoundly don't care a fig! but that does not make me any the less astonished by so much hatred and bad faith.
La Tribune, le Pays and l'Opinion nationale on the other hand have highly praised me... As for the friends, the persons who received a copy adorned by my hand, they have been afraid of compromising themselves and have talked me of other things. The BRAVE are FEW. The book is selling very well nevertheless, in spite of politics, and Levy appears satisfied.
I know that the bourgeois of Rouen are furious with me "because of pere Roque and the cancan at the Tuileries." They think that one ought to prevent the publication of books like that (textual), that I lend a hand to the Reds, that I am capable of inflaming revolutionary passions, etc., etc. In short, I have received very few laurels, up to now, and no rose leaf hurts me.
All the papers cite as a proof of my depravity, the episode of the Turkish woman, which they misrepresent, naturally; and Sarcey compares me to Marquis de Sade, whom he comfesses he has not read!
All that does not upset me at all. But I WONDER what use there is in printing my book? >>
###
As always, George Sand is the master of words and has the last of it:
<< I think that your school is not concerned with the substance, and that it dwells too much on the surface. By virtue of seeking the form, it makes the substance too cheap! it addresses itself to the men of letters. But there are no men of letters, properly speaking. Before everything, one is a man. One wants to find man at the basis of every story and every deed. That was the defect of l'Education sentimentale, about which I have so often reflected since, asking myself why there was so general a dislike of a work that was so well done and so solid. This defect was the absence of ACTION of the characters on themselves. They submitted to the event and never mastered it. Well, I think that the chief interest in a story is what you did not want to do. If I were you, I would try the opposite; you are feeding on Shakespeare just now, and you are doing well! He is the author who puts men at grips with events; observe that by them, whether for good or for ill, the event is always conquered. In his works, it is crushed underfoot.
L'Education sentimentale has been a misunderstood book, as I have told you repeatedly, but you have not listened to me. There should have been a short preface, or, at a good opportunity, an expression of blame, even if only a happy epithet to condemn the evil, to characterize the defect, to signalize the effort. All the characters in that book are feeble and come to nothing, except those with bad instincts; that is what you are reproached with, because people did not understand that you wanted precisely to depict a deplorable state of society that encourages these bad instincts and ruins noble efforts; when people do not understand us it is always our fault. What the reader wants, first of all, is to penetrate into our thought, and that is what you deny him, arrogantly. He thinks that you scorn him and that you want to ridicule him. For my part, I understood you, for I knew you. If anyone had brought me your book without its being signed, I should have thought it beautiful, but strange, and I should have asked myself if you were immoral, skeptical, indifferent or heart-broken. You say that it ought to be like that, and that M. Flaubert will violate the rules of good taste if he shows his thought and the aim of his literary enterprise. It is false in the highest degree. When M. Flaubert writes well and seriously, one attaches oneself to his personality. One wants to sink or swim with him. If he leaves you in doubt, you lose interest in his work, you neglect it, or you give it up.
I have already combated your favorite heresy, which is that one writes for twenty intelligent people and does not care a fig for the rest. It is not true, since the lack of success irritates you and troubles you. Besides, there have not been twenty critics favorable to this book which was so well written and so important. So one must not write for twenty persons any more than for three, or for a hundred thousand. One must write for all those who have a thirst to read and who can profit by good reading. Then one must go straight to the most elevated morality within oneself, and not make a mystery of the moral and profitable meaning of one's book. People found that with Madame Bovary. If one part of the public cried scandal, the healthiest and the broadest part saw in it a severe and striking lesson given to a woman without conscience and without faith, to vanity, to ambition, to irrationality. They pitied her; art required that, but the lesson was clear, and it would have been more so, it would have been so for everybody, if you had wished it, if you had shown more clearly the opinion that you had, and that the public ought to have had, about the heroine, her husband, and her lovers.
That desire to depict things as they are, the adventures of life as they present themselves to the eye, is not well thought out, in my opinion. Depict inert things as a realist, as a poet, it's all the same to me, but, when one touches on the emotions of the human heart, it is another thing. You cannot abstract yourself from this contemplation; for man, that is yourself, and men, that is the reader. Whatever you do, your tale is a conversation between you and the reader. If you show him the evil coldly, without ever showing him the good he is angry. He wonders if it is he that is bad, or if it is you. You work, however, to rouse him and to interest him; you will never succeed if you are not roused yourself, or if you hide it so well that he thinks you indifferent. He is right: supreme impartiality is an anti-human thing, and a novel ought to be human above everything. If it is not, the public is not pleased in its being well written, well composed and conscientious in every detail. The essential quality is not there: interest. The reader breaks away likewise from a book where all the characters are good without distinctions and without weaknesses; he sees clearly that that is not human either. I believe that art, this special art of narration, is only worth while through the opposition of characters; but, in their struggle, I prefer to see the right prevail. Let events overwhelm the honest men, I agree to that, but let him not be soiled or belittled by them, and let him go to the stake feeling that he is happier than his executioners.
You must have success after that bad luck which has troubled you deeply. I tell you wherein lie the certain conditions for your success. Keep your cult for form; but pay more attention to the substance. Do not take true virtue for a commonplace in literature. Give it its representative, make honest and strong men pass among the fools and the imbeciles that you love to ridicule. Show what is solid at the bottom of these intellectual abortions; in short, abandon the convention of the realist and return to the time reality, which is a mingling of the beautiful and the ugly, the dull and the brilliant, but in which the desire of good finds its place and its occupation all the same. >>
Education means, simply speaking, taming, breaking, creating certain reflexes, correcting. However, to correct it is to break something and that is always painful at first. Of course after that it is fine, but at first it is not pleasant at all. If we go to school to be educated, it is because we have nowhere to go. Because our reflexes are crude, raw, virgin, because we can more easily change the nature of our passions.
But what about the grown-up man? A certain illusion is born in the mature man: I am as good as I am, I need nothing more. I'm coping with the way I am. This illusion is not at all unnatural and not at all condemnable. It is difficult to reconcile with the idea that you are unsuccessful, that you have stitches, that you are vicious, that you are tied to the senses, that your ideas are just prejudices and your feelings are confused and mediocre. It is difficult to accept because it is proper for man to believe in himself, without self-confidence he cannot have the feeling of fullness and freedom. For man to doubt himself, his own experience must restrain him. For example, he should believe himself in being unbearable to women and women, in dealing with him, to show him that he is unbearable, but not who knows what. He must believe himself intelligent, and in a determined circumstance to prove to him the opposite. It seems indisputable that in most cases things happen in this way, with the exceptions for which the educational precepts are not sufficient.
Literature is made for the vast majority of people and has an educational purpose. So, dear friend of my heart, I will want to reread your book someday..
<< ...I wanted to reread it (*ie, George Sand), my daughter-in-law has read it too, and some of my young people, all readers in earnest and of the first rank and not stupid at all (*thank you, George Sand!). We are all of the same opinion, that it is a beautiful book, equal in strength to the best ones of Balzac and truer, that is to say more faithful to the truth from one end to the other.
One needs the great art, the exquisite form and the severity of your work to do without flowers of fancy. However, you throw poetry with a full hand on your picture, whether your characters understand it or not. (Rosanette at Fontainebleau does not know on what grass she walks and nevertheless she is poetic.)
All that issues from a master's hand, and your place is well won for always. Live then as calmly as possible in order to last a long time and to produce a great deal. I have seen two short articles which did not seem to me to rebel against your success; but I hardly know what is going on, politics seems to me to absorb everything.
Keep me posted. If they did not do justice to you I should be angry and should say what I think. It is my right.>>
###
Dear good master,
Your old troubadour (ie, Gustave Flaubert) is vehemently slandered by the papers. Read the Constitutionnel of last Monday, the Gaulois of this morning, it is blunt and plain. They call me IDIOTC and COMMON.
Barbey d'Aurevilly's article (Constitutionnel) is a model of this character, and the good Sarcey's, although less violent, is in no way behind it. These gentlemen object in the name of MORALITY and the IDEAL! I have also been annihilated in le Figaro and in Paris, by Cesana and Duranty.
I most profoundly don't care a fig! but that does not make me any the less astonished by so much hatred and bad faith.
La Tribune, le Pays and l'Opinion nationale on the other hand have highly praised me... As for the friends, the persons who received a copy adorned by my hand, they have been afraid of compromising themselves and have talked me of other things. The BRAVE are FEW. The book is selling very well nevertheless, in spite of politics, and Levy appears satisfied.
I know that the bourgeois of Rouen are furious with me "because of pere Roque and the cancan at the Tuileries." They think that one ought to prevent the publication of books like that (textual), that I lend a hand to the Reds, that I am capable of inflaming revolutionary passions, etc., etc. In short, I have received very few laurels, up to now, and no rose leaf hurts me.
All the papers cite as a proof of my depravity, the episode of the Turkish woman, which they misrepresent, naturally; and Sarcey compares me to Marquis de Sade, whom he comfesses he has not read!
All that does not upset me at all. But I WONDER what use there is in printing my book? >>
###
As always, George Sand is the master of words and has the last of it:
<< I think that your school is not concerned with the substance, and that it dwells too much on the surface. By virtue of seeking the form, it makes the substance too cheap! it addresses itself to the men of letters. But there are no men of letters, properly speaking. Before everything, one is a man. One wants to find man at the basis of every story and every deed. That was the defect of l'Education sentimentale, about which I have so often reflected since, asking myself why there was so general a dislike of a work that was so well done and so solid. This defect was the absence of ACTION of the characters on themselves. They submitted to the event and never mastered it. Well, I think that the chief interest in a story is what you did not want to do. If I were you, I would try the opposite; you are feeding on Shakespeare just now, and you are doing well! He is the author who puts men at grips with events; observe that by them, whether for good or for ill, the event is always conquered. In his works, it is crushed underfoot.
L'Education sentimentale has been a misunderstood book, as I have told you repeatedly, but you have not listened to me. There should have been a short preface, or, at a good opportunity, an expression of blame, even if only a happy epithet to condemn the evil, to characterize the defect, to signalize the effort. All the characters in that book are feeble and come to nothing, except those with bad instincts; that is what you are reproached with, because people did not understand that you wanted precisely to depict a deplorable state of society that encourages these bad instincts and ruins noble efforts; when people do not understand us it is always our fault. What the reader wants, first of all, is to penetrate into our thought, and that is what you deny him, arrogantly. He thinks that you scorn him and that you want to ridicule him. For my part, I understood you, for I knew you. If anyone had brought me your book without its being signed, I should have thought it beautiful, but strange, and I should have asked myself if you were immoral, skeptical, indifferent or heart-broken. You say that it ought to be like that, and that M. Flaubert will violate the rules of good taste if he shows his thought and the aim of his literary enterprise. It is false in the highest degree. When M. Flaubert writes well and seriously, one attaches oneself to his personality. One wants to sink or swim with him. If he leaves you in doubt, you lose interest in his work, you neglect it, or you give it up.
I have already combated your favorite heresy, which is that one writes for twenty intelligent people and does not care a fig for the rest. It is not true, since the lack of success irritates you and troubles you. Besides, there have not been twenty critics favorable to this book which was so well written and so important. So one must not write for twenty persons any more than for three, or for a hundred thousand. One must write for all those who have a thirst to read and who can profit by good reading. Then one must go straight to the most elevated morality within oneself, and not make a mystery of the moral and profitable meaning of one's book. People found that with Madame Bovary. If one part of the public cried scandal, the healthiest and the broadest part saw in it a severe and striking lesson given to a woman without conscience and without faith, to vanity, to ambition, to irrationality. They pitied her; art required that, but the lesson was clear, and it would have been more so, it would have been so for everybody, if you had wished it, if you had shown more clearly the opinion that you had, and that the public ought to have had, about the heroine, her husband, and her lovers.
That desire to depict things as they are, the adventures of life as they present themselves to the eye, is not well thought out, in my opinion. Depict inert things as a realist, as a poet, it's all the same to me, but, when one touches on the emotions of the human heart, it is another thing. You cannot abstract yourself from this contemplation; for man, that is yourself, and men, that is the reader. Whatever you do, your tale is a conversation between you and the reader. If you show him the evil coldly, without ever showing him the good he is angry. He wonders if it is he that is bad, or if it is you. You work, however, to rouse him and to interest him; you will never succeed if you are not roused yourself, or if you hide it so well that he thinks you indifferent. He is right: supreme impartiality is an anti-human thing, and a novel ought to be human above everything. If it is not, the public is not pleased in its being well written, well composed and conscientious in every detail. The essential quality is not there: interest. The reader breaks away likewise from a book where all the characters are good without distinctions and without weaknesses; he sees clearly that that is not human either. I believe that art, this special art of narration, is only worth while through the opposition of characters; but, in their struggle, I prefer to see the right prevail. Let events overwhelm the honest men, I agree to that, but let him not be soiled or belittled by them, and let him go to the stake feeling that he is happier than his executioners.
You must have success after that bad luck which has troubled you deeply. I tell you wherein lie the certain conditions for your success. Keep your cult for form; but pay more attention to the substance. Do not take true virtue for a commonplace in literature. Give it its representative, make honest and strong men pass among the fools and the imbeciles that you love to ridicule. Show what is solid at the bottom of these intellectual abortions; in short, abandon the convention of the realist and return to the time reality, which is a mingling of the beautiful and the ugly, the dull and the brilliant, but in which the desire of good finds its place and its occupation all the same. >>
January 1, 2024
肖褉械写械褉懈泻 袦芯褉芯 锌褉芯卸懈谢 锌褍褋褌褍褞 卸懈蟹薪褜. 校 薪械谐芯 斜褘谢芯 屑薪芯谐芯 褕邪薪褋芯胁 懈 褋褌邪褌褜 斜芯谐邪褌褘屑, 懈 斜褘褌褜 褋褔邪褋褌谢懈胁褘屑 胁 谢褞斜胁懈, 薪芯 胁褋械 薪械 褋泻谢邪写褘胁邪谢芯褋褜. 袨薪 褋 芯写薪芯泄 褋褌芯褉芯薪褘, 斜褘谢 写芯褋褌邪褌芯褔薪芯 芯写邪褉械薪, 薪芯 胁褋械屑 械谐芯 蟹邪薪褟褌懈褟屑 屑械褕邪谢邪 谢械薪褜, 薪械锌芯褋谢械写芯胁邪褌械谢褜薪芯褋褌褜, 薪械褋锌芯褋芯斜薪芯褋褌褜 蟹邪胁械褉褕懈褌褜 薪邪褔邪褌芯械, 锌邪褋褋懈胁薪芯褋褌褜. 袛邪卸械 褍褔懈褌褜褋褟 芯薪 褋邪屑 薪械 屑芯谐, 锌芯褌褉械斜芯胁邪谢褋褟 褉械锌械褌懈褌芯褉. 袙 芯锌懈褋褘胁邪械屑褘泄 锌械褉懈芯写 芯薪 胁褋褌褉械褔邪谢褋褟 褋 褌褉械屑褟 卸械薪褖懈薪邪屑懈 褋褉邪蟹褍, 锌谢褞褋 屑芯褉芯褔懈谢 谐芯谢芯胁褍 斜芯谐邪褌芯泄 薪械胁械褋褌械 袥褍懈蟹械 袪芯泻泻 懈蟹 袧芯卸邪薪邪. 袧芯 谢褞斜懈谢 褌芯谢褜泻芯 芯写薪褍 - 袦邪褉懈 袗褉薪褍, 谢褞斜懈谢 锌谢邪褌芯薪懈褔械褋泻懈, 薪械 薪邪写械褟褋褜 薪邪 胁蟹邪懈屑薪芯褋褌褜, 胁褋械谐写邪 褎懈薪邪薪褋芯胁芯 胁褘褉褍褔邪褟 械械 屑褍卸邪, 褋泻谢芯薪薪芯谐芯 泻 屑芯褕械薪薪懈褔械褋泻懈屑 褋写械谢泻邪屑.
袙 写薪懈 褉械胁芯谢褞褑懈懈, 芯薪 芯褋褌邪胁邪谢褋褟 褉邪胁薪芯写褍褕薪褘屑 泻 褋褍写褜斜邪屑 褉芯写懈薪褘, 褏芯褌褟 锌褉械写锌褉懈薪懈屑邪谢 褋谢邪斜褘械 锌芯锌褘褌泻懈 "蟹邪薪褟褌褜褋褟 锌芯谢懈褌懈泻芯泄", 芯褋褌邪胁邪褟褋褜 写谢褟 褉邪斜芯褔懈褏 邪褉懈褋褌芯泻褉邪褌芯屑. 协褌芯, 胁 芯斜褖械屑-褌芯, 锌芯薪褟褌薪芯. 袣褌芯 卸械 锌芯泄写械褌 蟹邪 褔械谢芯胁械泻芯屑, 泻芯褌芯褉褘泄 薪械 芯蟹邪斜芯褔械薪 锌褉芯斜谢械屑邪屑懈 锌褉芯褌械褋褌褍褞褖懈褏, 邪 薪邪 胁芯谢薪械 薪邪褉芯写薪芯谐芯 谐薪械胁邪 写褍屑邪械褌 芯 谢懈褔薪褘褏 泻邪褉褜械褉薪褘褏 锌谢邪薪邪褏? 袙 褑械谢芯屑, 肖褉械写械褉懈泻 薪械 胁褘蟹褘胁邪械褌 斜芯谢褜褕懈褏 褋懈屑锌邪褌懈泄, 薪械褋屑芯褌褉褟 薪邪 胁械褉薪芯褋褌褜 懈 袦邪褉懈 袗褉薪褍, 懈 褋胁芯械屑褍 写褉褍谐褍 袛械谢芯褉褜械. 袝谐芯 谢褞斜芯胁褜 斜褘谢邪 锌芯谢懈谐邪屑薪邪, 褉邪蟹 谐芯褋锌芯卸邪 袗褉薪褍 薪械 锌褉懈褕谢邪, 褌芯 褋芯 蟹谢芯褋褌懈 芯薪 蟹芯胁褢褌 袪芯蟹邪薪械褌褌褍. 袞械薪褖懈薪褘 写谢褟 薪械谐芯 - 褉邪蟹屑械薪薪邪褟 屑芯薪械褌邪. 袛褉褍卸斜邪 褋 袛械谢芯褉褜械 褌芯卸械 芯屑褉邪褔械薪邪 锌褉械写锌芯褔褌械薪懈械屑 芯褌写邪褌褜 写械薪褜谐懈 袗褉薪褍 褋 芯褔械胁懈写薪褘屑 薪械胁芯蟹胁褉邪褌芯屑, 褔械屑 薪邪 锌芯屑芯褖褜 写褉褍谐褍. 袩芯薪褟褌薪芯, 褔褌芯 褍 薪械谐芯 薪邪 褝褌芯 械褋褌褜 锌芯谢薪芯械 锌褉邪胁芯. 小邪屑褘屑 谢褍褔褕懈屑 胁芯褋锌芯屑懈薪邪薪懈械屑 胁 褋胁芯械泄 卸懈蟹薪懈 袦芯褉芯 懈 袛械谢芯褉褜械 褋 谐褉褍褋褌褜褞 泻芯薪褋褌邪褌懈褉褍褞褌 褌芯褌 写械薪褜, 泻芯谐写邪 芯薪懈, 械褖械 褞薪褘械, 薪邪懈胁薪褘械 锌褉芯胁懈薪褑懈邪谢褘, 薪邪褉胁邪谢懈 褑胁械褌芯胁 懈 锌芯褕谢懈 褋 斜褍泻械褌邪屑懈 胁 斜芯褉写械谢褜, 谐写械 懈褏 芯褋屑械褟谢懈.
携 薪邪褔邪谢邪 褉械褑械薪蟹懈褞 褋 褉械蟹褞屑懈褉芯胁邪薪懈褟 芯 锌褍褋褌芯泄 卸懈蟹薪懈 肖褉械写械褉懈泻邪. 袧芯 褔械屑 卸械 芯斜褍褋谢芯胁懈谢邪褋褜 锌褍褋褌芯褌邪? 袧懈褔褌芯卸薪芯褋褌褜褞 褑械谢械泄 - 屑邪褌械褉懈邪谢褜薪芯械 斜谢邪谐芯锌芯谢褍褔懈械, 泻邪褉褜械褉邪, 屑懈屑芯谢械褌薪褘械 褋械泻褋褍邪谢褜薪褘械 褍褌械褏懈, 谢褞斜芯胁褜, 泻芯褌芯褉邪褟 斜褘谢邪 褋邪屑芯芯斜屑邪薪芯屑 - 械屑褍 薪械 褏胁邪褌懈谢芯 褉械褕懈屑芯褋褌懈 斜芯褉芯褌褜褋褟 蟹邪 薪械械. 协褌懈 褑械薪薪芯褋褌懈 薪械 胁褘写械褉卸懈胁邪褞褌 懈褋锌褘褌邪薪懈褟 胁褉械屑械薪械屑 懈 芯褋褌邪械褌褋褟 芯褖褍褖械薪懈械 褉邪蟹褉褍褕械薪薪褘褏 薪邪写械卸写. 袗 褋泻邪卸懈褌械, 锌芯卸邪谢褍泄褋褌邪, 褋泻芯谢褜泻芯 谢褞写械泄 卸懈胁褍褌 胁 锌芯谐芯薪械 蟹邪 锌芯写芯斜薪褘屑懈 褑械谢褟屑懈? 协褌芯褌 褉芯屑邪薪 褋褌邪胁懈褌 胁芯锌褉芯褋 - 写谢褟 褔械谐芯 卸懈褌褜? 袞懈褌褜, 褔褌芯斜褘 薪械 锌褉芯卸懈褌褜 械械 胁锌褍褋褌褍褞.
袙 褉芯屑邪薪械 械褋褌褜 懈薪褌械褉械褋薪褘械 胁褌芯褉芯褋褌械锌械薪薪褘械 锌械褉褋芯薪邪卸懈, 薪邪锌褉懈屑械褉, 屑邪写械屑褍邪蟹械谢褜 袙邪褌薪邪蟹, 泻芯褌芯褉邪褟 芯谢懈褑械褌胁芯褉褟械褌 锌褉械写褕械褋褌胁械薪薪懈褑褍 褎械屑懈薪懈蟹屑邪, 胁芯 胁褋褟泻芯屑 褋谢褍褔邪械, 械械 胁褘褋泻邪蟹褘胁邪薪懈褟 懈屑械褞褌 芯褌褔械褌谢懈胁褘泄 褎械屑懈薪懈褋褌褋泻懈泄 胁械泻褌芯褉.
袙 褑械谢芯屑, 肖谢芯斜械褉 薪邪褉懈褋芯胁邪谢 褔懈褌邪褌械谢褞 泻邪褉褌懈薪褍 褎褉邪薪褑褍蟹褋泻芯谐芯 芯斜褖械褋褌胁邪 薪邪泻邪薪褍薪械 懈 胁 锌械褉懈芯写 斜褍褉卸褍邪蟹薪芯泄 褉械胁芯谢褞褑懈懈 1848 谐芯写邪, 薪邪褋褌褉芯械薪懈褟, 写褍褏 褝锌芯褏懈, 芯斜褖械褋褌胁械薪薪芯泄 锌褋懈褏芯谢芯谐懈懈 懈 薪褉邪胁芯胁.
袙 写薪懈 褉械胁芯谢褞褑懈懈, 芯薪 芯褋褌邪胁邪谢褋褟 褉邪胁薪芯写褍褕薪褘屑 泻 褋褍写褜斜邪屑 褉芯写懈薪褘, 褏芯褌褟 锌褉械写锌褉懈薪懈屑邪谢 褋谢邪斜褘械 锌芯锌褘褌泻懈 "蟹邪薪褟褌褜褋褟 锌芯谢懈褌懈泻芯泄", 芯褋褌邪胁邪褟褋褜 写谢褟 褉邪斜芯褔懈褏 邪褉懈褋褌芯泻褉邪褌芯屑. 协褌芯, 胁 芯斜褖械屑-褌芯, 锌芯薪褟褌薪芯. 袣褌芯 卸械 锌芯泄写械褌 蟹邪 褔械谢芯胁械泻芯屑, 泻芯褌芯褉褘泄 薪械 芯蟹邪斜芯褔械薪 锌褉芯斜谢械屑邪屑懈 锌褉芯褌械褋褌褍褞褖懈褏, 邪 薪邪 胁芯谢薪械 薪邪褉芯写薪芯谐芯 谐薪械胁邪 写褍屑邪械褌 芯 谢懈褔薪褘褏 泻邪褉褜械褉薪褘褏 锌谢邪薪邪褏? 袙 褑械谢芯屑, 肖褉械写械褉懈泻 薪械 胁褘蟹褘胁邪械褌 斜芯谢褜褕懈褏 褋懈屑锌邪褌懈泄, 薪械褋屑芯褌褉褟 薪邪 胁械褉薪芯褋褌褜 懈 袦邪褉懈 袗褉薪褍, 懈 褋胁芯械屑褍 写褉褍谐褍 袛械谢芯褉褜械. 袝谐芯 谢褞斜芯胁褜 斜褘谢邪 锌芯谢懈谐邪屑薪邪, 褉邪蟹 谐芯褋锌芯卸邪 袗褉薪褍 薪械 锌褉懈褕谢邪, 褌芯 褋芯 蟹谢芯褋褌懈 芯薪 蟹芯胁褢褌 袪芯蟹邪薪械褌褌褍. 袞械薪褖懈薪褘 写谢褟 薪械谐芯 - 褉邪蟹屑械薪薪邪褟 屑芯薪械褌邪. 袛褉褍卸斜邪 褋 袛械谢芯褉褜械 褌芯卸械 芯屑褉邪褔械薪邪 锌褉械写锌芯褔褌械薪懈械屑 芯褌写邪褌褜 写械薪褜谐懈 袗褉薪褍 褋 芯褔械胁懈写薪褘屑 薪械胁芯蟹胁褉邪褌芯屑, 褔械屑 薪邪 锌芯屑芯褖褜 写褉褍谐褍. 袩芯薪褟褌薪芯, 褔褌芯 褍 薪械谐芯 薪邪 褝褌芯 械褋褌褜 锌芯谢薪芯械 锌褉邪胁芯. 小邪屑褘屑 谢褍褔褕懈屑 胁芯褋锌芯屑懈薪邪薪懈械屑 胁 褋胁芯械泄 卸懈蟹薪懈 袦芯褉芯 懈 袛械谢芯褉褜械 褋 谐褉褍褋褌褜褞 泻芯薪褋褌邪褌懈褉褍褞褌 褌芯褌 写械薪褜, 泻芯谐写邪 芯薪懈, 械褖械 褞薪褘械, 薪邪懈胁薪褘械 锌褉芯胁懈薪褑懈邪谢褘, 薪邪褉胁邪谢懈 褑胁械褌芯胁 懈 锌芯褕谢懈 褋 斜褍泻械褌邪屑懈 胁 斜芯褉写械谢褜, 谐写械 懈褏 芯褋屑械褟谢懈.
携 薪邪褔邪谢邪 褉械褑械薪蟹懈褞 褋 褉械蟹褞屑懈褉芯胁邪薪懈褟 芯 锌褍褋褌芯泄 卸懈蟹薪懈 肖褉械写械褉懈泻邪. 袧芯 褔械屑 卸械 芯斜褍褋谢芯胁懈谢邪褋褜 锌褍褋褌芯褌邪? 袧懈褔褌芯卸薪芯褋褌褜褞 褑械谢械泄 - 屑邪褌械褉懈邪谢褜薪芯械 斜谢邪谐芯锌芯谢褍褔懈械, 泻邪褉褜械褉邪, 屑懈屑芯谢械褌薪褘械 褋械泻褋褍邪谢褜薪褘械 褍褌械褏懈, 谢褞斜芯胁褜, 泻芯褌芯褉邪褟 斜褘谢邪 褋邪屑芯芯斜屑邪薪芯屑 - 械屑褍 薪械 褏胁邪褌懈谢芯 褉械褕懈屑芯褋褌懈 斜芯褉芯褌褜褋褟 蟹邪 薪械械. 协褌懈 褑械薪薪芯褋褌懈 薪械 胁褘写械褉卸懈胁邪褞褌 懈褋锌褘褌邪薪懈褟 胁褉械屑械薪械屑 懈 芯褋褌邪械褌褋褟 芯褖褍褖械薪懈械 褉邪蟹褉褍褕械薪薪褘褏 薪邪写械卸写. 袗 褋泻邪卸懈褌械, 锌芯卸邪谢褍泄褋褌邪, 褋泻芯谢褜泻芯 谢褞写械泄 卸懈胁褍褌 胁 锌芯谐芯薪械 蟹邪 锌芯写芯斜薪褘屑懈 褑械谢褟屑懈? 协褌芯褌 褉芯屑邪薪 褋褌邪胁懈褌 胁芯锌褉芯褋 - 写谢褟 褔械谐芯 卸懈褌褜? 袞懈褌褜, 褔褌芯斜褘 薪械 锌褉芯卸懈褌褜 械械 胁锌褍褋褌褍褞.
袙 褉芯屑邪薪械 械褋褌褜 懈薪褌械褉械褋薪褘械 胁褌芯褉芯褋褌械锌械薪薪褘械 锌械褉褋芯薪邪卸懈, 薪邪锌褉懈屑械褉, 屑邪写械屑褍邪蟹械谢褜 袙邪褌薪邪蟹, 泻芯褌芯褉邪褟 芯谢懈褑械褌胁芯褉褟械褌 锌褉械写褕械褋褌胁械薪薪懈褑褍 褎械屑懈薪懈蟹屑邪, 胁芯 胁褋褟泻芯屑 褋谢褍褔邪械, 械械 胁褘褋泻邪蟹褘胁邪薪懈褟 懈屑械褞褌 芯褌褔械褌谢懈胁褘泄 褎械屑懈薪懈褋褌褋泻懈泄 胁械泻褌芯褉.
袙 褑械谢芯屑, 肖谢芯斜械褉 薪邪褉懈褋芯胁邪谢 褔懈褌邪褌械谢褞 泻邪褉褌懈薪褍 褎褉邪薪褑褍蟹褋泻芯谐芯 芯斜褖械褋褌胁邪 薪邪泻邪薪褍薪械 懈 胁 锌械褉懈芯写 斜褍褉卸褍邪蟹薪芯泄 褉械胁芯谢褞褑懈懈 1848 谐芯写邪, 薪邪褋褌褉芯械薪懈褟, 写褍褏 褝锌芯褏懈, 芯斜褖械褋褌胁械薪薪芯泄 锌褋懈褏芯谢芯谐懈懈 懈 薪褉邪胁芯胁.
November 19, 2017
鈥庁堌池з嗁� 诏乇丕賳賯丿乇貙 賲賳 丕蹖賳 讴鬲丕亘 乇丕 亘丕 賳丕賲賽 "丌賲賵夭賴贁 爻賴卮 賴丕" 蹖丕 "丌賲賵夭卮 毓丕胤賮蹖" 賲蹖卮賳丕爻賲.. 賵賱蹖 丌賳趩賴 亘乇噩爻鬲賴 丕爻鬲 丕蹖賳 丕爻鬲 讴賴 賴丿賮賽 丕氐賱蹖 <诏賵爻鬲丕賵 賮賱賵亘乇> 丕夭 賳賵卮鬲賳賽 丕蹖賳 讴鬲丕亘貙 亘蹖丕賳賽 丕丨爻丕爻丕鬲賽 亘爻蹖丕乇 夭蹖丕丿賽 賮乇丕賳爻賵蹖 賴丕 賵 賴賲趩賳蹖賳 亘乇丌蹖賳丿 賴丕 賵 倬蹖 丌賲丿賴丕蹖賽 卮讴爻鬲賽 毓卮賯蹖 賲蹖亘丕卮丿.... 賮賱賵亘乇 趩蹖夭蹖 丿乇 丨丿賵丿賽 賴賮鬲 爻丕賱 丕夭 毓賲乇賽 禺賵蹖卮 乇丕 倬丕蹖賽 賳賵卮鬲賳賽 丕蹖賳 乇賲丕賳 賳賴丕丿
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鈥庁簇帝屫� 丕氐賱蹖 丿丕爻鬲丕賳貙 噩賵丕賳蹖 亘賴 賳丕賲賽 <賮乇丿乇蹖讴 賲購賵乇賵> 賲蹖亘丕卮丿.. 賮乇丿乇蹖讴 丿乇 爻丕賱賽 1840 賲蹖賱丕丿蹖 賴賲乇丕賴 亘丕 賲丕丿乇賽 禺賵丿 亘賴 卮賴乇賽 "賳賵跇丕賳 爻賵乇 爻賳" 爻賮乇 讴乇丿賴 賵 丿乇 丌賳噩丕 亘丕 夭賳蹖 夭蹖亘丕乇賵 亘賴 賳丕賲賽 <禺丕賳賲 丌乇賳賵> 丌卮賳丕 賲蹖卮賵丿.. 丿乇 賴賲丕賳 賳诏丕賴 賳禺爻鬲貙 蹖讴 丿賱 賳賴 氐丿 丿賱貙 毓丕卮賯 賵 丿賱亘丕禺鬲賴贁 丕蹖賳 夭賳 賲蹖卮賵丿.. 賵賱蹖 賲卮讴賱 丌賳噩丕爻鬲 讴賴 丕賵 卮賵賴乇 讴乇丿賴 丕爻鬲
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鈥庂佖必臂屭� 亘丕 卮賵賴乇賽 禺丕賳賲賽 丌乇賳賵 丌卮賳丕 賲蹖卮賵丿... 丕賵 賲乇丿蹖 禺賵卮 诏匕乇丕賳 賵 禺蹖丕賳鬲讴丕乇 賵 賴賵爻 乇丕賳 丕爻鬲 賵 卮睾賱卮 禺乇蹖丿 賵 賮乇賵卮賽 鬲丕亘賱賵賴丕蹖賽 賳賯丕卮蹖 賲蹖亘丕卮丿 賵 亘丕 夭賳賴丕蹖 夭蹖丕丿蹖 丿乇 賳賲丕蹖卮诏丕賴 賴丕 丌卮賳丕 卮丿賴 丕爻鬲... 乇夭丕賳鬲 賳蹖夭 賲毓卮賵賯賴贁 丕賵 亘賵丿賴 丕爻鬲 賵 爻倬爻 亘丕 賮乇丿乇蹖讴 丌卮賳丕 賲蹖卮賵丿... 賮乇丿乇蹖讴 丕賮爻賵爻 賲蹖禺賵乇丿 讴賴 趩乇丕 賲乇丿蹖 亘丕 禺丕賳賲 丌乇賳賵 丕爻鬲 讴賴 爻倬丕爻丿丕乇賽 丕蹖賳 夭賳 賳賲蹖亘丕卮丿 賵 趩乇丕 賳亘丕蹖丿 丕賵 亘賴 噩丕蹖賽 丌賳 賲乇丿賽 賴賵爻 亘丕夭貙 亘丕 禺丕賳賲賽 丌乇賳賵 夭賳丿诏蹖 讴賳丿
鈥庂佖必臂屭� 倬爻 丕夭 賲丿鬲蹖 丕夭 賴賲賴 趩蹖夭 賵 賴賲賴 讴爻 丿賱夭丿賴 賲蹖卮賵丿 賵 乇丕亘胤賴 丕卮 乇丕 亘丕 夭賳 賴丕 賳蹖夭 賯胤毓 讴乇丿賴 賵 丨鬲蹖 亘丕 <賱賵卅蹖夭> 讴賴 丕賵 乇丕 賲蹖倬乇爻鬲丿 賵 亘丕 丕賵 賯氐丿賽 丕夭丿賵丕噩 丿丕乇丿 賳蹖夭 賯胤毓 乇丕亘胤賴 賲蹖讴賳丿
鈥庁� 爻丕賱賽 1848 賲蹖賱丕丿蹖貙 卮賵乇卮 賵 丕賳賯賱丕亘 爻乇丕爻乇 賮乇丕賳爻賴 乇丕 夭蹖乇 賵 乇賵 讴乇丿賴 丕爻鬲.. 丿賵爻鬲丕賳賽 賮乇丿乇蹖讴 賴賲趩賵賳 <爻乇賳丕賱> 丿乇 丕蹖賳 卮賵乇卮 賴丕 卮乇讴鬲 賲蹖讴賳賳丿. 賵賱蹖 賮乇丿乇蹖讴 賴蹖趩诏賵賳賴 毓賱丕賯賴 丕蹖 亘賴 丕蹖賳 讴丕乇賴丕 賳卮丕賳 賳賲蹖丿賴丿 賵 禺賵丿 乇丕 丕夭 丿賵爻鬲丕賳賽 丕賳賯賱丕亘蹖賽 禺賵蹖卮 噩丿丕 賲蹖讴賳丿.... 丿乇 賴賲丕賳 乇賵夭賴丕 亘賴 胤賵乇 丕鬲賮丕賯蹖 亘丕 禺丕賳賲賽 丌乇賳賵貙 亘乇禺賵乇丿 賲蹖讴賳丿... 賵賱蹖 賴乇讴丕乇蹖 賲蹖讴賳丿 賳賲蹖鬲賵丕賳丿 亘賴 丕賵 亘诏賵蹖丿 讴賴 鬲丕 趩賴 丕賳丿丕夭賴 丿蹖賵丕賳賴 賵丕乇 丿賱亘丕禺鬲賴贁 丕賵 賲蹖亘丕卮丿... 丕賵 亘賴 噩丕蹖蹖 乇爻蹖丿賴 丕爻鬲 讴賴 丿蹖诏乇 亘乇丕蹖賽 乇爻蹖丿賳賽 亘賴 丌乇夭賵賴丕蹖卮 賴蹖趩 鬲賱丕卮蹖 賳賲蹖讴賳丿
鈥庁池必з嗀з呝� 丌賳 丕賳賯賱丕亘 賵 卮賵乇卮 賴丕貙 倬丕蹖丕賳賽 丨讴賵賲鬲賽 <賱賵蹖蹖 賮賱蹖倬> 賵 丌睾丕夭賽 噩賲賴賵乇蹖 丿賵賲賽 賮乇丕賳爻賴 丕爻鬲... 賮乇丿乇蹖讴 賳爻亘鬲 亘賴 爻乇賳賵卮鬲賽 爻乇夭賲蹖賳卮 賵 賴蹖噩丕賳丕鬲賽 丕賳賯賱丕亘 亘蹖 鬲賮丕賵鬲 丕爻鬲
鈥庁ㄛ屫池� 賵 賴賮鬲 爻丕賱 丕夭 賳禺爻鬲蹖賳 丿蹖丿丕乇賽 丕賵 亘丕 禺丕賳賲賽 丌乇賳賵 賲蹖诏匕乇丿... 賮乇丿乇蹖讴 亘賴 賴賲丕賳 卮賴乇蹖 讴賴 丿賱丿丕丿诏蹖 丕卮 丕夭 丌賳噩丕 丌睾丕夭 卮丿賴貙 亘丕夭 賲蹖诏乇丿丿 賵 丿丕爻鬲丕賳賽 夭賳丿诏蹖 丕卮 賵 丌賳 毓卮賯賽 賳丕賮乇噩丕賲 賵 睾賲 丕賳诏蹖夭 乇丕 亘乇丕蹖賽 丿賵爻鬲卮 <丿賱賵乇蹖赖> 亘丕夭诏賵 賲蹖讴賳丿
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鈥庁з呟屫堌ж辟� 丕蹖賳 乇蹖賵蹖賵 丿乇 噩賴鬲賽 卮賳丕禺鬲賽 丕蹖賳 讴鬲丕亘貙 讴丕賮蹖 賵 賲賮蹖丿 亘賵丿賴 亘丕卮賴
鈥�<倬蹖乇賵夭亘丕卮蹖丿 賵 丕蹖乇丕賳蹖>
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鈥庁簇帝屫� 丕氐賱蹖 丿丕爻鬲丕賳貙 噩賵丕賳蹖 亘賴 賳丕賲賽 <賮乇丿乇蹖讴 賲購賵乇賵> 賲蹖亘丕卮丿.. 賮乇丿乇蹖讴 丿乇 爻丕賱賽 1840 賲蹖賱丕丿蹖 賴賲乇丕賴 亘丕 賲丕丿乇賽 禺賵丿 亘賴 卮賴乇賽 "賳賵跇丕賳 爻賵乇 爻賳" 爻賮乇 讴乇丿賴 賵 丿乇 丌賳噩丕 亘丕 夭賳蹖 夭蹖亘丕乇賵 亘賴 賳丕賲賽 <禺丕賳賲 丌乇賳賵> 丌卮賳丕 賲蹖卮賵丿.. 丿乇 賴賲丕賳 賳诏丕賴 賳禺爻鬲貙 蹖讴 丿賱 賳賴 氐丿 丿賱貙 毓丕卮賯 賵 丿賱亘丕禺鬲賴贁 丕蹖賳 夭賳 賲蹖卮賵丿.. 賵賱蹖 賲卮讴賱 丌賳噩丕爻鬲 讴賴 丕賵 卮賵賴乇 讴乇丿賴 丕爻鬲
鈥庂佖必臂屭� 亘丕 丿丕睾蹖 讴賴 亘乇 丿賱 丿丕乇丿 亘賴 倬丕乇蹖爻 亘丕夭 賲蹖诏乇丿丿貙 賵賱蹖 賳賲蹖鬲賵丕賳丿 毓卮賯賽 亘賴 <禺丕賳賲賽 丌乇賳賵> 乇丕 賮乇丕賲賵卮 讴賳丿... 賳丕丕賲蹖丿蹖 賵 爻亘購讴 爻乇蹖 丿乇 夭賳丿诏蹖賽 丕賵 賲賵噩 賲蹖夭賳丿... 鬲賲丕賲賽 賵賯鬲卮 乇丕 亘乇 诏卮鬲 賵 诏匕丕乇 賵 乇賮鬲 賵 丌賲丿 亘丕 丿丕賳卮噩賵蹖丕賳 賵 亘丕夭丕乇蹖丕賳 賵 賴賳乇賲賳丿丕賳 賲蹖诏匕乇丕賳丿... 丕賵 丿乇 夭賳丿诏蹖賽 禺賵蹖卮 賲毓卮賵賯賴 賴丕蹖蹖 丿丕乇丿 讴賴 丕夭 賳馗乇 爻賳蹖 丕夭 丕賵 亘夭乇诏鬲乇 賴爻鬲賳丿.. <禺丕賳賲 丿丕賲亘乇賵夭> 讴賴 夭賳蹖 孬乇賵鬲賲賳丿 丕爻鬲 賵 <禺丕賳賲 乇夭丕賳鬲> 讴賴 鬲賲丕賲 賵賯鬲卮 乇丕 丿乇 丌鬲賱蹖賴 賵 賳賲丕蹖卮诏丕賴 賴丕 爻倬乇蹖 賲蹖讴賳丿... 噩丕賱亘 丕爻鬲 亘丿丕賳蹖丿 讴賴 丕夭 亘乇禺蹖 噩賴丕鬲 卮禺氐蹖鬲賽 賮乇丿乇蹖讴 卮亘蹖賴 亘賴 卮禺氐蹖鬲賽 賳賵蹖爻賳丿賴贁 讴鬲丕亘 丕爻鬲... <诏賵爻鬲丕賵 賮賱賵亘乇> 賳蹖夭 丿乇 噩賵丕賳蹖 爻賴 賲毓卮賵賯賴 丿丕卮鬲 讴賴 賴賲诏蹖 丕夭 賳馗乇 爻賳蹖 丕夭 丕賵 亘夭乇诏鬲乇 亘賵丿賳丿
鈥庂佖必臂屭� 亘丕 卮賵賴乇賽 禺丕賳賲賽 丌乇賳賵 丌卮賳丕 賲蹖卮賵丿... 丕賵 賲乇丿蹖 禺賵卮 诏匕乇丕賳 賵 禺蹖丕賳鬲讴丕乇 賵 賴賵爻 乇丕賳 丕爻鬲 賵 卮睾賱卮 禺乇蹖丿 賵 賮乇賵卮賽 鬲丕亘賱賵賴丕蹖賽 賳賯丕卮蹖 賲蹖亘丕卮丿 賵 亘丕 夭賳賴丕蹖 夭蹖丕丿蹖 丿乇 賳賲丕蹖卮诏丕賴 賴丕 丌卮賳丕 卮丿賴 丕爻鬲... 乇夭丕賳鬲 賳蹖夭 賲毓卮賵賯賴贁 丕賵 亘賵丿賴 丕爻鬲 賵 爻倬爻 亘丕 賮乇丿乇蹖讴 丌卮賳丕 賲蹖卮賵丿... 賮乇丿乇蹖讴 丕賮爻賵爻 賲蹖禺賵乇丿 讴賴 趩乇丕 賲乇丿蹖 亘丕 禺丕賳賲 丌乇賳賵 丕爻鬲 讴賴 爻倬丕爻丿丕乇賽 丕蹖賳 夭賳 賳賲蹖亘丕卮丿 賵 趩乇丕 賳亘丕蹖丿 丕賵 亘賴 噩丕蹖賽 丌賳 賲乇丿賽 賴賵爻 亘丕夭貙 亘丕 禺丕賳賲賽 丌乇賳賵 夭賳丿诏蹖 讴賳丿
鈥庂佖必臂屭� 倬爻 丕夭 賲丿鬲蹖 丕夭 賴賲賴 趩蹖夭 賵 賴賲賴 讴爻 丿賱夭丿賴 賲蹖卮賵丿 賵 乇丕亘胤賴 丕卮 乇丕 亘丕 夭賳 賴丕 賳蹖夭 賯胤毓 讴乇丿賴 賵 丨鬲蹖 亘丕 <賱賵卅蹖夭> 讴賴 丕賵 乇丕 賲蹖倬乇爻鬲丿 賵 亘丕 丕賵 賯氐丿賽 丕夭丿賵丕噩 丿丕乇丿 賳蹖夭 賯胤毓 乇丕亘胤賴 賲蹖讴賳丿
鈥庁� 爻丕賱賽 1848 賲蹖賱丕丿蹖貙 卮賵乇卮 賵 丕賳賯賱丕亘 爻乇丕爻乇 賮乇丕賳爻賴 乇丕 夭蹖乇 賵 乇賵 讴乇丿賴 丕爻鬲.. 丿賵爻鬲丕賳賽 賮乇丿乇蹖讴 賴賲趩賵賳 <爻乇賳丕賱> 丿乇 丕蹖賳 卮賵乇卮 賴丕 卮乇讴鬲 賲蹖讴賳賳丿. 賵賱蹖 賮乇丿乇蹖讴 賴蹖趩诏賵賳賴 毓賱丕賯賴 丕蹖 亘賴 丕蹖賳 讴丕乇賴丕 賳卮丕賳 賳賲蹖丿賴丿 賵 禺賵丿 乇丕 丕夭 丿賵爻鬲丕賳賽 丕賳賯賱丕亘蹖賽 禺賵蹖卮 噩丿丕 賲蹖讴賳丿.... 丿乇 賴賲丕賳 乇賵夭賴丕 亘賴 胤賵乇 丕鬲賮丕賯蹖 亘丕 禺丕賳賲賽 丌乇賳賵貙 亘乇禺賵乇丿 賲蹖讴賳丿... 賵賱蹖 賴乇讴丕乇蹖 賲蹖讴賳丿 賳賲蹖鬲賵丕賳丿 亘賴 丕賵 亘诏賵蹖丿 讴賴 鬲丕 趩賴 丕賳丿丕夭賴 丿蹖賵丕賳賴 賵丕乇 丿賱亘丕禺鬲賴贁 丕賵 賲蹖亘丕卮丿... 丕賵 亘賴 噩丕蹖蹖 乇爻蹖丿賴 丕爻鬲 讴賴 丿蹖诏乇 亘乇丕蹖賽 乇爻蹖丿賳賽 亘賴 丌乇夭賵賴丕蹖卮 賴蹖趩 鬲賱丕卮蹖 賳賲蹖讴賳丿
鈥庁池必з嗀з呝� 丌賳 丕賳賯賱丕亘 賵 卮賵乇卮 賴丕貙 倬丕蹖丕賳賽 丨讴賵賲鬲賽 <賱賵蹖蹖 賮賱蹖倬> 賵 丌睾丕夭賽 噩賲賴賵乇蹖 丿賵賲賽 賮乇丕賳爻賴 丕爻鬲... 賮乇丿乇蹖讴 賳爻亘鬲 亘賴 爻乇賳賵卮鬲賽 爻乇夭賲蹖賳卮 賵 賴蹖噩丕賳丕鬲賽 丕賳賯賱丕亘 亘蹖 鬲賮丕賵鬲 丕爻鬲
鈥庁ㄛ屫池� 賵 賴賮鬲 爻丕賱 丕夭 賳禺爻鬲蹖賳 丿蹖丿丕乇賽 丕賵 亘丕 禺丕賳賲賽 丌乇賳賵 賲蹖诏匕乇丿... 賮乇丿乇蹖讴 亘賴 賴賲丕賳 卮賴乇蹖 讴賴 丿賱丿丕丿诏蹖 丕卮 丕夭 丌賳噩丕 丌睾丕夭 卮丿賴貙 亘丕夭 賲蹖诏乇丿丿 賵 丿丕爻鬲丕賳賽 夭賳丿诏蹖 丕卮 賵 丌賳 毓卮賯賽 賳丕賮乇噩丕賲 賵 睾賲 丕賳诏蹖夭 乇丕 亘乇丕蹖賽 丿賵爻鬲卮 <丿賱賵乇蹖赖> 亘丕夭诏賵 賲蹖讴賳丿
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鈥庁з呟屫堌ж辟� 丕蹖賳 乇蹖賵蹖賵 丿乇 噩賴鬲賽 卮賳丕禺鬲賽 丕蹖賳 讴鬲丕亘貙 讴丕賮蹖 賵 賲賮蹖丿 亘賵丿賴 亘丕卮賴
鈥�<倬蹖乇賵夭亘丕卮蹖丿 賵 丕蹖乇丕賳蹖>
October 10, 2019
in una delle scene pi霉 youtoubate di manhattan, woody allen colloca 濒鈥檈诲耻肠补锄颈辞苍别 sentimentale di flaubert al sesto posto, in ordine di comparizione, nell鈥檈lenco delle cose per cui vale la pena vivere. per dovere d鈥檌nventario, subito dopo i film svedesi (芦naturalmente禄) e prima di marlon brando e frank sinatra.
ed 猫 un curioso contrappasso per questo immenso romanzo (e pace se il plot preferisce le slabbrature ai colpi di scena, e se qui dentro non si trova un eroe che sia uno: flaubert aveva in uggia il romanzesco in s茅, e ci ha messo 5 anni per creare quest鈥檕pera a modo suo. ma ne 猫 uscito, appunto, un immenso romanzo) dicevo che 猫 un curioso contrappasso, la lista in cui allen inserisce 濒鈥檈诲耻肠补锄颈辞苍别. perch茅 girata l鈥檜ltima pagina, la prima cosa che ragionevolmente ci si chiede 猫 proprio per cosa davvero ha vissuto fr茅d茅ric moreau. per cosa, se il grande amore della sua vita 猫 rimasto nella categoria miraggio, e se il dialogo che chiude le quasi 500 pagine sancisce che, per la strabenedetta educazione sentimentale del titolo, niente 猫 stato pi霉 istruttivo di qualcosa avvenuto prima che tutto iniziasse. qualcosa che sembrava niente, ma aveva in s茅 l鈥檈ntusiasmo non ancora corroso dalla disillusione. perch茅 pur essendo stato pensato nella francia di met脿 dell鈥�800, il protagonista fr茅d茅ric fa la fine della giovane promessa di arbasiniana definizione. e per tutto il libro noi perdiamo leggerezza e fiducia a palate, insieme a lui.
(detto ci貌: pi霉 flaubert per tutti, sempre).
ed 猫 un curioso contrappasso per questo immenso romanzo (e pace se il plot preferisce le slabbrature ai colpi di scena, e se qui dentro non si trova un eroe che sia uno: flaubert aveva in uggia il romanzesco in s茅, e ci ha messo 5 anni per creare quest鈥檕pera a modo suo. ma ne 猫 uscito, appunto, un immenso romanzo) dicevo che 猫 un curioso contrappasso, la lista in cui allen inserisce 濒鈥檈诲耻肠补锄颈辞苍别. perch茅 girata l鈥檜ltima pagina, la prima cosa che ragionevolmente ci si chiede 猫 proprio per cosa davvero ha vissuto fr茅d茅ric moreau. per cosa, se il grande amore della sua vita 猫 rimasto nella categoria miraggio, e se il dialogo che chiude le quasi 500 pagine sancisce che, per la strabenedetta educazione sentimentale del titolo, niente 猫 stato pi霉 istruttivo di qualcosa avvenuto prima che tutto iniziasse. qualcosa che sembrava niente, ma aveva in s茅 l鈥檈ntusiasmo non ancora corroso dalla disillusione. perch茅 pur essendo stato pensato nella francia di met脿 dell鈥�800, il protagonista fr茅d茅ric fa la fine della giovane promessa di arbasiniana definizione. e per tutto il libro noi perdiamo leggerezza e fiducia a palate, insieme a lui.
(detto ci貌: pi霉 flaubert per tutti, sempre).
June 23, 2024
In the letter to his mistress, Louise Colet, Gustav Flaubert wrote:
In this novel, both Flauberts work in a fabulous ensemble and achieve a very special result. I personally fell for attraction of Flaubert-2. There were many moments in this book he succeeded in making me 鈥減hysically feel the things he showed鈥�. He has infected me with the poetry of 鈥渁 humble鈥� moments as well as multitudes those moments tend to contained.
As a result, there will be a lot of quoting Flaubert in what follows as i just cannot restrain myself in my delight of his way with the words. For example, Paris:
This is timeless. It is a moment I could have enjoyed while in Paris almost two centuries later. Flaubert manages to make this image very vivid, very poignant and totally complete: it cannot be bettered by adding or taking a way a single word.
Another moment comes just after a insurrection was brutally put down on the streets:
This contrast of a crying old man versus blue sky and singing birds tells much more about the tragedy in one sentence compared to endless paragraphs of detailed descriptions someone else might have required. There is something of Chekhov in this phrase. Only Chekhov came later of course; so very likely this comparison should work other way.
But the main tool of Flaubert-2 is irony. The whole edifice of this novel is an exercise on the whole spectrum from the mildly comic to angry, sad or grotesque.
His reconstructions of various social gatherings are incredibly astute and very funny. They also have not dated at all in spite of internet age, post-truth, AI, etc. He describes parties, political meetings, banker鈥檚 dinners and a lot more. Other writers would create these scenes in a way that I would usually diligently skip. Not Flaubert. A costumed party given by a famous courtesan ends as follows:
Some of those people were also present in this room, but in a different capacity, one might hope:
The one of the funniest episode is a duel. Duel has been a trope of the European literature since the 17th century at least. It is always a tragedy, tragic mistake, an honourable act. Not in Flaubert hands. He subverts it revealing all the absurd of this tradition. In this novel, the duel is a comic farce with both participants look pathetic for different reasons, and no one gets hurt. Someone said that the distance between the great and the pathetic is really a single step. I was thinking about it a lot while reading this novel.
Occasionally his irony is getting angrier:
One could say Flaubert is merciless. But i found this ability to laugh at serious issues a very valuable skill. Sometimes I feel it has been lost in some examples of our contemporary debates and also in literature. Can this loss be a side effect of achievement the wider democratisation of the western society in the last century or so? I doubt it follows. At least i hope not necessary. We still should be able to laugh.
In extreme, Flaubert skilfully utilises the bombshell of grotesque:
Who can create more powerful and meaningful symbolism than a prostitute as a statue of Liberty. This symbol still has not lost its actuality and probably never will.
鈥淪entimental education鈥� the main character, Frederic, gets through his life cannot escape the ironic gaze either. A few decades after the novel, Joris-Karl Huysmans said that the novel genre was somewhat in a crisis in the 60s as it mainly addressed 鈥渨hy did Monsieur So-and-So commit (or fail to commit) adultery with Madame So-and-So;鈥�. On the surface this is exactly this novel. We are evidencing the shenanigans of Frederic between several women that are becoming (shenanigans, not women; but they are also actually) progressively more cynical and difficult to manage. Flaubert shows how the society and simple fact of experiencing life manages to 鈥渕ould鈥� an idealistic youth into a disillusioned man. But the irony is that he just about manages to get hold of an ideal. And when he faces the last and only chance to test it with reality, he choses not to do it. And his motivation, it seems, is pretty egoistic.
However, it is not only Flaubert-2 does heavy lifting. Flaubert-1 has also works hard. The novel is meticulously researched. Apparently, it took Flaubert more than five years to write it. He checked and researched all details including into the novel including production processes, political events, even shoes and type of china used. However, the research is never 鈥渟ticking out from the stitches鈥� or become an 鈥渋nformation dump鈥� as it is often happens in the novels written in our age. The dialogues of his characters discussing contemporary ideas sound like conversation not like a lecture in politics. These people were the children of the French revolution. By itself they鈥檝e lived through the unrest of 1848-51; the majority have participated in it in some form or another. All of this forms the part of 鈥渂ig canvas鈥� by Flaubert-1. However, interestingly, many of these debates and even the language of their discourse would not be out of place in our time.
This is the conversation between Frederic and his friend. To keep it nuanced, i will need a lengthy quote:
The debate is still ongoing it seems. But hopefully they are both wrong, at least partly in their conclusions.
This is the novel to revitalise my tainted belief that realism can be exciting and delightful if it is done by a great artist. However, I want to finish with Flaubert鈥檚 dream. In the one of his letters, he wrote:
I am not sure Flaubert has written such a book himself. But he has created the space. And in the 20th centuries the others like abstract visual artists and the writers like Borges, Beckett and Kafka could fill it in.
鈥淭here are, literally speaking, two distinct people within me. The one is in love with bombast, lyricism, great eagle-like flights, sonorities of phrasing and the grandest of ideas; the other scratches and digs down into the truth as far as he can, loves acknowledging a humble fact just as much as a large one, wants to make you almost physically feel the things he shows you; this latter one loves to laugh, and delights in the animality of the human being.鈥�
In this novel, both Flauberts work in a fabulous ensemble and achieve a very special result. I personally fell for attraction of Flaubert-2. There were many moments in this book he succeeded in making me 鈥減hysically feel the things he showed鈥�. He has infected me with the poetry of 鈥渁 humble鈥� moments as well as multitudes those moments tend to contained.
As a result, there will be a lot of quoting Flaubert in what follows as i just cannot restrain myself in my delight of his way with the words. For example, Paris:
鈥淧ink clouds were floating like scarves above the rooftops; the awnings of the shops were being rolled up; water-carts were pouring a fine rain on the dust; and an unusual freshness was mingling with the smells from the caf茅s, where, through the open doors, between the silver and gilt decorations, bouquets of flowers could be seen reflected in the tall mirrors鈥�.
This is timeless. It is a moment I could have enjoyed while in Paris almost two centuries later. Flaubert manages to make this image very vivid, very poignant and totally complete: it cannot be bettered by adding or taking a way a single word.
Another moment comes just after a insurrection was brutally put down on the streets:
鈥淎n old man in his shirtsleeves was weeping at an open window, his eyes raised towards the sky. The Seine was flowing peacefully by. The sky was blue; birds were singing in the trees of the Tuileries.鈥�
This contrast of a crying old man versus blue sky and singing birds tells much more about the tragedy in one sentence compared to endless paragraphs of detailed descriptions someone else might have required. There is something of Chekhov in this phrase. Only Chekhov came later of course; so very likely this comparison should work other way.
But the main tool of Flaubert-2 is irony. The whole edifice of this novel is an exercise on the whole spectrum from the mildly comic to angry, sad or grotesque.
His reconstructions of various social gatherings are incredibly astute and very funny. They also have not dated at all in spite of internet age, post-truth, AI, etc. He describes parties, political meetings, banker鈥檚 dinners and a lot more. Other writers would create these scenes in a way that I would usually diligently skip. Not Flaubert. A costumed party given by a famous courtesan ends as follows:
鈥淭he Angel was still in the dining-room, tucking into a mixture of butter and sardines; and the Fishwife, sitting beside her, was smoking cigarettes and giving her advice about life. At last the cabs arrived and the guests left...But the Angel, a prey to the first symptoms of indigestion, could not get up. The Medieval Knight carried her to the cab. 鈥楳ind her wings!鈥� shouted the Stevedore through the window. On the landing Mademoiselle Vatnaz said to Rosanette: 鈥楪oodbye, my dear! It was a lovely party!鈥欌€�
Some of those people were also present in this room, but in a different capacity, one might hope:
鈥淭here were a great many grey heads and wigs; here and there a bald pate glistened; and the faces, which were either flushed or very pale, revealed in their degeneration the traces of an immense weariness, for the men there were mostly in politics or business.鈥�
The one of the funniest episode is a duel. Duel has been a trope of the European literature since the 17th century at least. It is always a tragedy, tragic mistake, an honourable act. Not in Flaubert hands. He subverts it revealing all the absurd of this tradition. In this novel, the duel is a comic farce with both participants look pathetic for different reasons, and no one gets hurt. Someone said that the distance between the great and the pathetic is really a single step. I was thinking about it a lot while reading this novel.
Occasionally his irony is getting angrier:
"She was one of those Parisian spinsters who, every evening, when they have given their lessons, or tried to sell their little drawings or place their pitiful manuscripts, go home with mud on their petticoats, cook their dinner, eat it all alone, and then, with their feet on a foot-warmer, by the light of a smoking lamp, dream of a love-affair, a family, a home, a fortune 鈥� all the things they haven鈥檛 got. Consequently, like many others, she had greeted the Revolution as the harbinger of revenge; she was devoting herself passionately to Socialist propaganda. According to Mademoiselle Vatnaz, the emancipation of the proletariat was possible only through the emancipation of women....And seeing that the Government did not recognize their rights, they would have to conquer force by force. Ten thousand citizenesses, armed with good muskets, could make the H么tel de Ville tremble.鈥�
One could say Flaubert is merciless. But i found this ability to laugh at serious issues a very valuable skill. Sometimes I feel it has been lost in some examples of our contemporary debates and also in literature. Can this loss be a side effect of achievement the wider democratisation of the western society in the last century or so? I doubt it follows. At least i hope not necessary. We still should be able to laugh.
In extreme, Flaubert skilfully utilises the bombshell of grotesque:
鈥淚n the entrance-hall, standing on a pile of clothes, a prostitute was posing as a statue of Liberty, motionless and terrifying, with her eyes wide open."
Who can create more powerful and meaningful symbolism than a prostitute as a statue of Liberty. This symbol still has not lost its actuality and probably never will.
鈥淪entimental education鈥� the main character, Frederic, gets through his life cannot escape the ironic gaze either. A few decades after the novel, Joris-Karl Huysmans said that the novel genre was somewhat in a crisis in the 60s as it mainly addressed 鈥渨hy did Monsieur So-and-So commit (or fail to commit) adultery with Madame So-and-So;鈥�. On the surface this is exactly this novel. We are evidencing the shenanigans of Frederic between several women that are becoming (shenanigans, not women; but they are also actually) progressively more cynical and difficult to manage. Flaubert shows how the society and simple fact of experiencing life manages to 鈥渕ould鈥� an idealistic youth into a disillusioned man. But the irony is that he just about manages to get hold of an ideal. And when he faces the last and only chance to test it with reality, he choses not to do it. And his motivation, it seems, is pretty egoistic.
However, it is not only Flaubert-2 does heavy lifting. Flaubert-1 has also works hard. The novel is meticulously researched. Apparently, it took Flaubert more than five years to write it. He checked and researched all details including into the novel including production processes, political events, even shoes and type of china used. However, the research is never 鈥渟ticking out from the stitches鈥� or become an 鈥渋nformation dump鈥� as it is often happens in the novels written in our age. The dialogues of his characters discussing contemporary ideas sound like conversation not like a lecture in politics. These people were the children of the French revolution. By itself they鈥檝e lived through the unrest of 1848-51; the majority have participated in it in some form or another. All of this forms the part of 鈥渂ig canvas鈥� by Flaubert-1. However, interestingly, many of these debates and even the language of their discourse would not be out of place in our time.
This is the conversation between Frederic and his friend. To keep it nuanced, i will need a lengthy quote:
鈥楤ecause, just like the manufacturers who want to exclude foreign goods, these gentlemen (workers and other lower classes) demand the expulsion of all workers from England, Germany, Belgium, and Savoy. As for their intelligence, what good did their famous guilds do them under the Restoration? In 1830 they joined the National Guard, without even having the sense to get control of it! And, as soon as 鈥� 48 was over, didn鈥檛 the trade unions appear again with their own special banners? They even wanted their own representatives in the Chamber, who would have spoken just for them! Just like the beetroot deputies who never worry about anything but beetroot! Oh, I鈥檝e had enough of those fellows! First they grovelled in front of Robespierre鈥檚 scaffold, then it was the Emperor鈥檚 boots, and after that Louis-Philippe鈥檚 umbrella. Scum, that鈥檚 what they are, always ready to serve anybody who鈥檒l stuff their mouths with bread! People are always condemning the venality of Talleyrand and Mirabeau; but the messenger downstairs would sell his country for fifty centimes if you promised him a tariff of three francs for every errand he ran! Oh, what a mess we鈥檙e in! We ought to have set fire to every corner of Europe!鈥�
Fr茅d茅ric replied: 鈥楾he spark was missing. You were just a lot of little shopkeepers at heart, and the best of you were doctrinaires. As for the workers, they鈥檝e got every reason to complain; for apart from a million taken from the Civil List, which you granted them with the vilest flattery, you鈥檝e given them nothing but fine phrases. The wages book remains in the employer鈥檚 hands, and the employee, even before the law, is still inferior to his master, because nobody takes his word. Altogether, the Republic strikes me as out of date. Who knows? Perhaps progress can only be achieved through an aristocracy or a single man. The initiative always comes from above. The people are still immature, whatever you may say.鈥�
The debate is still ongoing it seems. But hopefully they are both wrong, at least partly in their conclusions.
This is the novel to revitalise my tainted belief that realism can be exciting and delightful if it is done by a great artist. However, I want to finish with Flaubert鈥檚 dream. In the one of his letters, he wrote:
鈥淲hat seems beautiful to me, what I would most like to write, is a book about nothing, a book that is connected to nothing outside itself, one that would be held together strictly by the strength of its style, just like the earth which, hanging suspended in space, depends on nothing external to support it; a book that would have almost no subject, or at least one where the subject would be nearly invisible, if it could be done. The finest works are those that contain the least matter; the closer that the expression comes to the thought, the closer language comes to coinciding and blending into it, the more beautiful. I believe that the future of Art lies in this direction. .. This is why there is no such thing as an elevated or a degraded subject, and why one could almost set it up as an axiom that from the point of view of pure Art, there is no subject, style being in itself an absolute way of seeing things.鈥�
I am not sure Flaubert has written such a book himself. But he has created the space. And in the 20th centuries the others like abstract visual artists and the writers like Borges, Beckett and Kafka could fill it in.
March 9, 2016
Floberovo "Sentimentalno vaspitanje" je knjiga koja po膷inje u ranoj mladosti, a zavr拧ava se u ranoj starosti jednog pametnog, ali previ拧e ose膰ajnog Francuza sa umetni膷kim senzibilitetom, Frederika Moroa, na 膷ijem primeru se pokazuje i kako ne tako surove 啪ivotne okolnosti (izuzimaju膰i Revoluciju koja je na nivou epizodnog lika u o膷ima Frederika) vrlo lako mogu da ubu膽ave mladala膷ke snove i ambicije.
Istina, Frederik nije ba拧 nevina 啪rtva: nije da se ne anga啪uje u cilju te propasti, sve i da je taj anga啪man nekakava samopovodljivost ni za 膷im, gotovo strastvena ambivalentnost (da, sve paradoksi), on lebdi iznad i izvan 啪ivota, menjaju膰i stvarnost za iluzije a iluzije za 啪ivot. Na kraju nema lekcije, a mi nemamo ose膰aj kru啪enja po istoj putanji.
Frederik je od onih likova koji, naizgled, sve rade pogre拧no, ali za 膷ije postupke ne nalazite alternativu (u tom smislu, roman je hermeti膷ki zatvoren). Svakako me膽u najzanimljivijim knji啪evnim likovima za koje znam.
Iako je glavni motiv (momenat iz Floberove biografije tako膽e) celo啪ivotna ljubav prema jednoj 啪eni, u roman su uklopljene jo拧 3, koje Ingrid 艩afanek poredi sa 4 elementa koja bi mogla da 膷ine nekakvu celinu Frederikovih potreba. Pogre拧no bi bilo sklapati od njih idealnu jednu, to nije namera.
Ovo nije ljubavni roman, makar ne u mom shvatanju. Pre bih ga svrstala u grupu onih 拧to postavljaju pitanje "拧ta bismo menjali kad bismo 啪iveli u svetu najboljem od svih?".
Ka啪u da je Flober hteo da prika啪e izgubljenost svoje generacije, ali se namestilo da su i potonje izgubljene u sli膷noj meri i na sli膷an na膷in, pa mu je vanvremenost do拧la gratis. Dodu拧e, sa zaka拧njenjem, budu膰i da ni kritiku ni publiku Sentimentalno vaspitanje nije fasciniralo. Ali jeste D啪ojsa, Hamsuna, Prusta, Kafku (koji se nije odvajao od francuskog izdanja ove knjige).
Struktura romana, jezik i stil su ne拧to o 膷emu ne treba govoriti: sumnjam da i拧ta mo啪e biti toliko sivo i gorko u toj koli膷ini sjaja i slatko膰e.
Velika preporuka!
Istina, Frederik nije ba拧 nevina 啪rtva: nije da se ne anga啪uje u cilju te propasti, sve i da je taj anga啪man nekakava samopovodljivost ni za 膷im, gotovo strastvena ambivalentnost (da, sve paradoksi), on lebdi iznad i izvan 啪ivota, menjaju膰i stvarnost za iluzije a iluzije za 啪ivot. Na kraju nema lekcije, a mi nemamo ose膰aj kru啪enja po istoj putanji.
Frederik je od onih likova koji, naizgled, sve rade pogre拧no, ali za 膷ije postupke ne nalazite alternativu (u tom smislu, roman je hermeti膷ki zatvoren). Svakako me膽u najzanimljivijim knji啪evnim likovima za koje znam.
Iako je glavni motiv (momenat iz Floberove biografije tako膽e) celo啪ivotna ljubav prema jednoj 啪eni, u roman su uklopljene jo拧 3, koje Ingrid 艩afanek poredi sa 4 elementa koja bi mogla da 膷ine nekakvu celinu Frederikovih potreba. Pogre拧no bi bilo sklapati od njih idealnu jednu, to nije namera.
Ovo nije ljubavni roman, makar ne u mom shvatanju. Pre bih ga svrstala u grupu onih 拧to postavljaju pitanje "拧ta bismo menjali kad bismo 啪iveli u svetu najboljem od svih?".
Ka啪u da je Flober hteo da prika啪e izgubljenost svoje generacije, ali se namestilo da su i potonje izgubljene u sli膷noj meri i na sli膷an na膷in, pa mu je vanvremenost do拧la gratis. Dodu拧e, sa zaka拧njenjem, budu膰i da ni kritiku ni publiku Sentimentalno vaspitanje nije fasciniralo. Ali jeste D啪ojsa, Hamsuna, Prusta, Kafku (koji se nije odvajao od francuskog izdanja ove knjige).
Struktura romana, jezik i stil su ne拧to o 膷emu ne treba govoriti: sumnjam da i拧ta mo啪e biti toliko sivo i gorko u toj koli膷ini sjaja i slatko膰e.
Velika preporuka!
July 24, 2012
Finished. What an achievement. Writing it, not reading it.
I marvel that he has written a book with no character for which one could have a shred of sympathy and yet somehow we sit there caring what happens. I mean, really caring, reading through breakfast caring.
I kept thinking of The Great Gatsby when Nick says to Jay "They're a rotten crowd...You're worth the whole damn bunch put together." and isn't that what makes the book work, that there is somebody worthy of our caring. But here there isn't one character to redeem the story and yet, even so, even though they are rotten without exception, still Flaubert gets you to care. Amazing.
And then again, I marvel that the book is a complete shambles -
The rest is here.....
December 29, 2021
Best book I read in April 2021
鈥淵o hab铆a cre铆do, cuando lleg贸 la Revoluci贸n, que ser铆amos felices. 驴Se acuerda usted qu茅 hermoso era aquello? 隆Qu茅 bien se respiraba! Pero estamos peor que nunca.鈥�
Esta novela me ha sorprendido mucho. Por una parte, porque hall茅 en ella m谩s de lo que pensaba encontrarme. Y es que en cada sinopsis que leo casi siempre dice lo mismo: el inter茅s amoroso que persigue Fr茅d茅ric Moreau, un estudiante de primer a帽o de derecho, hacia la se帽ora Arnoux, una mujer casada, a quien conoce en una embarcaci贸n y de quien se enamora instant谩neamente; y es verdad, ese es el hilo principal de la novela, pero en parte.
Yo dir铆a que alrededor de la mitad del libro se centra en mostrarnos la situaci贸n pol铆tica, social, y en algunos casos econ贸mica y cultural, en la que se encontraba Francia en el periodo en que se desarrolla la obra (desde 1840 hasta la Revoluci贸n de 1848 y unos cuantos a帽os posteriores).
Me atrevo a decir, bajo mi punto de vista, que la historia de amor de nuestro protagonista es una excusa para hilar una cr铆tica social, siendo m谩s espec铆fico, a la sociedad parisina de dicha 茅poca. Una excusa perfecta, en mi opini贸n, porque cumple con la funci贸n de hacer un s铆mil con la realidad que se viv铆a en esos momentos.
Tambi茅n se tocan puntos que conciernen a la educaci贸n superior y la postura de los estudiantes, por ejemplo, la huelga estudiantil, que si me pongo a pensar, los motivos que la provocaban no var铆an mucho a los que se dan en la actualidad.
Adem谩s, Fr茅d茅ric se encuentra conviviendo entre dos mundos: por un lado hacia ciertas personas que conoce a trav茅s del banquero Dambreuse, individuos de la clase privilegiada y con buenas oportunidades; por otro lado, su grupo de amigos y conocidos, en especial Deslauriers, S茅n茅cal, y Hussonnet, quienes tienen un par de ideas que cuestionan la vida y costumbres de los grupos privilegiados y la burgues铆a.
No es una novela que se lea r谩pido, incluso en algunas partes me tomaba mi tiempo al leerlas porque ten铆a que buscar nombres, lugares o simplemente el contexto hist贸rico en el que se estaba dando una situaci贸n espec铆fica.
Lo que vale totalmente la pena, y la raz贸n por la que Flaubert est谩 entre mis tres autores favoritos, es indudablemente la narrativa. Su manera de escribir, su vasto n煤mero de descripciones a trav茅s del libro, son en mi opini贸n, dif铆ciles de superar y la mejor parte de toda la novela. Por ejemplo, en la edici贸n que yo le铆 hay una p谩gina, la 127, en la que Fr茅d茅ric describe su sentir hacia la se帽ora Arnoux, y desde que le铆 eso present铆 que muy probablemente se convertir铆a en una de mis mejores lecturas del a帽o.
Asimismo, no puedo permitirme dejar de lado la tercera parte, la que para m铆, es la mejor y por s铆 sola, es la que m谩s nos sit煤a en el contexto hist贸rico que gira entorno a nuestros personajes; ahora, siendo m谩s espec铆fico, el final del cuarto cap铆tulo, y todo el cap铆tulo cinco... me es imposible describir todo lo que me hicieron sentir, adem谩s del sabor agridulce y los 鈥榩elos de punta鈥� durante la lectura, pero desde Moby Dick que un par de cap铆tulos no me impactaban tanto.
Por mencionar otro punto, el final me pareci贸 totalmente redondo; no deja ning煤n hueco sin rellenar, ni siquiera la 鈥榗abeza de vaca鈥� (al leerlo sabr谩n a qu茅 me refiero).
En general, creo que si amaste Madame Bovary, recomiendo leer esta novela (no se parece en nada en cuanto a trama, pero s铆 comparte similitudes en la escritura). Si no te gust贸 Madame Bovary 鈥攅n especial por la manera de estar escrita鈥�, o te fue indiferente, mejor pensarlo dos veces.
P.S. No cabe la menor duda de que tendr茅 que reencontrarme con esta obra dentro de unos cuantos a帽os.
鈥淵o hab铆a cre铆do, cuando lleg贸 la Revoluci贸n, que ser铆amos felices. 驴Se acuerda usted qu茅 hermoso era aquello? 隆Qu茅 bien se respiraba! Pero estamos peor que nunca.鈥�
Esta novela me ha sorprendido mucho. Por una parte, porque hall茅 en ella m谩s de lo que pensaba encontrarme. Y es que en cada sinopsis que leo casi siempre dice lo mismo: el inter茅s amoroso que persigue Fr茅d茅ric Moreau, un estudiante de primer a帽o de derecho, hacia la se帽ora Arnoux, una mujer casada, a quien conoce en una embarcaci贸n y de quien se enamora instant谩neamente; y es verdad, ese es el hilo principal de la novela, pero en parte.
Yo dir铆a que alrededor de la mitad del libro se centra en mostrarnos la situaci贸n pol铆tica, social, y en algunos casos econ贸mica y cultural, en la que se encontraba Francia en el periodo en que se desarrolla la obra (desde 1840 hasta la Revoluci贸n de 1848 y unos cuantos a帽os posteriores).
Me atrevo a decir, bajo mi punto de vista, que la historia de amor de nuestro protagonista es una excusa para hilar una cr铆tica social, siendo m谩s espec铆fico, a la sociedad parisina de dicha 茅poca. Una excusa perfecta, en mi opini贸n, porque cumple con la funci贸n de hacer un s铆mil con la realidad que se viv铆a en esos momentos.
Tambi茅n se tocan puntos que conciernen a la educaci贸n superior y la postura de los estudiantes, por ejemplo, la huelga estudiantil, que si me pongo a pensar, los motivos que la provocaban no var铆an mucho a los que se dan en la actualidad.
Adem谩s, Fr茅d茅ric se encuentra conviviendo entre dos mundos: por un lado hacia ciertas personas que conoce a trav茅s del banquero Dambreuse, individuos de la clase privilegiada y con buenas oportunidades; por otro lado, su grupo de amigos y conocidos, en especial Deslauriers, S茅n茅cal, y Hussonnet, quienes tienen un par de ideas que cuestionan la vida y costumbres de los grupos privilegiados y la burgues铆a.
No es una novela que se lea r谩pido, incluso en algunas partes me tomaba mi tiempo al leerlas porque ten铆a que buscar nombres, lugares o simplemente el contexto hist贸rico en el que se estaba dando una situaci贸n espec铆fica.
Lo que vale totalmente la pena, y la raz贸n por la que Flaubert est谩 entre mis tres autores favoritos, es indudablemente la narrativa. Su manera de escribir, su vasto n煤mero de descripciones a trav茅s del libro, son en mi opini贸n, dif铆ciles de superar y la mejor parte de toda la novela. Por ejemplo, en la edici贸n que yo le铆 hay una p谩gina, la 127, en la que Fr茅d茅ric describe su sentir hacia la se帽ora Arnoux, y desde que le铆 eso present铆 que muy probablemente se convertir铆a en una de mis mejores lecturas del a帽o.
Asimismo, no puedo permitirme dejar de lado la tercera parte, la que para m铆, es la mejor y por s铆 sola, es la que m谩s nos sit煤a en el contexto hist贸rico que gira entorno a nuestros personajes; ahora, siendo m谩s espec铆fico, el final del cuarto cap铆tulo, y todo el cap铆tulo cinco... me es imposible describir todo lo que me hicieron sentir, adem谩s del sabor agridulce y los 鈥榩elos de punta鈥� durante la lectura, pero desde Moby Dick que un par de cap铆tulos no me impactaban tanto.
Por mencionar otro punto, el final me pareci贸 totalmente redondo; no deja ning煤n hueco sin rellenar, ni siquiera la 鈥榗abeza de vaca鈥� (al leerlo sabr谩n a qu茅 me refiero).
En general, creo que si amaste Madame Bovary, recomiendo leer esta novela (no se parece en nada en cuanto a trama, pero s铆 comparte similitudes en la escritura). Si no te gust贸 Madame Bovary 鈥攅n especial por la manera de estar escrita鈥�, o te fue indiferente, mejor pensarlo dos veces.
P.S. No cabe la menor duda de que tendr茅 que reencontrarme con esta obra dentro de unos cuantos a帽os.
April 13, 2025
Thank God that's over 馃ぃnot for me at all!
I did appreciate the place it was set in and the writing was as usual clever and witty as of Madame Bovary!! but nah too full of the sanctimonious uninteresting male characters 馃ぃ
I did appreciate the place it was set in and the writing was as usual clever and witty as of Madame Bovary!! but nah too full of the sanctimonious uninteresting male characters 馃ぃ
December 19, 2021
Ho letto l鈥檜ltima riga, ho chiuso il libro e sono stata colta da un鈥檌mprovvisa tristezza, profonda come poche altre volte. Al contempo, per貌, sono soddisfatta perch茅 ho letto un libro che non pu貌 non essere letto, imperdibile. E da ora in poi ne consiglier貌 a tutti la lettura. E鈥� 鈥淚L 鈥� romanzo, per me. Perfetto, stupendo in ogni sua pagina, in ogni riga. Un mondo racchiuso in poco pi霉 di 500 pagine.
C鈥櫭� il mondo di Fr茅d茅ric Moreau, uno studente diciottenne che, intorno al 1840, lascia Parigi per tornare nel suo paese nativo, Nogent sur Seine, e nel battello lungo la Senna incontra colei che diverr脿 in un attimo il "grande amore" della sua vita, Madame Arnoux, la donna che dalla prima pagina del romanzo fino all鈥檜ltima, occupa i pensieri del protagonista, il quale, alla fine del romanzo, divenuto adulto
鈥淰颈补驳驳颈貌.
Conobbe la malinconia dei piroscafi, i freddi risvegli sotto la tenda, la vertigine dei paesaggi e delle rovine, l鈥檃marezza delle simpatie troncate.
搁颈迟辞谤苍貌.
Frequent貌 la societ脿, ed ebbe altri amori ancora. Ma il ricordo incessante del primo glieli rendeva insulsi: e poi la veemenza del desiderio, la freschezza stessa delle sensazioni era perduta. Anche le sue ambizioni intellettuali erano appassite. Passarono anni; e lui sopportava l鈥檌noperosit脿 dell鈥檌ntelligenza e l鈥檌nerzia del cuore.鈥�
Con queste parole Flaubert sintetizza una vita: un鈥檈sistenza fatta di desideri, di speranze, che riempiono la giovinezza e che si perdono per strada, nel corso delle variegate esperienze che la vita sottopone, appassiscono e muoiono rivelandosi illusioni e alla fine il ricordo tutto sopisce e spegne. Cos矛 猫 Fr茅d茅ric: un irresoluto, volubile ed inetto, con tante belle idee per la testa e tante belle parole che rimangono tali, senza tradursi in azioni n猫 in sentimenti.Cos矛 come i suoi amici, giovani della sua generazione, idealisti e irresoluti, che insieme con il protagonista attraversano gli anni dei moti rivoluzionari adeguandosi al vento che tira; cos矛 come i ricchi borghesi parigini, che si sono arricchiti con la monarchia ma che, al primo anelito di idee rivoluzionarie, si buttano a capofitto nella nuova repubblica da fondare, cambiando le loro idee e i loro pensieri come bandiere al vento; cos矛 come le giovani mantenute che vivono in eleganti case pagate dagli amanti, che ogni giorno dichiarano il loro 鈥渁more鈥漚 un uomo diverso, a seconda dell鈥檃mpiezza o meno del portafogli.
C鈥櫭� il genere umano nel suo aspetto pi霉 meschino, mediocre e codardo destinato a fallire, esaminato da Flaubert con occhio critico mai esente da ironia, che non solo si alterna a momenti di grandi liricit脿 ma addirittura si inserisce nei toni romantici, con effetti ridicolizzanti, per evidenziare ancora di pi霉 come il sentimento amoroso, cui tutti aneliamo, non sia altro che una mera illusione. E dunque, 濒鈥檈诲耻肠补锄颈辞苍别 sentimentale del protagonista non pu貌 che avere termine laddove 猫 iniziata, in un bordello frequentato goliardicamente in et脿 adolescenziale dal protagonista e dal suo amico Deslauriers: 鈥溍� la cosa migliore che abbiamo avuto!鈥�.
C鈥櫭� il mondo di Fr茅d茅ric Moreau, uno studente diciottenne che, intorno al 1840, lascia Parigi per tornare nel suo paese nativo, Nogent sur Seine, e nel battello lungo la Senna incontra colei che diverr脿 in un attimo il "grande amore" della sua vita, Madame Arnoux, la donna che dalla prima pagina del romanzo fino all鈥檜ltima, occupa i pensieri del protagonista, il quale, alla fine del romanzo, divenuto adulto
鈥淰颈补驳驳颈貌.
Conobbe la malinconia dei piroscafi, i freddi risvegli sotto la tenda, la vertigine dei paesaggi e delle rovine, l鈥檃marezza delle simpatie troncate.
搁颈迟辞谤苍貌.
Frequent貌 la societ脿, ed ebbe altri amori ancora. Ma il ricordo incessante del primo glieli rendeva insulsi: e poi la veemenza del desiderio, la freschezza stessa delle sensazioni era perduta. Anche le sue ambizioni intellettuali erano appassite. Passarono anni; e lui sopportava l鈥檌noperosit脿 dell鈥檌ntelligenza e l鈥檌nerzia del cuore.鈥�
Con queste parole Flaubert sintetizza una vita: un鈥檈sistenza fatta di desideri, di speranze, che riempiono la giovinezza e che si perdono per strada, nel corso delle variegate esperienze che la vita sottopone, appassiscono e muoiono rivelandosi illusioni e alla fine il ricordo tutto sopisce e spegne. Cos矛 猫 Fr茅d茅ric: un irresoluto, volubile ed inetto, con tante belle idee per la testa e tante belle parole che rimangono tali, senza tradursi in azioni n猫 in sentimenti.Cos矛 come i suoi amici, giovani della sua generazione, idealisti e irresoluti, che insieme con il protagonista attraversano gli anni dei moti rivoluzionari adeguandosi al vento che tira; cos矛 come i ricchi borghesi parigini, che si sono arricchiti con la monarchia ma che, al primo anelito di idee rivoluzionarie, si buttano a capofitto nella nuova repubblica da fondare, cambiando le loro idee e i loro pensieri come bandiere al vento; cos矛 come le giovani mantenute che vivono in eleganti case pagate dagli amanti, che ogni giorno dichiarano il loro 鈥渁more鈥漚 un uomo diverso, a seconda dell鈥檃mpiezza o meno del portafogli.
C鈥櫭� il genere umano nel suo aspetto pi霉 meschino, mediocre e codardo destinato a fallire, esaminato da Flaubert con occhio critico mai esente da ironia, che non solo si alterna a momenti di grandi liricit脿 ma addirittura si inserisce nei toni romantici, con effetti ridicolizzanti, per evidenziare ancora di pi霉 come il sentimento amoroso, cui tutti aneliamo, non sia altro che una mera illusione. E dunque, 濒鈥檈诲耻肠补锄颈辞苍别 sentimentale del protagonista non pu貌 che avere termine laddove 猫 iniziata, in un bordello frequentato goliardicamente in et脿 adolescenziale dal protagonista e dal suo amico Deslauriers: 鈥溍� la cosa migliore che abbiamo avuto!鈥�.
December 30, 2024
丌睾丕夭诏乇 乇賲丕賳 賲丿乇賳
毓氐丕乇賴 賵 賮卮乇丿賴鈥屰� 鬲乇亘蹖鬲 丕丨爻丕爻鬲 丿乇 丿賵 讴賱賲賴 賯丕亘賱 亘蹖丕賳 賴爻鬲:
卮讴爻鬲
爻乇丿乇诏賲蹖
賮賱賵亘乇 讴賴 讴賵賱賴 亘丕乇蹖 丕夭 卮賴乇鬲 乇賵 丕夭 亘丕亘鬲 賳賵卮鬲賳 賲丕丿丕賲 亘賵賵丕乇蹖 亘賴 丿賵卮 賲蹖鈥屭┴篡屫� 倬賳噩 爻丕賱 賲賲鬲丿 丿乇诏蹖乇 賳诏丕乇卮 鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 亘賵丿 賵 丕睾賱亘 乇賵夭賴丕 丨丿丕讴孬乇 丨噩賲蹖 讴賴 賳诏丕乇卮 讴乇丿賴 亘賵丿 亘賴 夭丨賲鬲 亘賴 蹖讴 氐賮丨賴 賲蹖鈥屫必驰屫�. 亘賱丕賮丕氐賱賴 亘毓丿 丕夭 丕賳鬲卮丕乇 丕睾賱亘 賲禺丕胤亘蹖賳 賵 賲賳鬲賯丿蹖賳 賳鬲蹖噩賴鈥屰� 讴丕乇 乇賵 趩蹖夭蹖 噩夭 卮讴爻鬲 賳賵蹖爻賳丿賴 賳賲蹖鈥屫堎嗀池嗀�. 賴賲蹖賳胤賵乇 讴賴 賴賳賵夭 賴賲 賲禺丕胤亘蹖賳 丕賳丿讴蹖 丿爻鬲 亘賴 鬲丨爻蹖賳 賮賱賵亘乇 賲蹖鈥屫操嗁嗀�. 賯爻賲鬲 賲賴蹖噩 丕蹖賳 亘乇禺賵乇丿 爻乇丿 賵 賲禺乇亘 丕蹖賳噩丕爻鬲 讴賴 賮賱賵亘乇 讴丕賲賱丕 賲賳鬲馗乇 丕蹖賳 賵賯丕蹖毓 亘賵丿 賵 賮乇噩丕賲 讴丕乇卮 乇賵 亘賴 禺賵亘蹖 倬蹖卮鈥屫ㄛ岋拷锟桔� 讴乇丿.
丿乇 賲賯丿賲賴 賲鬲乇噩賲 賲蹖鈥屫堎嗃屬�:
丕賲丕 丿睾丿睾賴 賮讴乇蹖 賮賱賵亘乇 趩賴 趩蹖夭蹖 亘賵丿 讴賴 賲賵噩亘 亘賵噩賵丿 丕賵賲丿賳 丕蹖賳 丨賮乇賴 卮丿責
賮賱賵亘乇 丿乇 賳丕賲賴鈥屫й� 亘賴 跇乇跇 爻丕賳丿 賳賵卮鬲:
鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 卮亘丕賴鬲 趩賳丿丕賳蹖 亘丕 乇賲丕賳 賴丕蹖 賲賳鬲卮乇 卮丿賴 丿乇 毓氐乇 禺賵丿卮 賳丿丕乇賴. 賴賲蹖賳 鬲賮丕賵鬲鈥屬囏� 亘丕毓孬 毓丿賲 丕賯亘丕賱卮 卮丿. 賲賴賲鬲乇蹖賳 鬲賮丕賵鬲 卮丕蹖丿 毓丿賲 賵噩賵丿 禺胤蹖 賲爻鬲賯蹖賲 賵 賲卮禺氐 丿乇 乇賵丕蹖鬲 賴爻鬲. 賲賳馗賵乇賲 倬乇卮鈥屬囏й� 賲鬲毓丿丿 夭賲丕賳蹖 蹖丕 賲讴丕賳蹖 賳蹖爻鬲貙 亘賱讴賴 丿丕爻鬲丕賳 賲乇讴夭 賵 賲丨賵乇 孬丕亘鬲蹖 賳丿丕乇賴. 丿乇 賵丕賯毓 賲賵囟賵毓 卮賮丕賮 賵 乇賵卮賳蹖 賴賲 賳丿丕乇賴. 亘賱賴 賲丕 丿丕爻鬲丕賳 噩賵丕賳蹖 亘賴 賳丕賲 賮乇丿乇蹖讴 乇賵 倬蹖卮 乇賵 丿丕乇蹖賲 賵 卮讴爻鬲 賴丕蹖 賲鬲毓丿丿蹖 讴賴 丿乇 夭賳丿诏蹖 诏乇蹖亘丕賳卮 乇賵 賲蹖鈥屭屫辟� 讴賴 亘蹖 卮亘丕賴鬲 亘賴 賮賱賵亘乇 賳蹖爻鬲 丕賲丕 丕蹖賳 鬲賳賴丕 賯胤乇賴鈥屫й� 丕夭 丿乇蹖丕爻鬲 賵 禺賱丕氐賴 爻丕夭蹖 丿丕爻鬲丕賳 亘賴 丕蹖賳 乇丕丨鬲蹖 賯丕亘賱 丕賳噩丕賲 賳蹖爻鬲.
賳賯賱 賯賵賱蹖 丕夭 禺賵丿 賮賱賵亘乇 賴賲 賲賴乇 鬲丕蹖蹖丿 亘乇 丕蹖賳 丨賯蹖賯鬲 賴爻鬲 讴賴 丕蹖賳 讴鬲丕亘 丿乇亘丕乇賴 賴蹖趩 賴爻鬲. 噩丕蹖蹖 讴賴 亘賴 賲毓卮賵賯賴鈥屫ж� 賱賵卅蹖夭 讴賵賱賴 賲蹖鈥屬嗁堐屫迟� 讴賴 丌乇夭賵 丿丕乇丿:
鬲賮丕賵鬲 亘爻蹖丕乇 賲賴賲 亘毓丿蹖 乇丕賵蹖 賳丕賲乇卅蹖 賴爻鬲. 亘丕 丿賯鬲 丿乇 賲鬲賳 賳丕賲賴 賮賱賵亘乇 亘賴 爻丕賳丿 亘賴 氐乇丕丨鬲 賲蹖鈥屫ㄛ屬嗃屬� 讴賴 賮賱賵亘乇 丕夭 丕馗賴丕乇 賮囟賱 賵 诏賲丕賳賴 夭賳蹖 賴丕蹖 爻胤丨蹖 讴賱丕賮賴 亘賵丿. 丕夭 胤乇賮蹖 賯氐丿 丿丕卮鬲 丨賯蹖賯鬲 乇賵 毓蹖賳丕賾 賵 亘蹖 胤乇賮丕賳賴 亘賳賵蹖爻賴 賵 禺賵丿卮 乇賵 亘賴 賴蹖趩 賵噩賴 賵丕乇丿 丿丕爻鬲丕賳 賳讴賳賴 鬲丕 賲卮睾賵賱 鬲賮爻蹖乇 賵 亘爻胤 鬲賮讴乇丕鬲卮 亘丕卮賴. 趩乇丕 讴賴 毓賯蹖丿賴 丿丕卮鬲 乇丕賵蹖 賳亘丕蹖丿 丿禺丕賱鬲蹖 丿乇 賳鬲蹖噩賴 诏蹖乇蹖 禺賵丕賳賳丿賴 丕夭 丿丕爻鬲丕賳 丿丕卮鬲賴 亘丕卮賴. 亘賴 胤賵乇 禺賱丕氐賴 賲蹖鈥屫促� 诏賮鬲 賮賱賵亘乇 亘賴 毓賳賵丕賳 蹖讴 賲卮丕賴丿賴鈥屭� 賮賯胤 賲卮丕賴丿丕鬲卮 乇賵 賲讴鬲賵亘 讴乇丿賴 賵 丕夭 鬲賴蹖賴 賱賯賲賴 丌賲丕丿賴 氐乇賮鈥屬嗀肛� 讴乇丿. 賵賱蹖 丌蹖丕 禺賵丕賳賳丿賴 讴丕賲賱丕 乇賴丕 卮丿賴責 賯胤毓丕 讴賴 禺蹖乇. 讴丕乇 丿乇禺卮丕賳 賮賱賵亘乇 亘爻鬲乇爻丕夭蹖 賲賳丕爻亘 亘乇丕蹖 賯乇丕乇 丿丕丿賳 賲禺丕胤亘 丿乇 賲賵賯毓蹖鬲蹖 賴爻鬲 讴賴 亘乇禺賱丕賮 诏匕卮鬲賴 賵 爻賳鬲鈥屬囏й� 倬蹖卮蹖賳 賵 亘丿賵賳 賳氐蹖丨鬲 賵 倬賳丿 丿丕丿賳 賲爻鬲賯蹖賲 賲蹖夭丕賳 丿乇讴 倬匕蹖乇蹖 禺賵丕賳賳丿賴 乇賵 鬲丕 丨丿丕讴孬乇 亘丕賱丕 亘亘乇賴. 趩賵賳 胤亘賯 毓賯蹖丿賴 丕賵賳 丿丕賳爻鬲賳 亘胤賵乇 賲爻鬲賯蹖賲 亘丕 乇賮鬲丕乇 丕賳爻丕賳 丿乇 乇丕亘胤賴 賳蹖爻鬲 賵 讴賵賴蹖 丕夭 丿丕賳爻鬲賴鈥屬囏� 爻賳禺蹖鬲蹖 亘丕 丨賲丕賯鬲 賳丿丕乇賴 賵 卮乇胤 讴丕賮蹖 讴丕賴卮 丨賲丕賯鬲 賳蹖爻鬲. 亘賴 毓亘丕乇鬲蹖 禺賵丕爻鬲賳 鬲賵丕賳爻鬲賳 賳蹖爻鬲.
賵 賳讴鬲賴 倬丕蹖丕賳蹖 丿乇 鬲賮丕賵鬲鈥屬囏� 毓丿賲 賵噩賵丿 蹖讴 诏賱賵诏丕賴 蹖丕 賳賯胤賴 毓胤賮 賴爻鬲. 亘胤賵乇 丿賯蹖賯鈥屫� 丿丕爻鬲丕賳 丨賵賱 蹖讴 賳賯胤賴 丕賵噩 倬蹖鈥屫臂屫槽� 賳卮丿賴 鬲丕 亘丕 丕賮夭丕蹖卮 鬲氐丕毓丿蹖 賴蹖噩丕賳 賵 亘丕賱丕亘乇丿賳 囟乇亘丕賳 禺賵丕賳賳丿賴 丕夭 賴賲乇丕賴蹖 丕賵賳 丕胤賲蹖賳丕賳 丨丕氐賱 讴賳賴 丕賲丕 禺丕賱蹖 丕夭 賳賯丕胤 丕讴爻鬲乇賲賲 賴賲 賳蹖爻鬲. 亘賴 噩丕蹖 蹖讴 賳賯胤賴 丕讴爻鬲乇賲賲 賲胤賱賯 趩賳丿蹖賳 賳賯胤賴 丕讴爻鬲乇賲賲 賳爻亘蹖 讴丕乇诏匕丕乇蹖 卮丿賴 讴賴 丕賵噩 丿乇禺卮卮 賮賱賵亘乇 賴爻鬲. 丕賵賳 亘丕 賴賵卮 賵 丕爻鬲毓丿丕丿 亘蹖鈥屬嗀港屫� 亘丕 賳夭丿蹖讴 卮丿賳 禺賵丕賳賳丿賴 亘賴 賳賯丕胤 丕賵噩 毓丕賲丿丕賳賴 賲爻蹖乇 丿丕爻鬲丕賳 乇賵 賲禺鬲賱 賲蹖鈥屭┵嗁� 鬲丕 丕夭 噩賴鬲 噩丿蹖丿蹖 亘賴 丕賵噩 賳夭丿蹖讴 亘卮蹖賲 讴賴 亘丕夭賴賲 賳鬲蹖噩賴鈥屫й� 噩夭 丕賳丨乇丕賮 賳丿丕乇賴. 倬乇 賵丕囟丨 賴爻鬲 讴賴 賮賱賵亘乇 亘丕 賱亘禺賳丿蹖 卮蹖胤丕賳蹖 丕夭 丕蹖賳 讴丕乇 賱匕鬲 賲蹖鈥屫ㄘ辟� 讴賴 賲丿丕賲 賲丕賳毓 禺賵丕賳賳丿賴 丿乇 乇爻蹖丿賳 亘賴 倬丕爻禺 賲賵乇丿 賳馗乇卮 亘卮賴.
賮卮乇丿賴 丿丕爻鬲丕賳
丿乇 賲蹖丕賳賴 爻丕賱 1840 賮乇丿乇蹖讴 爻賵丕乇 亘乇 蹖讴 讴卮鬲蹖 賴爻鬲 讴賴 亘賴 夭賵丿蹖 爻丕丨賱 倬丕乇蹖爻 乇賵 鬲乇讴 賲蹖鈥屭┵嗁� 鬲丕 亘毓丿 丕夭 倬丕蹖丕賳 鬲丨氐蹖賱丕鬲 賲丿乇爻賴 賵 賳丕丕賲蹖丿 丕夭 丿蹖丿丕乇 毓賲賵蹖蹖 讴賴 丕夭 丕乇孬卮 爻賴賲蹖 賳禺賵丕賴丿 丿丕卮鬲 亘賴 禺賵賳賴 亘乇诏乇丿賴. 丿乇 亘蹖賳 賲爻丕賮乇丕賳 讴卮鬲蹖 夭賳蹖 賲鬲丕賴賱 賵 夭蹖亘丕 丨囟賵乇 丿丕乇賴 讴賴 賮乇丿乇蹖讴 丿乇 蹖讴 賳诏丕賴 亘賴卮 毓賱丕賯賴鈥屬呝嗀� 賲蹖鈥屫促�(賲丕丿丕賲 丌乇賳賵). 亘毓丿 丕夭 乇爻蹖丿賳 亘賴 賲賯氐丿 賵 诏匕乇 夭賲丕賳 丕蹖賳 丨爻 毓賱丕賯賴鈥屬呝嗀� 乇賵 亘賴 賮乇丕賲賵卮蹖 賲蹖鈥屫辟� 鬲丕 丕蹖賳讴賴 趩賳丿賲丕賴 亘毓丿 亘丕 亘丕夭诏卮鬲 亘賴 倬丕乇蹖爻 賵 卮乇賵毓 鬲丨氐蹖賱 丿乇 丨賯賵賯 賵 亘丕賱丕乇賮鬲賳 丿乇诏蹖乇蹖鈥屬囏� 賵 賴蹖噩丕賳丕鬲 丿乇 賲禺丕賱賮鬲 亘丕 丨讴賵賲鬲 賮乇丕賳爻賴 賮乇丿乇蹖讴 丿乇 丨丕賱 倬乇爻賴 夭丿賳 丿乇 卮賴乇 亘胤賵乇 丕鬲賮丕賯蹖 亘丕 鬲丕亘賱賵蹖蹖 丕夭 蹖讴 賮乇賵卮诏丕賴 賲丨氐賵賱丕鬲 賴賳乇蹖 亘乇禺賵乇丿 賲蹖鈥屭┵嗁� 讴賴 乇賵蹖 丕賵賳 賳丕賲 丌乇賳賵 趩卮賲讴 賲蹖鈥屫操嗁�.
賮乇丿乇蹖讴 賲丿鬲賴丕 丿乇 鬲賱丕卮 亘乇丕蹖 乇丕亘胤賴 爻丕夭蹖 賵 丿賵爻鬲蹖 賲氐賱丨鬲蹖 亘丕 丕賮乇丕丿蹖 賴爻鬲 讴賴 亘賴 禺丕賳賵丕丿賴 丌乇賳賵 賳夭丿蹖讴鈥屫辟嗀�. 亘賱讴賴 亘丕 丕蹖賳 鬲乇賮賳丿 賵 賵乇賵丿 亘賴 丕蹖賳 丨賱賯賴 亘乇丕蹖 丿蹖丿丕乇 賲乇鬲亘 毓卮賯卮 賲丕賳毓蹖 爻乇 乇丕賴卮 賳亘丕卮賴. 丕蹖賳 賳賯卮賴 鬲丕 賲乇丕鬲亘蹖 丕丿丕賲賴 倬蹖丿丕 賲蹖鈥屭┵嗁� 讴賴 賮乇丿乇蹖讴 鬲氐賲蹖賲 亘賴 蹖丕丿诏乇賮鬲賳 賳賯丕卮蹖 賲蹖鈥屭屫辟� 賵 亘丕 禺乇蹖丿 丕亘夭丕乇 賵 賱賵丕夭賲 賵 丕爻鬲禺丿丕賲 丕爻鬲丕丿 賵丕乇丿 丕蹖賳 賲爻蹖乇 賲蹖鈥屫促� 賵 讴賲蹖 亘毓丿 賲孬賱 鬲丨氐蹖賱 丿乇 丿丕賳卮诏丕賴 賲賱丕賱鈥屫①堌� 亘賴 賳馗乇卮 賲蹖丕丿 賵 乇賴丕卮 賲蹖鈥屭┵嗁�.
丿乇 禺賱丕賱 蹖讴 賲賴賲丕賳蹖貙 氐丨賳賴鈥屫й� 讴賴 賮乇丿乇蹖讴 鬲賳賴丕 鬲賲丕卮丕诏乇卮 賴爻鬲 丕賲蹖丿賵丕乇蹖 乇賵 亘賴 賵氐丕賱 賲丕丿丕賲 丌乇賳賵 丿乇 丕賵賳 夭賳丿賴 賲蹖鈥屭┵嗁�. 亘乇禺賱丕賮 馗丕賴乇 卮蹖讴 賵 亘蹖 賳賯氐賽 禺丕賳賵丕丿賴 丌乇賳賵 賮囟丕蹖 丿丕禺賱蹖 丨丕讴賲 亘乇 丕賵賳 賲鬲夭賱夭賱 賵 倬乇 丕夭 趩丕賱卮 賴丕蹖 賲鬲毓丿丿 賴爻鬲. 禺蹖丕賳鬲 賴丕蹖 亘蹖 倬丕蹖丕賳 丌賯丕蹖 丌乇賳賵 亘賴 賴賲爻乇卮 賵 囟毓賮 卮丿蹖丿 賲丕賱蹖 亘丕乇賴丕 丕賵賳賴丕 乇賵 鬲丕 賲乇夭 噩丿丕蹖蹖 賲蹖鈥屫ㄘ辟�.
賮乇丿乇蹖讴 賴賲 丿乇 賲賯丕亘賱 亘丕 賵乇賵丿 亘賴 丨賱賯賴 亘夭乇诏丕賳 賵 蹖讴 禺賵卮 卮丕賳爻蹖 孬乇賵鬲 丕賳丿讴蹖 乇賵 氐丕丨亘 賲蹖鈥屫促�. 丕賵賳 讴賴 丿乇 賲賴丕噩乇鬲 亘賴 倬丕乇蹖爻 丌乇夭賵賴丕蹖 亘夭乇诏蹖 乇賵 丿乇 爻乇 丿丕乇賴 賵 賲丨丿賵丿 亘賴 鬲氐丕丨亘 禺丕賳賲 丌乇賳賵 賳蹖爻鬲 乇賮鬲賴 乇賮鬲賴 丕夭 賲爻蹖乇 賲賵賮賯蹖鬲 賵 賲丨賯賯 卮丿賳 丌乇夭賵賴丕 丿賵乇 賵 丿賵乇鬲乇 賲蹖鈥屫促�.
丿乇 賴賲蹖賳 賲爻蹖乇 賮乇丿乇蹖讴 讴賴 诏賵卮 卮賳賵丕蹖蹖 賳丿丕乇賴 賵 禺賵丿卮 乇賵 讴丕賲賱丕 乇賴丕 讴乇丿賴 賵丕乇丿 乇賵丕亘胤 毓丕卮賯丕賳賴 毓噩蹖亘蹖 賲蹖鈥屫促� 亘賱讴賴 禺賱丕購 丿乇賵賳蹖卮 乇賵 倬乇讴賳賴 賵 卮讴爻鬲 丿乇 賵氐丕賱 毓卮賯 丕賵賱 乇賵 噩亘乇丕賳 讴賳賴 丕賲丕 亘丕夭賴賲 丕賵賳鈥屫焚堌� 讴賴 亘丕蹖丿 禺賵卮丨丕賱 賵 賲賵賮賯 賳蹖爻鬲. 孬乇賵鬲卮 乇賵 禺乇噩 倬乇丿丕禺鬲 亘丿賴蹖 賴丕蹖 丌乇賳賵 賲蹖鈥屭┵嗁� 鬲丕 賮卮丕乇 賲囟丕毓賮蹖 亘乇 禺丕賳賲 丌乇賳賵 賳亘丕卮賴 丕賲丕 讴丕乇爻丕夭 賳蹖爻鬲 賵 亘丕夭賴賲 賲卮讴賱丕鬲 乇蹖夭 賵 丿乇卮鬲蹖 賲丕賳毓 卮讴賱 诏蹖乇蹖 乇丕亘胤賴 亘蹖賳 丕賵賳賴丕 賲蹖卮賳. 賳賴 賮賯胤 倬賵賱 亘賱讴賴 賮乇丿乇蹖讴 亘賴 賴乇 乇蹖爻賲丕賳蹖 讴賴 丿爻鬲卮 賲蹖鈥屫必迟� 趩賳诏 賲蹖鈥屫操嗁� 賵 卮丕賳爻卮 乇賵 賯乇亘丕賳蹖 賲蹖鈥屭┵嗁� 鬲丕 賳鬲蹖噩賴 丿賱禺賵丕賴 乇賵 亘丿爻鬲 亘蹖丕乇賴 賵賱蹖 诏乇蹖夭蹖 丕夭 爻乇賳賵卮鬲 賳丿丕乇賴.
噩丕賲毓賴 賮乇丕賳爻賴 丿乇 毓氐乇 鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 乇賵夭 亘賴 乇賵夭 賲賱鬲賴亘鈥屫� 丕夭 乇賵夭 賯亘賱 亘賴 倬蹖卮 賲蹖鈥屫辟�. 賵囟毓蹖鬲 夭賳丿诏蹖 賲乇丿賲 賳丕亘爻丕賲丕賳 賵 亘賱丕鬲讴賱蹖賮 賴爻鬲 趩賵賳 丕乇夭卮鈥屬囏� 賵 賴賳噩丕乇賴丕蹖 丨丕讴賲 亘乇 噩丕賲毓賴 丿乇 丨丕賱 夭蹖乇 賵 乇賵 卮丿賳 賵 亘丕夭鬲毓乇蹖賮 賴爻鬲. 亘賴 毓亘丕乇鬲蹖 噩丕賲毓賴 丿乇 爻乇丿乇诏賲蹖 丿爻鬲 賵 倬丕 賲蹖鈥屫操嗁� 鬲丕 賲爻蹖乇 噩丿蹖丿 禺賵丿卮 乇賵 倬蹖丿丕 讴賳賴 鬲丕 丕蹖賳讴賴 丿乇 1848 賱賵蹖蹖 賮蹖賱蹖倬 丕夭 倬丕丿卮丕賴蹖 毓夭賱 賵 噩賲賴賵乇蹖 丿賵賲 丕毓賱丕賲 卮丿. 亘賴 賴賲蹖賳 噩賴鬲 噩丕賲毓賴 賴賲爻賵 亘丕 賮乇丿乇蹖讴 爻乇丿乇诏賲 賴爻鬲 賵 亘賴 噩丕蹖 讴賲讴 丿乇 禺賱丕氐 卮丿賳 丕夭 丕蹖賳 賵囟毓 亘賴 賮乇賵乇賮鬲賳 亘蹖卮鬲乇卮 丿乇 丕蹖賳 賲賳噩賱丕亘 丿丕賲賳 賲蹖鈥屫操嗁�.
亘毓丿 丕夭 诏匕卮鬲 鬲賯乇蹖亘丕 亘蹖爻鬲 爻丕賱 夭賳诏 禺丕賳賴 賮乇丿乇蹖讴 亘賴 氐丿丕 丿乇賲蹖丕丿 賵 倬卮鬲 丿乇 讴爻蹖 賳蹖爻鬲 噩夭 禺丕賳賲 丌乇賳賵. 丨丕賱丕 讴賴 賲丕賳毓蹖 倬蹖卮鈥屫辟� 賳蹖爻鬲 賵 禺丕賳賲 丌乇賳賵蹖 爻賮蹖丿 賲賵 亘賴 賮乇丿乇蹖讴 倬蹖卮賳賴丕丿 丕夭丿賵丕噩 賲蹖鈥屫� 亘丕 噩賵丕亘 乇丿 乇賵鈥屫ㄙ団€屫辟� 賲蹖鈥屫促�.
賮乇丿乇蹖讴 賵 丕丨爻丕爻丕鬲卮
賮乇丿乇蹖讴 亘賴 毓賳賵丕賳 賳賯卮 丕氐賱蹖 丿乇 丿丕爻鬲丕賳 丨囟賵乇 丿丕乇賴 讴賴 卮賲丕蹖賱 讴丕賲賱 蹖讴 囟丿 賯賴乇賲丕賳 賲賵賮賯 乇賵 丿丕乇賴 丕賲丕 丕睾賱亘 卮禺氐蹖鬲 賴丕蹖 丕氐賱蹖 賵 丨鬲蹖 诏匕乇丕 丿乇 乇賵賳丿 丿丕爻鬲丕賳 鬲丕孬蹖乇诏匕丕乇蹖 睾蹖乇賯丕亘賱 丕賳讴丕乇蹖 丿丕乇賳丿 賵 氐乇賮丕 賳馗丕乇賴鈥屭� 賵 爻蹖丕賴 賱卮讴乇 賳蹖爻鬲賳丿. 蹖讴蹖 丕夭 賲賴賲鬲乇蹖賳 丕賮乇丕丿 賳夭丿蹖讴鬲乇蹖賳 丿賵爻鬲 賮乇丿乇蹖讴貙 丿賱賵乇蹖赖 丕爻鬲 讴賴 丿賵爻鬲蹖 丕賵賳賴丕 亘賴 丿賵乇丕賳 讴賵丿讴蹖 亘乇賲蹖鈥屭必� 賵 賳賯卮 賲賯丕亘賱 賮乇丿乇蹖讴 乇賵 亘賴 毓賴丿賴 丿丕乇賴. 卮禺氐蹖 讴賴 丿乇 毓蹖賳 丿賵爻鬲蹖 毓賲蹖賯 亘丕 賮乇丿乇蹖讴 亘丕乇賴丕 亘賴 毓賱鬲 讴丿賵乇鬲 丕夭卮 賮丕氐賱賴鈥屫й� 胤賵賱丕賳蹖 賲丿鬲 诏乇賮鬲賴. 丕诏乇 賮乇丿乇蹖讴 賳賲丕丿蹖 丕夭 蹖讴 卮禺氐 倬丕蹖亘賳丿 亘賴 鬲氐賲蹖賲丕鬲 丕丨爻丕爻蹖 丿乇 賳馗乇 诏乇賮鬲賴 亘卮賴 丿賱賵乇蹖赖 賳賲丕丿蹖 丕夭 蹖讴 卮禺氐 倬丕蹖亘賳丿 亘賴 賲賳胤賯 賴爻鬲. 爻乇賳賵卮鬲 賴乇丿賵 趩蹖夭蹖 噩夭 卮讴爻鬲 賳蹖爻鬲 賵 丕夭 賳賯丕胤 賵 賱丨馗丕鬲 鬲丕乇蹖讴 賲鬲毓丿丿蹖 倬乇 卮丿賴. 丿乇 賵丕賯毓 丿乇 讴賳丕乇 賮乇丿乇蹖讴 賵 賲丕丿丕賲 丌乇賳賵貙 丿賱賵乇蹖赖 亘賴 賳賵毓蹖 丿乇 倬賱賴 爻賵賲 爻賱爻賱賴 卮禺氐蹖鬲 賴丕蹖 丕蹖賳 讴鬲丕亘 賴爻鬲 賵 賲卮丕亘賴 賮乇丿乇蹖讴 卮禺氐蹖鬲蹖 賳丕賲鬲毓丕丿賱 賵 氐賮乇 賵 氐丿蹖 賴賲蹖賳胤賵乇 讴賴 丿賱賵乇蹖赖 丿乇 丌禺乇蹖賳 禺胤賵胤 鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 丿乇 倬丕爻禺 亘賴 賮乇丿乇蹖讴 讴賴 芦趩乇丕 亘賴 丕蹖賳噩丕 乇爻蹖丿蹖賲責禄 诏賮鬲:
丕丨爻丕爻丕鬲蹖 亘賵丿賳 賮乇丿乇蹖讴 乇賵 賲蹖鈥屫堎嗃屬� 賴賲鈥屫ж必� 亘丿賵賳蹖賲 亘丕 鬲兀孬蹖乇倬匕蹖乇蹖卮 賵 丿乇 丕丿丕賲賴 鬲賯賱蹖丿 丕夭 丕胤乇丕賮蹖丕賳蹖 讴賴 賴賲賵丕乇賴 賲賵乇丿 鬲丨爻蹖賳卮 賴爻鬲賳丿. 蹖讴賴鈥屫ж� 丕蹖賳 噩賲毓 丌賯丕蹖 丌乇賳賵 賴爻鬲 讴賴 丿乇 亘乇禺賵乇丿 丕賵賱 讴丕賲賱丕 賮乇丿乇蹖讴 乇賵 賲爻丨賵乇 禺賵丿卮 賲蹖鈥屭┵嗁� 丿乇 讴賳丕乇 丕蹖賳讴賴 亘賴 毓賳賵丕賳 賴賲爻乇 禺丕賳賲 丌乇賳賵 亘賴 賲賵賮賯蹖鬲蹖 丿爻鬲 倬蹖丿丕 讴乇丿賴 讴賴 丌乇夭賵蹖 丕賵賳 賴爻鬲. 倬爻 亘蹖卮鬲乇蹖賳 鬲兀孬蹖乇倬匕蹖乇蹖 賮乇丿乇蹖讴 丕夭 丌乇賳賵 爻乇趩卮賲賴 賲蹖鈥屭屫辟� 賵 亘賴 噩丕蹖蹖 賲蹖鈥屫必迟� 讴賴 賲毓卮賵賯賴 丌乇賳賵 乇賵 鬲氐丕丨亘 賲蹖鈥屭┵嗁� 賵 丿乇 賴賲蹖賳 亘蹖賳 丿乇 賲賴蹖丕蹖 禺蹖丕賳鬲 亘賴 丕賵賳 亘丕 卮乇賵毓 乇丕亘胤賴 亘丕 賮乇丿 孬丕賱孬蹖 賴爻鬲. 丿乇 賴賲蹖賳 賲爻蹖乇 賵 賲氐丕卅亘卮貙 胤蹖 爻丕賱賴丕 賮乇丌蹖賳丿 鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 賮乇丿乇蹖讴 乇禺 賲蹖鈥屫� 賵 丕賱亘鬲賴 讴賴 亘丕蹖丿 丿乇 倬丕蹖丕賳 丕蹖賳 賲爻蹖乇 倬丕爻禺 丕賵賳 亘賴 禺丕賳賲 丌乇賳賵 賴賲蹖賳 亘丕卮賴 讴賴 丿乇 丿丕爻鬲丕賳 乇禺 丿丕丿. 賯丕胤毓丕賳賴 禺蹖乇!
賮乇丿乇蹖讴 賲賵乇賵 = 诏賵爻鬲丕賵 賮賱賵亘乇
亘丕 讴賳丿賵讴丕賵 丿乇 夭賳丿诏蹖 賮賱賵亘乇 卮亘丕賴鬲 賴丕蹖 夭蹖丕丿蹖 乇賵 亘蹖賳 賮乇丿乇蹖讴 亘丕 丕賵賳 賲蹖鈥屫ㄛ屬嗃屬� 讴賴 丕鬲賮丕賯蹖 賳蹖爻鬲. 亘丕 丿丕爻鬲丕賳蹖 乇賵亘賴鈥屫辟� 賴爻鬲蹖賲 讴賴 倬乇 丕夭 賳讴丕鬲 丕鬲賵亘蹖賵诏乇丕賮蹖讴 賴爻鬲 賵 卮讴賱 诏蹖乇蹖 卮禺氐蹖鬲鈥屬囏� 賵 賵賯丕蹖毓 亘丕 丕賱賴丕賲 诏蹖乇蹖 丕夭 鬲噩乇亘蹖丕鬲 夭蹖爻鬲賴鈥屫ж� 丕賳噩丕賲 卮丿.
賮乇丿乇蹖讴 鬲賯乇蹖亘丕 賴賲 爻賳 賮賱賵亘乇 賴爻鬲. 丿乇 夭賲丕賳 賵賯賵毓 丿丕爻鬲丕賳 亘丕 賲賴丕噩乇鬲 丕夭 卮賴乇 賲丨賱 夭賳丿诏蹖卮 亘賴 毓賳賵丕賳 丿丕賳卮噩賵蹖 丨賯賵賯 爻丕讴賳 倬丕乇蹖爻 卮丿 賵 亘毓丿 丕夭 诏匕卮鬲 賲丿鬲蹖 亘丿賵賳 丕鬲賲丕賲 丿賵乇賴 鬲丨氐蹖賱 乇賵 乇賴丕 讴乇丿. 倬爻 亘賴 禺賵亘蹖 亘丕 爻賱爻賱賴 賵賯丕蹖毓 賲賳噩乇 亘賴 丕賳賯賱丕亘 丌卮賳丕爻鬲 趩賵賳 丕夭 賳夭丿蹖讴 賲卮丕賴丿賴鈥屭� 卮賱賵睾蹖 賵 丕睾鬲卮丕卮丕鬲 亘賵丿.
丕夭 胤乇賮蹖 乇賵丕亘胤 毓丕卮賯丕賳賴 賮乇丿乇蹖讴 賴賲 卮亘丕賴鬲 睾蹖乇賯丕亘賱 丕賳讴丕乇蹖 亘丕 丨賯丕蹖賯 夭賳丿诏蹖 賮賱賵亘乇 丿丕乇賴. 賴乇丿賵 鬲丕 丕賳鬲賴丕蹖 毓賲乇 丕夭丿賵丕噩 賳讴乇丿賳丿 賴乇趩賳丿 讴賴 丿乇诏蹖乇 趩賳丿 乇丕亘胤賴 毓丕胤賮蹖 賵 亘毓囟丕 胤賵賱丕賳蹖 賲丿鬲 卮丿賳丿. 丕賲丕 丿乇 丕蹖賳 亘蹖賳 賲毓卮賵賯賴鈥屬囏й� 卮丕禺氐 亘乇丕蹖 賴乇丿賵 禺丕賳賲 賴丕蹖蹖 亘夭乇诏鈥屫� 賵 賲鬲丕賴賱 賴爻鬲賳丿.
毓卮賯 丕賵賱 賮賱賵亘乇 丕賱蹖夭 卮賱夭蹖賳诏乇 賮乇丿蹖 賲鬲丕賴賱 亘賵丿 賵 爻丕賱賴丕 亘夭乇诏鈥屫� 丕夭 丕賵賳 讴賴 亘賴 爻乇丕賳噩丕賲 賳乇爻蹖丿. 胤亘賯 賳馗乇 丕讴孬乇 賲賳鬲賯丿蹖賳 丕賱蹖夭 丕賱賴丕賲鈥屫ㄘ� 賮賱賵亘乇 亘乇丕蹖 卮讴賱 丿丕丿賳 亘賴 卮禺氐蹖鬲 賲丕丿丕賲 丌乇賳賵 賴爻鬲. 毓丿賲 賲賵賮賯蹖鬲 賮賱賵亘乇 丿乇 乇丕亘胤賴 亘丕 丕賱蹖夭 賴乇诏夭 賲丕賳毓 丿賵乇蹖 丕賵賳鈥屬囏� 賳卮丿 賵 亘乇丕蹖 賲丿鬲蹖 胤賵賱丕賳蹖 乇賵丕亘胤 賳夭丿蹖讴 賵 丿賵爻鬲丕賳賴鈥屫й� 亘丕 丕賵賳 賵 賴賲爻乇卮 丿丕卮鬲 讴賴 亘丕夭賴賲 丕賳胤亘丕賯 賯丕亘賱 賯亘賵賱蹖 亘丕 丕丨賵丕賱 賮乇丿乇蹖讴 賵 禺丕賳賵丕丿賴 丌乇賳賵 丿丕乇賴.
毓賳賵丕賳蹖 讴賴 卮丕蹖丿 睾賱胤 亘丕卮丿!
丿乇 亘丕亘 毓賳賵丕賳 丕蹖賳 乇賲丕賳 亘丨孬 賴丕蹖 賲賮氐賱蹖 卮讴賱 诏乇賮鬲賴 亘蹖卮鬲乇 亘賴 丕蹖賳 毓賱鬲 讴賴 賵丕跇賴 Sentimentale 丕夭 丕賳诏賱蹖爻蹖 賵丕乇丿 賮乇丕賳爻賴 卮丿賴 賵 賲毓賳丕蹖 丕賵賳 亘毓丿 丕夭 賵乇賵丿 亘賴 賮乇丕賳爻賴 丿趩丕乇 鬲睾蹖蹖乇丕鬲蹖 丿乇 噩夭卅蹖丕鬲 賵 賲賮賴賵賲 卮丿 賵 丿乇 夭賲丕賳 丕爻鬲賮丕丿賴 賮賱賵亘乇 丕夭 丕蹖賳 毓賳賵丕賳 賲丿鬲 賯丕亘賱 鬲賵噩賴蹖 丕夭 賵乇賵丿 丕蹖賳 賱睾鬲 爻倬乇蹖 賳卮丿賴 亘賵丿. 倬爻 賮囟丕 亘乇丕蹖 亘乇丿丕卮鬲 賴丕蹖 賲鬲賮丕賵鬲 賵 賲鬲毓丿丿 亘丕夭 卮丿. 蹖讴蹖 丕夭 賲卮賴賵乇鬲乇蹖賳 亘乇乇爻蹖鈥屬囏� 賲乇亘賵胤 亘賴 倬乇賵爻鬲 賴爻鬲 讴賴 丕夭 丕蹖賳 毓賳賵丕賳 芦毓賳賵丕賳蹖 夭蹖亘丕 亘賴 賱丨丕馗 丕爻鬲丨讴丕賲禄 蹖丕丿 賲蹖鈥屭┵嗁�. 丿乇 丕丿丕賲賴 亘丕 卮乇丨 亘蹖卮鬲乇 丕丿丕賲賴 賲蹖鈥屸€屫� 讴賴:
爻禺賳 倬丕蹖丕賳蹖
賮賱賵亘乇 禺蹖賱 毓馗蹖賲蹖 丕夭 鬲丨爻蹖賳 讴賳賳丿诏丕賳 乇賵 丿丕乇賴 讴賴 丿乇 亘蹖賳 丕賵賳賴丕 卮丕蹖丿 賳賵蹖爻賳丿賴 賲賵乇丿 毓賱丕賯賴 賲丕 噩丕 诏乇賮鬲賴 亘丕卮賴: 倬乇賵爻鬲貙 夭賵賱丕貙 賲賵倬丕爻丕賳貙 丿賵丿賴貙 丕賵乇賵賱貙 倬丕賲賵讴貙 亘丕乇賳夭 賵...
丌倬丿蹖鬲: 讴丕賮讴丕 賴賲 馗丕賴乇丕賸 丕夭 倬蹖乇賵丕賳 倬乇賵倬丕賯乇氐 賮賱賵亘乇 賵 鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 亘賵丿賴(亘乇 丕爻丕爻 鬲匕讴乇蹖 讴賴 蹖讴蹖 丕夭 丿賵爻鬲丕賳 讴丕賮讴丕 丿賵爻鬲 丿乇 倬蹖丕賲 禺氐賵氐蹖 丿丕丿!)
丌倬丿蹖鬲 賲噩丿丿: 蹖賵爻丕 賴賲 亘賴 賱蹖爻鬲 丕囟丕賮賴 讴賳蹖丿.
倬鈥屬�: 丿蹖诏賴 賱蹖爻鬲 亘爻鬲賴 卮丿!
鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 乇賲丕賳 乇丕丨鬲蹖 賳蹖爻鬲. 爻禺鬲 賳賴 亘賴 賲毓賳蹖 夭亘丕賳 孬賯蹖賱 賵 胤丕賯鬲 賮乇爻丕 亘賱讴賴 卮乇賵毓 讴乇丿賳卮 亘丕 卮賲丕爻鬲 賵 倬丕蹖丕賳 丿丕丿賳卮 亘丕 乇賵夭诏丕乇. 賲賳 鬲賯乇蹖亘丕 丿賵賲丕賴 倬乇賵爻賴 禺賵丕賳卮 乇賵 亘爻胤 丿丕丿賲 賵 亘賴 賳馗乇賲 丕蹖賳 丿賱蹖賱 賲賵賮賯蹖鬲賲 丿乇 賳蹖賲賴 乇賴丕 賳讴乇丿賳卮 卮丿. 丕賱亘鬲賴 賯氐丿蹖 亘乇丕蹖 胤賵賱丕賳蹖鈥屫� 讴乇丿賳 丕蹖賳 亘丕夭賴 賳丿丕卮鬲賲 賵 賲卮睾賱賴 卮丿蹖丿 亘丕毓孬卮 卮丿 讴賴 丕賱丕賳 丕夭 亘丕亘鬲卮 禺賵卮丨丕賱賲. 匕乇賴 匕乇賴 賵 乇丕丨鬲 噩賱賵 乇賮鬲賲 賵 賴乇噩丕蹖蹖 讴賴 丿乇诏蹖乇 賲賱丕賱 賲蹖鈥屫簇� 亘賴 乇丕丨鬲蹖 讴鬲丕亘 乇賵 讴賳丕乇 诏匕丕卮鬲賲 鬲丕 亘毓丿 丕夭 賲丿鬲蹖 丿賵亘丕乇賴 亘乇賲 爻乇丕睾卮 賵 丕丿丕賲賴 亘丿賲.
鬲乇噩蹖丨丕 丕诏乇 乇賲丕賳蹖 丕夭 賮賱賵亘乇 賳禺賵賳丿蹖丿 賵 丕丨鬲賲丕賱 賲蹖鈥屫屫� 亘禺賵丕蹖丿 丕夭卮 趩賳丿丕孬乇 亘禺賵賳蹖丿 鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 乇賵 亘賴 氐丿乇 賱蹖爻鬲 賲賳鬲賯賱 讴賳蹖丿 蹖丕 丕夭 禺蹖乇卮 亘诏匕乇蹖丿 趩賵賳 賲乇鬲亘 丿乇 賲賯丕蹖爻賴 亘丕 亘丕賯蹖 丌孬丕乇 賵 囟毓蹖賮鈥屫� 丿蹖丿賳卮 丕夭卮 讴賱丕賮賴 賵 丿賱爻乇丿 禺賵丕賴蹖丿 卮丿. 賴乇趩賳丿 讴賴 鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 囟毓蹖賮 賳蹖爻鬲 賵賱蹖 賮囟丕蹖 賲鬲賮丕賵鬲蹖 丿丕乇賴 賵 卮丕蹖丿 賲賵乇丿 倬爻賳丿 賴賲诏丕賳 賳亘丕卮賴貙 趩蹖夭蹖 讴賴 亘丕 亘乇爻蹖 趩賳丿蹖賳 乇蹖賵蹖賵 丕夭卮 賲鬲賵噩賴 卮丿賲.
鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 丕賵賱蹖賳 賲賵丕噩賴賴 賲賳 亘丕 賮賱賵亘乇 亘賵丿 賵 丨鬲賲丕 亘丕夭賴賲 爻乇丕睾卮 禺賵丕賴賲 乇賮鬲.
* 鬲丕乇蹖禺趩賴 蹖讴 毓賳賵丕賳 - 倬蹖鈥屰屫� 賲丕乇讴 丿賵 亘夭蹖 鬲乇噩賲賴 賲賴爻丕 亘禺卮丕蹖蹖
賴卮鬲 丿蹖 氐賮乇 爻賴
毓氐丕乇賴 賵 賮卮乇丿賴鈥屰� 鬲乇亘蹖鬲 丕丨爻丕爻鬲 丿乇 丿賵 讴賱賲賴 賯丕亘賱 亘蹖丕賳 賴爻鬲:
卮讴爻鬲
爻乇丿乇诏賲蹖
賮賱賵亘乇 讴賴 讴賵賱賴 亘丕乇蹖 丕夭 卮賴乇鬲 乇賵 丕夭 亘丕亘鬲 賳賵卮鬲賳 賲丕丿丕賲 亘賵賵丕乇蹖 亘賴 丿賵卮 賲蹖鈥屭┴篡屫� 倬賳噩 爻丕賱 賲賲鬲丿 丿乇诏蹖乇 賳诏丕乇卮 鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 亘賵丿 賵 丕睾賱亘 乇賵夭賴丕 丨丿丕讴孬乇 丨噩賲蹖 讴賴 賳诏丕乇卮 讴乇丿賴 亘賵丿 亘賴 夭丨賲鬲 亘賴 蹖讴 氐賮丨賴 賲蹖鈥屫必驰屫�. 亘賱丕賮丕氐賱賴 亘毓丿 丕夭 丕賳鬲卮丕乇 丕睾賱亘 賲禺丕胤亘蹖賳 賵 賲賳鬲賯丿蹖賳 賳鬲蹖噩賴鈥屰� 讴丕乇 乇賵 趩蹖夭蹖 噩夭 卮讴爻鬲 賳賵蹖爻賳丿賴 賳賲蹖鈥屫堎嗀池嗀�. 賴賲蹖賳胤賵乇 讴賴 賴賳賵夭 賴賲 賲禺丕胤亘蹖賳 丕賳丿讴蹖 丿爻鬲 亘賴 鬲丨爻蹖賳 賮賱賵亘乇 賲蹖鈥屫操嗁嗀�. 賯爻賲鬲 賲賴蹖噩 丕蹖賳 亘乇禺賵乇丿 爻乇丿 賵 賲禺乇亘 丕蹖賳噩丕爻鬲 讴賴 賮賱賵亘乇 讴丕賲賱丕 賲賳鬲馗乇 丕蹖賳 賵賯丕蹖毓 亘賵丿 賵 賮乇噩丕賲 讴丕乇卮 乇賵 亘賴 禺賵亘蹖 倬蹖卮鈥屫ㄛ岋拷锟桔� 讴乇丿.
丿乇 賲賯丿賲賴 賲鬲乇噩賲 賲蹖鈥屫堎嗃屬�:
賴丕賳乇蹖 爻賴鈥屫⒇必� 蹖讴蹖 丕夭 丿賵爻鬲丕賳 賮賱賵亘乇貙 鬲毓乇蹖賮 賲蹖鈥屭┵嗀� 讴賴 乇賵夭蹖 丿乇 亘乇丕亘乇 爻鬲丕蹖卮蹖 讴賴 丕賵 丕夭 讴鬲丕亘 鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 讴乇丿 賮賱賵亘乇 丕賵賱 卮诏賮鬲蹖 賳卮丕賳 丿丕丿貙 賵 爻倬爻 亘乇丕蹖卮 鬲賵囟蹖丨 丿丕丿 讴賴 趩乇丕 诏賲丕賳 賲蹖鈥屭┴必� 讴賴 禺賵丕賳賳丿賴 毓丕賲 丕蹖賳 讴鬲丕亘 丕賵 乇丕 亘賴 乇丕丨鬲蹖 賲丕丿丕賲 亘賵賵丕乇蹖 賳倬匕蹖乇丿. 亘賴 诏賮鬲踿 丕賵貙 賮賱賵亘乇 亘丕 丿賵 丿爻鬲卮 丿乇 賴賵丕 卮讴賱 蹖讴 賴乇賲 乇丕 鬲乇爻蹖賲 讴乇丿 賵 诏賮鬲:芦讴鬲丕亘 賲賳 丕蹖賳 讴丕乇 乇丕 賳賲蹖鈥屭┵嗀� 賴乇賲 賳賲蹖鈥屫池ж藏�. 禺賵丕賳賳丿賴 讴鬲丕亘鈥屬囏й屰� 賲蹖鈥屫堌з囏� 讴賴 亘賴 鬲賵賴賲鈥屬囏й屫� 丿丕賲賳 亘夭賳賳丿 賵 丌賳鈥屬囏� 乇丕 禺賵卮 亘蹖丕蹖賳丿貙 丿乇 丨丕賱蹖 讴賴 鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 毓讴爻 丕蹖賳鈥屭┴ж� 賲蹖鈥屭┵嗀�.禄 賵 亘丕 丿爻鬲卮 賴乇賲 賵丕乇賵賳賴鈥屫й� 鬲乇爻蹖賲 讴乇丿 讴賴 丨賮乇賴鈥屫й� 倬丿蹖丿 賲蹖鈥屫①堌必� 賵 賴賲踿 乇賵蹖丕賴丕 賵 鬲賵賴賲 賴丕蹖 禺賵丕賳賳丿賴 乇丕 亘賴 讴丕賲 賲蹖鈥屭┴篡屫�.
丕賲丕 丿睾丿睾賴 賮讴乇蹖 賮賱賵亘乇 趩賴 趩蹖夭蹖 亘賵丿 讴賴 賲賵噩亘 亘賵噩賵丿 丕賵賲丿賳 丕蹖賳 丨賮乇賴 卮丿責
賮賱賵亘乇 丿乇 賳丕賲賴鈥屫й� 亘賴 跇乇跇 爻丕賳丿 賳賵卮鬲:
芦賴乇 趩賴 賲蹖鈥屭┴篡屬� 丕夭 亘賱丕賴鬲 亘蹖鈥屬嗁囏й屫� 丕爻鬲. 讴蹖 賲蹖鈥屫促堌� 讴賴 丕夭 卮乇 诏賲丕賳賴鈥屫操嗃屸€屬囏й� 鬲賴蹖 賵 丕蹖丿賴鈥屬囏й� 賴賲賴鈥屭屫� 乇賴丕蹖蹖 蹖丕亘蹖賲責 賴乇 趩賴 乇丕 賲蹖鈥屫堌з嗃屬呚� 亘丿賵賳 亘丨孬 賲蹖鈥屬矩佰屫臂屬�. 賲乇丿賲 亘賴 噩丕蹖 丌夭賲賵丿賳 卮賳蹖丿賴鈥屬囏ж� 賲丿丕賲 丕馗賴丕乇 賮囟賱 賲蹖鈥屭┵嗁嗀�. 毓賳賵丕賳 孬丕賳賵蹖賴鈥屰� 讴鬲丕亘蹖 讴賴 丿丕乇賲 乇賵蹖卮 讴丕乇 賲蹖鈥屭┵嗁� 芦丿丕蹖乇賴鈥屫з勝呚关ж辟� 亘賱丕賴鬲 丕賳爻丕賳禄 丕爻鬲貙 毓賳賵丕賳蹖 讴賴 賲蹖鈥屫堌з嗀� 禺賵丿賲 乇丕 賴賲 亘賴 夭蹖乇 亘讴卮丿 賵 賲乇丕 噩夭賵蹖 丕夭 賲賵囟賵毓卮 讴賳丿.禄
鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 卮亘丕賴鬲 趩賳丿丕賳蹖 亘丕 乇賲丕賳 賴丕蹖 賲賳鬲卮乇 卮丿賴 丿乇 毓氐乇 禺賵丿卮 賳丿丕乇賴. 賴賲蹖賳 鬲賮丕賵鬲鈥屬囏� 亘丕毓孬 毓丿賲 丕賯亘丕賱卮 卮丿. 賲賴賲鬲乇蹖賳 鬲賮丕賵鬲 卮丕蹖丿 毓丿賲 賵噩賵丿 禺胤蹖 賲爻鬲賯蹖賲 賵 賲卮禺氐 丿乇 乇賵丕蹖鬲 賴爻鬲. 賲賳馗賵乇賲 倬乇卮鈥屬囏й� 賲鬲毓丿丿 夭賲丕賳蹖 蹖丕 賲讴丕賳蹖 賳蹖爻鬲貙 亘賱讴賴 丿丕爻鬲丕賳 賲乇讴夭 賵 賲丨賵乇 孬丕亘鬲蹖 賳丿丕乇賴. 丿乇 賵丕賯毓 賲賵囟賵毓 卮賮丕賮 賵 乇賵卮賳蹖 賴賲 賳丿丕乇賴. 亘賱賴 賲丕 丿丕爻鬲丕賳 噩賵丕賳蹖 亘賴 賳丕賲 賮乇丿乇蹖讴 乇賵 倬蹖卮 乇賵 丿丕乇蹖賲 賵 卮讴爻鬲 賴丕蹖 賲鬲毓丿丿蹖 讴賴 丿乇 夭賳丿诏蹖 诏乇蹖亘丕賳卮 乇賵 賲蹖鈥屭屫辟� 讴賴 亘蹖 卮亘丕賴鬲 亘賴 賮賱賵亘乇 賳蹖爻鬲 丕賲丕 丕蹖賳 鬲賳賴丕 賯胤乇賴鈥屫й� 丕夭 丿乇蹖丕爻鬲 賵 禺賱丕氐賴 爻丕夭蹖 丿丕爻鬲丕賳 亘賴 丕蹖賳 乇丕丨鬲蹖 賯丕亘賱 丕賳噩丕賲 賳蹖爻鬲.
賳賯賱 賯賵賱蹖 丕夭 禺賵丿 賮賱賵亘乇 賴賲 賲賴乇 鬲丕蹖蹖丿 亘乇 丕蹖賳 丨賯蹖賯鬲 賴爻鬲 讴賴 丕蹖賳 讴鬲丕亘 丿乇亘丕乇賴 賴蹖趩 賴爻鬲. 噩丕蹖蹖 讴賴 亘賴 賲毓卮賵賯賴鈥屫ж� 賱賵卅蹖夭 讴賵賱賴 賲蹖鈥屬嗁堐屫迟� 讴賴 丌乇夭賵 丿丕乇丿:
讴鬲丕亘蹖 丿乇亘丕乇賴 賴蹖趩 亘賳賵蹖爻丿. 讴鬲丕亘蹖 讴賴 禺賵丿 亘賴 禺賵丿 丿乇 賴賵丕 賲毓賱賯 亘賲丕賳丿.
鬲賮丕賵鬲 亘爻蹖丕乇 賲賴賲 亘毓丿蹖 乇丕賵蹖 賳丕賲乇卅蹖 賴爻鬲. 亘丕 丿賯鬲 丿乇 賲鬲賳 賳丕賲賴 賮賱賵亘乇 亘賴 爻丕賳丿 亘賴 氐乇丕丨鬲 賲蹖鈥屫ㄛ屬嗃屬� 讴賴 賮賱賵亘乇 丕夭 丕馗賴丕乇 賮囟賱 賵 诏賲丕賳賴 夭賳蹖 賴丕蹖 爻胤丨蹖 讴賱丕賮賴 亘賵丿. 丕夭 胤乇賮蹖 賯氐丿 丿丕卮鬲 丨賯蹖賯鬲 乇賵 毓蹖賳丕賾 賵 亘蹖 胤乇賮丕賳賴 亘賳賵蹖爻賴 賵 禺賵丿卮 乇賵 亘賴 賴蹖趩 賵噩賴 賵丕乇丿 丿丕爻鬲丕賳 賳讴賳賴 鬲丕 賲卮睾賵賱 鬲賮爻蹖乇 賵 亘爻胤 鬲賮讴乇丕鬲卮 亘丕卮賴. 趩乇丕 讴賴 毓賯蹖丿賴 丿丕卮鬲 乇丕賵蹖 賳亘丕蹖丿 丿禺丕賱鬲蹖 丿乇 賳鬲蹖噩賴 诏蹖乇蹖 禺賵丕賳賳丿賴 丕夭 丿丕爻鬲丕賳 丿丕卮鬲賴 亘丕卮賴. 亘賴 胤賵乇 禺賱丕氐賴 賲蹖鈥屫促� 诏賮鬲 賮賱賵亘乇 亘賴 毓賳賵丕賳 蹖讴 賲卮丕賴丿賴鈥屭� 賮賯胤 賲卮丕賴丿丕鬲卮 乇賵 賲讴鬲賵亘 讴乇丿賴 賵 丕夭 鬲賴蹖賴 賱賯賲賴 丌賲丕丿賴 氐乇賮鈥屬嗀肛� 讴乇丿. 賵賱蹖 丌蹖丕 禺賵丕賳賳丿賴 讴丕賲賱丕 乇賴丕 卮丿賴責 賯胤毓丕 讴賴 禺蹖乇. 讴丕乇 丿乇禺卮丕賳 賮賱賵亘乇 亘爻鬲乇爻丕夭蹖 賲賳丕爻亘 亘乇丕蹖 賯乇丕乇 丿丕丿賳 賲禺丕胤亘 丿乇 賲賵賯毓蹖鬲蹖 賴爻鬲 讴賴 亘乇禺賱丕賮 诏匕卮鬲賴 賵 爻賳鬲鈥屬囏й� 倬蹖卮蹖賳 賵 亘丿賵賳 賳氐蹖丨鬲 賵 倬賳丿 丿丕丿賳 賲爻鬲賯蹖賲 賲蹖夭丕賳 丿乇讴 倬匕蹖乇蹖 禺賵丕賳賳丿賴 乇賵 鬲丕 丨丿丕讴孬乇 亘丕賱丕 亘亘乇賴. 趩賵賳 胤亘賯 毓賯蹖丿賴 丕賵賳 丿丕賳爻鬲賳 亘胤賵乇 賲爻鬲賯蹖賲 亘丕 乇賮鬲丕乇 丕賳爻丕賳 丿乇 乇丕亘胤賴 賳蹖爻鬲 賵 讴賵賴蹖 丕夭 丿丕賳爻鬲賴鈥屬囏� 爻賳禺蹖鬲蹖 亘丕 丨賲丕賯鬲 賳丿丕乇賴 賵 卮乇胤 讴丕賮蹖 讴丕賴卮 丨賲丕賯鬲 賳蹖爻鬲. 亘賴 毓亘丕乇鬲蹖 禺賵丕爻鬲賳 鬲賵丕賳爻鬲賳 賳蹖爻鬲.
賵 賳讴鬲賴 倬丕蹖丕賳蹖 丿乇 鬲賮丕賵鬲鈥屬囏� 毓丿賲 賵噩賵丿 蹖讴 诏賱賵诏丕賴 蹖丕 賳賯胤賴 毓胤賮 賴爻鬲. 亘胤賵乇 丿賯蹖賯鈥屫� 丿丕爻鬲丕賳 丨賵賱 蹖讴 賳賯胤賴 丕賵噩 倬蹖鈥屫臂屫槽� 賳卮丿賴 鬲丕 亘丕 丕賮夭丕蹖卮 鬲氐丕毓丿蹖 賴蹖噩丕賳 賵 亘丕賱丕亘乇丿賳 囟乇亘丕賳 禺賵丕賳賳丿賴 丕夭 賴賲乇丕賴蹖 丕賵賳 丕胤賲蹖賳丕賳 丨丕氐賱 讴賳賴 丕賲丕 禺丕賱蹖 丕夭 賳賯丕胤 丕讴爻鬲乇賲賲 賴賲 賳蹖爻鬲. 亘賴 噩丕蹖 蹖讴 賳賯胤賴 丕讴爻鬲乇賲賲 賲胤賱賯 趩賳丿蹖賳 賳賯胤賴 丕讴爻鬲乇賲賲 賳爻亘蹖 讴丕乇诏匕丕乇蹖 卮丿賴 讴賴 丕賵噩 丿乇禺卮卮 賮賱賵亘乇 賴爻鬲. 丕賵賳 亘丕 賴賵卮 賵 丕爻鬲毓丿丕丿 亘蹖鈥屬嗀港屫� 亘丕 賳夭丿蹖讴 卮丿賳 禺賵丕賳賳丿賴 亘賴 賳賯丕胤 丕賵噩 毓丕賲丿丕賳賴 賲爻蹖乇 丿丕爻鬲丕賳 乇賵 賲禺鬲賱 賲蹖鈥屭┵嗁� 鬲丕 丕夭 噩賴鬲 噩丿蹖丿蹖 亘賴 丕賵噩 賳夭丿蹖讴 亘卮蹖賲 讴賴 亘丕夭賴賲 賳鬲蹖噩賴鈥屫й� 噩夭 丕賳丨乇丕賮 賳丿丕乇賴. 倬乇 賵丕囟丨 賴爻鬲 讴賴 賮賱賵亘乇 亘丕 賱亘禺賳丿蹖 卮蹖胤丕賳蹖 丕夭 丕蹖賳 讴丕乇 賱匕鬲 賲蹖鈥屫ㄘ辟� 讴賴 賲丿丕賲 賲丕賳毓 禺賵丕賳賳丿賴 丿乇 乇爻蹖丿賳 亘賴 倬丕爻禺 賲賵乇丿 賳馗乇卮 亘卮賴.
賮卮乇丿賴 丿丕爻鬲丕賳
丿乇 賲蹖丕賳賴 爻丕賱 1840 賮乇丿乇蹖讴 爻賵丕乇 亘乇 蹖讴 讴卮鬲蹖 賴爻鬲 讴賴 亘賴 夭賵丿蹖 爻丕丨賱 倬丕乇蹖爻 乇賵 鬲乇讴 賲蹖鈥屭┵嗁� 鬲丕 亘毓丿 丕夭 倬丕蹖丕賳 鬲丨氐蹖賱丕鬲 賲丿乇爻賴 賵 賳丕丕賲蹖丿 丕夭 丿蹖丿丕乇 毓賲賵蹖蹖 讴賴 丕夭 丕乇孬卮 爻賴賲蹖 賳禺賵丕賴丿 丿丕卮鬲 亘賴 禺賵賳賴 亘乇诏乇丿賴. 丿乇 亘蹖賳 賲爻丕賮乇丕賳 讴卮鬲蹖 夭賳蹖 賲鬲丕賴賱 賵 夭蹖亘丕 丨囟賵乇 丿丕乇賴 讴賴 賮乇丿乇蹖讴 丿乇 蹖讴 賳诏丕賴 亘賴卮 毓賱丕賯賴鈥屬呝嗀� 賲蹖鈥屫促�(賲丕丿丕賲 丌乇賳賵). 亘毓丿 丕夭 乇爻蹖丿賳 亘賴 賲賯氐丿 賵 诏匕乇 夭賲丕賳 丕蹖賳 丨爻 毓賱丕賯賴鈥屬呝嗀� 乇賵 亘賴 賮乇丕賲賵卮蹖 賲蹖鈥屫辟� 鬲丕 丕蹖賳讴賴 趩賳丿賲丕賴 亘毓丿 亘丕 亘丕夭诏卮鬲 亘賴 倬丕乇蹖爻 賵 卮乇賵毓 鬲丨氐蹖賱 丿乇 丨賯賵賯 賵 亘丕賱丕乇賮鬲賳 丿乇诏蹖乇蹖鈥屬囏� 賵 賴蹖噩丕賳丕鬲 丿乇 賲禺丕賱賮鬲 亘丕 丨讴賵賲鬲 賮乇丕賳爻賴 賮乇丿乇蹖讴 丿乇 丨丕賱 倬乇爻賴 夭丿賳 丿乇 卮賴乇 亘胤賵乇 丕鬲賮丕賯蹖 亘丕 鬲丕亘賱賵蹖蹖 丕夭 蹖讴 賮乇賵卮诏丕賴 賲丨氐賵賱丕鬲 賴賳乇蹖 亘乇禺賵乇丿 賲蹖鈥屭┵嗁� 讴賴 乇賵蹖 丕賵賳 賳丕賲 丌乇賳賵 趩卮賲讴 賲蹖鈥屫操嗁�.
賮乇丿乇蹖讴 賲丿鬲賴丕 丿乇 鬲賱丕卮 亘乇丕蹖 乇丕亘胤賴 爻丕夭蹖 賵 丿賵爻鬲蹖 賲氐賱丨鬲蹖 亘丕 丕賮乇丕丿蹖 賴爻鬲 讴賴 亘賴 禺丕賳賵丕丿賴 丌乇賳賵 賳夭丿蹖讴鈥屫辟嗀�. 亘賱讴賴 亘丕 丕蹖賳 鬲乇賮賳丿 賵 賵乇賵丿 亘賴 丕蹖賳 丨賱賯賴 亘乇丕蹖 丿蹖丿丕乇 賲乇鬲亘 毓卮賯卮 賲丕賳毓蹖 爻乇 乇丕賴卮 賳亘丕卮賴. 丕蹖賳 賳賯卮賴 鬲丕 賲乇丕鬲亘蹖 丕丿丕賲賴 倬蹖丿丕 賲蹖鈥屭┵嗁� 讴賴 賮乇丿乇蹖讴 鬲氐賲蹖賲 亘賴 蹖丕丿诏乇賮鬲賳 賳賯丕卮蹖 賲蹖鈥屭屫辟� 賵 亘丕 禺乇蹖丿 丕亘夭丕乇 賵 賱賵丕夭賲 賵 丕爻鬲禺丿丕賲 丕爻鬲丕丿 賵丕乇丿 丕蹖賳 賲爻蹖乇 賲蹖鈥屫促� 賵 讴賲蹖 亘毓丿 賲孬賱 鬲丨氐蹖賱 丿乇 丿丕賳卮诏丕賴 賲賱丕賱鈥屫①堌� 亘賴 賳馗乇卮 賲蹖丕丿 賵 乇賴丕卮 賲蹖鈥屭┵嗁�.
丿乇 禺賱丕賱 蹖讴 賲賴賲丕賳蹖貙 氐丨賳賴鈥屫й� 讴賴 賮乇丿乇蹖讴 鬲賳賴丕 鬲賲丕卮丕诏乇卮 賴爻鬲 丕賲蹖丿賵丕乇蹖 乇賵 亘賴 賵氐丕賱 賲丕丿丕賲 丌乇賳賵 丿乇 丕賵賳 夭賳丿賴 賲蹖鈥屭┵嗁�. 亘乇禺賱丕賮 馗丕賴乇 卮蹖讴 賵 亘蹖 賳賯氐賽 禺丕賳賵丕丿賴 丌乇賳賵 賮囟丕蹖 丿丕禺賱蹖 丨丕讴賲 亘乇 丕賵賳 賲鬲夭賱夭賱 賵 倬乇 丕夭 趩丕賱卮 賴丕蹖 賲鬲毓丿丿 賴爻鬲. 禺蹖丕賳鬲 賴丕蹖 亘蹖 倬丕蹖丕賳 丌賯丕蹖 丌乇賳賵 亘賴 賴賲爻乇卮 賵 囟毓賮 卮丿蹖丿 賲丕賱蹖 亘丕乇賴丕 丕賵賳賴丕 乇賵 鬲丕 賲乇夭 噩丿丕蹖蹖 賲蹖鈥屫ㄘ辟�.
賮乇丿乇蹖讴 賴賲 丿乇 賲賯丕亘賱 亘丕 賵乇賵丿 亘賴 丨賱賯賴 亘夭乇诏丕賳 賵 蹖讴 禺賵卮 卮丕賳爻蹖 孬乇賵鬲 丕賳丿讴蹖 乇賵 氐丕丨亘 賲蹖鈥屫促�. 丕賵賳 讴賴 丿乇 賲賴丕噩乇鬲 亘賴 倬丕乇蹖爻 丌乇夭賵賴丕蹖 亘夭乇诏蹖 乇賵 丿乇 爻乇 丿丕乇賴 賵 賲丨丿賵丿 亘賴 鬲氐丕丨亘 禺丕賳賲 丌乇賳賵 賳蹖爻鬲 乇賮鬲賴 乇賮鬲賴 丕夭 賲爻蹖乇 賲賵賮賯蹖鬲 賵 賲丨賯賯 卮丿賳 丌乇夭賵賴丕 丿賵乇 賵 丿賵乇鬲乇 賲蹖鈥屫促�.
丿乇 賴賲蹖賳 賲爻蹖乇 賮乇丿乇蹖讴 讴賴 诏賵卮 卮賳賵丕蹖蹖 賳丿丕乇賴 賵 禺賵丿卮 乇賵 讴丕賲賱丕 乇賴丕 讴乇丿賴 賵丕乇丿 乇賵丕亘胤 毓丕卮賯丕賳賴 毓噩蹖亘蹖 賲蹖鈥屫促� 亘賱讴賴 禺賱丕購 丿乇賵賳蹖卮 乇賵 倬乇讴賳賴 賵 卮讴爻鬲 丿乇 賵氐丕賱 毓卮賯 丕賵賱 乇賵 噩亘乇丕賳 讴賳賴 丕賲丕 亘丕夭賴賲 丕賵賳鈥屫焚堌� 讴賴 亘丕蹖丿 禺賵卮丨丕賱 賵 賲賵賮賯 賳蹖爻鬲. 孬乇賵鬲卮 乇賵 禺乇噩 倬乇丿丕禺鬲 亘丿賴蹖 賴丕蹖 丌乇賳賵 賲蹖鈥屭┵嗁� 鬲丕 賮卮丕乇 賲囟丕毓賮蹖 亘乇 禺丕賳賲 丌乇賳賵 賳亘丕卮賴 丕賲丕 讴丕乇爻丕夭 賳蹖爻鬲 賵 亘丕夭賴賲 賲卮讴賱丕鬲 乇蹖夭 賵 丿乇卮鬲蹖 賲丕賳毓 卮讴賱 诏蹖乇蹖 乇丕亘胤賴 亘蹖賳 丕賵賳賴丕 賲蹖卮賳. 賳賴 賮賯胤 倬賵賱 亘賱讴賴 賮乇丿乇蹖讴 亘賴 賴乇 乇蹖爻賲丕賳蹖 讴賴 丿爻鬲卮 賲蹖鈥屫必迟� 趩賳诏 賲蹖鈥屫操嗁� 賵 卮丕賳爻卮 乇賵 賯乇亘丕賳蹖 賲蹖鈥屭┵嗁� 鬲丕 賳鬲蹖噩賴 丿賱禺賵丕賴 乇賵 亘丿爻鬲 亘蹖丕乇賴 賵賱蹖 诏乇蹖夭蹖 丕夭 爻乇賳賵卮鬲 賳丿丕乇賴.
噩丕賲毓賴 賮乇丕賳爻賴 丿乇 毓氐乇 鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 乇賵夭 亘賴 乇賵夭 賲賱鬲賴亘鈥屫� 丕夭 乇賵夭 賯亘賱 亘賴 倬蹖卮 賲蹖鈥屫辟�. 賵囟毓蹖鬲 夭賳丿诏蹖 賲乇丿賲 賳丕亘爻丕賲丕賳 賵 亘賱丕鬲讴賱蹖賮 賴爻鬲 趩賵賳 丕乇夭卮鈥屬囏� 賵 賴賳噩丕乇賴丕蹖 丨丕讴賲 亘乇 噩丕賲毓賴 丿乇 丨丕賱 夭蹖乇 賵 乇賵 卮丿賳 賵 亘丕夭鬲毓乇蹖賮 賴爻鬲. 亘賴 毓亘丕乇鬲蹖 噩丕賲毓賴 丿乇 爻乇丿乇诏賲蹖 丿爻鬲 賵 倬丕 賲蹖鈥屫操嗁� 鬲丕 賲爻蹖乇 噩丿蹖丿 禺賵丿卮 乇賵 倬蹖丿丕 讴賳賴 鬲丕 丕蹖賳讴賴 丿乇 1848 賱賵蹖蹖 賮蹖賱蹖倬 丕夭 倬丕丿卮丕賴蹖 毓夭賱 賵 噩賲賴賵乇蹖 丿賵賲 丕毓賱丕賲 卮丿. 亘賴 賴賲蹖賳 噩賴鬲 噩丕賲毓賴 賴賲爻賵 亘丕 賮乇丿乇蹖讴 爻乇丿乇诏賲 賴爻鬲 賵 亘賴 噩丕蹖 讴賲讴 丿乇 禺賱丕氐 卮丿賳 丕夭 丕蹖賳 賵囟毓 亘賴 賮乇賵乇賮鬲賳 亘蹖卮鬲乇卮 丿乇 丕蹖賳 賲賳噩賱丕亘 丿丕賲賳 賲蹖鈥屫操嗁�.
亘毓丿 丕夭 诏匕卮鬲 鬲賯乇蹖亘丕 亘蹖爻鬲 爻丕賱 夭賳诏 禺丕賳賴 賮乇丿乇蹖讴 亘賴 氐丿丕 丿乇賲蹖丕丿 賵 倬卮鬲 丿乇 讴爻蹖 賳蹖爻鬲 噩夭 禺丕賳賲 丌乇賳賵. 丨丕賱丕 讴賴 賲丕賳毓蹖 倬蹖卮鈥屫辟� 賳蹖爻鬲 賵 禺丕賳賲 丌乇賳賵蹖 爻賮蹖丿 賲賵 亘賴 賮乇丿乇蹖讴 倬蹖卮賳賴丕丿 丕夭丿賵丕噩 賲蹖鈥屫� 亘丕 噩賵丕亘 乇丿 乇賵鈥屫ㄙ団€屫辟� 賲蹖鈥屫促�.
賮乇丿乇蹖讴 賵 丕丨爻丕爻丕鬲卮
賮乇丿乇蹖讴 亘賴 毓賳賵丕賳 賳賯卮 丕氐賱蹖 丿乇 丿丕爻鬲丕賳 丨囟賵乇 丿丕乇賴 讴賴 卮賲丕蹖賱 讴丕賲賱 蹖讴 囟丿 賯賴乇賲丕賳 賲賵賮賯 乇賵 丿丕乇賴 丕賲丕 丕睾賱亘 卮禺氐蹖鬲 賴丕蹖 丕氐賱蹖 賵 丨鬲蹖 诏匕乇丕 丿乇 乇賵賳丿 丿丕爻鬲丕賳 鬲丕孬蹖乇诏匕丕乇蹖 睾蹖乇賯丕亘賱 丕賳讴丕乇蹖 丿丕乇賳丿 賵 氐乇賮丕 賳馗丕乇賴鈥屭� 賵 爻蹖丕賴 賱卮讴乇 賳蹖爻鬲賳丿. 蹖讴蹖 丕夭 賲賴賲鬲乇蹖賳 丕賮乇丕丿 賳夭丿蹖讴鬲乇蹖賳 丿賵爻鬲 賮乇丿乇蹖讴貙 丿賱賵乇蹖赖 丕爻鬲 讴賴 丿賵爻鬲蹖 丕賵賳賴丕 亘賴 丿賵乇丕賳 讴賵丿讴蹖 亘乇賲蹖鈥屭必� 賵 賳賯卮 賲賯丕亘賱 賮乇丿乇蹖讴 乇賵 亘賴 毓賴丿賴 丿丕乇賴. 卮禺氐蹖 讴賴 丿乇 毓蹖賳 丿賵爻鬲蹖 毓賲蹖賯 亘丕 賮乇丿乇蹖讴 亘丕乇賴丕 亘賴 毓賱鬲 讴丿賵乇鬲 丕夭卮 賮丕氐賱賴鈥屫й� 胤賵賱丕賳蹖 賲丿鬲 诏乇賮鬲賴. 丕诏乇 賮乇丿乇蹖讴 賳賲丕丿蹖 丕夭 蹖讴 卮禺氐 倬丕蹖亘賳丿 亘賴 鬲氐賲蹖賲丕鬲 丕丨爻丕爻蹖 丿乇 賳馗乇 诏乇賮鬲賴 亘卮賴 丿賱賵乇蹖赖 賳賲丕丿蹖 丕夭 蹖讴 卮禺氐 倬丕蹖亘賳丿 亘賴 賲賳胤賯 賴爻鬲. 爻乇賳賵卮鬲 賴乇丿賵 趩蹖夭蹖 噩夭 卮讴爻鬲 賳蹖爻鬲 賵 丕夭 賳賯丕胤 賵 賱丨馗丕鬲 鬲丕乇蹖讴 賲鬲毓丿丿蹖 倬乇 卮丿賴. 丿乇 賵丕賯毓 丿乇 讴賳丕乇 賮乇丿乇蹖讴 賵 賲丕丿丕賲 丌乇賳賵貙 丿賱賵乇蹖赖 亘賴 賳賵毓蹖 丿乇 倬賱賴 爻賵賲 爻賱爻賱賴 卮禺氐蹖鬲 賴丕蹖 丕蹖賳 讴鬲丕亘 賴爻鬲 賵 賲卮丕亘賴 賮乇丿乇蹖讴 卮禺氐蹖鬲蹖 賳丕賲鬲毓丕丿賱 賵 氐賮乇 賵 氐丿蹖 賴賲蹖賳胤賵乇 讴賴 丿賱賵乇蹖赖 丿乇 丌禺乇蹖賳 禺胤賵胤 鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 丿乇 倬丕爻禺 亘賴 賮乇丿乇蹖讴 讴賴 芦趩乇丕 亘賴 丕蹖賳噩丕 乇爻蹖丿蹖賲責禄 诏賮鬲:
賲賳 夭蹖丕丿蹖 賲賳胤賯蹖 亘賵丿賲 賵 鬲賵 夭蹖丕丿蹖 丕丨爻丕爻丕鬲蹖.賴乇 丿賵 亘賴 丿賱蹖賱 賳丕讴丕賲蹖鈥屫促堎� 倬蹖 亘乇丿賳 賵賱蹖 亘爻蹖丕乇 丿蹖乇 賵 亘毓丿 丕夭 賲乇诏 爻賴乇丕亘. 蹖丕丿丌賵乇 蹖讴蹖 丕夭 乇亘丕毓蹖丕鬲 禺蹖丕賲 毓夭蹖夭 讴賴 賲蹖鈥屭�:
賯賵賲蹖 賲鬲賮讴乇賳丿 丿乇 賲匕賴亘 賵 丿蹖賳貙 賯賵賲蹖 亘賴 诏賲丕賳 賮鬲丕丿賴 丿乇 乇丕賴 蹖賯蹖賳
賲蹖鈥屫必迟� 丕夭 丌賳讴賴 亘丕賳诏 丌蹖丿 乇賵夭蹖貙 讴丕蹖 亘蹖鈥屫ㄘ必з� 乇丕賴 賳賴 丌賳 丕爻鬲 賵 賳賴 丕蹖賳
丕丨爻丕爻丕鬲蹖 亘賵丿賳 賮乇丿乇蹖讴 乇賵 賲蹖鈥屫堎嗃屬� 賴賲鈥屫ж必� 亘丿賵賳蹖賲 亘丕 鬲兀孬蹖乇倬匕蹖乇蹖卮 賵 丿乇 丕丿丕賲賴 鬲賯賱蹖丿 丕夭 丕胤乇丕賮蹖丕賳蹖 讴賴 賴賲賵丕乇賴 賲賵乇丿 鬲丨爻蹖賳卮 賴爻鬲賳丿. 蹖讴賴鈥屫ж� 丕蹖賳 噩賲毓 丌賯丕蹖 丌乇賳賵 賴爻鬲 讴賴 丿乇 亘乇禺賵乇丿 丕賵賱 讴丕賲賱丕 賮乇丿乇蹖讴 乇賵 賲爻丨賵乇 禺賵丿卮 賲蹖鈥屭┵嗁� 丿乇 讴賳丕乇 丕蹖賳讴賴 亘賴 毓賳賵丕賳 賴賲爻乇 禺丕賳賲 丌乇賳賵 亘賴 賲賵賮賯蹖鬲蹖 丿爻鬲 倬蹖丿丕 讴乇丿賴 讴賴 丌乇夭賵蹖 丕賵賳 賴爻鬲. 倬爻 亘蹖卮鬲乇蹖賳 鬲兀孬蹖乇倬匕蹖乇蹖 賮乇丿乇蹖讴 丕夭 丌乇賳賵 爻乇趩卮賲賴 賲蹖鈥屭屫辟� 賵 亘賴 噩丕蹖蹖 賲蹖鈥屫必迟� 讴賴 賲毓卮賵賯賴 丌乇賳賵 乇賵 鬲氐丕丨亘 賲蹖鈥屭┵嗁� 賵 丿乇 賴賲蹖賳 亘蹖賳 丿乇 賲賴蹖丕蹖 禺蹖丕賳鬲 亘賴 丕賵賳 亘丕 卮乇賵毓 乇丕亘胤賴 亘丕 賮乇丿 孬丕賱孬蹖 賴爻鬲. 丿乇 賴賲蹖賳 賲爻蹖乇 賵 賲氐丕卅亘卮貙 胤蹖 爻丕賱賴丕 賮乇丌蹖賳丿 鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 賮乇丿乇蹖讴 乇禺 賲蹖鈥屫� 賵 丕賱亘鬲賴 讴賴 亘丕蹖丿 丿乇 倬丕蹖丕賳 丕蹖賳 賲爻蹖乇 倬丕爻禺 丕賵賳 亘賴 禺丕賳賲 丌乇賳賵 賴賲蹖賳 亘丕卮賴 讴賴 丿乇 丿丕爻鬲丕賳 乇禺 丿丕丿. 賯丕胤毓丕賳賴 禺蹖乇!
賮乇丿乇蹖讴 賲賵乇賵 = 诏賵爻鬲丕賵 賮賱賵亘乇
亘丕 讴賳丿賵讴丕賵 丿乇 夭賳丿诏蹖 賮賱賵亘乇 卮亘丕賴鬲 賴丕蹖 夭蹖丕丿蹖 乇賵 亘蹖賳 賮乇丿乇蹖讴 亘丕 丕賵賳 賲蹖鈥屫ㄛ屬嗃屬� 讴賴 丕鬲賮丕賯蹖 賳蹖爻鬲. 亘丕 丿丕爻鬲丕賳蹖 乇賵亘賴鈥屫辟� 賴爻鬲蹖賲 讴賴 倬乇 丕夭 賳讴丕鬲 丕鬲賵亘蹖賵诏乇丕賮蹖讴 賴爻鬲 賵 卮讴賱 诏蹖乇蹖 卮禺氐蹖鬲鈥屬囏� 賵 賵賯丕蹖毓 亘丕 丕賱賴丕賲 诏蹖乇蹖 丕夭 鬲噩乇亘蹖丕鬲 夭蹖爻鬲賴鈥屫ж� 丕賳噩丕賲 卮丿.
賮乇丿乇蹖讴 鬲賯乇蹖亘丕 賴賲 爻賳 賮賱賵亘乇 賴爻鬲. 丿乇 夭賲丕賳 賵賯賵毓 丿丕爻鬲丕賳 亘丕 賲賴丕噩乇鬲 丕夭 卮賴乇 賲丨賱 夭賳丿诏蹖卮 亘賴 毓賳賵丕賳 丿丕賳卮噩賵蹖 丨賯賵賯 爻丕讴賳 倬丕乇蹖爻 卮丿 賵 亘毓丿 丕夭 诏匕卮鬲 賲丿鬲蹖 亘丿賵賳 丕鬲賲丕賲 丿賵乇賴 鬲丨氐蹖賱 乇賵 乇賴丕 讴乇丿. 倬爻 亘賴 禺賵亘蹖 亘丕 爻賱爻賱賴 賵賯丕蹖毓 賲賳噩乇 亘賴 丕賳賯賱丕亘 丌卮賳丕爻鬲 趩賵賳 丕夭 賳夭丿蹖讴 賲卮丕賴丿賴鈥屭� 卮賱賵睾蹖 賵 丕睾鬲卮丕卮丕鬲 亘賵丿.
丕夭 胤乇賮蹖 乇賵丕亘胤 毓丕卮賯丕賳賴 賮乇丿乇蹖讴 賴賲 卮亘丕賴鬲 睾蹖乇賯丕亘賱 丕賳讴丕乇蹖 亘丕 丨賯丕蹖賯 夭賳丿诏蹖 賮賱賵亘乇 丿丕乇賴. 賴乇丿賵 鬲丕 丕賳鬲賴丕蹖 毓賲乇 丕夭丿賵丕噩 賳讴乇丿賳丿 賴乇趩賳丿 讴賴 丿乇诏蹖乇 趩賳丿 乇丕亘胤賴 毓丕胤賮蹖 賵 亘毓囟丕 胤賵賱丕賳蹖 賲丿鬲 卮丿賳丿. 丕賲丕 丿乇 丕蹖賳 亘蹖賳 賲毓卮賵賯賴鈥屬囏й� 卮丕禺氐 亘乇丕蹖 賴乇丿賵 禺丕賳賲 賴丕蹖蹖 亘夭乇诏鈥屫� 賵 賲鬲丕賴賱 賴爻鬲賳丿.
毓卮賯 丕賵賱 賮賱賵亘乇 丕賱蹖夭 卮賱夭蹖賳诏乇 賮乇丿蹖 賲鬲丕賴賱 亘賵丿 賵 爻丕賱賴丕 亘夭乇诏鈥屫� 丕夭 丕賵賳 讴賴 亘賴 爻乇丕賳噩丕賲 賳乇爻蹖丿. 胤亘賯 賳馗乇 丕讴孬乇 賲賳鬲賯丿蹖賳 丕賱蹖夭 丕賱賴丕賲鈥屫ㄘ� 賮賱賵亘乇 亘乇丕蹖 卮讴賱 丿丕丿賳 亘賴 卮禺氐蹖鬲 賲丕丿丕賲 丌乇賳賵 賴爻鬲. 毓丿賲 賲賵賮賯蹖鬲 賮賱賵亘乇 丿乇 乇丕亘胤賴 亘丕 丕賱蹖夭 賴乇诏夭 賲丕賳毓 丿賵乇蹖 丕賵賳鈥屬囏� 賳卮丿 賵 亘乇丕蹖 賲丿鬲蹖 胤賵賱丕賳蹖 乇賵丕亘胤 賳夭丿蹖讴 賵 丿賵爻鬲丕賳賴鈥屫й� 亘丕 丕賵賳 賵 賴賲爻乇卮 丿丕卮鬲 讴賴 亘丕夭賴賲 丕賳胤亘丕賯 賯丕亘賱 賯亘賵賱蹖 亘丕 丕丨賵丕賱 賮乇丿乇蹖讴 賵 禺丕賳賵丕丿賴 丌乇賳賵 丿丕乇賴.
毓賳賵丕賳蹖 讴賴 卮丕蹖丿 睾賱胤 亘丕卮丿!
丿乇 亘丕亘 毓賳賵丕賳 丕蹖賳 乇賲丕賳 亘丨孬 賴丕蹖 賲賮氐賱蹖 卮讴賱 诏乇賮鬲賴 亘蹖卮鬲乇 亘賴 丕蹖賳 毓賱鬲 讴賴 賵丕跇賴 Sentimentale 丕夭 丕賳诏賱蹖爻蹖 賵丕乇丿 賮乇丕賳爻賴 卮丿賴 賵 賲毓賳丕蹖 丕賵賳 亘毓丿 丕夭 賵乇賵丿 亘賴 賮乇丕賳爻賴 丿趩丕乇 鬲睾蹖蹖乇丕鬲蹖 丿乇 噩夭卅蹖丕鬲 賵 賲賮賴賵賲 卮丿 賵 丿乇 夭賲丕賳 丕爻鬲賮丕丿賴 賮賱賵亘乇 丕夭 丕蹖賳 毓賳賵丕賳 賲丿鬲 賯丕亘賱 鬲賵噩賴蹖 丕夭 賵乇賵丿 丕蹖賳 賱睾鬲 爻倬乇蹖 賳卮丿賴 亘賵丿. 倬爻 賮囟丕 亘乇丕蹖 亘乇丿丕卮鬲 賴丕蹖 賲鬲賮丕賵鬲 賵 賲鬲毓丿丿 亘丕夭 卮丿. 蹖讴蹖 丕夭 賲卮賴賵乇鬲乇蹖賳 亘乇乇爻蹖鈥屬囏� 賲乇亘賵胤 亘賴 倬乇賵爻鬲 賴爻鬲 讴賴 丕夭 丕蹖賳 毓賳賵丕賳 芦毓賳賵丕賳蹖 夭蹖亘丕 亘賴 賱丨丕馗 丕爻鬲丨讴丕賲禄 蹖丕丿 賲蹖鈥屭┵嗁�. 丿乇 丕丿丕賲賴 亘丕 卮乇丨 亘蹖卮鬲乇 丕丿丕賲賴 賲蹖鈥屸€屫� 讴賴:
毓賳賵丕賳蹖 亘爻蹖丕乇 夭蹖亘丕 讴賴 丕夭 賱丨丕馗 丿爻鬲賵乇蹖 趩賳丿丕賳 氐丨蹖丨 賳蹖爻鬲. 丕賵賱蹖賳 丕卮鬲亘丕賴 乇賲丕賳 鬲乇亘蹖鬲 丕丨爻丕爻丕鬲貙 丕卮鬲亘丕賴蹖 丕爻鬲 丿乇 毓賳賵丕賳 賵 賲乇亘賵胤 亘賴 夭亘丕賳 賮乇丕賳爻賵蹖. 丕蹖賳 毓賳賵丕賳貙 毓賳賵丕賳蹖 丕爻鬲 賲亘賴賲 賵 诏賳诏 趩乇丕 讴賴 賲賮賴賵賲 鬲乇亘蹖鬲 丕丨爻丕爻 乇丕 丕夭 丌賳 亘乇丿丕卮鬲 賲蹖鈥屭┵嗃屫�. 丕賲丕 亘乇丿丕卮鬲 賲賳 亘賴 诏賵賳賴鈥屫й� 丿蹖诏乇 丕爻鬲: 鬲乇亘蹖鬲蹖 氐乇賮丕 丕丨爻丕爻丕鬲蹖 讴賴 亘乇 丕爻丕爻 丌賳 賲乇亘蹖丕賳 丿乇 賳夭丿 賲乇丿 噩賵丕賳蹖 讴賴 賲賵乇丿 鬲毓賱蹖賲鈥屫簇з� 丕爻鬲 亘賴 爻乇丕睾 趩蹖夭蹖 賳賲蹖鈥屫辟堎嗀� 賲诏乇 丕丨爻丕爻. 倬爻 亘蹖鈥屫必з� 賳蹖爻鬲 丕诏乇 丕丿毓丕 讴賳賲 丕蹖賳 毓賳賵丕賳 亘蹖卮鬲乇 賲賳丕爻亘 乇賲丕賳 賲丕丿丕賲 亘賵丕乇蹖 丕爻鬲貙 丿乇 賲賵乇丿 丕蹖賳 賯賴乇賲丕賳 賴蹖趩 卮讴 賳丿丕乇賲 讴賴 丕賵 賯乇亘丕賳蹖 鬲乇亘蹖鬲蹖 丕丨爻丕爻丕鬲蹖 丕爻鬲.*
爻禺賳 倬丕蹖丕賳蹖
賮賱賵亘乇 禺蹖賱 毓馗蹖賲蹖 丕夭 鬲丨爻蹖賳 讴賳賳丿诏丕賳 乇賵 丿丕乇賴 讴賴 丿乇 亘蹖賳 丕賵賳賴丕 卮丕蹖丿 賳賵蹖爻賳丿賴 賲賵乇丿 毓賱丕賯賴 賲丕 噩丕 诏乇賮鬲賴 亘丕卮賴: 倬乇賵爻鬲貙 夭賵賱丕貙 賲賵倬丕爻丕賳貙 丿賵丿賴貙 丕賵乇賵賱貙 倬丕賲賵讴貙 亘丕乇賳夭 賵...
丌倬丿蹖鬲: 讴丕賮讴丕 賴賲 馗丕賴乇丕賸 丕夭 倬蹖乇賵丕賳 倬乇賵倬丕賯乇氐 賮賱賵亘乇 賵 鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 亘賵丿賴(亘乇 丕爻丕爻 鬲匕讴乇蹖 讴賴 蹖讴蹖 丕夭 丿賵爻鬲丕賳 讴丕賮讴丕 丿賵爻鬲 丿乇 倬蹖丕賲 禺氐賵氐蹖 丿丕丿!)
丌倬丿蹖鬲 賲噩丿丿: 蹖賵爻丕 賴賲 亘賴 賱蹖爻鬲 丕囟丕賮賴 讴賳蹖丿.
倬鈥屬�: 丿蹖诏賴 賱蹖爻鬲 亘爻鬲賴 卮丿!
鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 乇賲丕賳 乇丕丨鬲蹖 賳蹖爻鬲. 爻禺鬲 賳賴 亘賴 賲毓賳蹖 夭亘丕賳 孬賯蹖賱 賵 胤丕賯鬲 賮乇爻丕 亘賱讴賴 卮乇賵毓 讴乇丿賳卮 亘丕 卮賲丕爻鬲 賵 倬丕蹖丕賳 丿丕丿賳卮 亘丕 乇賵夭诏丕乇. 賲賳 鬲賯乇蹖亘丕 丿賵賲丕賴 倬乇賵爻賴 禺賵丕賳卮 乇賵 亘爻胤 丿丕丿賲 賵 亘賴 賳馗乇賲 丕蹖賳 丿賱蹖賱 賲賵賮賯蹖鬲賲 丿乇 賳蹖賲賴 乇賴丕 賳讴乇丿賳卮 卮丿. 丕賱亘鬲賴 賯氐丿蹖 亘乇丕蹖 胤賵賱丕賳蹖鈥屫� 讴乇丿賳 丕蹖賳 亘丕夭賴 賳丿丕卮鬲賲 賵 賲卮睾賱賴 卮丿蹖丿 亘丕毓孬卮 卮丿 讴賴 丕賱丕賳 丕夭 亘丕亘鬲卮 禺賵卮丨丕賱賲. 匕乇賴 匕乇賴 賵 乇丕丨鬲 噩賱賵 乇賮鬲賲 賵 賴乇噩丕蹖蹖 讴賴 丿乇诏蹖乇 賲賱丕賱 賲蹖鈥屫簇� 亘賴 乇丕丨鬲蹖 讴鬲丕亘 乇賵 讴賳丕乇 诏匕丕卮鬲賲 鬲丕 亘毓丿 丕夭 賲丿鬲蹖 丿賵亘丕乇賴 亘乇賲 爻乇丕睾卮 賵 丕丿丕賲賴 亘丿賲.
鬲乇噩蹖丨丕 丕诏乇 乇賲丕賳蹖 丕夭 賮賱賵亘乇 賳禺賵賳丿蹖丿 賵 丕丨鬲賲丕賱 賲蹖鈥屫屫� 亘禺賵丕蹖丿 丕夭卮 趩賳丿丕孬乇 亘禺賵賳蹖丿 鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 乇賵 亘賴 氐丿乇 賱蹖爻鬲 賲賳鬲賯賱 讴賳蹖丿 蹖丕 丕夭 禺蹖乇卮 亘诏匕乇蹖丿 趩賵賳 賲乇鬲亘 丿乇 賲賯丕蹖爻賴 亘丕 亘丕賯蹖 丌孬丕乇 賵 囟毓蹖賮鈥屫� 丿蹖丿賳卮 丕夭卮 讴賱丕賮賴 賵 丿賱爻乇丿 禺賵丕賴蹖丿 卮丿. 賴乇趩賳丿 讴賴 鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 囟毓蹖賮 賳蹖爻鬲 賵賱蹖 賮囟丕蹖 賲鬲賮丕賵鬲蹖 丿丕乇賴 賵 卮丕蹖丿 賲賵乇丿 倬爻賳丿 賴賲诏丕賳 賳亘丕卮賴貙 趩蹖夭蹖 讴賴 亘丕 亘乇爻蹖 趩賳丿蹖賳 乇蹖賵蹖賵 丕夭卮 賲鬲賵噩賴 卮丿賲.
鬲乇亘蹖鬲 丕丨爻丕爻丕鬲 丕賵賱蹖賳 賲賵丕噩賴賴 賲賳 亘丕 賮賱賵亘乇 亘賵丿 賵 丨鬲賲丕 亘丕夭賴賲 爻乇丕睾卮 禺賵丕賴賲 乇賮鬲.
* 鬲丕乇蹖禺趩賴 蹖讴 毓賳賵丕賳 - 倬蹖鈥屰屫� 賲丕乇讴 丿賵 亘夭蹖 鬲乇噩賲賴 賲賴爻丕 亘禺卮丕蹖蹖
賴卮鬲 丿蹖 氐賮乇 爻賴
April 30, 2024
'Sentimental Education' seems a very unusual 19th century novel to me. On the surface it follows Fr茅d茅ric, a quite attractive young man from a respectable family. Fr茅d茅ric has a promising future and high hopes. Time passes, the story unfolds; the young man gets older, he experiences love, happiness, disappontment, sadness, joy and grief (against the background of the dramatic historic events) - he receives the usual 'sentimental education'.
It seems there is nothing unusual about this kind of plot apart from the fact that the novel is a huge sarcastic caricature of the characters, events, relationships, etc. and this what makes the work different from the other 19th century texts.
We can see a caricature of love, a caricature of friendship, a caricature of a duel, a caricature of a funeral, a caricature of death, a caricature of an artist, etc.
Flaubert has no mercy on his characters, their thoughts, emotions, passions, weaknesses and actions. He sneers at practically all of them. Is that why the structure of the novel seems somewhat chaotic and personalities are schematic and unrealistic? Is Flaubert's cynicism the result of his own disappontment and bitter feelings?
'It was filled with women sitting close to one another in little groups on seats without backs. Their long skirts, swelling round them, seemed like waves, from which their waists emerged; and their breasts were clearly outlined by the slope of their corsages. Nearly every one of them had a bouquet of violets in her hand. The dull shade of their gloves showed off the whiteness of their arms, which formed a contrast with its human flesh tints. Over the shoulders of some of them hung fringe or mourning-weeds, and, every now and then, as they quivered with emotion, it seemed as if their
bodices were about to fall down. But the decorum of their countenances tempered the exciting effect of their costumes. Several of them had a placidity almost like that of animals; and this
resemblance to the brute creation on the part of half-nude women made him think of the interior of a harem鈥攊ndeed, a grosser comparison suggested itself to the young man's mind. Every variety of beauty was to be found there鈥攕ome English ladies, with the profile familiar in "keepsakes"; an Italian, whose black eyes shot forth lava-like flashes, like a Vesuvius; three sisters, dressed in blue; three Normans, fresh as April apples; a tall red-haired girl, with a set of amethysts. And the
bright scintillation of diamonds, which trembled in aigrettes worn over their hair, the luminous spots of precious stones laid over their breasts, and the delightful radiance of pearls which adorned their foreheads mingled with the glitter of gold rings, as well as with the lace, powder, the feathers, the vermilion of dainty mouths, and the mother-of-pearl hue of teeth. The ceiling, rounded like a cupola, gave to the boudoir the form of a flower-basket, and a current of perfumed air circulated under the flapping of their fans.
Frederick, planting himself behind them, put up his eyeglass and scanned their shoulders, not all of which did he consider irreproachable. He thought about the Mar茅chale, and this dispelled the temptations that beset him or consoled him for not yielding to them.'
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'For certain men action becomes more difficult as desire becomes stronger. They are embarrassed by self-distrust, and terrified by the fear of making themselves disliked. Besides, deep attachments resemble virtuous women: they are afraid of being discovered, and pass through life with downcast eyes.'
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'Deslauriers believed in Frederick's statement on the point, and expressed approval of his conduct, for he had always been ambitious of constituting a phalanx of which he would be the leader. Certain men take delight in making their friends do things which are disagreeable to them.'
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'It was over, this life full of anxieties! How many journeys had he not made to various places? How many rows of figures had he not piled together? How many speculations had he not hatched? How many reports had he not heard read? What quackeries, what smiles and curvets! For he had acclaimed Napol茅on, the Cossacks, Louis XVIII., 1830, the working-men, every r茅gime, loving power so dearly that he would have paid in order to have the opportunity of selling himself.'
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'And she fell back on a chair, crushed. A mother grieving beside an empty cradle was not more woeful than Madame Dambreuse was at the sight of the open strong-boxes. Indeed, her sorrow, in spite of the baseness of the motive which inspired it, appeared so deep that he tried to console her by reminding her that, after all, she was not reduced to sheer want.
"It is want, when I am not in a position to offer you a large fortune!"
She had not more than thirty thousand livres a year, without taking into account the mansion, which was worth from eighteen to twenty thousand, perhaps.
Although to Frederick this would have been opulence, he felt, none the less, a certain amount of disappointment. Farewell to his dreams and to all the splendid existence on which he had intended to enter! Honour compelled him to marry Madame Dambreuse. For a minute he reflected; then, in a tone of tenderness:
"I'll always have yourself!"
She threw herself into his arms, and he clasped her to his breast with an emotion in which there was a slight element of admiration for himself.'
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'But there was no way of learning any more about it! However, what was the use of it? The hearts of
women are like little pieces of furniture wherein things are secreted, full of drawers fitted into each other; one hurts himself, breaks his nails in opening them, and then finds within only some withered flower, a few grains of dust鈥� or emptiness! And then perhaps he felt afraid of learning too much about the matter.'
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'She played her part badly, after all; for she grew serious, and even before going to bed always exhibited a little melancholy, just as there are cypress trees at the door of a tavern.'
It seems there is nothing unusual about this kind of plot apart from the fact that the novel is a huge sarcastic caricature of the characters, events, relationships, etc. and this what makes the work different from the other 19th century texts.
We can see a caricature of love, a caricature of friendship, a caricature of a duel, a caricature of a funeral, a caricature of death, a caricature of an artist, etc.
Flaubert has no mercy on his characters, their thoughts, emotions, passions, weaknesses and actions. He sneers at practically all of them. Is that why the structure of the novel seems somewhat chaotic and personalities are schematic and unrealistic? Is Flaubert's cynicism the result of his own disappontment and bitter feelings?
'It was filled with women sitting close to one another in little groups on seats without backs. Their long skirts, swelling round them, seemed like waves, from which their waists emerged; and their breasts were clearly outlined by the slope of their corsages. Nearly every one of them had a bouquet of violets in her hand. The dull shade of their gloves showed off the whiteness of their arms, which formed a contrast with its human flesh tints. Over the shoulders of some of them hung fringe or mourning-weeds, and, every now and then, as they quivered with emotion, it seemed as if their
bodices were about to fall down. But the decorum of their countenances tempered the exciting effect of their costumes. Several of them had a placidity almost like that of animals; and this
resemblance to the brute creation on the part of half-nude women made him think of the interior of a harem鈥攊ndeed, a grosser comparison suggested itself to the young man's mind. Every variety of beauty was to be found there鈥攕ome English ladies, with the profile familiar in "keepsakes"; an Italian, whose black eyes shot forth lava-like flashes, like a Vesuvius; three sisters, dressed in blue; three Normans, fresh as April apples; a tall red-haired girl, with a set of amethysts. And the
bright scintillation of diamonds, which trembled in aigrettes worn over their hair, the luminous spots of precious stones laid over their breasts, and the delightful radiance of pearls which adorned their foreheads mingled with the glitter of gold rings, as well as with the lace, powder, the feathers, the vermilion of dainty mouths, and the mother-of-pearl hue of teeth. The ceiling, rounded like a cupola, gave to the boudoir the form of a flower-basket, and a current of perfumed air circulated under the flapping of their fans.
Frederick, planting himself behind them, put up his eyeglass and scanned their shoulders, not all of which did he consider irreproachable. He thought about the Mar茅chale, and this dispelled the temptations that beset him or consoled him for not yielding to them.'
------------------------------------------------------------------------------
'For certain men action becomes more difficult as desire becomes stronger. They are embarrassed by self-distrust, and terrified by the fear of making themselves disliked. Besides, deep attachments resemble virtuous women: they are afraid of being discovered, and pass through life with downcast eyes.'
------------------------------------------------------------------------------
'Deslauriers believed in Frederick's statement on the point, and expressed approval of his conduct, for he had always been ambitious of constituting a phalanx of which he would be the leader. Certain men take delight in making their friends do things which are disagreeable to them.'
-----------------------------------------------------------------------------
'It was over, this life full of anxieties! How many journeys had he not made to various places? How many rows of figures had he not piled together? How many speculations had he not hatched? How many reports had he not heard read? What quackeries, what smiles and curvets! For he had acclaimed Napol茅on, the Cossacks, Louis XVIII., 1830, the working-men, every r茅gime, loving power so dearly that he would have paid in order to have the opportunity of selling himself.'
------------------------------------------------------------------------------
'And she fell back on a chair, crushed. A mother grieving beside an empty cradle was not more woeful than Madame Dambreuse was at the sight of the open strong-boxes. Indeed, her sorrow, in spite of the baseness of the motive which inspired it, appeared so deep that he tried to console her by reminding her that, after all, she was not reduced to sheer want.
"It is want, when I am not in a position to offer you a large fortune!"
She had not more than thirty thousand livres a year, without taking into account the mansion, which was worth from eighteen to twenty thousand, perhaps.
Although to Frederick this would have been opulence, he felt, none the less, a certain amount of disappointment. Farewell to his dreams and to all the splendid existence on which he had intended to enter! Honour compelled him to marry Madame Dambreuse. For a minute he reflected; then, in a tone of tenderness:
"I'll always have yourself!"
She threw herself into his arms, and he clasped her to his breast with an emotion in which there was a slight element of admiration for himself.'
------------------------------------------------------------------------------
'But there was no way of learning any more about it! However, what was the use of it? The hearts of
women are like little pieces of furniture wherein things are secreted, full of drawers fitted into each other; one hurts himself, breaks his nails in opening them, and then finds within only some withered flower, a few grains of dust鈥� or emptiness! And then perhaps he felt afraid of learning too much about the matter.'
------------------------------------------------------------------------------
'She played her part badly, after all; for she grew serious, and even before going to bed always exhibited a little melancholy, just as there are cypress trees at the door of a tavern.'
April 26, 2018
I have read half. I am dumping this. I cannot bear another minute of it. A classic not worthy of its title nor its fame.
A book of historical fiction, it draws French society at the time of the 1848 French Revolution. Adulterous love affairs abound, yet they are drawn without a hint of passion! This is a book that does not even come close to fulfilling what the title implies.
The characters are flighty, self-important and totally uninteresting. They are cardboard figures drawn without depth.
The plot is no better. One mistress is exchanged for another. One friend is exchanged for another. A promise is given, but not kept. One employment is exchanged for another or preferably, if one can pull it off, one should not be employed at all. An inheritance is handy.
The writing is wordy, over descriptive, detailing only that not interesting. The fabric of clothing, the wallpaper, floor coverings and mantelpiece ornaments. The mundane objects in a room. Politics of the time is made boring. The physical attributes of a person may be described but their personalities are shallow and without substance.
Without comparing the French text to the English, it is impossible to determine if the translation is at fault. I can state that the prose does not flow properly; in many instances words are not used as they should be. It is at times unclear whom a pronoun refers to and prepositions are incorrectly chosen.
First, I listened to this narrated by Michael Maloney. The French names for places and people were mumbled. It was impossible to follow. The words were sung rather than spoken, as poetry to be recited rather than prose read. I switched to the narrator Jonathan Fried; he is definitely better. The names became decipherable. Fried鈥檚 narration I have given three stars.
It is classics such as this that make people dislike classics.
I have given 's three stars. I will not be reading more by this author.
A book of historical fiction, it draws French society at the time of the 1848 French Revolution. Adulterous love affairs abound, yet they are drawn without a hint of passion! This is a book that does not even come close to fulfilling what the title implies.
The characters are flighty, self-important and totally uninteresting. They are cardboard figures drawn without depth.
The plot is no better. One mistress is exchanged for another. One friend is exchanged for another. A promise is given, but not kept. One employment is exchanged for another or preferably, if one can pull it off, one should not be employed at all. An inheritance is handy.
The writing is wordy, over descriptive, detailing only that not interesting. The fabric of clothing, the wallpaper, floor coverings and mantelpiece ornaments. The mundane objects in a room. Politics of the time is made boring. The physical attributes of a person may be described but their personalities are shallow and without substance.
Without comparing the French text to the English, it is impossible to determine if the translation is at fault. I can state that the prose does not flow properly; in many instances words are not used as they should be. It is at times unclear whom a pronoun refers to and prepositions are incorrectly chosen.
First, I listened to this narrated by Michael Maloney. The French names for places and people were mumbled. It was impossible to follow. The words were sung rather than spoken, as poetry to be recited rather than prose read. I switched to the narrator Jonathan Fried; he is definitely better. The names became decipherable. Fried鈥檚 narration I have given three stars.
It is classics such as this that make people dislike classics.
I have given 's three stars. I will not be reading more by this author.
October 20, 2011
*this book deserves anywhere between 4.2 and 4.7 stars
鈥淔unny, how the things you have the hardest time parting with are the things you need the least.鈥� (Bob Dylan)
With every work I read or reread by Flaubert, I am all the more convinced that he was the master craftsman, that he was master of attention to the tiny stuff, the small details that are layered brick by brick (word by word), the master of attention to even the mortar between the bricks, and master of raising the whole damn superstructure. The buildings he makes out of words hold the world, and I want to call him King of the Paragraph, because his seem so measured, so precise, so carefully wrought. I鈥檝e heard complaints that his detailing of minutiae can become tedious, but to me that is evidence of the eye fully open, the mind ticking at a heightened rate, the physicality of the world irresistibly impressing itself on his realism. His emotional sketches are just as profound and rich as his inventories of space; his sketches of those characters void of human emotion are equally as profound. Flaubert is almost that Joycean image of the author pairing his nails, detached, his handiwork submerged in refinement. Almost. Because above all Flaubert is a satirist. So his presence is felt, as a ripple on the surface of the water is evidence of a rampart crumbling on the ocean floor. I stole that from Frank O鈥橦ara. But kind of like the experience of reading Nabokov, Flaubert the artist is what is on full display here, and in Sentimental Education, as I said when I was writing about Bouvard and Pecuchet, he is perched behind his curtain like Oz or comfortably atop Mount Olympus like the prankster gods of old. He animates his characters to illustrate human folly above all else- who are we to sympathize with in Madame Bovary? who do we not find ridiculous in B & P? who deserves our alliance in Sentimental Education? - but the almost indefinable thing about Flaubert is that amid his mockery he comes off as touching. Because you get the impression that this cranky god really loves his little pets, and wishes them the best- although he knows with all his prescience what the grim best is for us hopeless little mortals playing our dangerous games.
It鈥檚 a pretty grim book. Those two eternal opiates- sex and power- are pretty much the sole motivation behind everyone in Fr茅d茅ric and Deslauriers鈥� circle. Allegiances and philosophies are as mutable as clothing or the shifting light in Paris- everything is exhausted in the pursuit of one of those two endless ends. Flaubert claimed his intent was to write 鈥渢he moral history of the men of my generation鈥� and if so it鈥檚 a bleak assessment. The great upheavals that define 19th century France take place as the background of this narrative (the Revolution of 1848 acting as a center point) but Fr茅d茅ric is too busy trying to get a piece of ass to really notice. The offstage massacres and thunder of guns in far off arrondisements are purposefully distanced- the 鈥渕oral history鈥� Flaubert is trying to paint is apparently mass solipsism. The revolutionaries become oppressors when it suits them, the super-rich elite are suddenly populists and social advocates when the unrest in the streets threatens the order of things, the artists sell out, brave men are proven cowards, and all seem to worship some vague form of authority, whether it be social, political, or psychological. Fr茅d茅ric鈥檚 obsessive, life-long pursuit of the phantom-like image of Madame Arnoux can be extrapolated into a rather ripe comment on all of those masses surging about in the streets of mid-19th century Paris- they too were chasing ghosts- the ghosts of the Revolution, Royalism, Socialism, Democracy- all those specters that never seem content to lie in their graves; all those straw men people are constantly trying to revive in the name of some sort of never-achieved utopia. See the Dylan quote above.
But the potential bad taste in the mouth that this kind of judgement on humanity could leave, the awfulness, duplicity, shallowness, stupidity, manipulation, and gold-digging of the people in Sentimental Education, is offset by Flaubert鈥檚 lovely, lovely prose, his impressionistic drawing of scenes, his adoration of Paris as an entity of indifferent light and beauty; his Paris, the place where history unfolds under the stoicism of stone arcades, where passions are conceived and destroyed, where markets are set up in the mornings and dismantled in the evenings and alluring smells emanate from restaurants, where gossip flows through the gutters like sewage, and alleys are sunk in aqueous light and the sky is always pale or a vaulted blue or gray and about to rain and the amber evening is refracted through clouds, making all of our selfish human endeavors all the more charming, all the more timeless and endearing; and the Seine is reflecting the gaslights in wavering strands as a tortured lover pines on the Pont Neuf at midnight, and hooves percuss and echo from the cobblestones, and Montmarte is filthy and eternal, and the cafes are greasy and alive with chatter and opaque with purple smoke and the men are in their cravats and top-hats and the women are rouged and bosomy and flush and comely. Flaubert cannot help but adore Paris, despite himself. That mythical stage, that constant setting for so much of the great art that the Western world has produced. Sentimental Education succeeds in coming off like an epic of place, of space and lifetimes, a panoptic portrait of interesting times told in often banal scenes and acts; and the technique, skill, or what have you, of the sardonic, darkly hilarious master Flaubert elevates the book beyond some severe excoriation of the human condition- it makes it a vital work of art, resonant now and probably for all time.
鈥淔unny, how the things you have the hardest time parting with are the things you need the least.鈥� (Bob Dylan)
With every work I read or reread by Flaubert, I am all the more convinced that he was the master craftsman, that he was master of attention to the tiny stuff, the small details that are layered brick by brick (word by word), the master of attention to even the mortar between the bricks, and master of raising the whole damn superstructure. The buildings he makes out of words hold the world, and I want to call him King of the Paragraph, because his seem so measured, so precise, so carefully wrought. I鈥檝e heard complaints that his detailing of minutiae can become tedious, but to me that is evidence of the eye fully open, the mind ticking at a heightened rate, the physicality of the world irresistibly impressing itself on his realism. His emotional sketches are just as profound and rich as his inventories of space; his sketches of those characters void of human emotion are equally as profound. Flaubert is almost that Joycean image of the author pairing his nails, detached, his handiwork submerged in refinement. Almost. Because above all Flaubert is a satirist. So his presence is felt, as a ripple on the surface of the water is evidence of a rampart crumbling on the ocean floor. I stole that from Frank O鈥橦ara. But kind of like the experience of reading Nabokov, Flaubert the artist is what is on full display here, and in Sentimental Education, as I said when I was writing about Bouvard and Pecuchet, he is perched behind his curtain like Oz or comfortably atop Mount Olympus like the prankster gods of old. He animates his characters to illustrate human folly above all else- who are we to sympathize with in Madame Bovary? who do we not find ridiculous in B & P? who deserves our alliance in Sentimental Education? - but the almost indefinable thing about Flaubert is that amid his mockery he comes off as touching. Because you get the impression that this cranky god really loves his little pets, and wishes them the best- although he knows with all his prescience what the grim best is for us hopeless little mortals playing our dangerous games.
It鈥檚 a pretty grim book. Those two eternal opiates- sex and power- are pretty much the sole motivation behind everyone in Fr茅d茅ric and Deslauriers鈥� circle. Allegiances and philosophies are as mutable as clothing or the shifting light in Paris- everything is exhausted in the pursuit of one of those two endless ends. Flaubert claimed his intent was to write 鈥渢he moral history of the men of my generation鈥� and if so it鈥檚 a bleak assessment. The great upheavals that define 19th century France take place as the background of this narrative (the Revolution of 1848 acting as a center point) but Fr茅d茅ric is too busy trying to get a piece of ass to really notice. The offstage massacres and thunder of guns in far off arrondisements are purposefully distanced- the 鈥渕oral history鈥� Flaubert is trying to paint is apparently mass solipsism. The revolutionaries become oppressors when it suits them, the super-rich elite are suddenly populists and social advocates when the unrest in the streets threatens the order of things, the artists sell out, brave men are proven cowards, and all seem to worship some vague form of authority, whether it be social, political, or psychological. Fr茅d茅ric鈥檚 obsessive, life-long pursuit of the phantom-like image of Madame Arnoux can be extrapolated into a rather ripe comment on all of those masses surging about in the streets of mid-19th century Paris- they too were chasing ghosts- the ghosts of the Revolution, Royalism, Socialism, Democracy- all those specters that never seem content to lie in their graves; all those straw men people are constantly trying to revive in the name of some sort of never-achieved utopia. See the Dylan quote above.
But the potential bad taste in the mouth that this kind of judgement on humanity could leave, the awfulness, duplicity, shallowness, stupidity, manipulation, and gold-digging of the people in Sentimental Education, is offset by Flaubert鈥檚 lovely, lovely prose, his impressionistic drawing of scenes, his adoration of Paris as an entity of indifferent light and beauty; his Paris, the place where history unfolds under the stoicism of stone arcades, where passions are conceived and destroyed, where markets are set up in the mornings and dismantled in the evenings and alluring smells emanate from restaurants, where gossip flows through the gutters like sewage, and alleys are sunk in aqueous light and the sky is always pale or a vaulted blue or gray and about to rain and the amber evening is refracted through clouds, making all of our selfish human endeavors all the more charming, all the more timeless and endearing; and the Seine is reflecting the gaslights in wavering strands as a tortured lover pines on the Pont Neuf at midnight, and hooves percuss and echo from the cobblestones, and Montmarte is filthy and eternal, and the cafes are greasy and alive with chatter and opaque with purple smoke and the men are in their cravats and top-hats and the women are rouged and bosomy and flush and comely. Flaubert cannot help but adore Paris, despite himself. That mythical stage, that constant setting for so much of the great art that the Western world has produced. Sentimental Education succeeds in coming off like an epic of place, of space and lifetimes, a panoptic portrait of interesting times told in often banal scenes and acts; and the technique, skill, or what have you, of the sardonic, darkly hilarious master Flaubert elevates the book beyond some severe excoriation of the human condition- it makes it a vital work of art, resonant now and probably for all time.
November 5, 2021
O carte ce nu te poate lasa indiferent - fie o adori, fie o detesti de la inceput. Eu m-am lasat cucerita de stilul autorului care seamana cu o bijuterie indelung si atent slefuita.
Desigur ca povestea de dragoste nu este iesita din comun - un barbat tanar se indragosteste de o femeie casatorita si imposibilitatea acestei iubiri ii acreste inima si il transforma intr-un cinic care apoi ajunge sa se joace cu sentimentele doamnelor. Insa, nu ai cum sa rezisti descrierilor bogate si adesea uimitoare, a metaforelor somptuoase cu care Flaubert isi desfata cititorul. Practic esti smuls din prezent si trimis in Parisul anului 1848, unde esti liber sa porti jupon sau redingota, poti sa-l adulezi sau sa-l ocaresti pe regele Louis Philippe, poti sa te plimbi prin Bois de Boulogne, sa te distrezi la Moulin Rouge sau esti liber sa alegi sa iei parte la Revolutie ori sa privesti de pe margine.
Nu as putea sa inchei fara sa mentionez un citat interesant despre femei: "Inimile femeilor sint ca acele mici scrinuri cu sertare secrete, incastrate unele in altele; te straduiesti, iti rupi unghiile, si gasesti in fund, o floare uscata, fire de praf - sau nimic!"
Desigur ca povestea de dragoste nu este iesita din comun - un barbat tanar se indragosteste de o femeie casatorita si imposibilitatea acestei iubiri ii acreste inima si il transforma intr-un cinic care apoi ajunge sa se joace cu sentimentele doamnelor. Insa, nu ai cum sa rezisti descrierilor bogate si adesea uimitoare, a metaforelor somptuoase cu care Flaubert isi desfata cititorul. Practic esti smuls din prezent si trimis in Parisul anului 1848, unde esti liber sa porti jupon sau redingota, poti sa-l adulezi sau sa-l ocaresti pe regele Louis Philippe, poti sa te plimbi prin Bois de Boulogne, sa te distrezi la Moulin Rouge sau esti liber sa alegi sa iei parte la Revolutie ori sa privesti de pe margine.
Nu as putea sa inchei fara sa mentionez un citat interesant despre femei: "Inimile femeilor sint ca acele mici scrinuri cu sertare secrete, incastrate unele in altele; te straduiesti, iti rupi unghiile, si gasesti in fund, o floare uscata, fire de praf - sau nimic!"
December 18, 2018
賲賵囟賵毓 讴賱蹖 丿丕爻鬲丕賳 爻丕丿賴 賵 趩蹖夭蹖 賳亘賵丿 讴賴 賯亘賱鈥屫� 鬲賵蹖 讴鬲丕亘蹖 賳禺賵賳丿賴 亘丕卮蹖賲貨 丕賲丕 丕賲丕賳貙 丕賲丕賳 丕夭 噩夭卅蹖丕鬲 倬乇倬蹖趩鈥屬堚€屫ж� 賵 夭蹖亘丕蹖 賮賱賵亘乇. 賴乇賵賯鬲 賳蹖丕夭 亘賴 噩夭卅蹖鈥屬嗂臂� 丿乇 丿丕爻鬲丕賳蹖 丿丕卮鬲蹖丿 賵 丨賵氐賱賴鈥屫堎� 亘賴鈥屬傌� 讴丕賮蹖 賮乇丕禺 亘賵丿貙 丕蹖賳 讴鬲丕亘 卮賲丕 乇賵 亘賴 丿賳蹖丕蹖 丿蹖诏賴鈥屫й� 賲蹖鈥屫ㄘ辟�. 賵 鬲賳賴丕 丕蹖乇丕丿蹖 讴賴 賲蹖鈥屫堎嗁� 亘诏蹖乇賲 賲賵囟賵毓丕鬲 爻蹖丕爻蹖-丕噩鬲賲丕毓蹖鈥屫й� 亘賵丿 讴賴 亘乇丕蹖 賲賳 禺蹖賱蹖 噩丕賱亘 賳亘賵丿 賵 丕賳诏丕乇 亘丕 亘丕賯蹖 讴鬲丕亘 丨賱 賳賲蹖鈥屫簇�. 亘賴 賳賵毓蹖 丨爻 賲蹖鈥屭┴必� 丿丕乇賲 讴鬲丕亘蹖 丕夭 亘乇丕丿乇 丿丕爻鬲丕蹖賵爻讴蹖 賲蹖鈥屫堎嗁� 讴賴 丕鬲賮丕賯鈥屬囏й� 丿丕爻鬲丕賳卮 丨賵賱 毓卮賯蹖 丿乇 乇賮鬲鈥屬堌①呚� 倬蹖卮 賲蹖乇賴.
September 19, 2021
Dissolution
'C'est un livre d'amour, de passion ; mais de passion telle qu'elle peut exister maintenant, c'est-脿-dire inactive.'
- Gustave Flaubert, 脿 propos de L'脡ducation sentimentale, en octobre 1864.
鈥� Ah ! merci ! tu viens me sauver ! c鈥檈st la seconde fois ! tu n鈥檈n demandes jamais le prix, toi !
鈥� Mille pardons ! dit Fr茅d茅ric, en lui saisissant la taille dans les deux mains.
鈥� Comment ? que fais-tu ? balbutia la Mar茅chale, 脿 la fois surprise et 茅gay茅e par ces mani猫res.
Il r茅pondit :
鈥� Je suis la mode, je me r茅forme.'
- L'脡ducation sentimentale, Fr茅d茅ric et la Mar茅chale, 2e partie, VI
------
My recommendation for a soundtrack to read this review:
------
What is this novel about?
Fr茅d茅ric Moreau is a 18 y.o. law student in Paris, not particularly driven by his studies or embracing a specific career. On his trip back from Paris to Nogent-sur-Seine after the exams, he meets Mme Arnoux, with whom he gets quickly and lastingly infatuated, without them exchanging more than a couple of words. They meet again months later and soon enough, this passion turns into the central motif around which Fr茅d茅ric organizes his life, standing out against the cultural debates and violent political passions of his time.
My opinion on the matter:
Spannng from 1840 to 1867, this novel feels acutely at odds with its title, as Fr茅d茅ric is everything but actually learning from his shortcomings, his extravagant expectations and unfocused style of life. In some regards, you could take it as a direct challenge to the reader's patience, since what happens is never happening due to the hero's active decision. In more than a way, it even challenges the very definition of what a character stands for or what life is about. More than everything else, Fr茅d茅ric seems to merely float or glide, borne by the undercurrent or the winds of his affect, rather than make a move on his own volition. His sudden passion for Mme Arnoux - a married woman he hardly knows - as strong as it is, seems almost derivative, something of a trick he plays on himself to give his life a direction, purpose, meaning, living in an mercantile, business-like, carreer-driven era he can't possibly identify, or engage in any way with.
In that sense, Sentimental education appears to me as a tragic adventure and undertaking: what Gustave Flaubert is resolutely aiming at is the most elusive: the structure of Frederic's psyche, the substance of life in this uncertain, muddied era, the soul of an epoch.
Throughout, the writer makes use of a stunningly cunning technique, with sentences loosely linked to one another, a consistently exteriorized focalization and seemingly disembodied, impersonal narration, while telling the reader a version of his own life and lifelong passion for 脡lisa Schl茅singer. This alone should be enough to call this work a masterpiece, but Flaubert goes beyond.
Consider the sheer scale of his experiment, 26 years. What you have here is a 26-year worth of obsession, fleeting impressions, irresolution, compromissions, treasons, wandering and regrets. At the bare minimum, it takes resolution, dedication, a constant yearning for sincerity, and guts to carry this thing out.
Meticulously detailed and flowing at the same time, it comes as close as can be to a novel without a proper story. Deeply personal, it is also the epitome of a whole generation. Filled with unlikeable characters, yet Flaubert makes them riveting, making you care for them. Unfocused, fragmented and coherent at the same time. Merciless, most biting, unrelentingly ferocious and tender for the characters. A work of pure fiction, a fiction about fiction, and yet, as much as life or streches of years can be. Crowded with instantly recognizable characters, it also offers an extended study on the opacity of individuals in our interpersonal relationship and towards ourselves.
In the end, a cold mirror allowing the reader to consider their own lives in a dispassionate manner, but forgiving and not lacking warmth.
To put it in other words, a masterwork.
----
Quotes:
More works:
Promising young men:
About the rapid industrialization/financialization and deep societal shifts going with it:
Devastating charge against crony capitalism:
Revolutionary movements and the critic thereof:
Not living one's life:
Women of means:
Historical context:
Philosophical outviews:
Soundtrack:
'C'est un livre d'amour, de passion ; mais de passion telle qu'elle peut exister maintenant, c'est-脿-dire inactive.'
- Gustave Flaubert, 脿 propos de L'脡ducation sentimentale, en octobre 1864.
鈥� Ah ! merci ! tu viens me sauver ! c鈥檈st la seconde fois ! tu n鈥檈n demandes jamais le prix, toi !
鈥� Mille pardons ! dit Fr茅d茅ric, en lui saisissant la taille dans les deux mains.
鈥� Comment ? que fais-tu ? balbutia la Mar茅chale, 脿 la fois surprise et 茅gay茅e par ces mani猫res.
Il r茅pondit :
鈥� Je suis la mode, je me r茅forme.'
- L'脡ducation sentimentale, Fr茅d茅ric et la Mar茅chale, 2e partie, VI
------
My recommendation for a soundtrack to read this review:
------
What is this novel about?
Fr茅d茅ric Moreau is a 18 y.o. law student in Paris, not particularly driven by his studies or embracing a specific career. On his trip back from Paris to Nogent-sur-Seine after the exams, he meets Mme Arnoux, with whom he gets quickly and lastingly infatuated, without them exchanging more than a couple of words. They meet again months later and soon enough, this passion turns into the central motif around which Fr茅d茅ric organizes his life, standing out against the cultural debates and violent political passions of his time.
My opinion on the matter:
Spannng from 1840 to 1867, this novel feels acutely at odds with its title, as Fr茅d茅ric is everything but actually learning from his shortcomings, his extravagant expectations and unfocused style of life. In some regards, you could take it as a direct challenge to the reader's patience, since what happens is never happening due to the hero's active decision. In more than a way, it even challenges the very definition of what a character stands for or what life is about. More than everything else, Fr茅d茅ric seems to merely float or glide, borne by the undercurrent or the winds of his affect, rather than make a move on his own volition. His sudden passion for Mme Arnoux - a married woman he hardly knows - as strong as it is, seems almost derivative, something of a trick he plays on himself to give his life a direction, purpose, meaning, living in an mercantile, business-like, carreer-driven era he can't possibly identify, or engage in any way with.
In that sense, Sentimental education appears to me as a tragic adventure and undertaking: what Gustave Flaubert is resolutely aiming at is the most elusive: the structure of Frederic's psyche, the substance of life in this uncertain, muddied era, the soul of an epoch.
Throughout, the writer makes use of a stunningly cunning technique, with sentences loosely linked to one another, a consistently exteriorized focalization and seemingly disembodied, impersonal narration, while telling the reader a version of his own life and lifelong passion for 脡lisa Schl茅singer. This alone should be enough to call this work a masterpiece, but Flaubert goes beyond.
Consider the sheer scale of his experiment, 26 years. What you have here is a 26-year worth of obsession, fleeting impressions, irresolution, compromissions, treasons, wandering and regrets. At the bare minimum, it takes resolution, dedication, a constant yearning for sincerity, and guts to carry this thing out.
Meticulously detailed and flowing at the same time, it comes as close as can be to a novel without a proper story. Deeply personal, it is also the epitome of a whole generation. Filled with unlikeable characters, yet Flaubert makes them riveting, making you care for them. Unfocused, fragmented and coherent at the same time. Merciless, most biting, unrelentingly ferocious and tender for the characters. A work of pure fiction, a fiction about fiction, and yet, as much as life or streches of years can be. Crowded with instantly recognizable characters, it also offers an extended study on the opacity of individuals in our interpersonal relationship and towards ourselves.
In the end, a cold mirror allowing the reader to consider their own lives in a dispassionate manner, but forgiving and not lacking warmth.
To put it in other words, a masterwork.
----
Quotes:
'Fr茅d茅ric pensait 脿 la chambre qu鈥檌l occuperait l脿-bas, au plan d鈥檜n drame, 脿 des sujets de tableaux, 脿 des passions futures. Il trouvait que le bonheur m茅rit茅 par l鈥檈xcellence de son 芒me tardait 脿 venir.'
'Les joies qu鈥檌l s鈥櫭﹖ait promises n鈥檃rrivaient pas ; et, quand il eut 茅puis茅 un cabinet de lecture, parcouru les collections du Louvre, et plusieurs fois de suite 茅t茅 au spectacle, il tomba dans un d茅s艙uvrement sans fond.'
[Plus loin]
'Il lui semblait, cependant, qu鈥檕n devait l鈥檃imer ! Quelquefois, il se r茅veillait le c艙ur plein d鈥檈sp茅rance, s鈥檋abillait soigneusement comme pour un rendez-vous, et il faisait dans Paris des courses interminables. 脌 chaque femme qui marchait devant lui, ou qui s鈥檃van莽ait 脿 sa rencontre, il se disait : 芦 La voil脿 ! 禄 C鈥櫭﹖ait, chaque fois, une d茅ception nouvelle. L鈥檌d茅e de Mme Arnoux fortifiait ces convoitises. Il la trouverait peut-锚tre sur son chemin ; et il imaginait, pour l鈥檃border, des complications du hasard, des p茅rils extraordinaires dont il la sauverait.'
'Les convictions de S茅n茅cal 茅taient plus d茅sint茅ress茅es. Chaque soir, quand sa besogne 茅tait finie, il regagnait sa mansarde, et il cherchait dans les livres de quoi justifier ses r锚ves. Il avait annot茅 le Contrat social. Il se bourrait de la Revue Ind茅pendante. Il connaissait Mably, Morelly, Fourier, Saint-Simon, Comte, Cabet, Louis Blanc, la lourde charret茅e des 茅crivains socialistes, ceux qui r茅clament pour l鈥檋umanit茅 le niveau des casernes, ceux qui voudraient la divertir dans un lupanar ou la plier sur un comptoir ; et, du m茅lange de tout cela, il s鈥櫭﹖ait fait un id茅al de d茅mocratie vertueuse, ayant le double aspect d鈥檜ne m茅tairie et d鈥檜ne filature, une sorte de Lac茅d茅mone am茅ricaine o霉 l鈥檌ndividu n鈥檈xisterait que pour servir la Soci茅t茅, plus omnipotente, absolue, infaillible et divine que les Grands Lamas et les Nabuchodonosors. Il n鈥檃vait pas un doute sur l鈥櫭﹙entualit茅 prochaine de cette conception ; et tout ce qu鈥檌l jugeait lui 锚tre hostile, S茅n茅cal s鈥檃charnait dessus, avec des raisonnements de g茅om猫tre et une bonne foi d鈥檌nquisiteur. Les titres nobiliaires, les croix, les panaches, les livr茅es surtout, et m锚me les r茅putations trop sonores le scandalisaient, ses 茅tudes comme ses souffrances avivant chaque jour sa haine essentielle de toute distinction ou sup茅riorit茅 quelconque.'
'[...] il serait temps de traiter la Politique scientifiquement. Les vieux du XVIIIe si猫cle commen莽aient, quand Rousseau, les litt茅rateurs, y ont introduit la philanthropie, la po茅sie et autres blagues, pour la plus grande joie des catholiques ; alliance naturelle, du reste, puisque les r茅formateurs modernes (je peux le prouver) croient tous 脿 la R茅v茅lation. Mais si vous chantez des messes pour la Pologne, si 脿 la place du Dieu des dominicains, qui 茅tait un bourreau, vous prenez le Dieu des romantiques, qui est un tapissier ; si, enfin, vous n鈥檃vez pas de l鈥橝bsolu une conception plus large que vos a茂eux, la monarchie percera sous vos formes r茅publicaines, et votre bonnet rouge ne sera jamais qu鈥檜ne calotte sacerdotale ! Seulement, le r茅gime cellulaire aura remplac茅 la torture, l鈥檕utrage 脿 la Religion le sacril猫ge, le concert europ茅en la Sainte-Alliance ; et dans ce bel ordre qu鈥檕n admire, fait de d茅bris louis-quatorziens, de ruines voltairiennes, avec du badigeon imp茅rial par-dessus et des fragments de constitution anglaise, on verra les conseils municipaux t芒chant de vexer le maire, les conseils g茅n茅raux leur pr茅fet, les chambres le roi, la presse le pouvoir, l鈥檃dministration tout le monde ! Mais les bonnes 芒mes s鈥檈xtasient sur le Code civil, 艙uvre fabriqu茅e, quoi qu鈥檕n dise, dans un esprit mesquin, tyrannique ; car le l茅gislateur, au lieu de faire son 茅tat, qui est de r茅gulariser la coutume, a pr茅tendu modeler la soci茅t茅 comme un Lycurgue ! Pourquoi la loi g锚ne-t-elle le p猫re de famille en mati猫re de testament ? Pourquoi entrave-t-elle la vente forc茅e des immeubles ? Pourquoi punit-elle comme d茅lit le vagabondage, lequel ne devrait pas 锚tre m锚me une contravention ! Et il y en a d鈥檃utres ! Je les connais ! aussi je vais 茅crire un petit roman intitul茅 Histoire de l鈥檌d茅e de justice, qui sera dr么le ! Mais j鈥檃i une soif abominable ! et toi ?
Il se pencha par la fen锚tre, et cria au portier d鈥檃ller chercher des grogs au cabaret.
鈥� En r茅sum茅, je vois trois partis鈥�, non ! trois groupes, et dont aucun ne m鈥檌nt茅resse : ceux qui ont, ceux qui n鈥檕nt plus, et ceux qui t芒chent d鈥檃voir. Mais tous s鈥檃ccordent dans l鈥檌dol芒trie imb茅cile de l鈥橝utorit茅 ! Exemples : Mably recommande qu鈥檕n emp锚che les philosophes de publier leurs doctrines ; M. Wronski g茅om猫tre, appelle en son langage la censure 芦 r茅pression critique de la spontan茅it茅 sp茅culative 禄 ; le p猫re Enfantin b茅nit les Habsbourg 芦 d鈥檃voir pass茅 par-dessus les Alpes une main pesante pour comprimer l鈥橧talie 禄 ; Pierre Leroux veut qu鈥檕n vous force 脿 entendre un orateur, et Louis Blanc incline 脿 une religion d鈥櫭塼at, tant ce peuple de vassaux a la rage du gouvernement ! Pas un cependant n鈥檈st l茅gitime, malgr茅 leurs sempiternels principes. Mais, principe signifiant origine, il faut se reporter toujours 脿 une r茅volution, 脿 un acte de violence, 脿 un fait transitoire. Ainsi, le principe du n么tre est la souverainet茅 nationale, comprise dans la forme parlementaire, quoique le parlement n鈥檈n convienne pas ! Mais en quoi la souverainet茅 du peuple serait-elle plus sacr茅e que le droit divin ? L鈥檜n et l鈥檃utre sont deux fictions ! Assez de m茅taphysique, plus de fant么mes ! Pas n鈥檈st besoin de dogmes pour faire balayer les rues ! On dira que je renverse la soci茅t茅 ? Eh bien, apr猫s ? o霉 serait le mal ? Elle est propre, en effet, la soci茅t茅.'
Cependant, objecta Martinon, la mis猫re existe, avouons-le ! Mais le rem猫de ne d茅pend ni de la Science ni du Pouvoir. C鈥檈st une question purement individuelle. Quand les basses classes voudront se d茅barrasser de leurs vices, elles s鈥檃ffranchiront de leurs besoins. Que le peuple soit plus moral et il sera moins pauvre !'
More about this quote
'La plupart des hommes qui 茅taient l脿 avaient servi, au moins, quatre gouvernements ; et ils auraient vendu la France ou le genre humain, pour garantir leur fortune, s鈥櫭﹑argner un malaise, un embarras, ou m锚me par simple bassesse, adoration instinctive de la force. Tous d茅clar猫rent les crimes politiques inexcusables.'
'On se redit, pendant un mois, la phrase de Lamartine sur le drapeau rouge, 芦 qui n鈥檃vait fait que le tour du Champ de Mars, tandis que le drapeau tricolore 禄, etc ; et tous se rang猫rent sous son ombre, chaque parti ne voyant des trois couleurs que la sienne et se promettant bien, d猫s qu鈥檌l serait le plus fort, d鈥檃rracher les deux autres.'
'Ils les visit猫rent tous, ou presque tous, les rouges et les bleus, les furibonds et les tranquilles, les puritains, les d茅braill茅s, les mystiques et les pochards, ceux o霉 l鈥檕n d茅cr茅tait la mort des rois, ceux o霉 l鈥檕n d茅non莽ait les fraudes de l鈥櫭塸icerie ; et, partout, les locataires maudissaient les propri茅taires, la blouse s鈥檈n prenait 脿 l鈥檋abit, et les riches conspiraient contre les pauvres. Plusieurs voulaient des indemnit茅s comme anciens martyrs de la police, d鈥檃utres imploraient de l鈥檃rgent pour mettre en jeu des inventions, ou bien c鈥櫭﹖aient des plans de phalanst猫res, des projets de bazars cantonaux, des syst猫mes de f茅licit茅 publique ; puis, 莽脿 et l脿, un 茅clair d鈥檈sprit dans ces nuages de sottise, des apostrophes, soudaines comme des 茅claboussures, le droit formul茅 par un juron, et des fleurs d鈥櫭﹍oquence aux l猫vres d鈥檜n goujat, portant 脿 cru le baudrier d鈥檜n sabre sur sa poitrine sans chemise. Quelquefois aussi, figurait un monsieur, aristocrate humble d鈥檃llures, disant des choses pl茅b茅iennes, et qui ne s鈥櫭﹖ait pas lav茅 les mains pour les faire para卯tre calleuses. Un patriote le reconnaissait, les plus vertueux le houspillaient : et il sortait la rage dans l鈥櫭e. On devait, par affectation de bon sens, d茅nigrer toujours les avocats, et servir le plus souvent possible ces locutions : 芦 apporter sa pierre 脿 l鈥櫭ヾifice, 鈥� probl猫me social, 鈥� atelier. 禄'
'On se vengeait 脿 la fois des journaux, des clubs, des attroupements, des doctrines, de tout ce qui exasp茅rait depuis trois mois ; et, en d茅pit de la victoire, l鈥櫭ゞalit茅 (comme pour le ch芒timent de ses d茅fenseurs et la d茅rision de ses ennemis) se manifestait triomphalement, une 茅galit茅 de b锚tes brutes, un m锚me niveau de turpitudes sanglantes ; car le fanatisme des int茅r锚ts 茅quilibra les d茅lires du besoin, l鈥檃ristocratie eut les fureurs de la crapule, et le bonnet de coton ne se montra pas moins hideux que le bonnet rouge. La raison publique 茅tait troubl茅e comme apr猫s les grands bouleversements de la nature. Des gens d鈥檈sprit en rest猫rent idiots pour toute leur vie.'
'Il y rencontra le grand M. A., l鈥檌llustre B, le profond C, l鈥櫭﹍oquent Z, l鈥檌mmense Y, les vieux t茅nors du centre gauche, les paladins de la droite, les burgraves du juste milieu, les 茅ternels bonshommes de la com茅die. Il fut stup茅fait par leur ex茅crable langage, leurs petitesses, leurs rancunes, leur mauvaise foi, tous ces gens qui avaient vot茅 la Constitution s鈥櫭﹙ertuant 脿 la d茅molir ; et ils s鈥檃gitaient beaucoup'
More works:
Promising young men:
About the rapid industrialization/financialization and deep societal shifts going with it:
Devastating charge against crony capitalism:
Revolutionary movements and the critic thereof:
Not living one's life:
Women of means:
Historical context:
Philosophical outviews:
Soundtrack:
January 17, 2025
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+ 禺丕讴 亘乇 爻乇鬲貙 賮乇丿乇蹖讴.
+ 丿賵爻丕乇丿蹖賴鈥屰� 亘蹖趩丕乇賴鈥屬�.
趩賳丿噩丕 丕夭 賯爻賲鬲鈥屬囏й� 賲賵乇丿 毓賱丕賯賴鈥屬� 乇賵 賴賲 丕蹖賳噩丕 賲蹖鈥屬嗁堐屫迟�.
芦賵賯鬲蹖 丕賳賯賱丕亘 卮丿 禺蹖丕賱 讴乇丿賲 讴賴 丿蹖诏乇 禺賵卮亘禺鬲 賲蹖鈥屫促堐屬呚� 蹖丕丿鬲丕賳 賴爻鬲 趩賯丿乇 夭蹖亘丕 亘賵丿責 趩賴 賳賮爻 乇丕丨鬲蹖 賲蹖鈥屭┴篡屫屬�! 丕賲賾丕 丿賵亘丕乇賴 賴賲賴鈥屭嗃屫� 丕夭 賴賲蹖卮賴 亘丿鬲乇 卮丿賴.
賵 亘丕 趩卮賲丕賳 亘賴 夭賲蹖賳 丿賵禺鬲賴:
- 丕賱丌賳 丿丕乇賳丿 噩賲賴賵乇蹖鈥屬呚з� 乇丕 賲蹖鈥屭┴促嗀�. 賴賲丕賳鈥屫焚堌� 讴賴 丌賳 蹖讴蹖貙 噩賲賴賵乇蹖 乇賲 乇丕 讴卮鬲賳丿! 亘蹖趩丕乇賴 賵賳蹖夭貙 亘蹖趩丕乇賴 賱賴爻鬲丕賳貙 亘蹖趩丕乇賴 賲噩丕乇爻鬲丕賳! 趩賴 噩賳丕蹖鬲鈥屬囏й屰�! 丕賵賱 丿乇禺鬲鈥屬囏й� 丌夭丕丿蹖 乇丕 亘乇蹖丿賳丿貙 亘毓丿 丨賯 乇兀蹖 乇丕 賲丨丿賵丿 讴乇丿賳丿貙 亘丕卮诏丕賴鈥屬囏� 乇丕 亘爻賳賳丿貙 爻丕賳爻賵乇 乇丕 亘乇賯乇丕乇 讴乇丿賳丿 賵 丌賲賵夭卮 乇丕 亘賴 讴卮蹖卮鈥屬囏� 爻倬乇丿賳丿貙 鬲丕 亘毓丿 賳賵亘鬲 亘賴 丕賳讴蹖夭蹖爻蹖賵賳 賴賲 亘乇爻丿. 趩乇丕 讴賴 賳賴責 賲诏乇 賲丨丕賮馗賴鈥屭┴ж辟囏й屰� 賳蹖爻鬲賳丿 讴賴 亘賴 賲丕 賵毓丿賴 賯夭丕賯鈥屬囏� 乇丕 賲蹖鈥屫囐嗀� 乇賵夭賳丕賲賴鈥屬囏й� 乇丕 讴賴 亘丕 賲噩丕夭丕鬲 丕毓丿丕賲 賲禺丕賱賮 亘丕卮賳丿 賲丨讴賵賲 賲蹖鈥屭┵嗁嗀� 倬丕乇蹖爻 丿乇 丕夭 爻乇賳蹖夭賴 丕爻鬲貙 丿乇 卮丕賳夭丿賴 丕爻鬲丕賳 讴卮賵乇 丨讴賵賲鬲 賳馗丕賲蹖 丕爻鬲.禄
+ 禺丕讴 亘乇 爻乇鬲貙 賮乇丿乇蹖讴.
+ 丿賵爻丕乇丿蹖賴鈥屰� 亘蹖趩丕乇賴鈥屬�.
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賵 亘丕 趩卮賲丕賳 亘賴 夭賲蹖賳 丿賵禺鬲賴:
- 丕賱丌賳 丿丕乇賳丿 噩賲賴賵乇蹖鈥屬呚з� 乇丕 賲蹖鈥屭┴促嗀�. 賴賲丕賳鈥屫焚堌� 讴賴 丌賳 蹖讴蹖貙 噩賲賴賵乇蹖 乇賲 乇丕 讴卮鬲賳丿! 亘蹖趩丕乇賴 賵賳蹖夭貙 亘蹖趩丕乇賴 賱賴爻鬲丕賳貙 亘蹖趩丕乇賴 賲噩丕乇爻鬲丕賳! 趩賴 噩賳丕蹖鬲鈥屬囏й屰�! 丕賵賱 丿乇禺鬲鈥屬囏й� 丌夭丕丿蹖 乇丕 亘乇蹖丿賳丿貙 亘毓丿 丨賯 乇兀蹖 乇丕 賲丨丿賵丿 讴乇丿賳丿貙 亘丕卮诏丕賴鈥屬囏� 乇丕 亘爻賳賳丿貙 爻丕賳爻賵乇 乇丕 亘乇賯乇丕乇 讴乇丿賳丿 賵 丌賲賵夭卮 乇丕 亘賴 讴卮蹖卮鈥屬囏� 爻倬乇丿賳丿貙 鬲丕 亘毓丿 賳賵亘鬲 亘賴 丕賳讴蹖夭蹖爻蹖賵賳 賴賲 亘乇爻丿. 趩乇丕 讴賴 賳賴責 賲诏乇 賲丨丕賮馗賴鈥屭┴ж辟囏й屰� 賳蹖爻鬲賳丿 讴賴 亘賴 賲丕 賵毓丿賴 賯夭丕賯鈥屬囏� 乇丕 賲蹖鈥屫囐嗀� 乇賵夭賳丕賲賴鈥屬囏й� 乇丕 讴賴 亘丕 賲噩丕夭丕鬲 丕毓丿丕賲 賲禺丕賱賮 亘丕卮賳丿 賲丨讴賵賲 賲蹖鈥屭┵嗁嗀� 倬丕乇蹖爻 丿乇 丕夭 爻乇賳蹖夭賴 丕爻鬲貙 丿乇 卮丕賳夭丿賴 丕爻鬲丕賳 讴卮賵乇 丨讴賵賲鬲 賳馗丕賲蹖 丕爻鬲.禄
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December 13, 2018Me: I don't like Flaubert.
The Chorus: What?!? What Else? Do you park in handicapped spaces? Do you not wash your hands after using the rest room? Do you chew with your mouth full? Snap your chewing gum? Do you refuse to do the Wave at sporting events? Do you ride in the passing lane even when you're not passing? Did you seriously not watch even a minute of the Kavanaugh Senate hearing? Do you laugh out loud at The Onion? Do you think it's possible the Second Amendment may be read too broadly by some? Do you stop watching Sports Center during the NBA season? Have you ever had more than 12 items in your basket in an express check-out line? DID YOU, SIR, VOTE FOR DONALD TRUMP???
Me: I just don't like Flaubert.
The Chorus: What?!? What Else? Do you park in handicapped spaces? Do you not wash your hands after using the rest room? Do you chew with your mouth full? Snap your chewing gum? Do you refuse to do the Wave at sporting events? Do you ride in the passing lane even when you're not passing? Did you seriously not watch even a minute of the Kavanaugh Senate hearing? Do you laugh out loud at The Onion? Do you think it's possible the Second Amendment may be read too broadly by some? Do you stop watching Sports Center during the NBA season? Have you ever had more than 12 items in your basket in an express check-out line? DID YOU, SIR, VOTE FOR DONALD TRUMP???
Me: I just don't like Flaubert.
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