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螚 蔚尉慰渭慰位蠈纬畏蟽畏 蔚谓蠈蟼 蟿苇魏谓慰蠀 蟿慰蠀 伪喂蠋谓伪
"螆蟿蟽喂 渭喂伪 伪委蟽胃畏蟽畏 伪谓蔚尉萎纬畏蟿畏蟼 未蠀蟽蠁慰蟻委伪蟼 维蟻蠂喂蟽蔚 谓伪 尾蟻维味蔚喂 渭苇蟽伪 蟽' 蠈位蔚蟼 蟿喂蟼 谓蔚伪谓喂魏苇蟼 魏伪蟻未喂苇蟼. 螝伪蟿伪未喂魏伪蟽渭苇谓慰喂 伪蟺蠈 蟿慰蠀蟼 蔚蟽蟿蔚渭渭苇谓慰蠀蟼 蟿慰蠀 魏蠈蟽渭慰蠀 蟽蟿畏谓 伪蟺蟻伪尉委伪, 蟺伪蟻伪未慰渭苇谓慰喂 蟽蟿慰蠀蟼 魏维胃蔚 位慰纬萎蟼 蟽蠂慰位伪蟽蟿喂魏慰蠉蟼, 蟽蟿畏 谓蠅胃蟻蠈蟿畏蟿伪 魏伪喂 蟽蟿畏谓 蟺位萎尉畏, 慰喂 谓苇慰喂 苇尾位蔚蟺伪谓 谓' 伪蟺慰蟿蟻伪尾喂慰蠉谓蟿伪喂 蟿' 伪蠁蟻喂蟽渭苇谓伪 魏蠉渭伪蟿伪 蟺慰蠀 蔚委蠂伪谓 纬蠀渭谓维蟽蔚喂 蟿伪 渭蟺蟻维蟿蟽伪 蟿慰蠀蟼. 螌位慰喂 伪蠀蟿慰委 慰喂 渭慰谓慰渭维蠂慰喂, 渭蔚 蟿慰 蟽蠋渭伪 蟿慰蠀蟼 伪位蔚喂渭渭苇谓慰 渭蔚 位维未喂, 苇谓喂蠅胃伪谓 蟽蟿伪 尾维胃畏 蟿畏蟼 蠄蠀蠂萎蟼 蟿慰蠀蟼 渭喂伪谓 伪谓蠀蟺蠈蠁慰蟻畏 渭喂味苇蟻喂伪."
螣喂 蟺蠈位蔚渭慰喂 蟿畏蟼 螒蠀蟿慰魏蟻伪蟿慰蟻委伪蟼 苇蠂慰蠀谓 蟿蔚位蔚喂蠋蟽蔚喂, 慰 螡伪蟺慰位苇蠅谓 苇蠂蔚喂 蟺蔚胃维谓蔚喂, 蟿伪 蟺伪喂未喂维 蟿蠅谓 蟽蟿蟻伪蟿喂蠅蟿蠋谓 蟿慰蠀 蟽蟿苇魏慰谓蟿伪喂 蟺维谓蠅 蟽蟿伪 蔚蟻蔚委蟺喂伪. 韦慰 蟺伪蟻蔚位胃蠈谓 苇蠂蔚喂 蠁蠉纬蔚喂 蠂蠅蟻委蟼 蔚蟺喂蟽蟿蟻慰蠁萎, 蟿慰 渭苇位位慰谓 伪蟻纬蔚委 伪魏蠈渭伪 谓伪 苇蟻胃蔚喂. 螣 蔚魏蠁蠀位喂蟽渭蠈蟼 蟿蠅谓 畏胃蠋谓 蠁伪谓蟿维味蔚喂 蟽蟿伪 渭维蟿喂伪 蟿蠅谓 谓苇蠅谓 蠅蟼 慰 渭蠈谓慰蟼 未蟻蠈渭慰蟼 蟺慰蠀 未蔚谓 慰未畏纬蔚委 蟽蟿畏谓 蟺位萎尉畏. 螣喂 蠂蠀渭慰委 蟿畏蟼 味蠅萎蟼 蟽魏慰蟻蟺委味慰谓蟿伪喂 伪谓维渭蔚蟽伪 蟽蔚 蟺位慰蠉蟽喂伪 蟿蟻伪蟺苇味喂伪 魏伪喂 蟽魏慰蟿蔚喂谓维 魏伪蟿伪纬蠋纬喂伪. 螝伪喂 慰 苇蟻蠅蟿伪蟼 伪渭蠁喂蟽尾畏蟿蔚委蟿伪喂 蠈蟽慰 蟺慰蟿苇 维位位慰蟿蔚.
螣 螣魏蟿维尾 伪谓伪纬魏维味蔚蟿伪喂, 魏伪蟿维 魏维蟺慰喂慰谓 蟿蟻蠈蟺慰, 渭苇蟽伪 蟽蟿畏谓 伪蟺蔚位蟺喂蟽委伪 蟿慰蠀, 谓伪 蠀喂慰胃蔚蟿萎蟽蔚喂 伪蠀蟿蠈 蟿慰谓 蟿蟻蠈蟺慰 味蠅萎蟼. 螝喂 蠈蟿伪谓 纬谓蠅蟻委蟽蔚喂 蟿慰谓 伪位畏胃喂谓蠈 苇蟻蠅蟿伪, 蟽蔚 蟺蔚委蟽渭伪 蠈蟽蠅谓 慰 委未喂慰蟼 蟺蟻苇蟽尾蔚蠀蔚 蠅蟼 谓蔚伪蟻蠈蟼 伪魏蠈位伪蟽蟿慰蟼, 胃伪 未喂伪蟺喂蟽蟿蠋蟽蔚喂 蟺蠅蟼 未蔚谓 蔚委谓伪喂 蟺喂伪 魏伪胃蠈位慰蠀 蔚蠉魏慰位慰 谓伪 蟿慰蠀 蟺伪蟻伪未慰胃蔚委 魏伪喂 谓伪 蟿慰谓 伪蟺慰位伪蠉蟽蔚喂... (螒蟺蠈 蟿畏谓 蟺伪蟻慰蠀蟽委伪蟽畏 蟽蟿慰 慰蟺喂蟽胃蠈蠁蠀位位慰 蟿慰蠀 尾喂尾位委慰蠀)
螣喂 蟺蠈位蔚渭慰喂 蟿畏蟼 螒蠀蟿慰魏蟻伪蟿慰蟻委伪蟼 苇蠂慰蠀谓 蟿蔚位蔚喂蠋蟽蔚喂, 慰 螡伪蟺慰位苇蠅谓 苇蠂蔚喂 蟺蔚胃维谓蔚喂, 蟿伪 蟺伪喂未喂维 蟿蠅谓 蟽蟿蟻伪蟿喂蠅蟿蠋谓 蟿慰蠀 蟽蟿苇魏慰谓蟿伪喂 蟺维谓蠅 蟽蟿伪 蔚蟻蔚委蟺喂伪. 韦慰 蟺伪蟻蔚位胃蠈谓 苇蠂蔚喂 蠁蠉纬蔚喂 蠂蠅蟻委蟼 蔚蟺喂蟽蟿蟻慰蠁萎, 蟿慰 渭苇位位慰谓 伪蟻纬蔚委 伪魏蠈渭伪 谓伪 苇蟻胃蔚喂. 螣 蔚魏蠁蠀位喂蟽渭蠈蟼 蟿蠅谓 畏胃蠋谓 蠁伪谓蟿维味蔚喂 蟽蟿伪 渭维蟿喂伪 蟿蠅谓 谓苇蠅谓 蠅蟼 慰 渭蠈谓慰蟼 未蟻蠈渭慰蟼 蟺慰蠀 未蔚谓 慰未畏纬蔚委 蟽蟿畏谓 蟺位萎尉畏. 螣喂 蠂蠀渭慰委 蟿畏蟼 味蠅萎蟼 蟽魏慰蟻蟺委味慰谓蟿伪喂 伪谓维渭蔚蟽伪 蟽蔚 蟺位慰蠉蟽喂伪 蟿蟻伪蟺苇味喂伪 魏伪喂 蟽魏慰蟿蔚喂谓维 魏伪蟿伪纬蠋纬喂伪. 螝伪喂 慰 苇蟻蠅蟿伪蟼 伪渭蠁喂蟽尾畏蟿蔚委蟿伪喂 蠈蟽慰 蟺慰蟿苇 维位位慰蟿蔚.
螣 螣魏蟿维尾 伪谓伪纬魏维味蔚蟿伪喂, 魏伪蟿维 魏维蟺慰喂慰谓 蟿蟻蠈蟺慰, 渭苇蟽伪 蟽蟿畏谓 伪蟺蔚位蟺喂蟽委伪 蟿慰蠀, 谓伪 蠀喂慰胃蔚蟿萎蟽蔚喂 伪蠀蟿蠈 蟿慰谓 蟿蟻蠈蟺慰 味蠅萎蟼. 螝喂 蠈蟿伪谓 纬谓蠅蟻委蟽蔚喂 蟿慰谓 伪位畏胃喂谓蠈 苇蟻蠅蟿伪, 蟽蔚 蟺蔚委蟽渭伪 蠈蟽蠅谓 慰 委未喂慰蟼 蟺蟻苇蟽尾蔚蠀蔚 蠅蟼 谓蔚伪蟻蠈蟼 伪魏蠈位伪蟽蟿慰蟼, 胃伪 未喂伪蟺喂蟽蟿蠋蟽蔚喂 蟺蠅蟼 未蔚谓 蔚委谓伪喂 蟺喂伪 魏伪胃蠈位慰蠀 蔚蠉魏慰位慰 谓伪 蟿慰蠀 蟺伪蟻伪未慰胃蔚委 魏伪喂 谓伪 蟿慰谓 伪蟺慰位伪蠉蟽蔚喂... (螒蟺蠈 蟿畏谓 蟺伪蟻慰蠀蟽委伪蟽畏 蟽蟿慰 慰蟺喂蟽胃蠈蠁蠀位位慰 蟿慰蠀 尾喂尾位委慰蠀)
320 pages, Paperback
First published January 1, 1836
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About the author
Alfred de Musset
1,486听books213听followersAlfred Louis Charles de Musset-Pathay (11 December 1810 鈥� 2 May 1857) was a French dramatist, poet, and novelist. Along with his poetry, he is known for writing La Confession d'un enfant du si猫cle (The Confession of a Child of the Century, autobiographical) from 1836.
Musset was born on 11 December 1810 in Paris. His family was upper-class but poor and his father worked in various key government positions, but never gave his son any money. His mother was similarly accomplished, and her role as a society hostess, - for example her drawing-room parties, luncheons, and dinners, held in the Musset residence - left a lasting impression on young Alfred.
Early indications of Musset's boyhood talents were seen by his fondness for acting impromptu mini-plays based upon episodes from old romance stories he had read. Years later, elder brother Paul de Musset would preserve these, and many other details, for posterity, in a biography on his famous younger brother.
Alfred de Musset entered the coll猫ge Henri IV at the age of nine, where in 1827 he won the Latin essay prize in the Concours g茅n茅ral. With the help of Paul Foucher, Victor Hugo's brother-in-law, he began to attend, at the age of 17, the C茅nacle, the literary salon of Charles Nodier at the Biblioth猫que de l'Arsenal. After attempts at careers in medicine (which he gave up owing to a distaste for dissections), law, drawing, English and piano, he became one of the first Romantic writers, with his first collection of poems, Contes d'Espagne et d'Italie (1829, Tales of Spain and Italy). By the time he reached the age of 20, his rising literary fame was already accompanied by a sulphurous reputation fed by his dandy side.
He was the librarian of the French Ministry of the Interior under the July Monarchy. During this time he also involved himself in polemics during the Rhine crisis of 1840, caused by the French prime minister Adolphe Thiers, who as Minister of the Interior had been Musset's superior. Thiers had demanded that France should own the left bank of the Rhine (described as France's "natural boundary"), as it had under Napoleon, despite the territory's German population. These demands were rejected by German songs and poems, including Nikolaus Becker's Rheinlied, which contained the verse: "Sie sollen ihn nicht haben, den freien, deutschen Rhein ..." (They shall not have it, the free, German Rhine). Musset answered to this with a poem of his own: "Nous l'avons eu, votre Rhin allemand" (We've had it, your German Rhine).
The tale of his celebrated love affair with George Sand, which lasted from 1833 to 1835, is told from his point of view in his autobiographical novel, La Confession d'un Enfant du Si猫cle (The Confession of a Child of the Century, made into a film, Children of the Century), and from her point of view in her Elle et lui. Musset's Nuits (1835鈥�1837, Nights) trace his emotional upheaval of his love for George Sand, from early despair to final resignation. He is also believed to be the author of Gamiani, or Two Nights of Excess (1833), a lesbian erotic novel, also believed to be modeled on George Sand.
Tomb of Alfred de Musset in P猫re Lachaise Cemetery
Musset was dismissed from his post as librarian by the new minister Ledru-Rollin after the revolution of 1848. He was however appointed librarian of the Ministry of Public Instruction in 1853.
Musset received the L茅gion d'honneur on 24 April 1845, at the same time as Balzac, and was elected to the Acad茅mie fran莽aise in 1852 (after two failures to do so in 1848 and 1850).
Alfred de Musset died in his sleep on 2 May 1857. The cause was heart failure, the combination of alcoholism and a longstanding aortic insufficiency. One symptom that had been noticed by his brother was a bobbing of the head as a result of the amplification of the pulse; this was later called de Musset's sign. He was buried in P猫re Lachaise Cemetery in Paris.
Musset was born on 11 December 1810 in Paris. His family was upper-class but poor and his father worked in various key government positions, but never gave his son any money. His mother was similarly accomplished, and her role as a society hostess, - for example her drawing-room parties, luncheons, and dinners, held in the Musset residence - left a lasting impression on young Alfred.
Early indications of Musset's boyhood talents were seen by his fondness for acting impromptu mini-plays based upon episodes from old romance stories he had read. Years later, elder brother Paul de Musset would preserve these, and many other details, for posterity, in a biography on his famous younger brother.
Alfred de Musset entered the coll猫ge Henri IV at the age of nine, where in 1827 he won the Latin essay prize in the Concours g茅n茅ral. With the help of Paul Foucher, Victor Hugo's brother-in-law, he began to attend, at the age of 17, the C茅nacle, the literary salon of Charles Nodier at the Biblioth猫que de l'Arsenal. After attempts at careers in medicine (which he gave up owing to a distaste for dissections), law, drawing, English and piano, he became one of the first Romantic writers, with his first collection of poems, Contes d'Espagne et d'Italie (1829, Tales of Spain and Italy). By the time he reached the age of 20, his rising literary fame was already accompanied by a sulphurous reputation fed by his dandy side.
He was the librarian of the French Ministry of the Interior under the July Monarchy. During this time he also involved himself in polemics during the Rhine crisis of 1840, caused by the French prime minister Adolphe Thiers, who as Minister of the Interior had been Musset's superior. Thiers had demanded that France should own the left bank of the Rhine (described as France's "natural boundary"), as it had under Napoleon, despite the territory's German population. These demands were rejected by German songs and poems, including Nikolaus Becker's Rheinlied, which contained the verse: "Sie sollen ihn nicht haben, den freien, deutschen Rhein ..." (They shall not have it, the free, German Rhine). Musset answered to this with a poem of his own: "Nous l'avons eu, votre Rhin allemand" (We've had it, your German Rhine).
The tale of his celebrated love affair with George Sand, which lasted from 1833 to 1835, is told from his point of view in his autobiographical novel, La Confession d'un Enfant du Si猫cle (The Confession of a Child of the Century, made into a film, Children of the Century), and from her point of view in her Elle et lui. Musset's Nuits (1835鈥�1837, Nights) trace his emotional upheaval of his love for George Sand, from early despair to final resignation. He is also believed to be the author of Gamiani, or Two Nights of Excess (1833), a lesbian erotic novel, also believed to be modeled on George Sand.
Tomb of Alfred de Musset in P猫re Lachaise Cemetery
Musset was dismissed from his post as librarian by the new minister Ledru-Rollin after the revolution of 1848. He was however appointed librarian of the Ministry of Public Instruction in 1853.
Musset received the L茅gion d'honneur on 24 April 1845, at the same time as Balzac, and was elected to the Acad茅mie fran莽aise in 1852 (after two failures to do so in 1848 and 1850).
Alfred de Musset died in his sleep on 2 May 1857. The cause was heart failure, the combination of alcoholism and a longstanding aortic insufficiency. One symptom that had been noticed by his brother was a bobbing of the head as a result of the amplification of the pulse; this was later called de Musset's sign. He was buried in P猫re Lachaise Cemetery in Paris.
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August 4, 2022
毓噩亘 乇賲丕賳蹖 亘賵丿貙 丿賵爻鬲卮 丿丕卮鬲賲.
December 12, 2016
脭 insens茅s qui vous croyez des hommes et osez raisonner de l'amour, l'avez-vous vu pour en parler? Non, vous l'avez senti. Vous avez 茅chang茅 un regard avec un 锚tre inconnu qui passait, et tout 脿 coup il s'est envol茅 de vous je ne sais quoi qui n'a pas de nom. Vous avez pris racine en terre, comme le grain cach茅 dans l'herbe qui sent que la vie le soul猫ve, et qu'il va devenir une moisson.
Alfred de Musset(1810-1857), est un po猫te fran莽ais du d茅but du dix-neuvi猫me si猫cle. Dans la Confession d'un enfant du si猫cle, il relate dans une sorte de fiction qui colle au plus pr猫s de ses propres souvenirs, l'茅tat d'esprit dans lequel il 茅tait, sa d茅couverte de l'amour, et la relation passionn茅e qu'il eut avec l'茅crivain Georges Sand(1804-1876), de 1833 脿 1835. Elle m锚me a 茅crit sa propre version des 茅v茅nements dans .
Tout commence avec une fourchette qui roule sous une table: le jeune h茅ros a dix-neuf ans, dine avec sa ma卯tresse et des amis, mais alors qu'il ramasse le couvert, il se rend compte que sa maitresse a le pied coll茅 sur la jambe de son meilleur ami, et que ce dernier la presse au plus pr猫s du monde. Se redressant, il affecte le calme le plus absolu, puis fait choir son couteau un moment apr猫s, et observe 脿 nouveau, alors qu'il retourne le chercher, le m锚me man猫ge. Il reste coi, mais de retour chez lui, rentre dans une rage folle, provoque son ami en duel, se fait d茅chirer le bras par une balle, et d茅clare finalement la guerre au genre f茅minin.
Le reste de sa jeunesse consiste 脿 fr茅quenter le milieu interlope des courtisanes. Il y gagne une soif de plaisir inextinguible, tout pendant que la pauvret茅 et la fausset茅 des relations qu'il entretient avec ces filles qu'il m茅prise travaillent 脿 le d茅gouter de lui-m锚me et des autres. Mais gardant une flamme id茅ale, il abhore le tranquille cynisme des libertins qu'il fr茅quente, et aspire 脿 un id茅al qu'il place dans l'茅coute de lui-m锚me, de ses sentiments, de l'amour, de la sinc茅rit茅, et non dans le monde ext茅rieur, la raison, la prudence et la politique. C'est avec ce syst猫me qu'il rencontre sa dulcin茅e, un peu plus ag茅e que lui, qu'il ne va pas tarder 脿 accabler d'assiduit茅s.
Apr猫s avoir vaincu ses r茅ticences, il ne tarde pas 脿 se montrer 脿 la fois charmant et d'une sensibilit茅 exquise, mais aussi imbuvable et franchement atroce. L'empire qu'il veut avoir sur l'芒me de celle qu'il aime est si total que la moindre petite ombre, la plus innocente, le fait rentrer dans un 茅tat de cynisme et de jalousie noire et cruel. Il voue au mensonge un haine totale, c'est un Alceste devenu fou. Ses passions tiennent les r锚nes de sa conduite, si bien que les retours sur lui m锚me qu'il fait consistent 脿 s'accuser et s'accabler devant sa ma卯tresse, qui ne tarde pas 脿 maigrir 脿 vue d鈥櫯搃l face 脿 ce traitement de choc alternant sarcasmes et appels 脿 la piti茅. Et ils vivent un m茅lange de transports d'amours extraordinaires m锚l茅 de fiel abominablement amer.
Musset, quoique f茅rocement anticl茅rical, ne laisse pas d'锚tre totalement domin茅 par l'id茅ologie religieuse: toutes ses images, tous ses sentiments, toutes ses m茅taphores sont inspir茅s par l'histoire sacr茅e qu'il transporte dans le monde de l'amour. De l脿 ces mani猫res de chercher un bonheur toujours m锚l茅 de remords, de douleur et de mortification, de faire le mal puis de demander pardon pour le refaire apr猫s, cette exhalation des sentiments et l'authenticit茅 de la voix int茅rieure sur la raison et les dictaments du r茅el. Le th猫me du double, c'est-脿-dire de la mort, est 茅galement tr猫s pr茅sent. Si je voulais d茅signer la caricature du romantique, c'est sans h茅siter lui que je choisirais.
J'ai 茅t茅 tr猫s impressionn茅 par cet 茅crit br没lant de sublime et d'horreur. Ce n'est pas 脿 proprement parler une lecture plaisante ni 茅difiante moralement, mais l'acuit茅 avec laquelle Musset d茅crit les mouvements de l'芒me, la beaut茅 et l'茅l茅vation de ses images po茅tiques, la force poignante de sa sinc茅rit茅 de cette confession atroce fascinent l'attention du lecteur jusqu'脿 la derni猫re page. Il ouvre une fen锚tre sur la vaste gamme de vibrations dont est capable de jouer le c艙ur humain.
Alfred de Musset par Gabriel Amable de La Foulhouze
Rolla
Alfred de Musset(1810-1857), est un po猫te fran莽ais du d茅but du dix-neuvi猫me si猫cle. Dans la Confession d'un enfant du si猫cle, il relate dans une sorte de fiction qui colle au plus pr猫s de ses propres souvenirs, l'茅tat d'esprit dans lequel il 茅tait, sa d茅couverte de l'amour, et la relation passionn茅e qu'il eut avec l'茅crivain Georges Sand(1804-1876), de 1833 脿 1835. Elle m锚me a 茅crit sa propre version des 茅v茅nements dans .
Tout commence avec une fourchette qui roule sous une table: le jeune h茅ros a dix-neuf ans, dine avec sa ma卯tresse et des amis, mais alors qu'il ramasse le couvert, il se rend compte que sa maitresse a le pied coll茅 sur la jambe de son meilleur ami, et que ce dernier la presse au plus pr猫s du monde. Se redressant, il affecte le calme le plus absolu, puis fait choir son couteau un moment apr猫s, et observe 脿 nouveau, alors qu'il retourne le chercher, le m锚me man猫ge. Il reste coi, mais de retour chez lui, rentre dans une rage folle, provoque son ami en duel, se fait d茅chirer le bras par une balle, et d茅clare finalement la guerre au genre f茅minin.
Le reste de sa jeunesse consiste 脿 fr茅quenter le milieu interlope des courtisanes. Il y gagne une soif de plaisir inextinguible, tout pendant que la pauvret茅 et la fausset茅 des relations qu'il entretient avec ces filles qu'il m茅prise travaillent 脿 le d茅gouter de lui-m锚me et des autres. Mais gardant une flamme id茅ale, il abhore le tranquille cynisme des libertins qu'il fr茅quente, et aspire 脿 un id茅al qu'il place dans l'茅coute de lui-m锚me, de ses sentiments, de l'amour, de la sinc茅rit茅, et non dans le monde ext茅rieur, la raison, la prudence et la politique. C'est avec ce syst猫me qu'il rencontre sa dulcin茅e, un peu plus ag茅e que lui, qu'il ne va pas tarder 脿 accabler d'assiduit茅s.
Apr猫s avoir vaincu ses r茅ticences, il ne tarde pas 脿 se montrer 脿 la fois charmant et d'une sensibilit茅 exquise, mais aussi imbuvable et franchement atroce. L'empire qu'il veut avoir sur l'芒me de celle qu'il aime est si total que la moindre petite ombre, la plus innocente, le fait rentrer dans un 茅tat de cynisme et de jalousie noire et cruel. Il voue au mensonge un haine totale, c'est un Alceste devenu fou. Ses passions tiennent les r锚nes de sa conduite, si bien que les retours sur lui m锚me qu'il fait consistent 脿 s'accuser et s'accabler devant sa ma卯tresse, qui ne tarde pas 脿 maigrir 脿 vue d鈥櫯搃l face 脿 ce traitement de choc alternant sarcasmes et appels 脿 la piti茅. Et ils vivent un m茅lange de transports d'amours extraordinaires m锚l茅 de fiel abominablement amer.
Musset, quoique f茅rocement anticl茅rical, ne laisse pas d'锚tre totalement domin茅 par l'id茅ologie religieuse: toutes ses images, tous ses sentiments, toutes ses m茅taphores sont inspir茅s par l'histoire sacr茅e qu'il transporte dans le monde de l'amour. De l脿 ces mani猫res de chercher un bonheur toujours m锚l茅 de remords, de douleur et de mortification, de faire le mal puis de demander pardon pour le refaire apr猫s, cette exhalation des sentiments et l'authenticit茅 de la voix int茅rieure sur la raison et les dictaments du r茅el. Le th猫me du double, c'est-脿-dire de la mort, est 茅galement tr猫s pr茅sent. Si je voulais d茅signer la caricature du romantique, c'est sans h茅siter lui que je choisirais.
J'ai 茅t茅 tr猫s impressionn茅 par cet 茅crit br没lant de sublime et d'horreur. Ce n'est pas 脿 proprement parler une lecture plaisante ni 茅difiante moralement, mais l'acuit茅 avec laquelle Musset d茅crit les mouvements de l'芒me, la beaut茅 et l'茅l茅vation de ses images po茅tiques, la force poignante de sa sinc茅rit茅 de cette confession atroce fascinent l'attention du lecteur jusqu'脿 la derni猫re page. Il ouvre une fen锚tre sur la vaste gamme de vibrations dont est capable de jouer le c艙ur humain.
Alfred de Musset par Gabriel Amable de La Foulhouze
Rolla
January 27, 2020
"Un mes despu茅s (del parto), la encontramos en las Tuller铆as, en el baile, en la 贸pera; su hijo est谩 en Chaillot, en Auxerre; su marido, en el lupanar. Diez j贸venes le hablan de amor, de afecto, de simpat铆a, de besos eternos, de todo lo que ella tiene en el coraz贸n. Escoge a uno, lo estrecha entre sus brazos; 茅l la deshonra, da media vuelta y se va a la Bolsa. Ahora ya est谩 lanzada; llora una noche y se percata que las lagrimas enrojecen sus ojos. Escoge a otro que la consuele; de la p茅rdida de este segundo, otro la consuela; as铆 hasta los treinta a帽os, o m谩s. Es entonces cuando, desenga帽ada y gangrenada, no teniendo de humano ni siquiera el hast铆o, encuentra una tarde a un hermoso adolescente de cabello negro, su juventud, recuerda lo que ha sufrido, y, devolvi茅ndole la lecci贸n, le ense帽a a no amar nunca."
Tal vez un d铆a vuelva a escribir otra rese帽a porque estoy seguro que me quedar茅 muy corto, aunque es una obra que por ratos menos me decepcion贸 por otros me encant贸.
El inicio es para m铆 deslumbrante y muy prometedor (demasiado dir铆a yo). Empieza hablando de lo que tan bien toc贸 Stendhal en su "Rojo y Negro" los hijos que nacieron durante el imperio franc茅s napole贸nico que cuando llegaron a ser j贸venes casi adultos se encontraron con una Francia muy diferente que les impon铆a nuevas modas e incluso nuevas escalas de valores. El paralelismo con la parte primera de esta novela es sorprendentemente digamos una descripci贸n concienzuda y hasta cient铆fica de lo que le sucede al joven Juli谩n Sorel, esbozado m谩s que todo en una novela realista. Eso me impresion贸 de Musset pues me dije que al fin ve铆a un rom谩ntico que le daba tantas ganas a la descripci贸n social y sobre todo psicol贸gica pero de un punto de vista no aislado ni asceta sino en un contexto hist贸rico social REAL. Bueno, eso se diluye con el pasar de las hojas y de hecho no lo culpo pues como rom谩ntico que es lo en boga en esa 茅poca era un an谩lisis exhaustivo de la relaci贸n rom谩ntica casi desprovista de contexto, aunque Musset se parece en mucho a Benjam铆n Constant, creo que lo supera en muchos aspectos. Por lo menos los idilios no me parecieron tan insoportables.
Entonces "el mal del siglo" como fue llamado es abordado de forma inequ铆voca y no creo que haya otra mejor que en este libro. Posteriormente vemos las aventuras en las cuales el protagonista, cuyo nombre en la novela es Octave, se sumerge. Claro en realidad es el propio autor y el relato es en primera persona como casi todo libro rom谩ntico.
Las frases de este libro para resaltar, para meditar y creo que m谩s para "emplear" son muy abundantes, el estilo es muy depurado y considero por ello bastante corta esta rese帽a. Es, como han apuntado algunos, una novela de crecimiento, como "La educaci贸n sentimental" de Flaubert en cierto modo. Octave conoce a su amigo Desgenais quien lo introduce en la parte digamos "mala" de las relaciones con las mujeres y ah铆 incluso tambi茅n las meditaciones que surgen son imperdibles.
Luego viene un acontecimiento importante en la vida de Octave y no creo para nada estar haciendo spoiler pues conoce a Madame Pierson, cuyo nombre de pila es Brigitte, quien es desde luego la famosa escritora George Sand. Y aqu铆 como antes en parte empieza todo ese rollo amoroso entre dos personas que parece que no saben lo que quieren. El personaje masculino inmaduro que ya he visto en "Adolphe" o en algunos escritos de Lamartine, que a m铆 me aburre regular pero viendo toda la obra en conjunto y el estilo de Musset es bastante digerible. Es desde luego una relaci贸n t贸xica como muchas hubo y muchas habr谩. Algunos cr铆ticos opinan que la novela hubiera terminado excelente en la tercera parte, discrepo, aunque tampoco es mala idea.
Debo tambi茅n mencionar la excelencia, la perfecci贸n de esta hermosa edici贸n de C谩tedra. Siempre justifica su precio aunque aqu铆 se pasaron por la minuciosidad de notas y el pr贸logo soberbio. En resumen la novela trata sobre la experiencia amorosa de George Sand y De Musset, 茅l mismo le escribi贸 en muchas oportunidades su intenci贸n de escribir un libro sobre ello. En parte me parece algo manido y un poco que le baja a los recursos de los escritores novelar de manera casi id茅ntica lo que les pas贸 en una novela, tan de los rom谩nticos, pero ser铆a muy superfluo decir que esto se trata s贸lo de eso. Y por lo que le铆 de esta magn铆fica edici贸n y aunque quer铆a resistirme (jajaja) lo hermoso de las frases de Sand y las abundantes cartas que se escribieron ambos har谩n que lea la correspondencia que tuvieron alg煤n d铆a. Qui茅n lo dir铆a pero aunque se trate de esas relaciones que eran la comidilla de toda una 茅poca e incluso de generaciones posteriores y aunque muchos entran en el debate de tomar partido por uno de los amantes con lo que le铆 me basta para poder saber que puedo sacara bastante literatura de aquello.
Tal vez un d铆a vuelva a escribir otra rese帽a porque estoy seguro que me quedar茅 muy corto, aunque es una obra que por ratos menos me decepcion贸 por otros me encant贸.
El inicio es para m铆 deslumbrante y muy prometedor (demasiado dir铆a yo). Empieza hablando de lo que tan bien toc贸 Stendhal en su "Rojo y Negro" los hijos que nacieron durante el imperio franc茅s napole贸nico que cuando llegaron a ser j贸venes casi adultos se encontraron con una Francia muy diferente que les impon铆a nuevas modas e incluso nuevas escalas de valores. El paralelismo con la parte primera de esta novela es sorprendentemente digamos una descripci贸n concienzuda y hasta cient铆fica de lo que le sucede al joven Juli谩n Sorel, esbozado m谩s que todo en una novela realista. Eso me impresion贸 de Musset pues me dije que al fin ve铆a un rom谩ntico que le daba tantas ganas a la descripci贸n social y sobre todo psicol贸gica pero de un punto de vista no aislado ni asceta sino en un contexto hist贸rico social REAL. Bueno, eso se diluye con el pasar de las hojas y de hecho no lo culpo pues como rom谩ntico que es lo en boga en esa 茅poca era un an谩lisis exhaustivo de la relaci贸n rom谩ntica casi desprovista de contexto, aunque Musset se parece en mucho a Benjam铆n Constant, creo que lo supera en muchos aspectos. Por lo menos los idilios no me parecieron tan insoportables.
Entonces "el mal del siglo" como fue llamado es abordado de forma inequ铆voca y no creo que haya otra mejor que en este libro. Posteriormente vemos las aventuras en las cuales el protagonista, cuyo nombre en la novela es Octave, se sumerge. Claro en realidad es el propio autor y el relato es en primera persona como casi todo libro rom谩ntico.
Las frases de este libro para resaltar, para meditar y creo que m谩s para "emplear" son muy abundantes, el estilo es muy depurado y considero por ello bastante corta esta rese帽a. Es, como han apuntado algunos, una novela de crecimiento, como "La educaci贸n sentimental" de Flaubert en cierto modo. Octave conoce a su amigo Desgenais quien lo introduce en la parte digamos "mala" de las relaciones con las mujeres y ah铆 incluso tambi茅n las meditaciones que surgen son imperdibles.
Luego viene un acontecimiento importante en la vida de Octave y no creo para nada estar haciendo spoiler pues conoce a Madame Pierson, cuyo nombre de pila es Brigitte, quien es desde luego la famosa escritora George Sand. Y aqu铆 como antes en parte empieza todo ese rollo amoroso entre dos personas que parece que no saben lo que quieren. El personaje masculino inmaduro que ya he visto en "Adolphe" o en algunos escritos de Lamartine, que a m铆 me aburre regular pero viendo toda la obra en conjunto y el estilo de Musset es bastante digerible. Es desde luego una relaci贸n t贸xica como muchas hubo y muchas habr谩. Algunos cr铆ticos opinan que la novela hubiera terminado excelente en la tercera parte, discrepo, aunque tampoco es mala idea.
Debo tambi茅n mencionar la excelencia, la perfecci贸n de esta hermosa edici贸n de C谩tedra. Siempre justifica su precio aunque aqu铆 se pasaron por la minuciosidad de notas y el pr贸logo soberbio. En resumen la novela trata sobre la experiencia amorosa de George Sand y De Musset, 茅l mismo le escribi贸 en muchas oportunidades su intenci贸n de escribir un libro sobre ello. En parte me parece algo manido y un poco que le baja a los recursos de los escritores novelar de manera casi id茅ntica lo que les pas贸 en una novela, tan de los rom谩nticos, pero ser铆a muy superfluo decir que esto se trata s贸lo de eso. Y por lo que le铆 de esta magn铆fica edici贸n y aunque quer铆a resistirme (jajaja) lo hermoso de las frases de Sand y las abundantes cartas que se escribieron ambos har谩n que lea la correspondencia que tuvieron alg煤n d铆a. Qui茅n lo dir铆a pero aunque se trate de esas relaciones que eran la comidilla de toda una 茅poca e incluso de generaciones posteriores y aunque muchos entran en el debate de tomar partido por uno de los amantes con lo que le铆 me basta para poder saber que puedo sacara bastante literatura de aquello.
August 7, 2022
une des plumes les plus belles, agr茅ables, profondes et sensibles que j鈥檃i pu lire. le personnage d鈥檕ctave m鈥檃 sinc猫rement touch茅e ; son rapport au monde, presque ridicule tant il est original, nous confronte 脿 nos propres malaises et incompr茅hensions en soci茅t茅. ses (nombreux) d茅fauts le rendent tr猫s humain. et les passages sur la nature et la force de l鈥檃mour, un pur plaisir !!!
j鈥檃i vraiment beaucoup aim茅 constater la reprise de l鈥檋istoire avec george sand, qui appara卯t 脿 la fois diff茅rente et similaire 脿 la correspondance. les r茅f茅rences au th茅芒tre de l鈥檃uteur sont sublimes. il me semble que son 艙uvre atteint son enti猫ret茅 avec ce seul roman, qui m锚le fiction, autobiographie et intertextualit茅. tr猫s contente de l鈥檃voir au programme 馃ス
j鈥檃i vraiment beaucoup aim茅 constater la reprise de l鈥檋istoire avec george sand, qui appara卯t 脿 la fois diff茅rente et similaire 脿 la correspondance. les r茅f茅rences au th茅芒tre de l鈥檃uteur sont sublimes. il me semble que son 艙uvre atteint son enti猫ret茅 avec ce seul roman, qui m锚le fiction, autobiographie et intertextualit茅. tr猫s contente de l鈥檃voir au programme 馃ス
September 1, 2022
2.5/5
edit: I decided to actually round the rating down. It's been a year and whenever I think about this book I can't help but cringe so I think it's fair.
Well, this was... something. After the first hundred pages I was seriously considering DNFing this one, but I ended up putting it aside for a while and coming back to it. About half way through the story got quite interesting and I started having hopes that it might turn into something other than constant monologues of self-pity and contempt for everyone around Octave (the main character) and himself.
Unfortunately, that was only for a bit and after meeting the main love interest it became a mush of constant suspicions, complaints, mood swings, and arguments, all exclusively from Octave, who just couldn't get his shit together for a single minute. Surprisingly, at this point I actually found myself flying through the pages, somewhat captivated by the melodramatic shitshow de Musset put together, but towards the end it was just exhausting and I was completely fed up with both the story and Octave.
The one redeeming quality of this novel is the writing, which is incredibly beautiful and poetic, the reading experience was at points like eating some exquisite chocolate. Since I'm a sucker for good writing I am rounding the rating up rather than down, but boy, am I glad that I'm done with this.
edit: I decided to actually round the rating down. It's been a year and whenever I think about this book I can't help but cringe so I think it's fair.
Well, this was... something. After the first hundred pages I was seriously considering DNFing this one, but I ended up putting it aside for a while and coming back to it. About half way through the story got quite interesting and I started having hopes that it might turn into something other than constant monologues of self-pity and contempt for everyone around Octave (the main character) and himself.
Unfortunately, that was only for a bit and after meeting the main love interest it became a mush of constant suspicions, complaints, mood swings, and arguments, all exclusively from Octave, who just couldn't get his shit together for a single minute. Surprisingly, at this point I actually found myself flying through the pages, somewhat captivated by the melodramatic shitshow de Musset put together, but towards the end it was just exhausting and I was completely fed up with both the story and Octave.
The one redeeming quality of this novel is the writing, which is incredibly beautiful and poetic, the reading experience was at points like eating some exquisite chocolate. Since I'm a sucker for good writing I am rounding the rating up rather than down, but boy, am I glad that I'm done with this.
March 19, 2021
丨蹖賮賴 讴賴 禺賵丕賳賳丿诏丕賳 丕蹖乇丕賳蹖 亘丕 丿蹖丿賳 丕爻賲 芦賲賵爻賴 禄 乇賵蹖 賯賮爻賴 賴丕蹖 讴鬲丕亘 賮乇賵卮蹖 趩卮賲卮賵賳 賯賱亘 賳賲蹖卮賴 賵 賴蹖趩 丨爻蹖 亘賴卮 賳丿丕乇賳 ... 鬲丕 卮丕蹖丿 丨鬲蹖 丕賳鬲禺丕亘卮 讴賳賳丿.
丕賵賳賲 亘丕 丕蹖賳 鬲乇噩賲賴 丨爻丕亘蹖 !
丌禺乇蹖賳 讴鬲丕亘 爻丕賱 酃酃
丕賵賳賲 亘丕 丕蹖賳 鬲乇噩賲賴 丨爻丕亘蹖 !
丌禺乇蹖賳 讴鬲丕亘 爻丕賱 酃酃
December 25, 2024
丌賳趩賴 賯賱賲 丿賵賲賵爻賴 亘賴 丌丿賲 丕賱賯丕亍 賲蹖鈥屭┵嗁� 鬲乇讴蹖亘 賳丕亘乇亘乇蹖鈥屫池� 丕夭 賳亘賵睾 賵 噩賳賵賳貙 亘丕 讴賮賴鈥屰� 爻賳诏蹖賳鈥屫� 賲賵乇丿 丿賵賲. 丕蹖賳 讴賱賲丕鬲 丕賳诏丕乇貙 賮丕乇睾 丕夭 丕乇夭鈥屫粹€屫з堌臂屫� 丕夭 蹖賴 乇賵丨 毓丕氐蹖 亘乇禺丕爻鬲賴. 丕夭 鬲亘丕賴蹖鈥屬囏й屰� 讴賴 乇賯賲 夭丿賴 亘賴 爻鬲賵賴 丕賵賲丿賴 丕賲丕 亘丕夭 賴賲賵賳鈥屬囏� 乇賵 賳卮禺賵丕乇 賲蹖鈥屭┵嗁�. 丕夭 爻亘讴 夭賳丿诏蹖 禺賵丿卮 賲賳夭噩乇賴 丕賲丕 丕賳诏丕乇 卮蹖賵賴鈥屰� 丿蹖诏賴鈥屫й� 乇賵 亘賱丿 賳蹖爻鬲/ 蹖丕丿 賳賲蹖鈥屭屫辟�. 丕夭 倬丕乇丕丿賵讴爻鈥屬囏й� 丿乇賵賳蹖 禺賵丿卮 丿乇 乇賳噩賴 丕賲丕 賮賯胤 亘蹖卮鬲乇 賵 亘蹖卮鬲乇 鬲賵蹖 丕蹖賳 亘丕鬲賱丕賯 賮乇賵 賲蹖鈥屫辟�. 賳賴 亘乇丕蹖 禺賵丿卮 禺蹖乇蹖 丿丕乇賴 賵 賳賴 亘乇丕蹖 毓夭蹖夭鬲乇蹖賳卮.
丿乇 賲賵乇丿 卮禺氐蹖鬲 禺賵丿 丌賱賮乇丿 丿賵賲賵爻賴貙 丕賵賳鈥屫焚堌� 讴賴 丕夭 禺賱丕賱 讴鬲丕亘 禺賵丿卮 賵 讴鬲丕亘 跇乇跇 爻丕賳丿 卮賳丕禺鬲賴鈥屬呚� 蹖讴蹖 丕夭 鬲丕讴爻蹖讴鈥屫臂屬� 匕讴賵乇蹖 亘賵丿賴 讴賴 夭賲蹖賳 亘賴 禺賵丿卮 丿蹖丿賴. 丕夭 丕賵賳 賲丿賱 讴賴 賴賲 丿乇 丌丿賲 鬲乇丨賲 亘乇賲蹖鈥屫з嗂屫操� 賵 賴賲 丕卮賲卅夭丕夭. 賵 丕诏乇 匕乇賴鈥屫й� 毓丕賯賱 亘丕卮蹖貙 丕夭卮賵賳 賮乇丕乇 賲蹖鈥屭┵嗃�.
丕蹖賳 讴鬲丕亘 丿賵賲賵爻賴 賵 芦丿賱丿丕乇 賵 丿賱亘丕禺鬲賴禄蹖 跇乇跇 爻丕賳丿 丕诏乇趩賴 乇賲丕賳賳 丕賲丕 亘乇诏乇賮鬲賴 丕夭 夭賳丿诏蹖 賵丕賯毓蹖 禺賵丿卮賵賳賳.
鬲賵 乇蹖賵蹖賵蹖蹖 讴賴 亘乇丕蹖 芦丿賱丿丕乇 賵 丿賱亘丕禺鬲賴禄 賳賵卮鬲賴 亘賵丿賲貙 丕卮丕乇賴 讴乇丿賲 讴賴 噩丕賲毓賴 趩賴 賮卮丕乇蹖 亘賴 夭賳丕賳蹖 讴賴 丿乇 芦丕爻鬲丕賳丿丕乇丿禄 賲乇丿爻丕賱丕乇丕賳賴 賳賲蹖鈥屭嗀� 賵 芦睾蹖乇賲鬲毓丕乇賮禄 賲丨爻賵亘 賲蹖鈥屫促嗀� 賵丕乇丿 賲蹖鈥屭┵嗁�. 賵 賴夭蹖賳賴 賵 鬲丕賵丕賳蹖 讴賴 夭賳丕賳 亘乇丕蹖 蹖賴 乇丕亘胤賴鈥屰� 芦睾蹖乇賲毓賲賵賱禄 賲蹖鈥屬矩必ж操嗀� 趩賯丿乇 -丿乇 賲賯丕蹖爻賴 亘丕 賲乇丿丕賳- 诏夭丕賮鈥屫� 賵 噩丿蹖鈥屫辟�.禄 賵 丕蹖賳 丿賯蹖賯丕賸 丿乇 賴賲蹖賳 讴鬲丕亘 芦丕毓鬲乇丕賮丕鬲 蹖讴 讴賵丿讴 夭賲丕賳賴禄 賴賲 倬蹖丿丕爻鬲. 亘丕 丕蹖賳讴賴 賳賵蹖爻賳丿賴 賲乇丿 賲丕噩乇丕爻鬲 賵 丿丕乇賴 丿賯蹖賯丕賸 丕夭 丕賵賳 胤乇賮 賲賯丕亘賱 乇賵丕蹖鬲 賲蹖鈥屭┵嗁� 丕賲丕 賴賲趩賳丕賳 丕蹖賳 賮讴鬲 亘賴鈥屬堌顿堌� 賲卮賴賵丿賴.
鬲乇噩賲賴 賴賲 亘賴 丿賱賲 賳卮爻鬲貙 亘丕 丕蹖賳讴賴 賳蹖丕夭 丕爻丕爻蹖 亘賴 賵蹖乇丕蹖卮 丿丕卮鬲. 丕夭 賵丕蹖亘 讴賱丕爻蹖讴卮 賱匕鬲 亘乇丿賲.
丿乇 賲賵乇丿 卮禺氐蹖鬲 禺賵丿 丌賱賮乇丿 丿賵賲賵爻賴貙 丕賵賳鈥屫焚堌� 讴賴 丕夭 禺賱丕賱 讴鬲丕亘 禺賵丿卮 賵 讴鬲丕亘 跇乇跇 爻丕賳丿 卮賳丕禺鬲賴鈥屬呚� 蹖讴蹖 丕夭 鬲丕讴爻蹖讴鈥屫臂屬� 匕讴賵乇蹖 亘賵丿賴 讴賴 夭賲蹖賳 亘賴 禺賵丿卮 丿蹖丿賴. 丕夭 丕賵賳 賲丿賱 讴賴 賴賲 丿乇 丌丿賲 鬲乇丨賲 亘乇賲蹖鈥屫з嗂屫操� 賵 賴賲 丕卮賲卅夭丕夭. 賵 丕诏乇 匕乇賴鈥屫й� 毓丕賯賱 亘丕卮蹖貙 丕夭卮賵賳 賮乇丕乇 賲蹖鈥屭┵嗃�.
丕蹖賳 讴鬲丕亘 丿賵賲賵爻賴 賵 芦丿賱丿丕乇 賵 丿賱亘丕禺鬲賴禄蹖 跇乇跇 爻丕賳丿 丕诏乇趩賴 乇賲丕賳賳 丕賲丕 亘乇诏乇賮鬲賴 丕夭 夭賳丿诏蹖 賵丕賯毓蹖 禺賵丿卮賵賳賳.
鬲賵 乇蹖賵蹖賵蹖蹖 讴賴 亘乇丕蹖 芦丿賱丿丕乇 賵 丿賱亘丕禺鬲賴禄 賳賵卮鬲賴 亘賵丿賲貙 丕卮丕乇賴 讴乇丿賲 讴賴 噩丕賲毓賴 趩賴 賮卮丕乇蹖 亘賴 夭賳丕賳蹖 讴賴 丿乇 芦丕爻鬲丕賳丿丕乇丿禄 賲乇丿爻丕賱丕乇丕賳賴 賳賲蹖鈥屭嗀� 賵 芦睾蹖乇賲鬲毓丕乇賮禄 賲丨爻賵亘 賲蹖鈥屫促嗀� 賵丕乇丿 賲蹖鈥屭┵嗁�. 賵 賴夭蹖賳賴 賵 鬲丕賵丕賳蹖 讴賴 夭賳丕賳 亘乇丕蹖 蹖賴 乇丕亘胤賴鈥屰� 芦睾蹖乇賲毓賲賵賱禄 賲蹖鈥屬矩必ж操嗀� 趩賯丿乇 -丿乇 賲賯丕蹖爻賴 亘丕 賲乇丿丕賳- 诏夭丕賮鈥屫� 賵 噩丿蹖鈥屫辟�.禄 賵 丕蹖賳 丿賯蹖賯丕賸 丿乇 賴賲蹖賳 讴鬲丕亘 芦丕毓鬲乇丕賮丕鬲 蹖讴 讴賵丿讴 夭賲丕賳賴禄 賴賲 倬蹖丿丕爻鬲. 亘丕 丕蹖賳讴賴 賳賵蹖爻賳丿賴 賲乇丿 賲丕噩乇丕爻鬲 賵 丿丕乇賴 丿賯蹖賯丕賸 丕夭 丕賵賳 胤乇賮 賲賯丕亘賱 乇賵丕蹖鬲 賲蹖鈥屭┵嗁� 丕賲丕 賴賲趩賳丕賳 丕蹖賳 賮讴鬲 亘賴鈥屬堌顿堌� 賲卮賴賵丿賴.
鬲乇噩賲賴 賴賲 亘賴 丿賱賲 賳卮爻鬲貙 亘丕 丕蹖賳讴賴 賳蹖丕夭 丕爻丕爻蹖 亘賴 賵蹖乇丕蹖卮 丿丕卮鬲. 丕夭 賵丕蹖亘 讴賱丕爻蹖讴卮 賱匕鬲 亘乇丿賲.
July 18, 2013
賷亘丿賵 兀賳 丕賱亘卮乇賷丞 賰鬲亘鬲 鬲丕乇賷禺賴丕 匕丕鬲 賲乇丞貙 賵賲丕 丕賳賮賰鬲 廿賱賶 丕賱丌賳 鬲噩鬲乇賴 亘鬲賳賵賷毓丕鬲 毓丿賷丿丞.
賰鬲亘鬲 賴匕賴 丕賱乇賵丕賷丞 賮賷 賲乇丨賱丞 賵賯賮鬲 賮賷賴丕 兀賵乇亘丕 賲賳賴賰丞 毓賱賶 噩孬丞 賴丕賲丿丞 禺賱賮鬲賴丕 丕賱丨乇賵亘 賵丕賱賳夭丕毓丕鬲貙 賵賯丿 鬲賲 賳卮乇賴丕 毓丕賲 1836 賵賯丿 亘賱睾 丿賷 賲賵爻賷賴 丕賱爻丕丿爻丞 賵丕賱毓卮乇賷賳 賲賳 丕賱毓賲乇貙 賲賳胤賯賸丕 亘胤賱賴 (兀賵賰鬲丕賮) 亘丕毓鬲乇丕賮丕鬲 賱丕 鬲丨賷賱 廿賱賶 丕賱匕賳賵亘 亘賯丿乇 賲丕 鬲丨賷賱 廿賱賶 丕賱兀丿賵丕亍 賵丕賱毓賱賱 賵丕賱氐乇丕毓丕鬲 丕賱鬲賷 丕賳胤賵鬲 毓賱賷賴丕 爻乇賷乇鬲賴 賵毓賱賶 卮丿丞 丕賱鬲卮丕亘賴 亘賷賳 兀丨丿丕孬賴丕 賵兀丨丿丕孬 丨賷丕丞 賲丐賱賮賴丕 賳賮爻賴 賮廿賳賴 賱夭丕賲 毓賱賷賳丕 兀賳 賳鬲丕賵賱賴丕 亘賵氐賮賴丕 乇賵丕賷丞 賱丕 爻賷乇丞 匕丕鬲賷丞貨 賮賱丕 丕賱賲爻賲賶 賷爻賲丨 賱賳丕 賵賱丕 丕賱賲毓丕賱噩丞 賵賱丕 丨鬲賶 丕賱鬲賮丕氐賷賱貙 賵廿賳 賰丕賳 賯丿 丕賯鬲亘爻 賲賳 丨賷丕鬲賴 丕賱賵丕賯毓賷丞 賮賱丕 噩乇賲貙 廿匕 兀賳賴 賱賷爻 丕賱乇賵丕卅賷 丕賱兀賵賱 賵賱丕 丕賱兀禺賷乇 丕賱匕賷 賷賮毓賱 賴匕丕貙 賵賱丕 賷賯鬲亘爻 賱乇睾亘鬲賴 賮賷 賳卮乇 賯氐丞 匕丕鬲賷丞 鬲禺賱賵 賲賳 丕賱毓亘乇丞 廿賳賲丕 賷爻賵賯賴丕 賮賷 廿胤丕乇 丕賱毓氐乇 賵馗乇賵賮賴 賵鬲賮丕毓賱丕鬲 兀丨丿丕孬賴 賮賷 賳賮爻 賰賱 賷丕賮毓.
賵賯丿 鬲賮丕丿賶 丿賷 賲賵爻賷賴 亘毓囟 賴匕丕 丕賱馗賳 賮丕爻鬲賴賱 丕賱乇賵丕賷丞 亘噩賲賱丞 (賱丕 賷丿賵賳 鬲丕乇賷禺 丨賷丕鬲賴 賲賳 賱賲 賷亘鬲賱賽 丕賱丨賷丕丞貙 賮賲丕 丕賰鬲亘賴 賱賷爻 鬲丕乇賷禺賸丕 賱丨賷丕鬲賷) 賵賱毓賱賴丕 鬲氐丿乇 毓賳 賳賮賻爻賻賷 丿賷 賲賵爻賷賴 賵兀賵賰鬲丕賮 賲鬲丨丿賷賳貙 賮賴賷 鬲鬲賵禺賶 爻乇丿 丕賱丨丕賱丞 丕賱毓丕賲丞 丕賱賲丐乇賯丞 丕賱賲鬲賲丨賵乇丞 丨賵賱 丿丕亍 丕賱毓氐乇 亘賵氐賮賴 兀氐賱丕賸 賱賱鬲卮乇匕賲丕鬲 丕賱賲鬲丨氐賱丞 賵噩匕乇賸丕 賱賱卮乇賵乇 丕賱賲鬲兀氐賱丞貙 賵賱毓賱 丕賱爻亘亘 匕丕鬲賴 丨丿丕 亘賮賱賷賰爻 賮丕乇爻 -亘毓丿 賲丕 賷賯丕乇亘 賲卅丞 毓丕賲- 賮賳賯賱 賴匕賴 丕賱丿乇丞 廿賱賶 丕賱毓乇亘賷丞貙 賲亘氐乇賸丕 鬲賵賾丨丿 丕賱丨丕賱 賵丕賱賲丌賱 賮賷 氐賮賵賮 丕賱卮亘丕賳貙 賵賱賷鬲賴丕 鬲毓賵丿 丕賱賷賵賲 廿賱賶 丕賱賲丨丕賮賱 丕賱兀丿亘賷丞 賵乇賮賵賮 丕賱賲賯亘賱賷賳 毓賱賶 乇亘賷毓賴賲 丕賱賲胤丕賱亘賷賳 亘丨乇賷丕鬲賴賲貙 賮賴賷 鬲賯鬲賳氐 賱丨馗丞 賱丕 亘丿 丌鬲賷丞 毓賱賶 毓丕賱賲賳丕 丕賱爻丕卅乇 毓賱賶 禺賷胤 賲卮丿賵丿貙 賵賯丿 兀鬲賯賳 賮丕乇爻 鬲乇噩賲丞 丕賱乇賵丕賷丞 賱丿乇噩丞 鬲賮賵賯 丕賱賵氐賮貙 賮廿賳 賵噩丿 兀賷 賲賳 賲鬲賳丕賵賱賷賴丕 賲賱丕賱丕 兀賵 乇鬲丕亘丞 賮廿賳賲丕 賷爻毓賴 丕賱丕賰鬲賮丕亍 亘賯丿乇丕鬲 丕賱賲鬲乇噩賲 丕賱賱睾賵賷丞 賵氐賵乇賴 丕賱賮賳賷丞 丕賱亘丿賷毓丞貙 丕賱鬲賷 賵賱丕 卮賰 鬲賯丕乇亘 丕賱兀氐賱 賮賷 丕賱卮丕毓乇賷丞 賵賱丕 鬲亘賱睾賴!
賷卮賰賱 丕賱毓賳賵丕賳 毓鬲亘丞 賳氐賷丞 丿丕賱丞 賯丿 鬲囟毓 丕賱乇賵丕賷丞 毓賱賶 賲賯乇亘丞 賲賳 丕毓鬲乇丕賮丕鬲 乇賵爻賵貙 賵鬲爻賲賷 氐丕丨亘賴丕 (賮鬲賶 丕賱毓氐乇) 賮鬲賳賰賾乇賴 賱鬲毓乇賽賾賮賴 亘毓氐乇賴貙 賮賴賵 丕賱毓賱丞 賵丕賱丿丕亍貙 賱丕 賷鬲乇賰 賱賮鬲賵鬲賴 丕賱賰孬賷乇 亘賱 賷賵丨賾丿 丨丕賱賴 賵兀亘賳丕亍 噩賷賱賴貙 賱賮乇胤 賲丕 賷賯賵丿賴賲 賵賷丨丿丿 賲氐丕卅乇賴賲貙 廿賱丕賾 兀賳 兀賵賰鬲丕賮 兀禺賷乇賸丕 賷鬲賵賯賮 毓賳 禺囟賵毓賴 賱賱賲乇囟貙 賲毓賱賳賸丕 賯丿乇鬲賴 毓賱賶 乇爻賲 丕賱賲氐賷乇 乇睾賲 賲卮丕乇賰丞 丕賱毓氐乇 賮賷 鬲卮賰賷賱 毓賵丕賱賲賴 丕賱丿丕禺賱賷丞 賵丕賱禺丕乇噩賷丞.
鬲毓乇囟 丕賱乇賵丕賷丞 賮賷 賮氐賱賷賴丕 丕賱兀賵賱 賵丕賱孬丕賳賷 賱賱馗乇賵賮 丕賱夭賲賰丕賳賷丞 毓亘乇 兀賯賵丕賱 賵氐賮賷丞 毓賳 兀賵乇亘丕 賵丕賱丨乇賷丞 賵丕賱孬賵乇丞 賵丕賱丨乇亘 賵賳丕亘賱賷賵賳 賵丕賱卮毓亘 賵丕賱亘丕亘丕 賵丕賱卮毓乇 賵賲亘丿毓賷 丕賱毓氐乇 兀賲孬丕賱 (噩賵鬲賴貙 亘賷乇賵賳貙 賲賵賳鬲爻賷賰賵) 孬賲 賷鬲賵賱賶 鬲賯丿賷賲 丕賱乇賵丕賷丞 爻丕乇丿 毓丕賱賲 丕賱丨賰賷 丕賱丿丕禺賱賷 Homodiegetic Narrative 賱賷賯丿賲 賱賳丕 賳氐賸丕 賲鬲噩丕賳爻賸丕 Homodiegetic 賷賵睾賱 禺賱丕賱賴 賮賷 丕賱賵氐賮 賵丕賱鬲毓亘賷乇 丕賱卮丕毓乇賷貙 賷孬亘鬲 賮賷賴 丨賵丕乇丕鬲 鬲氐賱丨 鈥撠官勝� 胤賵賱賴丕- 賱賱丕賯鬲亘丕爻貙 孬賲 賷鬲丨賵賱 丕賱爻乇丿 廿賱賶 賱爻丕賳 爻丕乇丿 毓丕賱賲 丕賱丨賰賷 丕賱禺丕乇噩賷Hetrodiegetic Narrative 賮賷 丕賱賮氐賱 丕賱爻丕亘毓 賵丕賱兀禺賷乇貙 賵賱賷爻 賴匕丕 丕賱丕鬲賰丕亍 毓賱賶 丕賱賳賵毓 丕賱兀賵賱 亘爻亘亘 乇鬲丕亘丞 丕賱賮賳 丕賱爻乇丿賷 賮賷 匕賱賰 丕賱毓氐乇 亘賯丿乇 賲丕 賴賵 丕爻鬲禺丿丕賲 賱賱兀賳爻亘 賮賷 丕賱丕毓鬲乇丕賮 賵丕賱亘賵丨貙 鬲亘丿兀 丕賱兀丨丿丕孬 賱丿賶 鬲毓乇囟 兀賵賰鬲丕賮 賱氐丿賲丞 賲賳 丕賱毓賷丕乇 丕賱孬賯賷賱 鬲鬲賲孬賱 賮賷 禺賷丕賳丞 禺賱賷賱鬲賴 賲丕 賷噩毓賱賴 兀卮亘賴 亘賵乇賯丞 賮賷 乇賷丕丨 丕賱毓氐乇 丕賱賯丕乇爻丞貙 鬲賱賯賷賴 賳丨賵 丿賷噩賳賴 亘賵氐賮賴 丕賱氐丿賷賯 丕賱賲禺賱氐\ 丕賱賲禺賱賾氐 賮賷毓賷丿 鬲卮賰賷賱 丨賷丕鬲賴 賰賲賯賱丿貙 賱丕 鬲賳鬲賴賷 兀賷丕賲賴 廿賱丕賾 毓賱賶 亘丐爻 丿丕禺賱賷貙 賵賲賳 孬賲 賷丨丿孬 兀賲乇 噩賱賱 賷乇噩毓 賱賴 亘毓囟 氐賵丕亘賴 賵賷囟毓賴 毓賱賶 胤乇賷賯 丨亘 噩丿賷丿 賲毓 亘乇賷噩賷鬲 丕賱鬲賷 鬲賰亘乇賴 爻賳賸丕貙 賵鬲毓賷卮 賲毓賴 賯氐丞 丨亘 毓賳賷賮丞 乇睾賲 賴丿賵卅賴丕 鬲賳鬲賴賷 毓賱賶 睾賷乇 丕賱賲鬲賵賯毓. 賱賯丿 賰丕賳 兀賵賰鬲丕賮 賲賮鬲賵賳賸丕 亘噩賲丕賱 丕賱毓丕賱賲 賵乇丨丕亘鬲賴貙 賮兀丨丕賱賴 胤丕乇卅 廿賱賶 賷丕卅爻 賲鬲卮馗賺 賷毓丕賳賷 賲丕 賷毓丕賳賷 賲賳 卮賰 賵毓匕丕亘貙 賱賷賰賵賳 丕賱卮賮丕亍 兀禺賷乇賸丕 亘丕賱鬲囟丨賷丞!
賵亘賲丕 兀賳賷 賱賲 兀鬲賲賰賳 賲賳 賯乇丕亍丞 丕賱兀氐賱 賮賯丿 鬲賯丕乇亘鬲 賱丿賷 丕賱賲爻鬲賵賷丕鬲 丕賱賱睾賵賷丞 賱賱卮禺氐賷丕鬲貙 賱賲噩賷亍 丕賱鬲乇噩賲丞 毓賱賶 賳爻賯 賵丕丨丿 鬲賯乇賷亘賸丕 廿匕 賴賷 賲睾乇賯丞 賮賷 丕賱鬲毓亘賷乇丕鬲 丕賱賮賳賷丞 賵丕賱氐賵乇 賵丕賱鬲卮亘賷賴丕鬲 賵賯丿 丕爻鬲兀孬乇 兀賵賰鬲丕賮 亘兀賵賮乇 賯爻賲 亘胤亘賷毓丞 丕賱丨丕賱 廿賱丕賾 兀賳 氐丿賷賯賴 丿賷噩賳賴 賯丕乇亘賴 賮賷 丕賱賲爻鬲賵賶 丕賱賱睾賵賷貙 賵賰匕賱賰 賰丕賳鬲 亘乇賷噩賷鬲 廿匕丕 鬲賲賰賳鬲 賲賳 丕賱亘賵丨.
賯丿 鬲鬲丿丕禺賱 丕賱兀丨丿丕孬 賮賷 丕賱乇賵丕賷丞 賲毓 丨賷丕丞 丿賷 賲賵爻賷賴 賳賮爻賴 亘丕賱丕毓鬲賲丕丿 毓賱賶 丕賱孬賱丕孬賷丞 丕賱丨賯賷賯賷丞 (丿賷 賲賵爻賷賴貙 噩賵乇噩 氐丕賳丿貙 丕賱胤亘賷亘 亘丕噩賱賵) 兀賲丕賲 丕賱孬賱丕孬賷丞 丕賱賲鬲禺賷賱丞 (兀賵賰鬲丕賮貙 亘乇賷噩賷鬲 亘賷丕乇爻賵賳貙 爻賲賷孬) 廿賱丕賾 兀賳 賴匕丕 丕賱鬲丿丕禺賱 丕賱禺丕乇噩賷 賱丕 賷毓丿 賲孬賱亘丞 賵賱丕 賷賯賱賱 賲賳 毓夭賲 丕賱鬲兀賱賷賮 賵禺賱賯 丕賱毓賵丕賱賲 賱丿賶 丿賷 賲賵爻賷賴貙 賵賱丕 賷賳賮匕賳丕 廿賱賶 丨賯賷賯丞 卮毓賵乇 丿賷 賲賵爻賷賴 廿夭丕亍 噩賵乇噩 氐丕賳丿貙 廿賱丕賾 廿匕丕 賰丕賳 丕賱賳賯賷囟 丕賱賲胤乇賵丨 毓賱賶 賴賷卅丞 亘乇賷噩賷鬲 賴賵 爻亘賷賱 丕賳鬲賯丕賲 兀賵 賵孬賷賯丞!
廿賳賴 賱賲賳 賵賮賷乇 丕賱丨馗 兀賳 賳賯乇兀 賴匕賴 丕賱乇賵丕賷丞 賮賷 賴匕丕 丕賱賵賯鬲 丕賱毓氐賷亘貙 賮廿匕丕 賮毓賱賳丕 賱賳 賳卮毓乇 亘賵丨丿鬲賳丕 丕賱賵噩賵丿賷丞 賵爻賳毓賱賲 兀賳 丕賱丨乇賷丞 賱丕 鬲兀鬲賷 賵賮賯 賯丕賳賵賳 丕賱賯賮賱 賵丕賱賲賮鬲丕丨 廿賳賲丕 賵賮賯 賯丕賳賵賳 丕賱賰賱 兀賵 丕賱毓丿賲貙 賵賴匕丕 丕賱賰賱 賴賵 丕賱丿丕亍 賵丕賱丿賵丕亍貙 賵賴賵 丕賱禺賷乇 賵丕賱卮乇貙 賵賴賵 兀賷囟賸丕 丕賱毓丿賱 賵丕賱馗賱賲.
兀丨亘亘鬲 賴匕賴 丕賱乇賵丕賷丞 亘丨賯貙 賵爻兀丨賮馗 賲賳賴丕 丕賯鬲亘丕爻丕鬲 賮賷 丕賱毓賯賱 賵丕賱賯賱亘貙 爻兀毓賵丿 賱賴丕 賮賷 爻賳賷賳 賲賯亘賱丞 鈥撡堎傎勝呚� 兀賮毓賱- 賵爻兀鬲賲賳賶 毓賱賶 丕賱丿賵丕賲 兀賳 兀鬲賲賰賳 賲賳 賯乇丕亍丞 兀氐賱賴丕 丕賱賮乇賳爻賷貙 賮賴賵 丨鬲賲賸丕 賷賳胤賵賷 毓賱賶 丿賷 賲賵爻賷賴 卮丕毓乇賸丕 賮匕賸賾丕 賵乇賵丕卅賷賸賾丕 賲鬲賲賰賳賸丕.
賰鬲亘鬲 賴匕賴 丕賱乇賵丕賷丞 賮賷 賲乇丨賱丞 賵賯賮鬲 賮賷賴丕 兀賵乇亘丕 賲賳賴賰丞 毓賱賶 噩孬丞 賴丕賲丿丞 禺賱賮鬲賴丕 丕賱丨乇賵亘 賵丕賱賳夭丕毓丕鬲貙 賵賯丿 鬲賲 賳卮乇賴丕 毓丕賲 1836 賵賯丿 亘賱睾 丿賷 賲賵爻賷賴 丕賱爻丕丿爻丞 賵丕賱毓卮乇賷賳 賲賳 丕賱毓賲乇貙 賲賳胤賯賸丕 亘胤賱賴 (兀賵賰鬲丕賮) 亘丕毓鬲乇丕賮丕鬲 賱丕 鬲丨賷賱 廿賱賶 丕賱匕賳賵亘 亘賯丿乇 賲丕 鬲丨賷賱 廿賱賶 丕賱兀丿賵丕亍 賵丕賱毓賱賱 賵丕賱氐乇丕毓丕鬲 丕賱鬲賷 丕賳胤賵鬲 毓賱賷賴丕 爻乇賷乇鬲賴 賵毓賱賶 卮丿丞 丕賱鬲卮丕亘賴 亘賷賳 兀丨丿丕孬賴丕 賵兀丨丿丕孬 丨賷丕丞 賲丐賱賮賴丕 賳賮爻賴 賮廿賳賴 賱夭丕賲 毓賱賷賳丕 兀賳 賳鬲丕賵賱賴丕 亘賵氐賮賴丕 乇賵丕賷丞 賱丕 爻賷乇丞 匕丕鬲賷丞貨 賮賱丕 丕賱賲爻賲賶 賷爻賲丨 賱賳丕 賵賱丕 丕賱賲毓丕賱噩丞 賵賱丕 丨鬲賶 丕賱鬲賮丕氐賷賱貙 賵廿賳 賰丕賳 賯丿 丕賯鬲亘爻 賲賳 丨賷丕鬲賴 丕賱賵丕賯毓賷丞 賮賱丕 噩乇賲貙 廿匕 兀賳賴 賱賷爻 丕賱乇賵丕卅賷 丕賱兀賵賱 賵賱丕 丕賱兀禺賷乇 丕賱匕賷 賷賮毓賱 賴匕丕貙 賵賱丕 賷賯鬲亘爻 賱乇睾亘鬲賴 賮賷 賳卮乇 賯氐丞 匕丕鬲賷丞 鬲禺賱賵 賲賳 丕賱毓亘乇丞 廿賳賲丕 賷爻賵賯賴丕 賮賷 廿胤丕乇 丕賱毓氐乇 賵馗乇賵賮賴 賵鬲賮丕毓賱丕鬲 兀丨丿丕孬賴 賮賷 賳賮爻 賰賱 賷丕賮毓.
賵賯丿 鬲賮丕丿賶 丿賷 賲賵爻賷賴 亘毓囟 賴匕丕 丕賱馗賳 賮丕爻鬲賴賱 丕賱乇賵丕賷丞 亘噩賲賱丞 (賱丕 賷丿賵賳 鬲丕乇賷禺 丨賷丕鬲賴 賲賳 賱賲 賷亘鬲賱賽 丕賱丨賷丕丞貙 賮賲丕 丕賰鬲亘賴 賱賷爻 鬲丕乇賷禺賸丕 賱丨賷丕鬲賷) 賵賱毓賱賴丕 鬲氐丿乇 毓賳 賳賮賻爻賻賷 丿賷 賲賵爻賷賴 賵兀賵賰鬲丕賮 賲鬲丨丿賷賳貙 賮賴賷 鬲鬲賵禺賶 爻乇丿 丕賱丨丕賱丞 丕賱毓丕賲丞 丕賱賲丐乇賯丞 丕賱賲鬲賲丨賵乇丞 丨賵賱 丿丕亍 丕賱毓氐乇 亘賵氐賮賴 兀氐賱丕賸 賱賱鬲卮乇匕賲丕鬲 丕賱賲鬲丨氐賱丞 賵噩匕乇賸丕 賱賱卮乇賵乇 丕賱賲鬲兀氐賱丞貙 賵賱毓賱 丕賱爻亘亘 匕丕鬲賴 丨丿丕 亘賮賱賷賰爻 賮丕乇爻 -亘毓丿 賲丕 賷賯丕乇亘 賲卅丞 毓丕賲- 賮賳賯賱 賴匕賴 丕賱丿乇丞 廿賱賶 丕賱毓乇亘賷丞貙 賲亘氐乇賸丕 鬲賵賾丨丿 丕賱丨丕賱 賵丕賱賲丌賱 賮賷 氐賮賵賮 丕賱卮亘丕賳貙 賵賱賷鬲賴丕 鬲毓賵丿 丕賱賷賵賲 廿賱賶 丕賱賲丨丕賮賱 丕賱兀丿亘賷丞 賵乇賮賵賮 丕賱賲賯亘賱賷賳 毓賱賶 乇亘賷毓賴賲 丕賱賲胤丕賱亘賷賳 亘丨乇賷丕鬲賴賲貙 賮賴賷 鬲賯鬲賳氐 賱丨馗丞 賱丕 亘丿 丌鬲賷丞 毓賱賶 毓丕賱賲賳丕 丕賱爻丕卅乇 毓賱賶 禺賷胤 賲卮丿賵丿貙 賵賯丿 兀鬲賯賳 賮丕乇爻 鬲乇噩賲丞 丕賱乇賵丕賷丞 賱丿乇噩丞 鬲賮賵賯 丕賱賵氐賮貙 賮廿賳 賵噩丿 兀賷 賲賳 賲鬲賳丕賵賱賷賴丕 賲賱丕賱丕 兀賵 乇鬲丕亘丞 賮廿賳賲丕 賷爻毓賴 丕賱丕賰鬲賮丕亍 亘賯丿乇丕鬲 丕賱賲鬲乇噩賲 丕賱賱睾賵賷丞 賵氐賵乇賴 丕賱賮賳賷丞 丕賱亘丿賷毓丞貙 丕賱鬲賷 賵賱丕 卮賰 鬲賯丕乇亘 丕賱兀氐賱 賮賷 丕賱卮丕毓乇賷丞 賵賱丕 鬲亘賱睾賴!
賷卮賰賱 丕賱毓賳賵丕賳 毓鬲亘丞 賳氐賷丞 丿丕賱丞 賯丿 鬲囟毓 丕賱乇賵丕賷丞 毓賱賶 賲賯乇亘丞 賲賳 丕毓鬲乇丕賮丕鬲 乇賵爻賵貙 賵鬲爻賲賷 氐丕丨亘賴丕 (賮鬲賶 丕賱毓氐乇) 賮鬲賳賰賾乇賴 賱鬲毓乇賽賾賮賴 亘毓氐乇賴貙 賮賴賵 丕賱毓賱丞 賵丕賱丿丕亍貙 賱丕 賷鬲乇賰 賱賮鬲賵鬲賴 丕賱賰孬賷乇 亘賱 賷賵丨賾丿 丨丕賱賴 賵兀亘賳丕亍 噩賷賱賴貙 賱賮乇胤 賲丕 賷賯賵丿賴賲 賵賷丨丿丿 賲氐丕卅乇賴賲貙 廿賱丕賾 兀賳 兀賵賰鬲丕賮 兀禺賷乇賸丕 賷鬲賵賯賮 毓賳 禺囟賵毓賴 賱賱賲乇囟貙 賲毓賱賳賸丕 賯丿乇鬲賴 毓賱賶 乇爻賲 丕賱賲氐賷乇 乇睾賲 賲卮丕乇賰丞 丕賱毓氐乇 賮賷 鬲卮賰賷賱 毓賵丕賱賲賴 丕賱丿丕禺賱賷丞 賵丕賱禺丕乇噩賷丞.
鬲毓乇囟 丕賱乇賵丕賷丞 賮賷 賮氐賱賷賴丕 丕賱兀賵賱 賵丕賱孬丕賳賷 賱賱馗乇賵賮 丕賱夭賲賰丕賳賷丞 毓亘乇 兀賯賵丕賱 賵氐賮賷丞 毓賳 兀賵乇亘丕 賵丕賱丨乇賷丞 賵丕賱孬賵乇丞 賵丕賱丨乇亘 賵賳丕亘賱賷賵賳 賵丕賱卮毓亘 賵丕賱亘丕亘丕 賵丕賱卮毓乇 賵賲亘丿毓賷 丕賱毓氐乇 兀賲孬丕賱 (噩賵鬲賴貙 亘賷乇賵賳貙 賲賵賳鬲爻賷賰賵) 孬賲 賷鬲賵賱賶 鬲賯丿賷賲 丕賱乇賵丕賷丞 爻丕乇丿 毓丕賱賲 丕賱丨賰賷 丕賱丿丕禺賱賷 Homodiegetic Narrative 賱賷賯丿賲 賱賳丕 賳氐賸丕 賲鬲噩丕賳爻賸丕 Homodiegetic 賷賵睾賱 禺賱丕賱賴 賮賷 丕賱賵氐賮 賵丕賱鬲毓亘賷乇 丕賱卮丕毓乇賷貙 賷孬亘鬲 賮賷賴 丨賵丕乇丕鬲 鬲氐賱丨 鈥撠官勝� 胤賵賱賴丕- 賱賱丕賯鬲亘丕爻貙 孬賲 賷鬲丨賵賱 丕賱爻乇丿 廿賱賶 賱爻丕賳 爻丕乇丿 毓丕賱賲 丕賱丨賰賷 丕賱禺丕乇噩賷Hetrodiegetic Narrative 賮賷 丕賱賮氐賱 丕賱爻丕亘毓 賵丕賱兀禺賷乇貙 賵賱賷爻 賴匕丕 丕賱丕鬲賰丕亍 毓賱賶 丕賱賳賵毓 丕賱兀賵賱 亘爻亘亘 乇鬲丕亘丞 丕賱賮賳 丕賱爻乇丿賷 賮賷 匕賱賰 丕賱毓氐乇 亘賯丿乇 賲丕 賴賵 丕爻鬲禺丿丕賲 賱賱兀賳爻亘 賮賷 丕賱丕毓鬲乇丕賮 賵丕賱亘賵丨貙 鬲亘丿兀 丕賱兀丨丿丕孬 賱丿賶 鬲毓乇囟 兀賵賰鬲丕賮 賱氐丿賲丞 賲賳 丕賱毓賷丕乇 丕賱孬賯賷賱 鬲鬲賲孬賱 賮賷 禺賷丕賳丞 禺賱賷賱鬲賴 賲丕 賷噩毓賱賴 兀卮亘賴 亘賵乇賯丞 賮賷 乇賷丕丨 丕賱毓氐乇 丕賱賯丕乇爻丞貙 鬲賱賯賷賴 賳丨賵 丿賷噩賳賴 亘賵氐賮賴 丕賱氐丿賷賯 丕賱賲禺賱氐\ 丕賱賲禺賱賾氐 賮賷毓賷丿 鬲卮賰賷賱 丨賷丕鬲賴 賰賲賯賱丿貙 賱丕 鬲賳鬲賴賷 兀賷丕賲賴 廿賱丕賾 毓賱賶 亘丐爻 丿丕禺賱賷貙 賵賲賳 孬賲 賷丨丿孬 兀賲乇 噩賱賱 賷乇噩毓 賱賴 亘毓囟 氐賵丕亘賴 賵賷囟毓賴 毓賱賶 胤乇賷賯 丨亘 噩丿賷丿 賲毓 亘乇賷噩賷鬲 丕賱鬲賷 鬲賰亘乇賴 爻賳賸丕貙 賵鬲毓賷卮 賲毓賴 賯氐丞 丨亘 毓賳賷賮丞 乇睾賲 賴丿賵卅賴丕 鬲賳鬲賴賷 毓賱賶 睾賷乇 丕賱賲鬲賵賯毓. 賱賯丿 賰丕賳 兀賵賰鬲丕賮 賲賮鬲賵賳賸丕 亘噩賲丕賱 丕賱毓丕賱賲 賵乇丨丕亘鬲賴貙 賮兀丨丕賱賴 胤丕乇卅 廿賱賶 賷丕卅爻 賲鬲卮馗賺 賷毓丕賳賷 賲丕 賷毓丕賳賷 賲賳 卮賰 賵毓匕丕亘貙 賱賷賰賵賳 丕賱卮賮丕亍 兀禺賷乇賸丕 亘丕賱鬲囟丨賷丞!
賵亘賲丕 兀賳賷 賱賲 兀鬲賲賰賳 賲賳 賯乇丕亍丞 丕賱兀氐賱 賮賯丿 鬲賯丕乇亘鬲 賱丿賷 丕賱賲爻鬲賵賷丕鬲 丕賱賱睾賵賷丞 賱賱卮禺氐賷丕鬲貙 賱賲噩賷亍 丕賱鬲乇噩賲丞 毓賱賶 賳爻賯 賵丕丨丿 鬲賯乇賷亘賸丕 廿匕 賴賷 賲睾乇賯丞 賮賷 丕賱鬲毓亘賷乇丕鬲 丕賱賮賳賷丞 賵丕賱氐賵乇 賵丕賱鬲卮亘賷賴丕鬲 賵賯丿 丕爻鬲兀孬乇 兀賵賰鬲丕賮 亘兀賵賮乇 賯爻賲 亘胤亘賷毓丞 丕賱丨丕賱 廿賱丕賾 兀賳 氐丿賷賯賴 丿賷噩賳賴 賯丕乇亘賴 賮賷 丕賱賲爻鬲賵賶 丕賱賱睾賵賷貙 賵賰匕賱賰 賰丕賳鬲 亘乇賷噩賷鬲 廿匕丕 鬲賲賰賳鬲 賲賳 丕賱亘賵丨.
賯丿 鬲鬲丿丕禺賱 丕賱兀丨丿丕孬 賮賷 丕賱乇賵丕賷丞 賲毓 丨賷丕丞 丿賷 賲賵爻賷賴 賳賮爻賴 亘丕賱丕毓鬲賲丕丿 毓賱賶 丕賱孬賱丕孬賷丞 丕賱丨賯賷賯賷丞 (丿賷 賲賵爻賷賴貙 噩賵乇噩 氐丕賳丿貙 丕賱胤亘賷亘 亘丕噩賱賵) 兀賲丕賲 丕賱孬賱丕孬賷丞 丕賱賲鬲禺賷賱丞 (兀賵賰鬲丕賮貙 亘乇賷噩賷鬲 亘賷丕乇爻賵賳貙 爻賲賷孬) 廿賱丕賾 兀賳 賴匕丕 丕賱鬲丿丕禺賱 丕賱禺丕乇噩賷 賱丕 賷毓丿 賲孬賱亘丞 賵賱丕 賷賯賱賱 賲賳 毓夭賲 丕賱鬲兀賱賷賮 賵禺賱賯 丕賱毓賵丕賱賲 賱丿賶 丿賷 賲賵爻賷賴貙 賵賱丕 賷賳賮匕賳丕 廿賱賶 丨賯賷賯丞 卮毓賵乇 丿賷 賲賵爻賷賴 廿夭丕亍 噩賵乇噩 氐丕賳丿貙 廿賱丕賾 廿匕丕 賰丕賳 丕賱賳賯賷囟 丕賱賲胤乇賵丨 毓賱賶 賴賷卅丞 亘乇賷噩賷鬲 賴賵 爻亘賷賱 丕賳鬲賯丕賲 兀賵 賵孬賷賯丞!
廿賳賴 賱賲賳 賵賮賷乇 丕賱丨馗 兀賳 賳賯乇兀 賴匕賴 丕賱乇賵丕賷丞 賮賷 賴匕丕 丕賱賵賯鬲 丕賱毓氐賷亘貙 賮廿匕丕 賮毓賱賳丕 賱賳 賳卮毓乇 亘賵丨丿鬲賳丕 丕賱賵噩賵丿賷丞 賵爻賳毓賱賲 兀賳 丕賱丨乇賷丞 賱丕 鬲兀鬲賷 賵賮賯 賯丕賳賵賳 丕賱賯賮賱 賵丕賱賲賮鬲丕丨 廿賳賲丕 賵賮賯 賯丕賳賵賳 丕賱賰賱 兀賵 丕賱毓丿賲貙 賵賴匕丕 丕賱賰賱 賴賵 丕賱丿丕亍 賵丕賱丿賵丕亍貙 賵賴賵 丕賱禺賷乇 賵丕賱卮乇貙 賵賴賵 兀賷囟賸丕 丕賱毓丿賱 賵丕賱馗賱賲.
兀丨亘亘鬲 賴匕賴 丕賱乇賵丕賷丞 亘丨賯貙 賵爻兀丨賮馗 賲賳賴丕 丕賯鬲亘丕爻丕鬲 賮賷 丕賱毓賯賱 賵丕賱賯賱亘貙 爻兀毓賵丿 賱賴丕 賮賷 爻賳賷賳 賲賯亘賱丞 鈥撡堎傎勝呚� 兀賮毓賱- 賵爻兀鬲賲賳賶 毓賱賶 丕賱丿賵丕賲 兀賳 兀鬲賲賰賳 賲賳 賯乇丕亍丞 兀氐賱賴丕 丕賱賮乇賳爻賷貙 賮賴賵 丨鬲賲賸丕 賷賳胤賵賷 毓賱賶 丿賷 賲賵爻賷賴 卮丕毓乇賸丕 賮匕賸賾丕 賵乇賵丕卅賷賸賾丕 賲鬲賲賰賳賸丕.
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April 16, 2016The opening chapters are a sweeping vision of the early nineteenth century, a grand statement of the zeitgeist to rival Gautier - ending in the heartbreaking and terribly contemporary notion of a generation who've lost the consolations of the past without yet being offered the rewards of the future. The brief closing chapter is a beautifully understated farewell. But between the two lie such a farrago of Red Pill whining, melodramatic mope and general shitty boyfriend behaviour as to make for very hard going. Women are confusing, are they, Octave? Well have you considered how your own interminable mood swings might feel to them, you tit? It's not that I demand sympathetic protagonists with responsible relationship behaviour, especially from the French; I love Dangerous Liaisons, Baudelaire, Huysmans. But that sort of dastardly misbehaviour is at least interesting and perpetrated with a certain flair, unlike this bell's endless nonsense, of which I could find plenty online were I inexplicably minded to look. Not that his lover is much better, to be fair.
And yet, there are glimmers of irony and hindsight throughout which, if not enough framing to salvage the moaning, at least make the protagonist slightly less trying than his acknowledged model, Goethe's Werther. And even when the novel is at its worst (that penultimate chapter, by which point mostly one neither agrees nor disagrees with what is being said, but merely wishes to exit the presence of the speaker) there are flares of brilliant writing (that grinding vision of the whole damned solar system!) which make one suspect de Musset may have become a bloody good writer once he got this autobiographical plaint out of his system.
(A note on the edition: I realised when I picked it up that it was the tie-in to what looked like a poor film adaptation, but only once underway did I read the small print and learn that Octave was played by Pete sodding Doherty. Even when Octave is at his most annoying, he doesn't deserve to have that slack-jawed pizzle attempting to convey his turbulent interior world on screen)
And yet, there are glimmers of irony and hindsight throughout which, if not enough framing to salvage the moaning, at least make the protagonist slightly less trying than his acknowledged model, Goethe's Werther. And even when the novel is at its worst (that penultimate chapter, by which point mostly one neither agrees nor disagrees with what is being said, but merely wishes to exit the presence of the speaker) there are flares of brilliant writing (that grinding vision of the whole damned solar system!) which make one suspect de Musset may have become a bloody good writer once he got this autobiographical plaint out of his system.
(A note on the edition: I realised when I picked it up that it was the tie-in to what looked like a poor film adaptation, but only once underway did I read the small print and learn that Octave was played by Pete sodding Doherty. Even when Octave is at his most annoying, he doesn't deserve to have that slack-jawed pizzle attempting to convey his turbulent interior world on screen)
July 15, 2013
A primeira metade do livro 茅 ma莽ante, mas a segunda metade 茅 empolgante, tanto que voc锚 sente vontade de degolar o narrador. R谩! Agora s贸 me resta ler o ponto de vista da George Sand para essa hist贸ria.
July 23, 2024
Le si猫cle dont parle Musset, c鈥檈st celui post napol茅onien, o霉 les gar莽ons grandissent dans le r锚ve des armes, o霉 les hommes sont r茅veill茅s par le vide existentiel laiss茅 par les faux espoirs. Le refuge se trouve dans la d茅bauche, la boisson et le jeu. Et ce, jusqu鈥櫭� ce que la mort frappe 脿 la porte.
Sans pr茅venir, le p猫re d鈥橭ctave d茅c猫de, ne laissant 脿 ce dernier qu鈥檜n unique dernier mot d鈥檃mour paternel, celui qui va tout changer. Car d猫s lors, Octave se repent. Non pas au Christ (du moins pas encore), mais 脿 l鈥檋umain entier. C鈥檈st dans la personne de Brigitte Pierson que se trouve sa r茅demption. L鈥檃mour ne sert que de catalyseur aux douleurs qui s鈥檈n suivent, douleurs expiatoires pour tout enfant du si猫cle, jusqu鈥櫭� la r茅demption finale. Parti de l鈥橦omme, Musset revient au Christ. Dans un ultime acc猫s de rage, alors que le meurtre s鈥檌mpose comme l鈥檜nique fatalit茅 n茅cessaire au repentir, c鈥檈st la vision d鈥檜n petit crucifix de bois, plac茅 sur la poitrine de Brigitte, qui vient conjuguer l鈥檃mour de la chair et l鈥檃mour de Dieu, pour achever cette longue confession, absolvant Octave de ses p茅ch茅s.
Il faut ainsi voir, au-del脿 de la liaison avec George Sand, un v茅ritable sacrifice quasi christique de Musset. Endossant la totalit茅 des p茅ch茅s de ses fr猫res s茅culaires, il se sauve lui-m锚me, acceptant le malheur seul, pour laisser l鈥檋umanit茅 heureuse.
Sans pr茅venir, le p猫re d鈥橭ctave d茅c猫de, ne laissant 脿 ce dernier qu鈥檜n unique dernier mot d鈥檃mour paternel, celui qui va tout changer. Car d猫s lors, Octave se repent. Non pas au Christ (du moins pas encore), mais 脿 l鈥檋umain entier. C鈥檈st dans la personne de Brigitte Pierson que se trouve sa r茅demption. L鈥檃mour ne sert que de catalyseur aux douleurs qui s鈥檈n suivent, douleurs expiatoires pour tout enfant du si猫cle, jusqu鈥櫭� la r茅demption finale. Parti de l鈥橦omme, Musset revient au Christ. Dans un ultime acc猫s de rage, alors que le meurtre s鈥檌mpose comme l鈥檜nique fatalit茅 n茅cessaire au repentir, c鈥檈st la vision d鈥檜n petit crucifix de bois, plac茅 sur la poitrine de Brigitte, qui vient conjuguer l鈥檃mour de la chair et l鈥檃mour de Dieu, pour achever cette longue confession, absolvant Octave de ses p茅ch茅s.
Il faut ainsi voir, au-del脿 de la liaison avec George Sand, un v茅ritable sacrifice quasi christique de Musset. Endossant la totalit茅 des p茅ch茅s de ses fr猫res s茅culaires, il se sauve lui-m锚me, acceptant le malheur seul, pour laisser l鈥檋umanit茅 heureuse.
August 3, 2024
Musset's version of his affair with Sand is different than hers. The trip to Italy, for instance, so central to hers, is almost entirely absent in his, only hinted at inchoately. It focuses rather on the narrator's internal experience as an arch-romantic through various domestic disputes. For example, when asked about a past mistress, the Rosaline to Sand's Juliet, 鈥淚s she your first love?鈥� the narrator replies, falsely as it turns out, 鈥渟he is my last.鈥� He is definitely a nauseating adolescent in this regard, who "wished never to see her again; but in a quarter of an hour I returned." He "cursed her" but also 鈥渄reamed of her." His response to her is absolutist: "I would not take you back as my mistress, for I hate you as much as I love you. Before God, if you wish to stay here tonight I will kill you in the morning." He is aware that "One of the most unfortunate tendencies of inexperienced youth is to judge of the world from first impressions," but then loses track of the principle in noting that "an incident occurred which made a deep impression on me."
The text opens with the injunction that "A poet has no right to play fast and loose with his genius." Fair enough. That is precisely what happens, however, in this text, right from the start. Whereas Sand in very focused and controlled prose lays out her version of their confrontation, Musset can't help but begin with ruminations on Napoleon, Goethe, and the malady of the age. To wit:
He interposes some thought on the art of his writing, how "Before the history of any life can be written, that life must be lived; so that it is not my life that I am now writing." However, he is focused only certain aspects in support of his general ruminations: "These were happy days, but it is not of these that I would speak."
Rather, he explores the unhappy aspects of his affair, deriving somewhat sophomoric inferences from his failures. "Take love as a sober man takes wine; do not become a drunkard"; "Love does not exist" but instead "Love is faith, it is the religion of terrestrial happiness." Ever a heretic in despite of affection, he "tried to make of my heart the mausoleum of my love." Ultimately, "there is a certain sort of liaison that has neither beginning nor end; when chance ordains a meeting, it is resumed; when parted, it is forgotten."
Part of his problem is bad gender ideology. He believes, for instance, it foolish "to try to get the truth from a woman," a fundamental mistrust that drives everyone away from him. He regards the George Sand analogue's jealousy as "the expression of her desire for despotic power." At the same time, "the sight of women caused me intolerable pain; I could not touch a woman鈥檚 hand without trembling. I had decided never to love again." In admiring her, he is "convinced that such a woman was either an angel or a monster of perfidy." His mistrust is ultimately m0onstrous: "In order to break her sealed lips and force her to speak I would give my life and hers."
It's not so simple to dismiss him as a misogynist, which he certainly would be by modern standards. Rather, the narrator has a masochistic streak that complicates his relation to women. Finding "ecstasy in vertigo," he wears a barbed necklace whereby "the sharp points pierced my bosom with every movement and caused such strange, voluptuous anguish that I sometimes pressed it down with my hand in order to intensify the sensation." When she is jealous, "I can hardly describe what I felt; it was both pleasure and pain." His relation to her, laden with mistrust, triggers the masochism: "Of all torments uncertainty is the most difficult to endure." Ultimately, his manner of interacting with her dovetails with the self-affliction: "To see, to doubt, to search, to torture myself and make myself miserable, to pass entire days with my ear at the keyhole, and the night in a flood of tears, to repeat over and over that I should die of sorrow, to feel isolation and feebleness uprooting hope in my heart, to imagine that I was spying when I was only listening to the feverish beating of my own pulse; to con over stupid phrases, such as: 'Life is a dream, there is nothing stable here below;' to curse and blaspheme God through misery and through caprice: that was my joy," his "precious occupation."
Regarding 'occupation,' perhaps understood best as Agamben's form of life, the narrator proclaims initially that "I will be a man, but not any particular kind of man." This seems like a nihilistic intent to survive, without more. But he also states "I did not understand what else there was to do but love, and when any one spoke to me of other occupations I did not reply," indicating that his form of life is being a lover. Doubtful that he'd become a sex worker, of course, but "My only treasure, after love, was reserve. In my childhood I had devoted myself to a solitary way of life, and had, so to speak, consecrated my heart to it." "Wherever I happened to be, whatever my occupation, I could think of nothing but women." Lacking other interests doesn't help him very much in his primary one.
Though the narrator is wound too tightly, he interacts briefly with a woman who is Castiglione's model of sprezzatura. This character "took pleasure in nothing and did not seem to be annoyed by anything. It appeared as difficult to anger her as to please her; she did what was asked of her, but no more. I thought of the genius of eternal repose." He can't "understand such a woman; she seemed to experience neither desire nor disgust," in "her habitual attitude of nonchalance."
The pious opening is no mere window dressing. The narrator confides that "Between the man who doubts and the man who denies there is only a step. All philosophy is akin to atheism." By the end of the narrative, he contends "Poisoned, from youth, by all the writings of the last century, I had sucked, at an early hour, the sterile milk of impiety," and the resolution of the affair has theological implications. This sort of resolution might well be weak and unpleasant, the figments of theistic reasoning.
Recommended for those who've made deserts of their hearts.
The text opens with the injunction that "A poet has no right to play fast and loose with his genius." Fair enough. That is precisely what happens, however, in this text, right from the start. Whereas Sand in very focused and controlled prose lays out her version of their confrontation, Musset can't help but begin with ruminations on Napoleon, Goethe, and the malady of the age. To wit:
The fall of Napoleon was the last flicker of the lamp of despotism; it destroyed and it parodied kings as Voltaire the Holy Scripture. [...] Men in taking leave of women whispered the word which wounds to the death: contempt. They plunged into the dissipation of wine and courtesans. Students and artists did the same; love was treated as were glory and religion: it was an old illusion. [...] Goethe, the patriarch of a new literature, after painting in his Werther the passion which leads to suicide, traced in his Faust the most sombre human character which has ever represented evil and unhappiness. [...] Byron replied to him in a cry of grief which made Greece tremble, and hung Manfred over the abyss. [...] Then formed two camps: on one side the exalted spirits, sufferers, all the expansive souls who yearned toward the infinite, bowed their heads and wept; they wrapped themselves in unhealthful dreams and nothing could be seen but broken reeds in an ocean of bitterness. On the other side the materialists remained erect, inflexible, in the midst of positive joys, and cared for nothing except to count the money they had acquired. It was but a sob and a burst of laughter, the one coming from the soul, the other from the body. [...] Already the children were clenching idle hands and drinking in a bitter cup the poisoned brewage of doubt. Already things were drifting toward the abyss, when the jackals suddenly emerged from the earth. [...] the French character, being by nature gay and open, readily assimilated English and German ideas. [...] It was the paroxysm of despair, a nameless appeal to all celestial powers; it was a poor, wretched creature squirming under the foot that was crushing him; it was a loud cry of pain. Who knows? In the eyes of Him who sees all things, it was perhaps a prayer. [...] In reading the history of the fall of the Roman Empire, it is impossible to overlook the evil that the Christians, so admirable when in the desert, did to the State when they were in power. [...] Montesquieu might have added: Christianity destroyed the emperors but it saved the people. It opened to the barbarians the palaces of Constantinople, but it opened the doors of cottages to the ministering angels of Christ. [...] The antagonists of Christ therefore said to the poor: 'You wait patiently for the day of justice: there is no justice; you wait for the life eternal to achieve your vengeance: there is no life eternal; you gather up your tears and those of your family, the cries of children and the sobs of women, to place them at the feet of God at the hour of death: there is no God.' [...] All the evils of the present come from two causes: the people who have passed through 1793 and 1814 nurse wounds in their hearts. That which was is no more; what will be, is not yet. Do not seek elsewhere the cause of our malady.Amidst the general theorizing, there's some layering in of faustian ideas, such as how we have inside us "two occult powers engaged in a death-struggle: the one, clear-sighted and cold, is concerned with reality, calculation, weight, and judges the past; the other is athirst for the future and eager for the unknown." But the narrator also thinks of the two-souls-warring as a "terrible combat between my youth and my ennui," and "Thus spoke and groaned within me two voices, voices that were defiant and terrible; and then a third voice cried out! 'Alas! Alas! my innocence! Alas! Alas! the days that were!'" Ultimately, it is a medieval religious cliche in how "you must choose between your soul and your body; you must kill one or the other."
He interposes some thought on the art of his writing, how "Before the history of any life can be written, that life must be lived; so that it is not my life that I am now writing." However, he is focused only certain aspects in support of his general ruminations: "These were happy days, but it is not of these that I would speak."
Rather, he explores the unhappy aspects of his affair, deriving somewhat sophomoric inferences from his failures. "Take love as a sober man takes wine; do not become a drunkard"; "Love does not exist" but instead "Love is faith, it is the religion of terrestrial happiness." Ever a heretic in despite of affection, he "tried to make of my heart the mausoleum of my love." Ultimately, "there is a certain sort of liaison that has neither beginning nor end; when chance ordains a meeting, it is resumed; when parted, it is forgotten."
Part of his problem is bad gender ideology. He believes, for instance, it foolish "to try to get the truth from a woman," a fundamental mistrust that drives everyone away from him. He regards the George Sand analogue's jealousy as "the expression of her desire for despotic power." At the same time, "the sight of women caused me intolerable pain; I could not touch a woman鈥檚 hand without trembling. I had decided never to love again." In admiring her, he is "convinced that such a woman was either an angel or a monster of perfidy." His mistrust is ultimately m0onstrous: "In order to break her sealed lips and force her to speak I would give my life and hers."
It's not so simple to dismiss him as a misogynist, which he certainly would be by modern standards. Rather, the narrator has a masochistic streak that complicates his relation to women. Finding "ecstasy in vertigo," he wears a barbed necklace whereby "the sharp points pierced my bosom with every movement and caused such strange, voluptuous anguish that I sometimes pressed it down with my hand in order to intensify the sensation." When she is jealous, "I can hardly describe what I felt; it was both pleasure and pain." His relation to her, laden with mistrust, triggers the masochism: "Of all torments uncertainty is the most difficult to endure." Ultimately, his manner of interacting with her dovetails with the self-affliction: "To see, to doubt, to search, to torture myself and make myself miserable, to pass entire days with my ear at the keyhole, and the night in a flood of tears, to repeat over and over that I should die of sorrow, to feel isolation and feebleness uprooting hope in my heart, to imagine that I was spying when I was only listening to the feverish beating of my own pulse; to con over stupid phrases, such as: 'Life is a dream, there is nothing stable here below;' to curse and blaspheme God through misery and through caprice: that was my joy," his "precious occupation."
Regarding 'occupation,' perhaps understood best as Agamben's form of life, the narrator proclaims initially that "I will be a man, but not any particular kind of man." This seems like a nihilistic intent to survive, without more. But he also states "I did not understand what else there was to do but love, and when any one spoke to me of other occupations I did not reply," indicating that his form of life is being a lover. Doubtful that he'd become a sex worker, of course, but "My only treasure, after love, was reserve. In my childhood I had devoted myself to a solitary way of life, and had, so to speak, consecrated my heart to it." "Wherever I happened to be, whatever my occupation, I could think of nothing but women." Lacking other interests doesn't help him very much in his primary one.
Though the narrator is wound too tightly, he interacts briefly with a woman who is Castiglione's model of sprezzatura. This character "took pleasure in nothing and did not seem to be annoyed by anything. It appeared as difficult to anger her as to please her; she did what was asked of her, but no more. I thought of the genius of eternal repose." He can't "understand such a woman; she seemed to experience neither desire nor disgust," in "her habitual attitude of nonchalance."
The pious opening is no mere window dressing. The narrator confides that "Between the man who doubts and the man who denies there is only a step. All philosophy is akin to atheism." By the end of the narrative, he contends "Poisoned, from youth, by all the writings of the last century, I had sucked, at an early hour, the sterile milk of impiety," and the resolution of the affair has theological implications. This sort of resolution might well be weak and unpleasant, the figments of theistic reasoning.
Recommended for those who've made deserts of their hearts.
Read
March 13, 2023Had to read it for school. Didn鈥檛 love it
July 31, 2022
3,5/5 Une 茅criture vraiment magnifique et une histoire tr猫s 茅mouvante. J鈥檃i beaucoup aim茅 suivre la relation de ces personnages et la mani猫re dont elle est impossible en raison de la sant茅 mental de Octave (qui devrait aller en th茅rapie). Le personnage de Brigitte m鈥檃 beaucoup touch茅 et le livre avait des citations sublimes. Malheureusement, TROP de longueurs, 脿 des moments j鈥檃vais juste envie de balancer le livre tellement c鈥櫭﹖ait long et r茅p茅titif. Mais 莽a reste un roman/autobiographie? super cool et bien 茅crit!!
November 2, 2024
2,5 猸愶笍
En vrai, il me fait un peu de la peine quand m锚me mais il sait pas doser sur les 茅motions par contre鈥�.
En vrai, il me fait un peu de la peine quand m锚me mais il sait pas doser sur les 茅motions par contre鈥�.
October 21, 2024
ta ksi膮偶ka to jest XIX wieczny profil 16 letniego emo ch艂opca na tumblerze, mega edgy panie musset馃槶馃槶
September 13, 2011
Musset like many in the romantic movement was a figure who battled his demons. Though this is a testament and account of Musset's own hedonism, libertinism, and failed love affairs it also serves as a social critique of it's time. Le Mal Du Siecle(The Malady of The Century) or a romantic sense of Ennui gave rise to a young writer's anxiety and apathy. What may still seem pertinent in this work is that youth culture and creative individuals of the nineteenth century struggled with their sense of identity and purpose just as many still do today. One key difference to note is Musset's apathy was a struggle to find oneself among centuries of accumulated ideas and aesthetics as opposed to decades.
October 30, 2023
The unkind reviewer in me wants to re-title this book 鈥渕emoirs of a self indulgent immature overthinker, who could really do with getting a job鈥� but the rest of me loves books like this - passionate, overwrought, poetic, Romantic, with a capital R. It鈥檚 exactly the sort of French literature which really appeals to me. Although it is a little bit annoying too 馃檮
Read
November 3, 2020Seven months later, I've finished it.
October 25, 2022
Les joies de l鈥檃mour se transforment
parfois en rage, d茅sarroi, jalousie ou naufrage鈥�
鈥淟e c艙ur a ses raisons que la raison ignore鈥� et quelques fois on voudrait conna卯tre la raison de notre amour pour mettre fin a une souffrance, fin 脿 une romance essouffl茅e ou non partag茅e.
En effet,
l鈥檃mour jeune est un amour pure, un amour simple et passionn茅 pour certaines 芒mes bien n茅es, mais cet amour peut se voir d茅truit par la personne qu鈥檕n aimait : tromperie, mensonges, infid茅lit茅s laissent dans certains coeur des tourments 脿 jamais.
on est jeune鈥�
l鈥檃mour d鈥檜n coeur na茂f, pour une cr茅ature lascif, qu鈥檌l soit fugitif ou passif fait vivre l鈥橦omme dans le tourbillon d鈥檜n monde explosif.
L鈥檃mour nous rend fou, malade, peureux,
on est nouveau-n茅s, on apprend 脿 vivre, 脿 respirer, 脿 aimer鈥n est heureux.
Et oui鈥�
L鈥檃mour, l鈥檃mour et encore l鈥檃mour, sentiment le plus important de l鈥檋omme, tressaillement le plus dangereux en somme, si par malheur 么 par infortune il n鈥檈st par notre amour choy茅 non-partag茅鈥�
comment vivre sans son amour ?, o霉 nos chagrins nous emporterais, s鈥檌l nous d茅sapprouve ?
cet 锚tre qui par chaque mot, chaque souffle, chaque sourire nous enivre, parvient par sa luminosit茅 脿 nous rendre sous emprise. Encha卯n茅 脿 nos sentiments, enlac茅 dans cet amour, la dure r茅alit茅 de l鈥檌rr茅ciprocit茅 parvient en un instant 脿 nous d茅sint茅grer.
Amertume, d茅chirement, le nouveau-n茅 ne grandit plus, l鈥橦omme nouveau devient enfant,
puis b茅b茅 et enfin n茅ant.
Il ne veut plus exister, il n鈥檃 jamais v茅cu, car la seule vie qu鈥檌l veut conna卯tre et celle de l鈥檃mour qu鈥檌l aurait voulu.
Mais la col猫re de l鈥櫭e est puissante et le rejet de l鈥檃utre la rend grisante.
Meurtri par l鈥檌gnorance de l鈥檃ffectionn茅 arrivons nous 脿 vivre ? 脌 ne point finir par l鈥檋a茂r ?
A ne pas lui hurler que la vie ne serait que trop fade sans lui,
que notre existence ne serait que souffrance et abomination sans son nom鈥�
on en vient par d茅tester l鈥檌d茅e d鈥檃imer, abhorrer l鈥檋umanit茅.
La peur d鈥櫭� nouveau aimer nous enferme dans une cage rouill茅e, intouchable et d茅labr茅e鈥�
Au fil du temps les souvenirs de cet 锚tre tant convoit茅 r茅apparaissent en un 茅clair dans nos pens茅es.
On l鈥檃ime, et on souffre, on vie et on meurt d鈥檃mour鈥�
voila donc ma n茅vrose : aimer sans 锚tre aim茅.
L鈥檃mour 脿 de nombreux vices,
Et certains Hommes savoure ces d茅lices :
Sardou dit 芦听la maladie d鈥檃mour听禄, mais moi je la nomme 芦听la n茅vrose du c艙ur听禄: ne pas savoir aimer sans se tourmenter, douter sans arr锚t d鈥檜n amour parfait, se torturer l鈥櫭e de doutes camoufl茅s,
mais surtout chercher la mort pour sauver son bien aim茅 :
Mais de qui ? Contre quoi ? Le sauver de notre 锚tre sournois, notre 芒me en 茅moi鈥�
( j鈥檃i 茅crit ce petit po猫me qui r茅sume les 茅motions principales que j鈥檃i ressenti en lisant ce livre, une sorte de r茅sum茅 :))
J鈥檃i ador茅 ce livre qui selon moi est une excellente description du sentiment d鈥檃ffection, d鈥檃mour, de d茅pendance 鈥ue peut 茅prouver l鈥橦omme pour quelqu鈥檜n. Musset ne se contente pas de parler de l鈥檃mour pure fugitif, passager鈥�
mais il place au centre du r茅cit un jeune Homme au c艙ur t锚tu qui parvient 脿 aimer d鈥檜n amour obsessionnel et inconditionnel. Il se verra confront茅 aux tourments de l鈥檃mour; la tromperie, le mensonge, l鈥檌gnorance, la d茅tresse鈥�.
Ce livre d茅peint selon moi avec une extr锚me finesse, la complexit茅 des r茅flexions du personnage principal autour des relations amoureuses. Musset 脿 voulu mettre en exergue la volont茅 primordiale de Octave ( personnage principal) 脿 vouloir un amour pure, intense sans 芦听contentions ni artifices听禄. L鈥檃mour doit 锚tre noble, fid猫le et respectueux m锚me si l鈥檋omme peut parfois faire souffrir sa moiti茅 , par ignorance, jalousie refoul茅, malice, malhonn锚tet茅鈥�
Je conseille fortement cet ouvrage 脿 tous ceux qui voudrait se plonger dans l鈥櫭e d鈥檜n personnage ayant eu l鈥檜ne des histoires d鈥檃mour la plus puissante et complexe. Je dirais que ce livre m鈥檃 beaucoup marqu茅 pour la finesse de l鈥櫭ヽriture et surtout pour la confession de cet 芦听enfant du si猫cle听禄 qui est sans doute une des confession les plus passionnelles d鈥檜ne vie et la confession d鈥檜ne vie la plus tourment茅e.
Je dois d鈥檃illeurs avouer que m锚me si ce cher Octave n鈥檈st pas mon personnage favori, ces r茅flexions, raisonnements m鈥檕nt beaucoup touch茅s et captiv茅s et je me suis 脿 certains moment bien identifi茅e.
( j鈥檃i beaucoup pris de plaisir lors de ma lecture ce qui m鈥櫭� conduit 脿 茅crire ce po猫me:) )
parfois en rage, d茅sarroi, jalousie ou naufrage鈥�
鈥淟e c艙ur a ses raisons que la raison ignore鈥� et quelques fois on voudrait conna卯tre la raison de notre amour pour mettre fin a une souffrance, fin 脿 une romance essouffl茅e ou non partag茅e.
En effet,
l鈥檃mour jeune est un amour pure, un amour simple et passionn茅 pour certaines 芒mes bien n茅es, mais cet amour peut se voir d茅truit par la personne qu鈥檕n aimait : tromperie, mensonges, infid茅lit茅s laissent dans certains coeur des tourments 脿 jamais.
on est jeune鈥�
l鈥檃mour d鈥檜n coeur na茂f, pour une cr茅ature lascif, qu鈥檌l soit fugitif ou passif fait vivre l鈥橦omme dans le tourbillon d鈥檜n monde explosif.
L鈥檃mour nous rend fou, malade, peureux,
on est nouveau-n茅s, on apprend 脿 vivre, 脿 respirer, 脿 aimer鈥n est heureux.
Et oui鈥�
L鈥檃mour, l鈥檃mour et encore l鈥檃mour, sentiment le plus important de l鈥檋omme, tressaillement le plus dangereux en somme, si par malheur 么 par infortune il n鈥檈st par notre amour choy茅 non-partag茅鈥�
comment vivre sans son amour ?, o霉 nos chagrins nous emporterais, s鈥檌l nous d茅sapprouve ?
cet 锚tre qui par chaque mot, chaque souffle, chaque sourire nous enivre, parvient par sa luminosit茅 脿 nous rendre sous emprise. Encha卯n茅 脿 nos sentiments, enlac茅 dans cet amour, la dure r茅alit茅 de l鈥檌rr茅ciprocit茅 parvient en un instant 脿 nous d茅sint茅grer.
Amertume, d茅chirement, le nouveau-n茅 ne grandit plus, l鈥橦omme nouveau devient enfant,
puis b茅b茅 et enfin n茅ant.
Il ne veut plus exister, il n鈥檃 jamais v茅cu, car la seule vie qu鈥檌l veut conna卯tre et celle de l鈥檃mour qu鈥檌l aurait voulu.
Mais la col猫re de l鈥櫭e est puissante et le rejet de l鈥檃utre la rend grisante.
Meurtri par l鈥檌gnorance de l鈥檃ffectionn茅 arrivons nous 脿 vivre ? 脌 ne point finir par l鈥檋a茂r ?
A ne pas lui hurler que la vie ne serait que trop fade sans lui,
que notre existence ne serait que souffrance et abomination sans son nom鈥�
on en vient par d茅tester l鈥檌d茅e d鈥檃imer, abhorrer l鈥檋umanit茅.
La peur d鈥櫭� nouveau aimer nous enferme dans une cage rouill茅e, intouchable et d茅labr茅e鈥�
Au fil du temps les souvenirs de cet 锚tre tant convoit茅 r茅apparaissent en un 茅clair dans nos pens茅es.
On l鈥檃ime, et on souffre, on vie et on meurt d鈥檃mour鈥�
voila donc ma n茅vrose : aimer sans 锚tre aim茅.
L鈥檃mour 脿 de nombreux vices,
Et certains Hommes savoure ces d茅lices :
Sardou dit 芦听la maladie d鈥檃mour听禄, mais moi je la nomme 芦听la n茅vrose du c艙ur听禄: ne pas savoir aimer sans se tourmenter, douter sans arr锚t d鈥檜n amour parfait, se torturer l鈥櫭e de doutes camoufl茅s,
mais surtout chercher la mort pour sauver son bien aim茅 :
Mais de qui ? Contre quoi ? Le sauver de notre 锚tre sournois, notre 芒me en 茅moi鈥�
( j鈥檃i 茅crit ce petit po猫me qui r茅sume les 茅motions principales que j鈥檃i ressenti en lisant ce livre, une sorte de r茅sum茅 :))
J鈥檃i ador茅 ce livre qui selon moi est une excellente description du sentiment d鈥檃ffection, d鈥檃mour, de d茅pendance 鈥ue peut 茅prouver l鈥橦omme pour quelqu鈥檜n. Musset ne se contente pas de parler de l鈥檃mour pure fugitif, passager鈥�
mais il place au centre du r茅cit un jeune Homme au c艙ur t锚tu qui parvient 脿 aimer d鈥檜n amour obsessionnel et inconditionnel. Il se verra confront茅 aux tourments de l鈥檃mour; la tromperie, le mensonge, l鈥檌gnorance, la d茅tresse鈥�.
Ce livre d茅peint selon moi avec une extr锚me finesse, la complexit茅 des r茅flexions du personnage principal autour des relations amoureuses. Musset 脿 voulu mettre en exergue la volont茅 primordiale de Octave ( personnage principal) 脿 vouloir un amour pure, intense sans 芦听contentions ni artifices听禄. L鈥檃mour doit 锚tre noble, fid猫le et respectueux m锚me si l鈥檋omme peut parfois faire souffrir sa moiti茅 , par ignorance, jalousie refoul茅, malice, malhonn锚tet茅鈥�
Je conseille fortement cet ouvrage 脿 tous ceux qui voudrait se plonger dans l鈥櫭e d鈥檜n personnage ayant eu l鈥檜ne des histoires d鈥檃mour la plus puissante et complexe. Je dirais que ce livre m鈥檃 beaucoup marqu茅 pour la finesse de l鈥櫭ヽriture et surtout pour la confession de cet 芦听enfant du si猫cle听禄 qui est sans doute une des confession les plus passionnelles d鈥檜ne vie et la confession d鈥檜ne vie la plus tourment茅e.
Je dois d鈥檃illeurs avouer que m锚me si ce cher Octave n鈥檈st pas mon personnage favori, ces r茅flexions, raisonnements m鈥檕nt beaucoup touch茅s et captiv茅s et je me suis 脿 certains moment bien identifi茅e.
( j鈥檃i beaucoup pris de plaisir lors de ma lecture ce qui m鈥櫭� conduit 脿 茅crire ce po猫me:) )
December 4, 2016
Novela escrita por Musset a los 26 a帽os en 1836 que traza la vida pasional del narrador y protagonista, Octavio de T... de los 19 a los 23 a帽os. Vilmente enga帽ado por su amante a los 19, por despecho el protagonista desciende al libertinaje. La muerte de su padre lo lleva al campo donde parece desintoxicarse y conoce a Brigitte, una joven viuda mayor que 茅l, de quien se enamora perdidamente y de la que eventualmente se hace amante. Sin embargo la nueva relaci贸n resulta sumamente tormentosa a medida que lo van consumiendo celos. Despu茅s de una noche oscura del alma, renuncia a Brigitte para dejar que se vaya con otro enamorado, autoconden谩ndose "noblemente" a una vida de infelicidad.
El protagonista inspira poca simpat铆a; es un j贸ven inmaduro, exaltado, impulsivo, impetuoso, col茅rico, malcriado y patol贸gicamente celoso. Se considera que la novela se bas贸 en la relaci贸n que sostuvo Musset con la c茅lebre novelista que escrib铆a bajo el pseud贸nimo de George Sand. Musset escribe una versi贸n interesante de tales amores y cabe destacar que George Sand hizo otro tanto. Para el momento en que Octavio se encuentra por primera vez con Brigitte, ya es una triple v铆ctima: una v铆ctima de su tiempo (la 茅poca post-napole贸nica) , una v铆ctima de su traicionera amante ninf贸mana y una v铆ctima de un amigo libertino quien gustosamente lo introduce en una vida disipada y vac铆a. La mordaz descripci贸n de la 茅poca post-napole贸nica que hace Musset a t铆tulo de marco y justificaci贸n socio-moral en el magistral segundo cap铆tulo est谩 entre lo mejor de la obra:
El lenguaje de la novela puede resultar ampuloso, la autoflagelaci贸n recriminatoria desmedida y sospechosa; lo que es cierto es que el vasto panorama napole贸nico se ha vuelto un mundillo claustrof贸bico, lacerante y desolado.
El protagonista inspira poca simpat铆a; es un j贸ven inmaduro, exaltado, impulsivo, impetuoso, col茅rico, malcriado y patol贸gicamente celoso. Se considera que la novela se bas贸 en la relaci贸n que sostuvo Musset con la c茅lebre novelista que escrib铆a bajo el pseud贸nimo de George Sand. Musset escribe una versi贸n interesante de tales amores y cabe destacar que George Sand hizo otro tanto. Para el momento en que Octavio se encuentra por primera vez con Brigitte, ya es una triple v铆ctima: una v铆ctima de su tiempo (la 茅poca post-napole贸nica) , una v铆ctima de su traicionera amante ninf贸mana y una v铆ctima de un amigo libertino quien gustosamente lo introduce en una vida disipada y vac铆a. La mordaz descripci贸n de la 茅poca post-napole贸nica que hace Musset a t铆tulo de marco y justificaci贸n socio-moral en el magistral segundo cap铆tulo est谩 entre lo mejor de la obra:
Unos dec铆an:Octavio es un personaje a la deriva, a la merced de los grandes (aspa)vientos del Romanticismo, condenado a un amor tr谩gico. La relaci贸n que emprende con Brigitte comienza como una regeneraci贸n, pero Octavio quiere ver en su amada, una madre y una libertina,
-Lo que ha originado la ca铆da del emperador ha sido el pueblo, que no quer铆a saber nada.
Otros:
-El pueblo quiere el rey y no la libertad, ni la raz贸n, ni la religi贸n, ni la constituci贸n inglesa, ni el absolutismo.
Tres elementos interven铆an, pues, en la vida que se ofrec铆a a la saz贸n a los j贸venes: detr谩s de ellos, un pasado destruido para siempre, agit谩ndose todav铆a entre sus cenizas, con todos los f贸siles del absolutismo; delante de ellos, la aurora de un amplio horizonte, las primeras claridades del porvenir y, entre aquellos dos mundos [...], algo similar al Oc茅ano que separa el viejo continente de la joven Am茅rica, un no s茅 qu茅 vago y flotante, un mar proceloso y colmado de naufragios, atravesado de cuando en cuando por alguna lejana vela blanca o por alg煤n nav铆o que impulsa un vapor pesado. El siglo presente, en una palabra, que separa el pasado del futuro, y que se parece a los dos al mismo tiempo, y donde no se sabe, a cada paso que se da, si se camina sobre un cimiento o sobre un despojo.
La levant茅 en mis brazos. 鈥溌h, mi 煤nica amiga! -exclam茅-. 隆Oh, mi amante, mi madre, mi hermana!quiere moldearla a la medida de sus vol谩tiles caprichos, quiere someterse y rebelarse; no es de extra帽ar que termina por establecer una relaci贸n disfuncional, patol贸gica, sadomasoquista en el ejercicio de una continua crueldad psicol贸gica y claramente destructiva. A Brigitte la van enfermando las exigencias, los cambios de humor, las burlas y sarcasmos, los celos sin motivos pero llega un momento en que ella se rebela y le 鈥渃anta cuatro鈥�:
"Veamos, 驴por qu茅 dud谩is de m铆? Desde hace seis meses, en pensamiento, cuerpo y alma, s贸lo os he pertenido a vos, 驴De qu茅 os谩is sospechar? [...] 驴Cre茅is tener un rival? Enviadle una carta que firmar茅 y vos echar茅is al buz贸n. 驴Qu茅 hacemos, ad贸nde vamos? Decid谩monos. 驴No estamos siempre juntos? Pues bien, 驴por qu茅 me dejas? No puedo estar al mismo tiempo cerca y lejos de ti.鈥�Cada uno llega, a su manera, al desespero extremo, cada uno se asoma al abismo y se da cuenta que el futuro se parece a su pasado y que caminan sobre el cimiento de un futuro de ruinas. Renunciar a esos amores, es un sacrificio pero m谩s que se帽al de nobleza, es se帽al de madurez y condici贸n de supervivencia.
El lenguaje de la novela puede resultar ampuloso, la autoflagelaci贸n recriminatoria desmedida y sospechosa; lo que es cierto es que el vasto panorama napole贸nico se ha vuelto un mundillo claustrof贸bico, lacerante y desolado.
May 8, 2023
C'est un bilan assez mitig茅.
J'ai beaucoup aim茅 le romantisme (effusion de sentiments, envol茅es lyriques en veux-tu en voil脿) mais l脿 o霉 j'ai justement un peu tiqu茅, c'est que le personnage d'Octave 茅tant assez d茅testable, il m'est difficile d'avoir un peu de compassion pour lui.
Ainsi les longs passages o霉 il exprime le d茅sarroi dans lequel il est plong茅 perdent en valeur et en intensit茅 en mon sens.
C'est agr茅able 脿 lire, il y a de tr猫s jolies r茅flexions et les romantismes ont le don de mettre en mot les sentiments, mais forc茅ment quand le personnage nous est peu agr茅able c'est difficile de se sentir mal pour lui et au final on dirait juste qu'il en fait des caisses (un peu la basse du romantisme on est d'accord l脿-dessus) mais sans que ce soit "coh茅rent" ou en tout cas que l'on ressente sa d茅tresse.
Donc si vous aimez le romantisme foncez! C'est d茅licieux 脿 lire (m锚me si les deux premiers chapitres sur le contexte historique m'ont un peu mis en PLS, il y avait presque plus de notes de bas de pages sur ma feuille que de r茅cit en lui-m锚me), pour ce qui est du r茅cit en lui-m锚me 莽a m'a mis un peu sur la touche (le personnage 茅tant d茅sagr茅able on se dit qu'il m茅rite tout 莽a et donc quel est l'int茅r锚t de ce livre finalement?).
J'ai beaucoup aim茅 le romantisme (effusion de sentiments, envol茅es lyriques en veux-tu en voil脿) mais l脿 o霉 j'ai justement un peu tiqu茅, c'est que le personnage d'Octave 茅tant assez d茅testable, il m'est difficile d'avoir un peu de compassion pour lui.
Ainsi les longs passages o霉 il exprime le d茅sarroi dans lequel il est plong茅 perdent en valeur et en intensit茅 en mon sens.
C'est agr茅able 脿 lire, il y a de tr猫s jolies r茅flexions et les romantismes ont le don de mettre en mot les sentiments, mais forc茅ment quand le personnage nous est peu agr茅able c'est difficile de se sentir mal pour lui et au final on dirait juste qu'il en fait des caisses (un peu la basse du romantisme on est d'accord l脿-dessus) mais sans que ce soit "coh茅rent" ou en tout cas que l'on ressente sa d茅tresse.
Donc si vous aimez le romantisme foncez! C'est d茅licieux 脿 lire (m锚me si les deux premiers chapitres sur le contexte historique m'ont un peu mis en PLS, il y avait presque plus de notes de bas de pages sur ma feuille que de r茅cit en lui-m锚me), pour ce qui est du r茅cit en lui-m锚me 莽a m'a mis un peu sur la touche (le personnage 茅tant d茅sagr茅able on se dit qu'il m茅rite tout 莽a et donc quel est l'int茅r锚t de ce livre finalement?).
July 15, 2021
C'est l'histoire d'un gars riche et blanc qui a 茅t茅 tromp茅 par son premier amour. Ce postulat sert de pr茅texte 脿 tous les abus psychologiques et affectifs qu'il fait ensuite subir 脿 sa seconde compagne qui essuie tout 脿 tour, ses remarques humiliantes, sa jalousie d茅vorante et son comportement 脿 la limite de la bipolarit茅, tant么t doux et cajolant, tant么t cruel et pervers. En fait c'est le r茅cit d'une relation toxique et abusive mais du point de vue de l'agresseur qui brandit sa souffrance comme justification 脿 son profil de pervers narcissique.
脟a pourrait 锚tre juste ennuyeux et malaisant si ce livre n'茅tait pas le r茅cit autobiographique de Musset sur sa relation avec Georges Sand.
脟a pourrait 锚tre juste ennuyeux et malaisant si ce livre n'茅tait pas le r茅cit autobiographique de Musset sur sa relation avec Georges Sand.
March 11, 2009
The first novel written in the full swing of Romanticism that I actually liked. Before I had always thought of Romanticism as this kind of annoying, vacuous, teenagish, flowery crap of hyperbole and self-indulgence. This book, instead, unveiled the tension of minds trying desperately to grasp how you can intellectually assign meaning to every emotion and what a frantic enterprise that becomes. Strangely enough, far from emotional I found this book (and all the correspondence I've been reading around its creation) deeply intellectual. Fascinating.
March 29, 2018
Memoir of a rich libertine in 19th century France. The passion and mood swings of the author, from louche playboy to devoted lover to magnificent bastard (and more!) stretch the bounds of credibility, at least for this Canadian.
January 31, 2023
I don鈥檛 care about its literary achievements I can鈥檛 stand 300 pages of a man complaining
November 19, 2024
rip oktaw, you would have loved cigarettes after sex
July 20, 2018
芦La verdad, esqueleto vestido por las apariencias, quiere que todos los hombres, en determinados d铆a y hora, toquen sus huesos en el fondo de cualquier llaga pasajera. A esto se llama conocer el mundo, y la experiencia se adquiere a este precio. Ahora bien: sucede que algunos, ante la prueba, retroceden espantados; otros, d茅biles y asustadizos, permanecen vacilantes; otras criaturas, quiz谩 las m谩s perfectas, mueren al tocar la realidad; pero el mayor n煤mero olvida; y todos, unos y otros, se dejan llevar, flotando, por una corriente que los conduce a la muerte. Pero hay hombres desventurados, que ni retroceden, ni vacilan, ni mueren, ni olvidan. Cuando les llega la hora de tocar la desgracia, mejor dicho, la verdad, se aproximan a ella con seguro paso, tienden la mano, y, 隆horrible cosa!, se enamoran de aquellos brazos l铆vidos y convulsos que se aferran a ellos bajo las aguas. Los cogen, los palpan, los estrechan y se sienten embriagados por el af谩n de conocer; no miran ya a las cosas m谩s que para penetrar en el fondo de ellas; no hacen ya otra cosa que dudar y tentar; escudri帽an el mundo como esp铆as de Dios; sus ideas se afilan como flechas, y de sus entra帽as nace un lince.
(...)
Los libertinos se hallan expuestos m谩s que nadie a este g茅nero de locura, por una raz贸n sencilla: en la corriente de la vida, esa clase de hombres a cada momento toca fondo. (...)
驴Qui茅n puede haber m谩s acostumbrado que ellos a buscar el fondo de las cosas, y, si se me permite la frase, a esos tanteos profundos e imp铆os? O铆d como hablan de todas las cosas: siempre usan los t茅rminos m谩s crudos, los m谩s groseros, los m谩s abyectos, porque les parecen los m谩s exactos; cualquier otro lenguaje, para ellos, no es m谩s que farsa, preocupaci贸n, convencionalismo. Si, al referir una an茅cdota, quieren explicar lo que han sentido, siempre usan la palabra indecorosa y f铆sica, siempre la letra muerta. Nunca dicen: 鈥淓sta mujer me ha amado鈥�, sino 鈥淗e pose铆do a esta mujer鈥�; no dicen 鈥淎mo鈥�, sino 鈥淒eseo鈥�; no dicen 鈥淒ios lo quiera鈥�, sino 鈥淪i yo quisiera鈥�.禄
(...)
Los libertinos se hallan expuestos m谩s que nadie a este g茅nero de locura, por una raz贸n sencilla: en la corriente de la vida, esa clase de hombres a cada momento toca fondo. (...)
驴Qui茅n puede haber m谩s acostumbrado que ellos a buscar el fondo de las cosas, y, si se me permite la frase, a esos tanteos profundos e imp铆os? O铆d como hablan de todas las cosas: siempre usan los t茅rminos m谩s crudos, los m谩s groseros, los m谩s abyectos, porque les parecen los m谩s exactos; cualquier otro lenguaje, para ellos, no es m谩s que farsa, preocupaci贸n, convencionalismo. Si, al referir una an茅cdota, quieren explicar lo que han sentido, siempre usan la palabra indecorosa y f铆sica, siempre la letra muerta. Nunca dicen: 鈥淓sta mujer me ha amado鈥�, sino 鈥淗e pose铆do a esta mujer鈥�; no dicen 鈥淎mo鈥�, sino 鈥淒eseo鈥�; no dicen 鈥淒ios lo quiera鈥�, sino 鈥淪i yo quisiera鈥�.禄
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