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賲賵賳 亘夭乇诏
賲賵賳 亘夭乇诏貙 鬲賳賴丕 乇賲丕賳 丌賱賳 賮賵乇賳蹖賴貙 蹖讴蹖 丕夭 讴賱丕爻蹖讴鈥屬囏й� 丕丿亘蹖丕鬲 爻丿賴贁 亘蹖爻鬲賲 賮乇丕賳爻賴 丕爻鬲. 丕蹖賳 卮丕賴讴丕乇 讴賵趩讴 丕爻乇丕乇丌賲蹖夭貙 亘丕 爻丕丿诏蹖 賵 夭賱丕賱蹖 丨蹖乇鬲鈥屫з嗂屫槽� 讴賴 丿丕乇丿 賵 亘丕 丨爻丕爻蹖鬲 跇乇賮蹖 讴賴 丿乇 丌賳 亘乇丕蹖 賳賲丕蹖丕賳丿賳 丕丨爻丕爻丕鬲 賵 毓賵丕賮胤 蹖讴 丿賳蹖丕蹖 讴賵趩讴 爻乇卮丕乇 丕夭 丕賲蹖丿 賵 丕賳丿賵賴 亘賴 讴丕乇 乇賮鬲賴貙 亘乇 亘爻蹖丕乇蹖 丕夭 丌孬丕乇 倬爻 丕夭 禺賵丿 亘賴鈥屫簇� 鬲兀孬蹖乇 诏匕丕卮鬲賴 丕爻鬲.
賲賵賳 亘夭乇诏 賳禺爻鬲蹖賳 亘丕乇 丿乇 爻丕賱 郾酃郾鄢 賲賳鬲卮乇 卮丿 賵 賮賵乇賳蹖賴 乇丕 讴賴 亘賴 讴丕乇 賲胤亘賵毓丕鬲蹖 賵 賳賯丿 丕丿亘蹖 賲卮睾賵賱 亘賵丿 蹖讴亘丕乇 亘賴 卮賴乇鬲 乇爻丕賳丿 丕賲丕 丿乇 丕蹖賳 賲蹖丕賳 賳賵蹖爻賳丿賴 亘賴 噩亘賴賴贁 噩賳诏 乇鬲賴 亘賵丿 賵 丌賳鈥屫� 丿乇 爻丕賱 郾酃郾鄞 讴卮鬲賴 卮丿. 亘丕 丕蹖賳 丨丕賱 丕孬乇卮 丿乇 賮乇丕爻賵蹖 噩賳亘卮鈥屬囏й� 丕丿亘蹖 丿賵乇丕賳鈥屫池ж槽� 讴賴 倬爻 丕夭 丕賵 乇禺 丿丕丿 賵 丿乇 賵乇丕蹖 爻亘讴鈥屬囏� 賵 胤乇夭賴丕 賲鬲丿丕賵賱 丕丿亘蹖丕鬲 倬爻 丕夭 噩賳诏 噩賴丕賳蹖 丕賵賱貙 噩丕蹖诏丕賴 禺賵丿 乇丕 丿乇 賲賯丕賲 蹖讴 丕孬乇 賲丕賳丿诏丕乇 賵 鬲兀孬蹖乇诏匕丕乇 賯乇賳 丨賮馗 讴乇丿.
賲賵賳 亘夭乇诏 賳禺爻鬲蹖賳 亘丕乇 丿乇 爻丕賱 郾酃郾鄢 賲賳鬲卮乇 卮丿 賵 賮賵乇賳蹖賴 乇丕 讴賴 亘賴 讴丕乇 賲胤亘賵毓丕鬲蹖 賵 賳賯丿 丕丿亘蹖 賲卮睾賵賱 亘賵丿 蹖讴亘丕乇 亘賴 卮賴乇鬲 乇爻丕賳丿 丕賲丕 丿乇 丕蹖賳 賲蹖丕賳 賳賵蹖爻賳丿賴 亘賴 噩亘賴賴贁 噩賳诏 乇鬲賴 亘賵丿 賵 丌賳鈥屫� 丿乇 爻丕賱 郾酃郾鄞 讴卮鬲賴 卮丿. 亘丕 丕蹖賳 丨丕賱 丕孬乇卮 丿乇 賮乇丕爻賵蹖 噩賳亘卮鈥屬囏й� 丕丿亘蹖 丿賵乇丕賳鈥屫池ж槽� 讴賴 倬爻 丕夭 丕賵 乇禺 丿丕丿 賵 丿乇 賵乇丕蹖 爻亘讴鈥屬囏� 賵 胤乇夭賴丕 賲鬲丿丕賵賱 丕丿亘蹖丕鬲 倬爻 丕夭 噩賳诏 噩賴丕賳蹖 丕賵賱貙 噩丕蹖诏丕賴 禺賵丿 乇丕 丿乇 賲賯丕賲 蹖讴 丕孬乇 賲丕賳丿诏丕乇 賵 鬲兀孬蹖乇诏匕丕乇 賯乇賳 丨賮馗 讴乇丿.
296 pages, Paperback
First published January 1, 1913
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About the author
Alain-Fournier
55听books122听followersAlain-Fournier was the pseudonym of Henri-Alban Fournier (1886 鈥� 1914), a French author and soldier. He wrote a single novel, Le Grand Meaulnes (1913), which was adapted into two feature films and is considered a classic of French literature.
Alain-Fournier was born in La Chapelle-d'Angillon, in the Cher d茅partement, in central France, the son of a school teacher. He studied at the Lyc茅e Lakanal in Sceaux, Hauts-de-Seine, near Paris, where he prepared for the entrance examination to the 脡cole Normale Sup茅rieure, but without success. He then studied at the merchant marine school in Brest. At the Lyc茅e Lakanal he met Jacques Rivi猫re, and the two became close friends. In 1909, Rivi猫re married Alain-Fournier's younger sister Isabelle.
Alain-Fournier interrupted his studies in 1907 and from 1908 to 1909 he performed his military service. At this time he published some essays, poems and stories which were later collected and re-published under the name Miracles. Throughout this period he was mulling over what would become his celebrated novel, Le Grand Meaulnes.
On the first of June 1905, Ascension day, while Alain-Fournier was talking a stroll along banks of the Seine, he had met Yvonne de Qui茅vrecourt, with whom he became deeply enamoured. The two spoke, but he did not manage to win her favours. The following year on the same day he waited for her at the same place, but she did not appear. That night he told Rivi猫re, "She did not come. And even if she had, she would not have been the same". They did not meet again until eight years later, when she was married with two children. Yvonne de Qui茅vrecourt would become Yvonne de Galais in his novel.
Alain-Fournier returned to Paris in 1910 and became a literary critic, writing for the Paris-Journal. There he met Andr茅 Gide and Paul Claudel. In 1912, he quit his job to become the personal assistant of the politician Casimir Perrier.
'Le Grand Meaulnes' was finished in early 1913, and was first published in the Nouvelle Revue Fran莽aise (from July to October 1913), and then as a book. 'Le Grand Meaulnes' was nominated for, but did not win, the Prix Goncourt. It is available in English in a widely-admired 1959 translation by Frank Davison for Oxford University Press.
In 1914, Alain-Fournier started work on a second novel, 'Colombe Blanchet', but this remained unfinished when he joined the army as a Lieutenant in August. He died fighting near Vaux-l猫s-Palameix (Meuse) one month later, on the 22nd of September 1914. His body remained unidentified until 1991, at which time he was interred in the cemetery of Saint-Remy-la-Calonne.
Most of the writing of Alain-Fournier was published posthumously: Miracles (a volume of poems and essays) in 1924, his correspondence with Jacques Rivi猫re in 1926 and his letters to his family in 1930. His notes and sketches for Colombe Blanchet have also been published. From Wikipedia
Alain-Fournier was born in La Chapelle-d'Angillon, in the Cher d茅partement, in central France, the son of a school teacher. He studied at the Lyc茅e Lakanal in Sceaux, Hauts-de-Seine, near Paris, where he prepared for the entrance examination to the 脡cole Normale Sup茅rieure, but without success. He then studied at the merchant marine school in Brest. At the Lyc茅e Lakanal he met Jacques Rivi猫re, and the two became close friends. In 1909, Rivi猫re married Alain-Fournier's younger sister Isabelle.
Alain-Fournier interrupted his studies in 1907 and from 1908 to 1909 he performed his military service. At this time he published some essays, poems and stories which were later collected and re-published under the name Miracles. Throughout this period he was mulling over what would become his celebrated novel, Le Grand Meaulnes.
On the first of June 1905, Ascension day, while Alain-Fournier was talking a stroll along banks of the Seine, he had met Yvonne de Qui茅vrecourt, with whom he became deeply enamoured. The two spoke, but he did not manage to win her favours. The following year on the same day he waited for her at the same place, but she did not appear. That night he told Rivi猫re, "She did not come. And even if she had, she would not have been the same". They did not meet again until eight years later, when she was married with two children. Yvonne de Qui茅vrecourt would become Yvonne de Galais in his novel.
Alain-Fournier returned to Paris in 1910 and became a literary critic, writing for the Paris-Journal. There he met Andr茅 Gide and Paul Claudel. In 1912, he quit his job to become the personal assistant of the politician Casimir Perrier.
'Le Grand Meaulnes' was finished in early 1913, and was first published in the Nouvelle Revue Fran莽aise (from July to October 1913), and then as a book. 'Le Grand Meaulnes' was nominated for, but did not win, the Prix Goncourt. It is available in English in a widely-admired 1959 translation by Frank Davison for Oxford University Press.
In 1914, Alain-Fournier started work on a second novel, 'Colombe Blanchet', but this remained unfinished when he joined the army as a Lieutenant in August. He died fighting near Vaux-l猫s-Palameix (Meuse) one month later, on the 22nd of September 1914. His body remained unidentified until 1991, at which time he was interred in the cemetery of Saint-Remy-la-Calonne.
Most of the writing of Alain-Fournier was published posthumously: Miracles (a volume of poems and essays) in 1924, his correspondence with Jacques Rivi猫re in 1926 and his letters to his family in 1930. His notes and sketches for Colombe Blanchet have also been published. From Wikipedia
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December 8, 2023
Lost love鈥� Lost friendship鈥� Lost youth鈥� The Lost Estate appears to be a simple story鈥� And its seeming simplicity is its irresistible charm鈥�
The raconteur of the tale 鈥� the son of the teacher in the small provincial school 鈥� was a shy and lonely boy鈥� But when the new pupil arrived and is taken as their boarder they become friends鈥� The new schoolboy is seventeen鈥� He is open and possesses a lively temperament so he is nicked The Great Meaulnes鈥�
Wishing to make a surprise Meaulnes secretly goes to meet at the railway station the narrator鈥檚 grandparents but not knowing the road he gets lost and in the end finds himself in the fete at the very strange estate鈥� There he sees a young beautiful girl and it is love at first sight鈥�
He manages to talk to the girl and promises to visit her again鈥� He leaves the estate in the cart and when he returns home he suddenly understands that he has no slightest notion where he has been鈥� He looks in the atlas, he tries to draw a map and he goes looking for the road but all in vain鈥� When he is told the address in Paris where he might find her he goes to Paris but to no avail鈥� After a time the narrator accidentally learns what estate it was and he hurries to tell his friend鈥� So at last they meet鈥�
They met鈥� But destiny is blind鈥�
Sentimentality of youth is of a special kind 鈥� it is permeated with nostalgic pathos.
The raconteur of the tale 鈥� the son of the teacher in the small provincial school 鈥� was a shy and lonely boy鈥� But when the new pupil arrived and is taken as their boarder they become friends鈥� The new schoolboy is seventeen鈥� He is open and possesses a lively temperament so he is nicked The Great Meaulnes鈥�
As soon as he came to board with us, that is, from the first days of December, school was no longer empty in the evening, after four. Despite the cold coming through the open door and the shouts of the sweepers with their buckets of water, there were always some twenty of the older boys after school in the classroom, boys from the country as well as from the village, pressing around Meaulnes. And there were long debates and endless arguments, and I would slip into the group, with a feeling of pleasurable anxiety.
Wishing to make a surprise Meaulnes secretly goes to meet at the railway station the narrator鈥檚 grandparents but not knowing the road he gets lost and in the end finds himself in the fete at the very strange estate鈥� There he sees a young beautiful girl and it is love at first sight鈥�
What were Meaulnes鈥� feelings afterwards as he recalled this moment when, on the banks of the lake, he had so near to his own the face of this girl 鈥� a face that was then lost to him! He had stared at that exquisite profile with every atom of his eyes until they were ready to fill with tears. And he remembered seeing, like a tender secret that she had entrusted to him, a little powder remaining on her cheek鈥�
He manages to talk to the girl and promises to visit her again鈥� He leaves the estate in the cart and when he returns home he suddenly understands that he has no slightest notion where he has been鈥� He looks in the atlas, he tries to draw a map and he goes looking for the road but all in vain鈥� When he is told the address in Paris where he might find her he goes to Paris but to no avail鈥� After a time the narrator accidentally learns what estate it was and he hurries to tell his friend鈥� So at last they meet鈥�
It was about to be my friend鈥檚 turn, and I felt as anxious as he must have been. I was getting ready to do the introduction myself. But before I could say anything, the girl went over to him with surprising gravity and firmness.
鈥業 recognize you, Augustin Meaulnes,鈥� she said. And she held out her hand.
They met鈥� But destiny is blind鈥�
Sentimentality of youth is of a special kind 鈥� it is permeated with nostalgic pathos.
January 28, 2023
ALLA RICERCA DEL SENTIERO PERDUTO
Nicolas Duvauchelle (a dx) 猫 Augustin Meaulnes, e Jean-Baptiste Maunier 猫 Fran莽ois Seurel nel film di Jean-Daniel Verhaeghe del 2006, scipita trasposizione cinematografica.
脠 un romanzo che ben presto sgattaiola via dalle reti delle letture critiche, si sottrae alle analisi e diventa qualcosa di pi霉, qualcosa d鈥檃ltro... Questa capacit脿 di riecheggiare forte, di trovare la muta sintonia con una sensibilit脿 acuminata, 猫 la vera profonda grandezza del romanzo, che non sta nell鈥檌ntreccio, a tratti debole, con soluzioni talora improbabili, non sta nella psicologia, dickensianamente poco approfondita, ma in una sorta di finissima eppure possente costruzione mitica di cui vogliamo cogliere tre motivi chiave: l鈥檌nfanzia, l鈥檃vventura, il meraviglioso.
Mai parole furono pi霉 giuste.
Yasmina Melaouah (che solo per aver tradotto 鈥淏ussola鈥� di Mathias Enard meriterebbe un monumento) fa seguire alla sua traduzione di quest鈥檜nico romanzo di Alain-Fournier una preziosa profonda densa postfazione.
Nella quale affronta subito il motivo principale della fama dell鈥檕pera in questione: fama che, appunto, evade letture critiche e analisi, esula da un intreccio a tratti debole, con soluzioni talora improbabili, da psicologia dei personaggi dickensianamente poco approfondita, supera di gran lunga il suo valore letterario (nello stesso anno in cui fu pubblicato, 1913, usc矛 il primo volume della Recherche proustiana, e non ci sono confronti che tengano, meglio neppure azzardarli).
Il Pierrot nel film.
La grandezza, e bellezza, di questo romanzo, 猫 proprio nella capacit脿 di riecheggiare forte, di trovare la muta sintonia con una sensibilit脿 acuminata鈥� 脠 uno di quei casi in cui l鈥檈sperienza stessa della lettura prolunga, amplifica, sdoppia la suggestione dell鈥檕pera .
Per questo motivo il paragone che Melaouah propone con 鈥淪iddartha鈥� di Hesse e 鈥淥n the Road - Sulla strada鈥� di Kerouac regge perfettamente: sono tutte opere che hanno superato il confine del loro tempo (e forse del tempo tout court) per meriti principalmente extra letterari.
[Per la cronaca, Sal Paradise l鈥檃lter ego letterario di Kerouac, si porta dietro nei suoi vagabondaggi proprio una copia di 鈥淟e Grande Meaulnes鈥�.]
Holden Caufield, che Melaouah aggiunge agli esempi, lo lascerei fuori, lo lascerei stare: Holden 猫 un capolavoro letterario, fu una rivoluzione letteraria, resiste ed esiste ben oltre il mito, ben oltre le corde dell鈥檌mmaginario collettivo che ha saputo comunque far suonare.
Meaulnes 猫 tutto meno che il padre di Holden, come sostiene invece Gian Luca Favetto.
Il castello della festa.
E allora, considerati i limiti di trama e di approfondimento dei personaggi, palesi da subito, considerato che il libro mostra i suoi cento e passa anni, considerato il simbolismo per me eccessivo, cos鈥櫭� che mi ha catturato, che mi ha riempito di immagini e suggestioni?
Melaouah dice che Meaulnes 猫 la poesia misteriosa della giovinezza. Vero.
E, la natura, il paesaggio, il clima riflettono gli stati d鈥檃nimo dei personaggi, li anticipano, li amplificano, con rara maestria.
E, l鈥檃pparizione di Meaulnes all鈥檌nizio del romanzo 猫 da leggenda.
Sua madre si presenta ai genitori del narratore perch茅 vuole che suo figlio vada a scuola presso di loro e sia un loro pensionante: ma dov鈥櫭� questo figlio, perch茅 non si presenta come un ragazzo normale, dov鈥櫭� fuggito?
Meaulnes 猫 arrivato e se ne 猫 andato in esplorazione per fatti suoi: con un pizzico di maleducazione, ma soprattutto sfrontatezza, una buona dose di coraggio e di voglia d鈥檃vventura, se ne 猫 andato a esplorare le soffitte della casa che non conosce, dove non 猫 mai stato prima. Si sentono rumori venire dall鈥檜ltimo piano, una parte della casa dove non dovrebbe esserci nessuno.
Ed eccolo apparire: indifferente, come se niente fosse, come se fosse la cosa pi霉 normale, appare, non si presenta, non saluta, non si giustifica, ma si rivolge subito al narratore, l鈥檜nico suo coetaneo presente, e gli mostra cos鈥檋a trovato in soffitta: i fuochi d鈥檃rtificio inutilizzati dalla festa del 14 luglio. Dai, andiamo a farli esplodere!
Nascita immediata di un鈥檃micizia che durer脿 tutta la vita.
Amicizia senza gelosia, osannanell鈥檃ltodeicieli, perch茅 quando il narratore scopre nel diario di Meaulnes che il suo amico chiama 鈥渋l mio migliore amico鈥� non lui, Fran莽ois, ma Frantz de Galais, accetta il fatto come naturale, senza rancore, con comprensione e partecipazione.
La festa: gli invitati si avviano ai battelli.
Meaulnes sa scovare meraviglie, sa vedere (e trovare) dove gli altri si fermano, dove gli altri non vedono.
Pagine sul tempo (interiore) e le illusioni. Ma ancora di pi霉, focalizzate sulla folle inclinazione dell鈥檜omo ad amare solo ci貌 che 猫 perduto, o mai posseduto, solo le spietate rose non colte, a trovare pace solo nella prossima avventura, ancora da venire.
L鈥檌rrequietezza鈥� Le esperienze iniziatiche鈥�
Soddisfare un desiderio vuol dire soffocarlo, realizzare un sogno vuol dire ucciderlo (Perch茅 realizzare un鈥檕pera quando 猫 cos矛 bello sognarla soltanto? dice Pasolini nel suo Decamerone)鈥�
Le ombre di e in queste pagine鈥�
Meaulnes e Yvonne/Cl茅mence Po茅sy.
Henri-Alban Fournier (in arte Alain-Fournier) ebbe un incontro come quello descritto nel suo unico romanzo (per il resto, e tutto antecedente, solo una raccolta di racconti, una di poesie, qualche critica/recensione, pi霉 le lettere che ci sono arrivate) a Parigi quando aveva 18 anni e mezzo: la ragazza si chiamava Yvonne come nel romanzo, e anche il dialogo tra lui e lei si svolse in modo molto simile a quello tra Meaulnes e Yvonne de Galais.
Alain-Fournier mor矛 in guerra un anno dopo la pubblicazione di questo suo unico romanzo, poco prima di compiere 28 anni.
O meglio, fu dato disperso, mai ritrovato: i suoi resti comparvero nel maggio del 1991, in una fossa comune dove i tedeschi l鈥檃vevano sepolto con altri venti compagni d鈥檃rmi. Sei mesi dopo il suo corpo fu identificato e sepolto nel cimitero militare di Saint-Remy-la-Calonne nel dipartimento della Mosa.
Cimitero militare di Saint-Remy-la-Calonne.
PS
Alla ricerca del sentiero perduto 猫 il titolo del capitolo IX della seconda parte.
鈥滾a sagra della primavera鈥� di Igor Stravinskij messa in scena dai Balletti Russi di Djagilev rappresentata a Parigi il 29 maggio 1913.
PPSS
Nel 1913, anno di pubblicazione di 鈥淟e Grand Meaulnes鈥� (prima a puntate sulla Nouvelle Revue Fran莽aise, poi in volume unico) Marcel Proust pubblica a sue spese, dopo il rifiuto di Gide, 鈥淒alla parte di Swann鈥�, il primo dei sette romanzi della Recherche; Thomas Mann pubblica 鈥淢orte a Venezia鈥�, Braque dipinge 鈥淔emme 脿 la guitare鈥�, Apollinaire pubblica la raccolta di poesie 鈥淎lcools鈥�. Stravinskij mette in scena la 鈥淪agra della primavera鈥� con i Balletti Russi di Djagilev.
E pochi mesi dopo inizia la Grande Guerra.
Georges Braque: Femme 脿 la guitare. 1913 (Centre Pompidou, Parigi)
Nicolas Duvauchelle (a dx) 猫 Augustin Meaulnes, e Jean-Baptiste Maunier 猫 Fran莽ois Seurel nel film di Jean-Daniel Verhaeghe del 2006, scipita trasposizione cinematografica.
脠 un romanzo che ben presto sgattaiola via dalle reti delle letture critiche, si sottrae alle analisi e diventa qualcosa di pi霉, qualcosa d鈥檃ltro... Questa capacit脿 di riecheggiare forte, di trovare la muta sintonia con una sensibilit脿 acuminata, 猫 la vera profonda grandezza del romanzo, che non sta nell鈥檌ntreccio, a tratti debole, con soluzioni talora improbabili, non sta nella psicologia, dickensianamente poco approfondita, ma in una sorta di finissima eppure possente costruzione mitica di cui vogliamo cogliere tre motivi chiave: l鈥檌nfanzia, l鈥檃vventura, il meraviglioso.
Mai parole furono pi霉 giuste.
Yasmina Melaouah (che solo per aver tradotto 鈥淏ussola鈥� di Mathias Enard meriterebbe un monumento) fa seguire alla sua traduzione di quest鈥檜nico romanzo di Alain-Fournier una preziosa profonda densa postfazione.
Nella quale affronta subito il motivo principale della fama dell鈥檕pera in questione: fama che, appunto, evade letture critiche e analisi, esula da un intreccio a tratti debole, con soluzioni talora improbabili, da psicologia dei personaggi dickensianamente poco approfondita, supera di gran lunga il suo valore letterario (nello stesso anno in cui fu pubblicato, 1913, usc矛 il primo volume della Recherche proustiana, e non ci sono confronti che tengano, meglio neppure azzardarli).
Il Pierrot nel film.
La grandezza, e bellezza, di questo romanzo, 猫 proprio nella capacit脿 di riecheggiare forte, di trovare la muta sintonia con una sensibilit脿 acuminata鈥� 脠 uno di quei casi in cui l鈥檈sperienza stessa della lettura prolunga, amplifica, sdoppia la suggestione dell鈥檕pera .
Per questo motivo il paragone che Melaouah propone con 鈥淪iddartha鈥� di Hesse e 鈥淥n the Road - Sulla strada鈥� di Kerouac regge perfettamente: sono tutte opere che hanno superato il confine del loro tempo (e forse del tempo tout court) per meriti principalmente extra letterari.
[Per la cronaca, Sal Paradise l鈥檃lter ego letterario di Kerouac, si porta dietro nei suoi vagabondaggi proprio una copia di 鈥淟e Grande Meaulnes鈥�.]
Holden Caufield, che Melaouah aggiunge agli esempi, lo lascerei fuori, lo lascerei stare: Holden 猫 un capolavoro letterario, fu una rivoluzione letteraria, resiste ed esiste ben oltre il mito, ben oltre le corde dell鈥檌mmaginario collettivo che ha saputo comunque far suonare.
Meaulnes 猫 tutto meno che il padre di Holden, come sostiene invece Gian Luca Favetto.
Il castello della festa.
E allora, considerati i limiti di trama e di approfondimento dei personaggi, palesi da subito, considerato che il libro mostra i suoi cento e passa anni, considerato il simbolismo per me eccessivo, cos鈥櫭� che mi ha catturato, che mi ha riempito di immagini e suggestioni?
Melaouah dice che Meaulnes 猫 la poesia misteriosa della giovinezza. Vero.
E, la natura, il paesaggio, il clima riflettono gli stati d鈥檃nimo dei personaggi, li anticipano, li amplificano, con rara maestria.
E, l鈥檃pparizione di Meaulnes all鈥檌nizio del romanzo 猫 da leggenda.
Sua madre si presenta ai genitori del narratore perch茅 vuole che suo figlio vada a scuola presso di loro e sia un loro pensionante: ma dov鈥櫭� questo figlio, perch茅 non si presenta come un ragazzo normale, dov鈥櫭� fuggito?
Meaulnes 猫 arrivato e se ne 猫 andato in esplorazione per fatti suoi: con un pizzico di maleducazione, ma soprattutto sfrontatezza, una buona dose di coraggio e di voglia d鈥檃vventura, se ne 猫 andato a esplorare le soffitte della casa che non conosce, dove non 猫 mai stato prima. Si sentono rumori venire dall鈥檜ltimo piano, una parte della casa dove non dovrebbe esserci nessuno.
Ed eccolo apparire: indifferente, come se niente fosse, come se fosse la cosa pi霉 normale, appare, non si presenta, non saluta, non si giustifica, ma si rivolge subito al narratore, l鈥檜nico suo coetaneo presente, e gli mostra cos鈥檋a trovato in soffitta: i fuochi d鈥檃rtificio inutilizzati dalla festa del 14 luglio. Dai, andiamo a farli esplodere!
Nascita immediata di un鈥檃micizia che durer脿 tutta la vita.
Amicizia senza gelosia, osannanell鈥檃ltodeicieli, perch茅 quando il narratore scopre nel diario di Meaulnes che il suo amico chiama 鈥渋l mio migliore amico鈥� non lui, Fran莽ois, ma Frantz de Galais, accetta il fatto come naturale, senza rancore, con comprensione e partecipazione.
La festa: gli invitati si avviano ai battelli.
Meaulnes sa scovare meraviglie, sa vedere (e trovare) dove gli altri si fermano, dove gli altri non vedono.
Pagine sul tempo (interiore) e le illusioni. Ma ancora di pi霉, focalizzate sulla folle inclinazione dell鈥檜omo ad amare solo ci貌 che 猫 perduto, o mai posseduto, solo le spietate rose non colte, a trovare pace solo nella prossima avventura, ancora da venire.
L鈥檌rrequietezza鈥� Le esperienze iniziatiche鈥�
Soddisfare un desiderio vuol dire soffocarlo, realizzare un sogno vuol dire ucciderlo (Perch茅 realizzare un鈥檕pera quando 猫 cos矛 bello sognarla soltanto? dice Pasolini nel suo Decamerone)鈥�
Le ombre di e in queste pagine鈥�
Meaulnes e Yvonne/Cl茅mence Po茅sy.
Henri-Alban Fournier (in arte Alain-Fournier) ebbe un incontro come quello descritto nel suo unico romanzo (per il resto, e tutto antecedente, solo una raccolta di racconti, una di poesie, qualche critica/recensione, pi霉 le lettere che ci sono arrivate) a Parigi quando aveva 18 anni e mezzo: la ragazza si chiamava Yvonne come nel romanzo, e anche il dialogo tra lui e lei si svolse in modo molto simile a quello tra Meaulnes e Yvonne de Galais.
Alain-Fournier mor矛 in guerra un anno dopo la pubblicazione di questo suo unico romanzo, poco prima di compiere 28 anni.
O meglio, fu dato disperso, mai ritrovato: i suoi resti comparvero nel maggio del 1991, in una fossa comune dove i tedeschi l鈥檃vevano sepolto con altri venti compagni d鈥檃rmi. Sei mesi dopo il suo corpo fu identificato e sepolto nel cimitero militare di Saint-Remy-la-Calonne nel dipartimento della Mosa.
Cimitero militare di Saint-Remy-la-Calonne.
PS
Alla ricerca del sentiero perduto 猫 il titolo del capitolo IX della seconda parte.
鈥滾a sagra della primavera鈥� di Igor Stravinskij messa in scena dai Balletti Russi di Djagilev rappresentata a Parigi il 29 maggio 1913.
PPSS
Nel 1913, anno di pubblicazione di 鈥淟e Grand Meaulnes鈥� (prima a puntate sulla Nouvelle Revue Fran莽aise, poi in volume unico) Marcel Proust pubblica a sue spese, dopo il rifiuto di Gide, 鈥淒alla parte di Swann鈥�, il primo dei sette romanzi della Recherche; Thomas Mann pubblica 鈥淢orte a Venezia鈥�, Braque dipinge 鈥淔emme 脿 la guitare鈥�, Apollinaire pubblica la raccolta di poesie 鈥淎lcools鈥�. Stravinskij mette in scena la 鈥淪agra della primavera鈥� con i Balletti Russi di Djagilev.
E pochi mesi dopo inizia la Grande Guerra.
Georges Braque: Femme 脿 la guitare. 1913 (Centre Pompidou, Parigi)
August 12, 2021
Alain-Fournier's one and only novel due to his tragic death during the first world war evokes dreamlike memories of a bygone era, with an evocative and moving friendship all surrounding a long lost love. Set in a small French commune and the lush, pleasant countryside Fifteen year old Fran莽ois Seurel narrates his close relationship with slightly older boy Augustin Meaulnes, also known as "Le Grand Meaulnes" because of his natural charisma and physical presence with fellow students during their time at school. And it's during this time that Meaulnes apparently goes missing for a few days only to return with a fascinating story of how he got lost one night and ended up in a seemingly abandoned estate in the middle of nowhere in which sits a Chateau that appears to be hosting some sort of party. With avid curiosity Fran莽ois eventually finds out that there was a beautiful girl hidden within, and for Meaulnes it was indeed love at first sight, so they both decide to try and discover just where abouts this mysterious place could be?, and this is just a beginning that will see their lives changed forever, both for better and worse.
Who knows what Fournier could have gone on to achieve, he had the potential to be a very special writer, and as a first written work of fiction it certainly is a lavish one and has at times the feel of a fairytale that children would get read at bedtime, the narrative is superb and the book on the whole is easy to read so for younger readers looking for a good place to start with classic French literature this would qualify as doesn't contain the complexities and deep character studies of some of the other renowned classic French writers. Although there is a story to an extent, the main factors for me were the universal feelings that would arouse the senses, with a nostalgic youthful spirit and the true meaning of an adolescent friendship shining through. I was left partially with a sad yearning for it's three main characters but also for myself, as your left with a strong feeling for your own treasured memories and loves from years gone by.
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May 16, 2015
Some time after leaving university I was in a club; and at one point in the, er, festivities I was tapped on the shoulder. I turned around, and there was an attractive blonde girl. She spoke my name; I stared back at her blankly. 鈥楧on鈥檛 you remember me?鈥� she asked. I had to confess that I didn鈥檛. 鈥楴icole,鈥� she said. I was about to embarrass myself further, and admit that I still could not place her, when it came to me. Ah, Nicole! Of course! She had been in the same halls of residence as I. We didn鈥檛 take any of the same classes, and we hadn鈥檛 spoken all that often, but our paths had crossed once or twice in the corridor or at parties.
As the night wore on we danced and we chatted and we kissed; and when the club closed we set out on a walk, with Nicole in the lead. I know my home city well, but being drunk, with my attention elsewhere, I had no real idea how we came to be in the place where we ended up. As I remember it now, and as I remembered it the next day, it resembled some kind of stone arena, with high walls, and lights all around, some of them hanging from trees. Of course I doubt this was the case, but that is what I see when I cast back into the past to try and dredge up that night. I don鈥檛 know exactly how long we were there; it felt like hours, but it could only have been thirty minutes or so.
In any case, before Nicole and I parted, she asked for my telephone number. Unfortunately, I did not know it by heart [I still don鈥檛] and I have never carried my mobile with me on nights out. 鈥楾ell me your number,鈥� I said, gallantly, 鈥榓nd I鈥檒l remember it.鈥� Foolish boy! Of course, when I woke up the next day the number was entirely lost to me; it was as much an irretrievable part of the night as the kisses and the fantastic stone arena had been. Yet I didn鈥檛 initially let it bother me too much, being used to hooking up in clubs and also being of the belief that I would sooner or later bump into her again.
However, over the following months, even though I frequented various clubs in the city, including the one in which we had met, and although I kept something of an eye out for her, I found no trace of Nicole, by which I mean that she never herself turned up, and nor did any of the people I had seen her with that night. The longer this continued, the more interested I became in the situation, the more mental energy I devoted to it. Who is this girl, I thought to myself, whose life briefly merged with mine only to suddenly disappear? At the end of each night I would leave the club and go in search of the arena, hoping that being in the same state [i.e. very drunk] would somehow jog my memory and lead me there. By this stage, the whole incident had taken on the qualities of a dream 鈥� I felt as though I was searching for someone and a place, for reasons I couldn鈥檛 quite articulate to myself, which had, in fact, never existed anywhere except in my imagination.
Now when I think back to that time and wonder why I so wanted to see Nicole again it strikes me that it wasn鈥檛 the girl herself that I was chasing, that I was looking for, but a part of myself, the part that had only been possible when I was with this particular girl in that extraordinary place; I found it hard to let that go.* This is not, of course, unique to me; many of us want to reclaim or relive our pasts, many of us hanker nostalgically after certain experiences, and this, at least partly, is what Le Grand Meaulnes, Alain-Fournier鈥檚 beautiful French novel, is about.
Le Grand Meaulnes begins with the arrival of a young boy, Francois Seurel, in Sainte-Agathe. He is accompanied by his father, a teacher, and his mother, who he describes as the 鈥榯he most meticulous housewife ever known.鈥� It is, then, made immediately clear that Francois鈥� home-life is rather conventional, and, well, perhaps a little boring. Moreover, the boy himself is both 鈥榯imid鈥� and, due to a problem with his knee, 鈥榳eak,鈥� and so does not, or cannot, play with other children. Then one day Augustin Meaulnes 鈥� who is, of course, the great or grand Meaulnes of the title 鈥� enters his life. The circumstances behind their first meeting are significant: it is a Sunday, a day traditionally of rest, the dullest of dull days, when one would not expect anything exciting to happen. However, when Francois returns from church he finds a woman gazing through the window of his house. It turns out that she has 鈥榣ost鈥� her boy, who is, well, I think you鈥檝e probably worked that out already.
It was clever on Alain-Fournier鈥檚 part to introduce Meaulnes in this way, not with his presence, but by the absence of it, thereby revealing an important, or the defining aspect of his behaviour or character without him even being 鈥榦n stage.鈥� Having given his mother the slip one understands straight away that this is an adventuresome boy, who does things his own way, who is, in contrast to Francois, unconventional. Indeed, his physical entrance into the novel confirms this impression, as he comes down the Seurel鈥檚 stairs to announce that he has been rooting around in their attic, quite without permission of course, and has found some unused fireworks. He then takes Francois outside and sets them off. This is, in effect, the symbolic and literal start of a more exciting existence for Francois.
In order to be able to enjoy Le Grand Meaulnes one must accept its limitations. There is, for example, no character depth; everyone is 鈥榦ne dimensional,鈥� is, essentially, a symbol, or a type, of one sort or another. Meaulnes is shown in the beginning to be adventurous and brave and independent, and that is how he remains; all of his actions 鈥� like taking Fromentin鈥檚 horse and cart on a long drive in order to pick up Francois鈥� Grandparents 鈥� are further proof of these qualities. Francois does not develop either; sure, he gets into more scrapes than he would have done without Meaulnes鈥� friendship, but he does not take a very active part in them; he is, in effect, an observer or bystander or, at best, a sidekick. Indeed, no one behaves in a way that would surprise you, and no one鈥檚 thought processes, aside from the narrator鈥檚, are engaged with; all of the characters are straight forward and predictable [even Meaulnes, whose unpredictability is itself predictable].
I also ought to mention that the plot is often derided as unbelievable and silly and too reliant upon coincidences, particularly in the second half. Responding to these specific criticisms is difficult, because silly and unbelievable are subjective terms. All I can say in that regard is that I don鈥檛 agree or that all literature is unbelievable if you bring a cynical attitude to it [and this book more than most requires you to be open-minded, because, for the greater part, the prevailing atmosphere is one of awe and wonder]. In terms of coincidences, yes, there are some, but I have never understood why this bothers readers as much as does. Life is full of coincidences, so it I not as though we have no experience of them ourselves. Besides, I would argue that, flawed or not, the plot is tremendously gripping and moving.
Superficially, Le Grand Meaulnes is a kind of fast-paced mystery novel. As noted, Augustin one day leaves to pick up Francois鈥� Grandparents, but he fails to meet them, and doesn鈥檛 come back for three days. When he does return, he fails to provide an explanation, seems distracted and aloof, and appears to be working on some sort of map. Naturally, if one has not read the book before, all of this is intriguing. Where has Meaulnes been? What is the map for? What happened to him? Whatever the boy experienced clearly had a profound effect upon him and one is eager for an explanation. [Furthermore, even once the cat is out of the bag, so to speak, there continues to be twists and surprises, such as the identity of the gypsy boy, and the nature of the relationship between Frantz, Valentine and Meaulnes].
One is always told to avoid spoilers in one鈥檚 reviews, but, as far as I am concerned, this is absurd, that any review that avoids spoilers isn鈥檛 actually worth reading because it cannot have engaged with the book in any meaningful way. With that said, I have no qualms about revealing that when Meaulnes leaves with the horse and carriage to pick up Francois鈥� Grandparents he gets lost and eventually comes upon a remote house, where a fete is taking place. He infiltrates the party and subsequently meets a beautiful girl, Yvonne. Now, what is so brilliant about this idea is that, for a novel about adolescence and adolescents, it actually taps into so many popular, seemingly immortal and universal, aspects of adolescent fantasy, such as the idea of getting lost, the prospect of discovering some magical place hitherto unknown, the opportunity to pretend to be someone other than yourself and, in the process, meeting a beautiful girl [or boy, depending on your preference, of course] with whom you fall in love.
However, to give the impression that Le Grand Meaulnes is nothing more than a kind of teenage fantasy or fairy-tale, or even a pacey mystery, is to undersell it. What elevates it to the level of a masterpiece is that it is, much like Adolfo Bioy Casares鈥� The Invention of Morel, a perfect synthesis of gripping plot and philosophy, adventure and romance and ideas; it is, despite its apparently simple characters and whimsical story, a sneakily complex little novel. It is important to remember that Francois, from some distance in years, in narrating the tale, is, with fondness and some sorrow, looking back to his own childhood. Le Grand Meaulnes is, then, like Marcel Proust鈥檚 opus, on one level about memory, about how we remember important events or periods in our lives. Indeed, he admits within the first couple of pages that his memories are somewhat confused or have, in a way, merged, so that what may have been numerous days or experiences seem like, have become, only one.
I think this is subtly profound writing, because it is exactly how memory works 鈥� memories do not come to you in a linear fashion, as a straightforward or precise narrative; days do not follow in sequence; and so what you remember is likely to be an amalgamation of various memories or days. If you try to picture an event, let鈥檚 say your first day at school, certain aspects may be as it was then 鈥� that it was a Monday, say 鈥� but it is also likely that you will misremember or confuse certain details, that, for example, you will recall the walls of the classroom being grey when they were actually cream, that it was, in fact, the walls of a different classroom, years later, that were grey. Moreover, one sometimes cannot help but place important people in places where they cannot have been, or one feels their presence hanging over certain incidents that they were not part of. On this, perhaps my favourite passage in the book is when Francois tries to conjure up the first night in the new house in Sainte-Agathe, and sees Meaulnes鈥� tall shadow moving across the wall, to and fro, 鈥榬estless and friendly,鈥� even though it would be ten years before they would actually meet.
As one progresses through the novel one comes to realise that there is a satisfying mirroring going on vis-脿-vis Meaulnes and Francois, that while one is trying to go back to the place where he met Yvonne, the other is trying to go back in his memories [in fact, both could be said to be going back in their heads]. Bearing this in mind, one could see the lost domain as not only a real, physical place, but as childhood itself. This is given further weight when one considers that the domain was characterised by a kind of gaiety or freedom, and was full of children who, on at least one of the days, were in sole charge. Throughout the book both the older Francois and the young Meaulnes are trying to recapture something ephemeral, something that therefore cannot be recaptured.
One might argue that this interpretation overlooks the love relationship between Meaulnes and Yvonne, that it was her who he was desperate to reclaim or rediscover, not some mythical idea of childhood, but I don鈥檛 see that. It is telling, for me, that Meaulnes, once he and Yvonne are reunited, feels deflated or disappointed and actually leaves at the first opportunity. Of course, his leaving is explained as being part of some promise or pact, but Isn鈥檛 it really the case that Meaulnes was more in love with the idea of Yvonne and the lost domain, than with the real woman and the real place? Let鈥檚 face it, he did not have to abandon her; he had a choice and he chose to go, to follow the dream rather than live with reality. To return to Nicole and my introduction, like me it was not the woman that he wanted, but how she made him feel, what she was part of.
*For anyone interested in my story, I never saw Nicole again, but I think I may one day have stumbled upon the stone arena, which, if I am correct, is part of a large park or botanical garden that is roughly ten minutes walk from the club. It does not, except in the most vague or rudimentary fashion, align with my memory of it.
As the night wore on we danced and we chatted and we kissed; and when the club closed we set out on a walk, with Nicole in the lead. I know my home city well, but being drunk, with my attention elsewhere, I had no real idea how we came to be in the place where we ended up. As I remember it now, and as I remembered it the next day, it resembled some kind of stone arena, with high walls, and lights all around, some of them hanging from trees. Of course I doubt this was the case, but that is what I see when I cast back into the past to try and dredge up that night. I don鈥檛 know exactly how long we were there; it felt like hours, but it could only have been thirty minutes or so.
In any case, before Nicole and I parted, she asked for my telephone number. Unfortunately, I did not know it by heart [I still don鈥檛] and I have never carried my mobile with me on nights out. 鈥楾ell me your number,鈥� I said, gallantly, 鈥榓nd I鈥檒l remember it.鈥� Foolish boy! Of course, when I woke up the next day the number was entirely lost to me; it was as much an irretrievable part of the night as the kisses and the fantastic stone arena had been. Yet I didn鈥檛 initially let it bother me too much, being used to hooking up in clubs and also being of the belief that I would sooner or later bump into her again.
However, over the following months, even though I frequented various clubs in the city, including the one in which we had met, and although I kept something of an eye out for her, I found no trace of Nicole, by which I mean that she never herself turned up, and nor did any of the people I had seen her with that night. The longer this continued, the more interested I became in the situation, the more mental energy I devoted to it. Who is this girl, I thought to myself, whose life briefly merged with mine only to suddenly disappear? At the end of each night I would leave the club and go in search of the arena, hoping that being in the same state [i.e. very drunk] would somehow jog my memory and lead me there. By this stage, the whole incident had taken on the qualities of a dream 鈥� I felt as though I was searching for someone and a place, for reasons I couldn鈥檛 quite articulate to myself, which had, in fact, never existed anywhere except in my imagination.
Now when I think back to that time and wonder why I so wanted to see Nicole again it strikes me that it wasn鈥檛 the girl herself that I was chasing, that I was looking for, but a part of myself, the part that had only been possible when I was with this particular girl in that extraordinary place; I found it hard to let that go.* This is not, of course, unique to me; many of us want to reclaim or relive our pasts, many of us hanker nostalgically after certain experiences, and this, at least partly, is what Le Grand Meaulnes, Alain-Fournier鈥檚 beautiful French novel, is about.
Le Grand Meaulnes begins with the arrival of a young boy, Francois Seurel, in Sainte-Agathe. He is accompanied by his father, a teacher, and his mother, who he describes as the 鈥榯he most meticulous housewife ever known.鈥� It is, then, made immediately clear that Francois鈥� home-life is rather conventional, and, well, perhaps a little boring. Moreover, the boy himself is both 鈥榯imid鈥� and, due to a problem with his knee, 鈥榳eak,鈥� and so does not, or cannot, play with other children. Then one day Augustin Meaulnes 鈥� who is, of course, the great or grand Meaulnes of the title 鈥� enters his life. The circumstances behind their first meeting are significant: it is a Sunday, a day traditionally of rest, the dullest of dull days, when one would not expect anything exciting to happen. However, when Francois returns from church he finds a woman gazing through the window of his house. It turns out that she has 鈥榣ost鈥� her boy, who is, well, I think you鈥檝e probably worked that out already.
It was clever on Alain-Fournier鈥檚 part to introduce Meaulnes in this way, not with his presence, but by the absence of it, thereby revealing an important, or the defining aspect of his behaviour or character without him even being 鈥榦n stage.鈥� Having given his mother the slip one understands straight away that this is an adventuresome boy, who does things his own way, who is, in contrast to Francois, unconventional. Indeed, his physical entrance into the novel confirms this impression, as he comes down the Seurel鈥檚 stairs to announce that he has been rooting around in their attic, quite without permission of course, and has found some unused fireworks. He then takes Francois outside and sets them off. This is, in effect, the symbolic and literal start of a more exciting existence for Francois.
In order to be able to enjoy Le Grand Meaulnes one must accept its limitations. There is, for example, no character depth; everyone is 鈥榦ne dimensional,鈥� is, essentially, a symbol, or a type, of one sort or another. Meaulnes is shown in the beginning to be adventurous and brave and independent, and that is how he remains; all of his actions 鈥� like taking Fromentin鈥檚 horse and cart on a long drive in order to pick up Francois鈥� Grandparents 鈥� are further proof of these qualities. Francois does not develop either; sure, he gets into more scrapes than he would have done without Meaulnes鈥� friendship, but he does not take a very active part in them; he is, in effect, an observer or bystander or, at best, a sidekick. Indeed, no one behaves in a way that would surprise you, and no one鈥檚 thought processes, aside from the narrator鈥檚, are engaged with; all of the characters are straight forward and predictable [even Meaulnes, whose unpredictability is itself predictable].
I also ought to mention that the plot is often derided as unbelievable and silly and too reliant upon coincidences, particularly in the second half. Responding to these specific criticisms is difficult, because silly and unbelievable are subjective terms. All I can say in that regard is that I don鈥檛 agree or that all literature is unbelievable if you bring a cynical attitude to it [and this book more than most requires you to be open-minded, because, for the greater part, the prevailing atmosphere is one of awe and wonder]. In terms of coincidences, yes, there are some, but I have never understood why this bothers readers as much as does. Life is full of coincidences, so it I not as though we have no experience of them ourselves. Besides, I would argue that, flawed or not, the plot is tremendously gripping and moving.
Superficially, Le Grand Meaulnes is a kind of fast-paced mystery novel. As noted, Augustin one day leaves to pick up Francois鈥� Grandparents, but he fails to meet them, and doesn鈥檛 come back for three days. When he does return, he fails to provide an explanation, seems distracted and aloof, and appears to be working on some sort of map. Naturally, if one has not read the book before, all of this is intriguing. Where has Meaulnes been? What is the map for? What happened to him? Whatever the boy experienced clearly had a profound effect upon him and one is eager for an explanation. [Furthermore, even once the cat is out of the bag, so to speak, there continues to be twists and surprises, such as the identity of the gypsy boy, and the nature of the relationship between Frantz, Valentine and Meaulnes].
One is always told to avoid spoilers in one鈥檚 reviews, but, as far as I am concerned, this is absurd, that any review that avoids spoilers isn鈥檛 actually worth reading because it cannot have engaged with the book in any meaningful way. With that said, I have no qualms about revealing that when Meaulnes leaves with the horse and carriage to pick up Francois鈥� Grandparents he gets lost and eventually comes upon a remote house, where a fete is taking place. He infiltrates the party and subsequently meets a beautiful girl, Yvonne. Now, what is so brilliant about this idea is that, for a novel about adolescence and adolescents, it actually taps into so many popular, seemingly immortal and universal, aspects of adolescent fantasy, such as the idea of getting lost, the prospect of discovering some magical place hitherto unknown, the opportunity to pretend to be someone other than yourself and, in the process, meeting a beautiful girl [or boy, depending on your preference, of course] with whom you fall in love.
However, to give the impression that Le Grand Meaulnes is nothing more than a kind of teenage fantasy or fairy-tale, or even a pacey mystery, is to undersell it. What elevates it to the level of a masterpiece is that it is, much like Adolfo Bioy Casares鈥� The Invention of Morel, a perfect synthesis of gripping plot and philosophy, adventure and romance and ideas; it is, despite its apparently simple characters and whimsical story, a sneakily complex little novel. It is important to remember that Francois, from some distance in years, in narrating the tale, is, with fondness and some sorrow, looking back to his own childhood. Le Grand Meaulnes is, then, like Marcel Proust鈥檚 opus, on one level about memory, about how we remember important events or periods in our lives. Indeed, he admits within the first couple of pages that his memories are somewhat confused or have, in a way, merged, so that what may have been numerous days or experiences seem like, have become, only one.
I think this is subtly profound writing, because it is exactly how memory works 鈥� memories do not come to you in a linear fashion, as a straightforward or precise narrative; days do not follow in sequence; and so what you remember is likely to be an amalgamation of various memories or days. If you try to picture an event, let鈥檚 say your first day at school, certain aspects may be as it was then 鈥� that it was a Monday, say 鈥� but it is also likely that you will misremember or confuse certain details, that, for example, you will recall the walls of the classroom being grey when they were actually cream, that it was, in fact, the walls of a different classroom, years later, that were grey. Moreover, one sometimes cannot help but place important people in places where they cannot have been, or one feels their presence hanging over certain incidents that they were not part of. On this, perhaps my favourite passage in the book is when Francois tries to conjure up the first night in the new house in Sainte-Agathe, and sees Meaulnes鈥� tall shadow moving across the wall, to and fro, 鈥榬estless and friendly,鈥� even though it would be ten years before they would actually meet.
As one progresses through the novel one comes to realise that there is a satisfying mirroring going on vis-脿-vis Meaulnes and Francois, that while one is trying to go back to the place where he met Yvonne, the other is trying to go back in his memories [in fact, both could be said to be going back in their heads]. Bearing this in mind, one could see the lost domain as not only a real, physical place, but as childhood itself. This is given further weight when one considers that the domain was characterised by a kind of gaiety or freedom, and was full of children who, on at least one of the days, were in sole charge. Throughout the book both the older Francois and the young Meaulnes are trying to recapture something ephemeral, something that therefore cannot be recaptured.
"Weeks went by, then months. I am speaking of a far-away time - a vanished happiness. It fell to me to befriend, to console with whatever words I could find, one who had been the fairy, the princess, the mysterious love-dream of our adolescence."
"I'm sure now that when I discovered the nameless domain I was at some peak of perfection, of purity, to which I shall never again attain."
One might argue that this interpretation overlooks the love relationship between Meaulnes and Yvonne, that it was her who he was desperate to reclaim or rediscover, not some mythical idea of childhood, but I don鈥檛 see that. It is telling, for me, that Meaulnes, once he and Yvonne are reunited, feels deflated or disappointed and actually leaves at the first opportunity. Of course, his leaving is explained as being part of some promise or pact, but Isn鈥檛 it really the case that Meaulnes was more in love with the idea of Yvonne and the lost domain, than with the real woman and the real place? Let鈥檚 face it, he did not have to abandon her; he had a choice and he chose to go, to follow the dream rather than live with reality. To return to Nicole and my introduction, like me it was not the woman that he wanted, but how she made him feel, what she was part of.
*For anyone interested in my story, I never saw Nicole again, but I think I may one day have stumbled upon the stone arena, which, if I am correct, is part of a large park or botanical garden that is roughly ten minutes walk from the club. It does not, except in the most vague or rudimentary fashion, align with my memory of it.
September 21, 2010
Dear Henri Alain-Fournier,
Some people claim you had great talent as a novelist. Many more would claim I don't. Is it fair that you died in World War I while I live, free to write this review and feeling like I'm having a bad morning because I didn't have all the usual ingredients for my breakfast shake? Your remains weren't identified until 1991, true, but do you know that without yogurt, steel cut oatmeal, goji berries and banana congeal like pond scum when blended with almond milk? I guess in a way translated works of fiction are like that, lacking an ingredient. Not really fair of me to judge you then, is it? And on top of that, I read somewhere that the Robin Buss translation I have isn't the best.
I don't know. Maybe I've been prejudiced against anything French because there's been a creepy mime wandering around the farmers' market on Saturdays. With the summer heat, its face make-up starts to melt and peel and it scares my kid and me. Or maybe, having discovered Woody Allen before James Dean, it's because I'm sentimental for my own sort of coming-of-age story. But the truth is, I found your novel sappy. Sappy to the nth degree.
"And that evening, sobbing, he asked Mademoiselle de Galais for her hand in marriage."
Barf.
Some folks describe it as dream-like. Well, I'll meet them halfway and say that it is conducive to a dream-like state, in as much as I found myself wanting to fall asleep as I read it. God! Germany probably invaded France so often to keep from nodding off. Can you blame them? They had all those big philosophical treatises to write, but then kept getting distracted by the latest Twilight prequel. And they would've even read it in the original French because all you Continentals speak five languages!
I tried to make excuses for you, thinking, "Look at it this way: it's a parable for post-colonial France. They were just coming off that Napoleonic high and had to simultaneously deal with the onset of modernity. It's a simple case of British/penis envy." But even my credulity can only stretch so far.
Goodbye, Alain-Fournier. Sorry your life was cut short by one of history's celebrated mistakes. Maybe this book will mean something to somebody else. It's going to have the opportunity, because I'm donating it to my library.
Some people claim you had great talent as a novelist. Many more would claim I don't. Is it fair that you died in World War I while I live, free to write this review and feeling like I'm having a bad morning because I didn't have all the usual ingredients for my breakfast shake? Your remains weren't identified until 1991, true, but do you know that without yogurt, steel cut oatmeal, goji berries and banana congeal like pond scum when blended with almond milk? I guess in a way translated works of fiction are like that, lacking an ingredient. Not really fair of me to judge you then, is it? And on top of that, I read somewhere that the Robin Buss translation I have isn't the best.
I don't know. Maybe I've been prejudiced against anything French because there's been a creepy mime wandering around the farmers' market on Saturdays. With the summer heat, its face make-up starts to melt and peel and it scares my kid and me. Or maybe, having discovered Woody Allen before James Dean, it's because I'm sentimental for my own sort of coming-of-age story. But the truth is, I found your novel sappy. Sappy to the nth degree.
"And that evening, sobbing, he asked Mademoiselle de Galais for her hand in marriage."
Barf.
Some folks describe it as dream-like. Well, I'll meet them halfway and say that it is conducive to a dream-like state, in as much as I found myself wanting to fall asleep as I read it. God! Germany probably invaded France so often to keep from nodding off. Can you blame them? They had all those big philosophical treatises to write, but then kept getting distracted by the latest Twilight prequel. And they would've even read it in the original French because all you Continentals speak five languages!
I tried to make excuses for you, thinking, "Look at it this way: it's a parable for post-colonial France. They were just coming off that Napoleonic high and had to simultaneously deal with the onset of modernity. It's a simple case of British/penis envy." But even my credulity can only stretch so far.
Goodbye, Alain-Fournier. Sorry your life was cut short by one of history's celebrated mistakes. Maybe this book will mean something to somebody else. It's going to have the opportunity, because I'm donating it to my library.
May 9, 2024
If you want to grab a butterfly's wings, you can reduce its shimmering colors to dust. So I will only touch "Le Grand Meaulnes" for fear of removing the magic.
This remarkable love story and friendship, published in 1913, symbolizes, in my eyes, the passage from adolescence to adulthood, with all the heartbreaks and tragedies that implies. Tragedy crystallized the following year with the author's death, broke on the eve of his 28 years during the first frighteningly deadly battles of the Great War.
I love the romanticism of the characters, the delicate charm of Yvonne de Galais, the excessiveness of her brother Frantz, and the quest for the absolute by Augustin Meaulnes, this heroic double of the wise narrator, Fran莽ois Seurel. Meaulnes' adventure at the strange feast of the Unknown Domain preserves the magic of a dream. And nature, so present in the description of the landscapes of Sologne, is its accomplice.
I open an initiatory novel from time to time to breathe in its pages, which have yellowed with the scent of adolescence. I found a four-leaf clover, now as translucent and light as a butterfly's wing.
This remarkable love story and friendship, published in 1913, symbolizes, in my eyes, the passage from adolescence to adulthood, with all the heartbreaks and tragedies that implies. Tragedy crystallized the following year with the author's death, broke on the eve of his 28 years during the first frighteningly deadly battles of the Great War.
I love the romanticism of the characters, the delicate charm of Yvonne de Galais, the excessiveness of her brother Frantz, and the quest for the absolute by Augustin Meaulnes, this heroic double of the wise narrator, Fran莽ois Seurel. Meaulnes' adventure at the strange feast of the Unknown Domain preserves the magic of a dream. And nature, so present in the description of the landscapes of Sologne, is its accomplice.
I open an initiatory novel from time to time to breathe in its pages, which have yellowed with the scent of adolescence. I found a four-leaf clover, now as translucent and light as a butterfly's wing.
February 19, 2019
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丿丕爻鬲丕賳 卮乇賵毓蹖 賳賵爻鬲丕賱跇蹖讴 丿丕卮鬲 賵 丕夭 賴賲丕賳 趩賳丿 爻胤乇 丕亘鬲丿丕蹖蹖 賲乇丕 賲爻丨賵乇 禺賵丿卮 讴乇丿: 乇丕賵蹖鈥� (爻賵乇賱) 丿丕爻鬲丕賳蹖 賲乇亘賵胤 亘賴 爻丕賱鈥屬囏� 倬蹖卮 乇丕 乇賵丕蹖鬲 賲蹖鈥屭┵嗀� 賵 亘賵蹖 丨爻乇鬲 賵 乇賵夭賴丕蹖 丕夭 丿爻鬲 乇賮鬲賴 丕夭 丌賳 亘賴 賲卮丕賲 賲蹖鈥屫必池�. 丿乇 丌睾丕夭 蹖讴 賮賱卮鈥屫ㄚ� 亘賴 倬丕賳夭丿賴 爻丕賱 倬蹖卮 賵 丨丕賱丕 乇丕賵蹖 賳丕诏賴丕賳 丿丕賳卮鈥屫з呝堌� 蹖讴 賲丿乇爻賴 丿乇 乇賵爻鬲丕蹖蹖 倬乇鬲 丕爻鬲. 丿乇 丕丿丕賲賴 亘丕 賵丕乇丿 卮丿賳 卮禺氐蹖鬲 賲賵賳 亘夭乇诏賴 賵 亘乇賯乇丕乇 蹖蹖賵賳丿 丿賵爻鬲蹖 賲蹖丕賳 丕賵 賵 爻賵乇賱貙 丿丕爻鬲丕賳 禺卮鬲 亘賴 禺卮鬲 倬乇 賵 亘丕賱 賲蹖鈥屭屫必� 賵 丕蹖賳 丿乇 讴賳丕乇 鬲賵氐蹖賮 丿賯蹖賯 賵 夭蹖亘丕蹖 乇丕賵蹖 丕夭 賲丨蹖胤 乇賵爻鬲丕蹖蹖 貙丕鬲賲爻賮乇 賲賴鈥屫①勝堌� 丿丕爻鬲丕賳 讴賴 鬲丕 倬丕蹖丕賳 賮氐賱 丿賵 賱丨馗賴 亘賴 賱丨馗賴 亘乇 睾賱馗鬲卮 丕賮夭賵丿賴 賲蹖鈥屫簇� 亘丕毓孬 賲蹖鈥屫促堌� 爻丕丿賴鈥屫臂屬� 賵賯丕蹖毓 丿丕爻鬲丕賳 丨丕賱鬲蹖 乇丕夭丌賱賵丿 賵 爻賵乇卅丕賱 倬蹖丿丕 讴賳賳丿 賵 丕賱亘鬲賴 丕蹖賳 乇丕夭丌賱賵丿蹖 亘夭乇诏鈥屫臂屬� 賳賯胤賴 賯賵鬲 丿丕爻鬲丕賳 丕爻鬲: 賴乇賱丨馗賴 亘乇 毓胤卮 讴賳噩讴丕賵蹖 禺賵丕賳賳丿賴 賲蹖鈥屫з佖藏й屫� 賵賱蹖讴賳 爻蹖乇丕亘 賳蹖! 鬲賲丕賲 賵賯丕蹖毓 丿丕爻鬲丕賳 丨賵賱 蹖讴 丕鬲賮丕賯 賲蹖鈥屭嗀必�: 賲賵賳 丿乇 丨蹖賳 蹖讴 賲丕噩乇丕噩賵蹖蹖 亘賴 胤賵乇 丕鬲賮丕賯蹖 丿乇 囟蹖丕賮鬲蹖 丿乇 蹖讴 讴賵卮讴 亘賴鈥屫肛з囏� 丕爻乇丕乇鈥屫①呟屫� 卮乇讴鬲 賲蹖鈥屫堐屫� 丕夭 丕蹖賳 倬爻 鬲丕 倬丕蹖丕賳 賲丕噩乇丕 丕賵 鬲丨鬲 鬲丕孬蹖乇 丕蹖賳 鬲噩乇亘賴 賯乇丕乇 賲蹖鈥屭屫必�. 丿乇 賵丕賯毓 鬲賲丕賲 倬蹖鈥屫辟嗂� 丿丕爻鬲丕賳 丿乇 丕蹖賳 賲丕噩乇丕 賳賴賮鬲賴 丕爻鬲: 丌丿賲蹖 蹖讴 亘丕乇貙 亘賴 胤乇賮丞鈥屫з勜观屬嗃� 禺賵卮亘禺鬲蹖 乇丕 鬲噩乇亘賴 賲蹖鈥屭┵嗀� 賵 趩賵賳 丌賳 賱丨馗賴 诏匕卮鬲貙 丿诏乇亘丕乇 亘丕夭卮 賳賲蹖鈥屰屫жㄘ�. 丕蹖賳 丿丕爻鬲丕賳賽 爻賴 亘禺卮蹖 丿乇 賳诏丕賴 丕賵賱 賲賲讴賳 丕爻鬲 禺爻鬲賴鈥屭┵嗁嗀� 蹖丕 亘蹖鈥屬呚操� 亘賳馗乇 亘乇爻丿貙 丕賲丕 禺賵丕賳賳丿賴 亘丕蹖丿 亘賴 丿丕爻鬲丕賳 賮乇氐鬲 讴丕賮蹖 丿賴丿 賵 丿乇 丌禺乇 賴賲 賯胤毓丕 倬丕丿丕卮 丕蹖賳 氐亘賵乇蹖 乇丕 禺賵丕賴丿 诏乇賮鬲
亘乇丕蹖 丿乇讴 賴乇趩賴 亘蹖卮鬲乇 倬蹖丕賲 賲賵賳 亘夭乇诏貙 亘丕蹖丿 賳诏丕賴蹖 亘賴 夭賳丿诏蹖 賳賵蹖爻賳丿賴 丕賳丿丕禺鬲 賵 丕夭 丕乇鬲亘丕胤卮 亘丕 噩夭卅蹖丕鬲 丿丕爻鬲丕賳 倬乇丿賴 亘乇丿丕乇蹖 讴乇丿. 倬丿乇 賵 賲丕丿乇 賮賵乇賳蹖賴 賲毓賱賲 亘賵丿賳丿 賵 丕賵 讴賵丿讴蹖 乇丕 丿乇 賲丨蹖胤蹖 乇賵爻鬲丕蹖蹖 诏匕乇丕賳丿賴 (倬丿乇 乇丕賵蹖 爻賵乇賱 賴賲 賲毓賱賲 丕爻鬲 賵 亘爻鬲乇 賲讴丕賳蹖 丿丕爻鬲丕賳 鬲賲丕賲丕 丿乇 乇賵爻鬲丕爻鬲). 丿乇 賳賵噩賵丕賳蹖 亘乇丕蹖 丕丿丕賲賴 鬲丨氐蹖賱 亘賴 倬丕乇蹖爻 賮乇爻鬲丕丿賴 卮丿 (亘禺卮蹖 丕夭 賲丕噩乇丕蹖 賲賵賳 賳賵噩賵丕賳 丿乇 倬丕乇蹖爻 賲蹖 诏匕乇丿) 賵 丿乇 丌賳噩丕 丿乇 蹖讴 賳诏丕賴 毓丕卮賯 賲丕丿賲丕夭賱 丿蹖讴蹖賵 卮丿 (毓卮賯 賲賵賳 亘賴 賲丕丿賲丕夭賱 丕蹖賵賳 丿乇 蹖讴 賳诏丕賴)貙 丕賲丕 毓卮賯卮 亘賴 爻乇丕賳噩丕賲 賳賲蹖鈥屫必池� 賵 丕夭 丕蹖賳 倬爻 鬲丕 倬丕蹖丕賳 毓賲乇 讴賵鬲丕賴卮 丿乇 噩爻鬲噩賵蹖 禺賵卮亘禺鬲蹖 丿爻鬲 賵 倬丕 賲蹖鈥屫操嗀� (賲賵賳 丿乇 乇賵夭 賳禺爻鬲 丕夭丿賵丕噩 亘丕 丕蹖賵賳貙 丕蹖賳 丨噩賲 禺賵卮亘禺鬲蹖 乇丕 亘乇賳賲蹖鈥屫жㄘ� 賵 亘賴 爻賮乇蹖 亘蹖鈥屫ㄘж糙簇� 賲蹖鈥屫辟堌�). 賮賵乇賳蹖賴 丿乇 爻丕賱 1914貙 蹖讴 爻丕賱 亘毓丿 丕夭 賳诏丕乇卮 乇賲丕賳 賲賵賳 亘夭乇诏 丿乇 噩亘賴賴 噩賳诏 讴卮鬲賴 賵 噩賳丕夭賴鈥屫ж� 亘乇丕蹖 賴賲蹖卮賴 賳丕倬丿蹖丿 賲蹖鈥屫促堌�. 卮丕蹖毓賴鈥屫й� 讴賴 丿乇 賲賵乇丿 賳丨賵賴 賲乇诏 丕诏夭賵倬乇蹖 诏賮鬲賴 丕賳丿貙 爻乇丕賳噩丕賲 賵丕賯毓蹖 夭賳丿诏蹖 丌賱賳 賮賵乇賳蹖賴 丕爻鬲
讴丕乇丕讴鬲乇 乇丕賵蹖 賵 賲賵賳 丿乇 丕蹖賳 讴鬲丕亘 卮亘丕賴鬲 亘爻蹖丕乇蹖 亘賴 讴丕乇丕讴鬲乇 乇丕賵蹖 賵 亘丕乇賵賳 丿乇 亘丕乇賵賳 丿乇禺鬲 賳卮蹖賳 讴丕賱賵蹖賳賵 丿丕乇賳丿. 丿乇 賴乇 丿賵 讴鬲丕亘 丌賳讴賴 賲丕賳丿賴 賵 賵賯丕蹖毓 乇丕 乇賵丕蹖鬲 賲蹖鈥屭┵嗀� 亘乇丕丿乇蹖 讴賵趩讴 賵 賲胤蹖毓 丕爻鬲 賵 丌賳讴賴 胤睾蹖丕賳 讴乇丿賴 賵 丕夭 丿爻鬲 乇賮鬲賴貙 亘乇丕丿乇 亘夭乇诏鈥屫�. 賳丕诏賮鬲賴 賳賲丕賳丿 讴賴 亘賳馗乇 賲蹖鈥屫必池� 鬲賲丕賲 讴丕乇丕讴鬲乇鈥屬囏й� 丕蹖賳 讴鬲丕亘貙 賳賴 爻丕禺鬲賴 賵 倬乇丿丕禺鬲賴鈥屰� 賳賵蹖爻賳丿賴 蹖丕 賳鬲蹖噩賴 賳亘賵睾 丕賵貙 亘賱讴賴 亘禺卮蹖 丕夭 卮禺氐蹖鬲 賵 毓賵丕胤賮 丕賵 亘丕卮賳丿. 賮賵乇賳蹖賴 诏丕賴蹖 丿乇 爻賵乇賱 丨賱賵賱 賲蹖鈥屭┵嗀� 賵 诏丕賴蹖 丿乇 賲賵賳 亘夭乇诏貙 诏丕賴蹖 丿乇 賮乇丕賳鬲爻 賵 诏丕賴蹖 丿乇 丕蹖賵賳. 丿乇 賲蹖丕賳 讴丕乇丕讴鬲乇鈥屬囏� 賲賵賳貙 賮乇丕賳鬲爻 賵 丕蹖賵賳 亘蹖卮鬲乇蹖賳 卮亘丕賴鬲 乇丕 亘賴鈥屬囐� 丿丕乇賳丿貙 賴乇 爻賴 丿乇 亘乇夭禺 賲蹖丕賳 丿賳蹖丕蹖 乇卅丕賱 賵 丿賳蹖丕蹖 爻賵乇卅丕賱 丕爻蹖乇賳丿貙 噩丕蹖蹖 亘蹖賳 禺賵丕亘 賵 亘蹖丿丕乇蹖貙 乇賵蹖丕 賵 賵丕賯毓蹖鬲貙 丿賳蹖丕蹖 亘蹖鈥屫必� 賵 爻乇夭賲蹖賳 毓噩丕蹖亘. 趩賳丕賳讴賴 禺賵丿 賮賵乇賳蹖賴 賴賲 丿乇 賴賳诏丕賲 賳賵卮鬲賳 丕蹖賳 乇賲丕賳 賴賳賵夭 丕爻蹖乇 丿賳蹖丕蹖 禺蹖丕賱鈥屫з嗂屫� 讴賵丿讴蹖 禺賵丿 丕爻鬲. 賮賵乇蹖賴 亘丕 賲乇诏 亘賴 乇爻鬲诏丕乇蹖 丕夭 丕蹖賳 丕蹖賳 亘乇夭禺 丿賳蹖丕蹖 賲蹖丕賳賴 乇爻蹖丿貙 賲丕賳賳丿 卮禺氐蹖鬲鈥屬囏й� 丿丕爻鬲丕賳卮 讴賴 丌賳 賴丕 賴賲 賴乇 讴丿丕賲 亘賴鈥屬嗀堐� 亘丕 爻賮乇 亘賴 蹖讴 爻賵蹖 丕蹖賳 亘乇夭禺 乇爻鬲诏丕乇 賲蹖鈥屫促堎嗀�
丌賳趩賴 丿丕爻鬲丕賳 乇丕 亘爻蹖丕乇 丿賵爻鬲 丿丕卮鬲賳蹖 賲蹖鈥屭┵嗀� 噩賳亘賴鈥屰� 賳賵爻鬲丕賱跇蹖讴 賵 亘賴 鬲氐賵蹖乇 讴卮蹖丿賳 丕丨爻丕爻丕鬲 賵 鬲賮讴乇丕鬲 丿賳蹖丕蹖 讴賵丿讴蹖鈥屬囏й屬呚з� 丕爻鬲貙 賲卮鬲乇讴 賲蹖丕賳 賴賲賴鈥屰� 丌賳鈥屬囏� 讴賴 讴賵丿讴蹖 讴乇丿賴鈥屫з嗀� 賲毓氐賵賲蹖鬲蹖 丕夭 丿爻鬲 乇賮鬲賴 賲鬲毓賱賯 亘賴 丿賳蹖丕蹖蹖 丿賵乇 賵 丿蹖诏乇 賳丕賲賵噩賵丿
倬蹖鈥属嗁堌簇�: 賲賵賳 亘夭乇诏 蹖讴 丿丕爻鬲丕賳 讴賱丕爻蹖讴 賳蹖爻鬲! 丿丕爻鬲丕賳 鬲賳賴丕 丿乇 賲毓賳丕蹖 毓丕賲 蹖讴 丕孬乇 讴賱丕爻蹖讴 (丕孬乇 賮丕禺乇 賲賱蹖) 賮乇丕賳爻賵蹖 賲丨爻賵亘 賲蹖鈥屫促堌� 賵诏乇賳賴 丕蹖賳 丕孬乇 乇丕 賲蹖鈥屫堌з� 亘賴 氐乇丕丨鬲 丿乇 噩乇诏賴 丌孬丕乇 乇賲丕賳鬲蹖讴 (賴賲乇丕賴 亘丕 丕賱賲丕賳鈥屬囏й� 乇卅丕賱蹖爻鬲蹖) 丿爻鬲賴鈥屫ㄙ嗀� 讴乇丿貙 蹖讴 賮丕賳鬲夭蹖 乇賲丕賳鬲蹖讴 丿乇 卮賲丕蹖賱 蹖讴 丿丕爻鬲丕賳 乇卅丕賱
丿丕爻鬲丕賳 卮乇賵毓蹖 賳賵爻鬲丕賱跇蹖讴 丿丕卮鬲 賵 丕夭 賴賲丕賳 趩賳丿 爻胤乇 丕亘鬲丿丕蹖蹖 賲乇丕 賲爻丨賵乇 禺賵丿卮 讴乇丿: 乇丕賵蹖鈥� (爻賵乇賱) 丿丕爻鬲丕賳蹖 賲乇亘賵胤 亘賴 爻丕賱鈥屬囏� 倬蹖卮 乇丕 乇賵丕蹖鬲 賲蹖鈥屭┵嗀� 賵 亘賵蹖 丨爻乇鬲 賵 乇賵夭賴丕蹖 丕夭 丿爻鬲 乇賮鬲賴 丕夭 丌賳 亘賴 賲卮丕賲 賲蹖鈥屫必池�. 丿乇 丌睾丕夭 蹖讴 賮賱卮鈥屫ㄚ� 亘賴 倬丕賳夭丿賴 爻丕賱 倬蹖卮 賵 丨丕賱丕 乇丕賵蹖 賳丕诏賴丕賳 丿丕賳卮鈥屫з呝堌� 蹖讴 賲丿乇爻賴 丿乇 乇賵爻鬲丕蹖蹖 倬乇鬲 丕爻鬲. 丿乇 丕丿丕賲賴 亘丕 賵丕乇丿 卮丿賳 卮禺氐蹖鬲 賲賵賳 亘夭乇诏賴 賵 亘乇賯乇丕乇 蹖蹖賵賳丿 丿賵爻鬲蹖 賲蹖丕賳 丕賵 賵 爻賵乇賱貙 丿丕爻鬲丕賳 禺卮鬲 亘賴 禺卮鬲 倬乇 賵 亘丕賱 賲蹖鈥屭屫必� 賵 丕蹖賳 丿乇 讴賳丕乇 鬲賵氐蹖賮 丿賯蹖賯 賵 夭蹖亘丕蹖 乇丕賵蹖 丕夭 賲丨蹖胤 乇賵爻鬲丕蹖蹖 貙丕鬲賲爻賮乇 賲賴鈥屫①勝堌� 丿丕爻鬲丕賳 讴賴 鬲丕 倬丕蹖丕賳 賮氐賱 丿賵 賱丨馗賴 亘賴 賱丨馗賴 亘乇 睾賱馗鬲卮 丕賮夭賵丿賴 賲蹖鈥屫簇� 亘丕毓孬 賲蹖鈥屫促堌� 爻丕丿賴鈥屫臂屬� 賵賯丕蹖毓 丿丕爻鬲丕賳 丨丕賱鬲蹖 乇丕夭丌賱賵丿 賵 爻賵乇卅丕賱 倬蹖丿丕 讴賳賳丿 賵 丕賱亘鬲賴 丕蹖賳 乇丕夭丌賱賵丿蹖 亘夭乇诏鈥屫臂屬� 賳賯胤賴 賯賵鬲 丿丕爻鬲丕賳 丕爻鬲: 賴乇賱丨馗賴 亘乇 毓胤卮 讴賳噩讴丕賵蹖 禺賵丕賳賳丿賴 賲蹖鈥屫з佖藏й屫� 賵賱蹖讴賳 爻蹖乇丕亘 賳蹖! 鬲賲丕賲 賵賯丕蹖毓 丿丕爻鬲丕賳 丨賵賱 蹖讴 丕鬲賮丕賯 賲蹖鈥屭嗀必�: 賲賵賳 丿乇 丨蹖賳 蹖讴 賲丕噩乇丕噩賵蹖蹖 亘賴 胤賵乇 丕鬲賮丕賯蹖 丿乇 囟蹖丕賮鬲蹖 丿乇 蹖讴 讴賵卮讴 亘賴鈥屫肛з囏� 丕爻乇丕乇鈥屫①呟屫� 卮乇讴鬲 賲蹖鈥屫堐屫� 丕夭 丕蹖賳 倬爻 鬲丕 倬丕蹖丕賳 賲丕噩乇丕 丕賵 鬲丨鬲 鬲丕孬蹖乇 丕蹖賳 鬲噩乇亘賴 賯乇丕乇 賲蹖鈥屭屫必�. 丿乇 賵丕賯毓 鬲賲丕賲 倬蹖鈥屫辟嗂� 丿丕爻鬲丕賳 丿乇 丕蹖賳 賲丕噩乇丕 賳賴賮鬲賴 丕爻鬲: 丌丿賲蹖 蹖讴 亘丕乇貙 亘賴 胤乇賮丞鈥屫з勜观屬嗃� 禺賵卮亘禺鬲蹖 乇丕 鬲噩乇亘賴 賲蹖鈥屭┵嗀� 賵 趩賵賳 丌賳 賱丨馗賴 诏匕卮鬲貙 丿诏乇亘丕乇 亘丕夭卮 賳賲蹖鈥屰屫жㄘ�. 丕蹖賳 丿丕爻鬲丕賳賽 爻賴 亘禺卮蹖 丿乇 賳诏丕賴 丕賵賱 賲賲讴賳 丕爻鬲 禺爻鬲賴鈥屭┵嗁嗀� 蹖丕 亘蹖鈥屬呚操� 亘賳馗乇 亘乇爻丿貙 丕賲丕 禺賵丕賳賳丿賴 亘丕蹖丿 亘賴 丿丕爻鬲丕賳 賮乇氐鬲 讴丕賮蹖 丿賴丿 賵 丿乇 丌禺乇 賴賲 賯胤毓丕 倬丕丿丕卮 丕蹖賳 氐亘賵乇蹖 乇丕 禺賵丕賴丿 诏乇賮鬲
亘乇丕蹖 丿乇讴 賴乇趩賴 亘蹖卮鬲乇 倬蹖丕賲 賲賵賳 亘夭乇诏貙 亘丕蹖丿 賳诏丕賴蹖 亘賴 夭賳丿诏蹖 賳賵蹖爻賳丿賴 丕賳丿丕禺鬲 賵 丕夭 丕乇鬲亘丕胤卮 亘丕 噩夭卅蹖丕鬲 丿丕爻鬲丕賳 倬乇丿賴 亘乇丿丕乇蹖 讴乇丿. 倬丿乇 賵 賲丕丿乇 賮賵乇賳蹖賴 賲毓賱賲 亘賵丿賳丿 賵 丕賵 讴賵丿讴蹖 乇丕 丿乇 賲丨蹖胤蹖 乇賵爻鬲丕蹖蹖 诏匕乇丕賳丿賴 (倬丿乇 乇丕賵蹖 爻賵乇賱 賴賲 賲毓賱賲 丕爻鬲 賵 亘爻鬲乇 賲讴丕賳蹖 丿丕爻鬲丕賳 鬲賲丕賲丕 丿乇 乇賵爻鬲丕爻鬲). 丿乇 賳賵噩賵丕賳蹖 亘乇丕蹖 丕丿丕賲賴 鬲丨氐蹖賱 亘賴 倬丕乇蹖爻 賮乇爻鬲丕丿賴 卮丿 (亘禺卮蹖 丕夭 賲丕噩乇丕蹖 賲賵賳 賳賵噩賵丕賳 丿乇 倬丕乇蹖爻 賲蹖 诏匕乇丿) 賵 丿乇 丌賳噩丕 丿乇 蹖讴 賳诏丕賴 毓丕卮賯 賲丕丿賲丕夭賱 丿蹖讴蹖賵 卮丿 (毓卮賯 賲賵賳 亘賴 賲丕丿賲丕夭賱 丕蹖賵賳 丿乇 蹖讴 賳诏丕賴)貙 丕賲丕 毓卮賯卮 亘賴 爻乇丕賳噩丕賲 賳賲蹖鈥屫必池� 賵 丕夭 丕蹖賳 倬爻 鬲丕 倬丕蹖丕賳 毓賲乇 讴賵鬲丕賴卮 丿乇 噩爻鬲噩賵蹖 禺賵卮亘禺鬲蹖 丿爻鬲 賵 倬丕 賲蹖鈥屫操嗀� (賲賵賳 丿乇 乇賵夭 賳禺爻鬲 丕夭丿賵丕噩 亘丕 丕蹖賵賳貙 丕蹖賳 丨噩賲 禺賵卮亘禺鬲蹖 乇丕 亘乇賳賲蹖鈥屫жㄘ� 賵 亘賴 爻賮乇蹖 亘蹖鈥屫ㄘж糙簇� 賲蹖鈥屫辟堌�). 賮賵乇賳蹖賴 丿乇 爻丕賱 1914貙 蹖讴 爻丕賱 亘毓丿 丕夭 賳诏丕乇卮 乇賲丕賳 賲賵賳 亘夭乇诏 丿乇 噩亘賴賴 噩賳诏 讴卮鬲賴 賵 噩賳丕夭賴鈥屫ж� 亘乇丕蹖 賴賲蹖卮賴 賳丕倬丿蹖丿 賲蹖鈥屫促堌�. 卮丕蹖毓賴鈥屫й� 讴賴 丿乇 賲賵乇丿 賳丨賵賴 賲乇诏 丕诏夭賵倬乇蹖 诏賮鬲賴 丕賳丿貙 爻乇丕賳噩丕賲 賵丕賯毓蹖 夭賳丿诏蹖 丌賱賳 賮賵乇賳蹖賴 丕爻鬲
讴丕乇丕讴鬲乇 乇丕賵蹖 賵 賲賵賳 丿乇 丕蹖賳 讴鬲丕亘 卮亘丕賴鬲 亘爻蹖丕乇蹖 亘賴 讴丕乇丕讴鬲乇 乇丕賵蹖 賵 亘丕乇賵賳 丿乇 亘丕乇賵賳 丿乇禺鬲 賳卮蹖賳 讴丕賱賵蹖賳賵 丿丕乇賳丿. 丿乇 賴乇 丿賵 讴鬲丕亘 丌賳讴賴 賲丕賳丿賴 賵 賵賯丕蹖毓 乇丕 乇賵丕蹖鬲 賲蹖鈥屭┵嗀� 亘乇丕丿乇蹖 讴賵趩讴 賵 賲胤蹖毓 丕爻鬲 賵 丌賳讴賴 胤睾蹖丕賳 讴乇丿賴 賵 丕夭 丿爻鬲 乇賮鬲賴貙 亘乇丕丿乇 亘夭乇诏鈥屫�. 賳丕诏賮鬲賴 賳賲丕賳丿 讴賴 亘賳馗乇 賲蹖鈥屫必池� 鬲賲丕賲 讴丕乇丕讴鬲乇鈥屬囏й� 丕蹖賳 讴鬲丕亘貙 賳賴 爻丕禺鬲賴 賵 倬乇丿丕禺鬲賴鈥屰� 賳賵蹖爻賳丿賴 蹖丕 賳鬲蹖噩賴 賳亘賵睾 丕賵貙 亘賱讴賴 亘禺卮蹖 丕夭 卮禺氐蹖鬲 賵 毓賵丕胤賮 丕賵 亘丕卮賳丿. 賮賵乇賳蹖賴 诏丕賴蹖 丿乇 爻賵乇賱 丨賱賵賱 賲蹖鈥屭┵嗀� 賵 诏丕賴蹖 丿乇 賲賵賳 亘夭乇诏貙 诏丕賴蹖 丿乇 賮乇丕賳鬲爻 賵 诏丕賴蹖 丿乇 丕蹖賵賳. 丿乇 賲蹖丕賳 讴丕乇丕讴鬲乇鈥屬囏� 賲賵賳貙 賮乇丕賳鬲爻 賵 丕蹖賵賳 亘蹖卮鬲乇蹖賳 卮亘丕賴鬲 乇丕 亘賴鈥屬囐� 丿丕乇賳丿貙 賴乇 爻賴 丿乇 亘乇夭禺 賲蹖丕賳 丿賳蹖丕蹖 乇卅丕賱 賵 丿賳蹖丕蹖 爻賵乇卅丕賱 丕爻蹖乇賳丿貙 噩丕蹖蹖 亘蹖賳 禺賵丕亘 賵 亘蹖丿丕乇蹖貙 乇賵蹖丕 賵 賵丕賯毓蹖鬲貙 丿賳蹖丕蹖 亘蹖鈥屫必� 賵 爻乇夭賲蹖賳 毓噩丕蹖亘. 趩賳丕賳讴賴 禺賵丿 賮賵乇賳蹖賴 賴賲 丿乇 賴賳诏丕賲 賳賵卮鬲賳 丕蹖賳 乇賲丕賳 賴賳賵夭 丕爻蹖乇 丿賳蹖丕蹖 禺蹖丕賱鈥屫з嗂屫� 讴賵丿讴蹖 禺賵丿 丕爻鬲. 賮賵乇蹖賴 亘丕 賲乇诏 亘賴 乇爻鬲诏丕乇蹖 丕夭 丕蹖賳 丕蹖賳 亘乇夭禺 丿賳蹖丕蹖 賲蹖丕賳賴 乇爻蹖丿貙 賲丕賳賳丿 卮禺氐蹖鬲鈥屬囏й� 丿丕爻鬲丕賳卮 讴賴 丌賳 賴丕 賴賲 賴乇 讴丿丕賲 亘賴鈥屬嗀堐� 亘丕 爻賮乇 亘賴 蹖讴 爻賵蹖 丕蹖賳 亘乇夭禺 乇爻鬲诏丕乇 賲蹖鈥屫促堎嗀�
丌賳趩賴 丿丕爻鬲丕賳 乇丕 亘爻蹖丕乇 丿賵爻鬲 丿丕卮鬲賳蹖 賲蹖鈥屭┵嗀� 噩賳亘賴鈥屰� 賳賵爻鬲丕賱跇蹖讴 賵 亘賴 鬲氐賵蹖乇 讴卮蹖丿賳 丕丨爻丕爻丕鬲 賵 鬲賮讴乇丕鬲 丿賳蹖丕蹖 讴賵丿讴蹖鈥屬囏й屬呚з� 丕爻鬲貙 賲卮鬲乇讴 賲蹖丕賳 賴賲賴鈥屰� 丌賳鈥屬囏� 讴賴 讴賵丿讴蹖 讴乇丿賴鈥屫з嗀� 賲毓氐賵賲蹖鬲蹖 丕夭 丿爻鬲 乇賮鬲賴 賲鬲毓賱賯 亘賴 丿賳蹖丕蹖蹖 丿賵乇 賵 丿蹖诏乇 賳丕賲賵噩賵丿
倬蹖鈥属嗁堌簇�: 賲賵賳 亘夭乇诏 蹖讴 丿丕爻鬲丕賳 讴賱丕爻蹖讴 賳蹖爻鬲! 丿丕爻鬲丕賳 鬲賳賴丕 丿乇 賲毓賳丕蹖 毓丕賲 蹖讴 丕孬乇 讴賱丕爻蹖讴 (丕孬乇 賮丕禺乇 賲賱蹖) 賮乇丕賳爻賵蹖 賲丨爻賵亘 賲蹖鈥屫促堌� 賵诏乇賳賴 丕蹖賳 丕孬乇 乇丕 賲蹖鈥屫堌з� 亘賴 氐乇丕丨鬲 丿乇 噩乇诏賴 丌孬丕乇 乇賲丕賳鬲蹖讴 (賴賲乇丕賴 亘丕 丕賱賲丕賳鈥屬囏й� 乇卅丕賱蹖爻鬲蹖) 丿爻鬲賴鈥屫ㄙ嗀� 讴乇丿貙 蹖讴 賮丕賳鬲夭蹖 乇賲丕賳鬲蹖讴 丿乇 卮賲丕蹖賱 蹖讴 丿丕爻鬲丕賳 乇卅丕賱
January 17, 2023
[Revised, pictures and shelves added]
I read the Centenary Edition of the French classic Le Grand Meaulnes, a coming-of-age story of a boy and the companion he looks up to, nicknamed Le Grand Meaulnes. We have all the usual boyhood stuff of bullies, juvenile delinquent episodes, boring school days, awkwardness around girls.
One day Le Grand Meaulnes, very much the leader, while our narrator is the follower, gets lost and finds himself in an exotic costumed adventure in a fairyland, beautiful girl and all. The story becomes a search for this Lost Domain and the lost girl.
The main theme is shifting memory, and I thought at first that theme in French novels was owed to Proust, but Proust鈥檚 famous works started to be published the same year, so there must be an earlier source for the concern for memory that pervades many modern French novels. (And, of course, many novels in general.)
The book has a lot of local color of rural France 鈥� place names are real or barely disguised. The schoolhouse of the story is at the author鈥檚 birthplace in La Chapelle-d'Angillon in central France.
You might want to read the Introduction after the book because it gives away much of the plot.
This is the only novel published by this author. Surprisingly, the novel is semi-autobiographical. Alain-Fournier, the author, spent much of his life looking for a girl he fell in love with at first sight. It was a short life because he was killed in WW I, at age 28, the same year the book was published, 1914.
Top photo of a French country estate from nytimes.com
Photo of the author from Wikipedia
I read the Centenary Edition of the French classic Le Grand Meaulnes, a coming-of-age story of a boy and the companion he looks up to, nicknamed Le Grand Meaulnes. We have all the usual boyhood stuff of bullies, juvenile delinquent episodes, boring school days, awkwardness around girls.
One day Le Grand Meaulnes, very much the leader, while our narrator is the follower, gets lost and finds himself in an exotic costumed adventure in a fairyland, beautiful girl and all. The story becomes a search for this Lost Domain and the lost girl.
The main theme is shifting memory, and I thought at first that theme in French novels was owed to Proust, but Proust鈥檚 famous works started to be published the same year, so there must be an earlier source for the concern for memory that pervades many modern French novels. (And, of course, many novels in general.)
The book has a lot of local color of rural France 鈥� place names are real or barely disguised. The schoolhouse of the story is at the author鈥檚 birthplace in La Chapelle-d'Angillon in central France.
You might want to read the Introduction after the book because it gives away much of the plot.
This is the only novel published by this author. Surprisingly, the novel is semi-autobiographical. Alain-Fournier, the author, spent much of his life looking for a girl he fell in love with at first sight. It was a short life because he was killed in WW I, at age 28, the same year the book was published, 1914.
Top photo of a French country estate from nytimes.com
Photo of the author from Wikipedia
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April 5, 2020I read this purely because it was recommended by , in truth since she is dead this was not a personal recommendation but it was one of her books of the century as mentioned in Hermione Lee's .
The appeal to Fitzgerald seems clear. It is a strange little tale akin to a fable, it conjures up a dream like atmosphere, it takes the lives of adolescents with one foot in the adult world and one foot in childhood very seriously and captures their state of mind and allows it to command the story, perhaps she too might have noticed that it is at once shy of and explicit about adult sex and sexuality, with characters who are running, but whether towards it or away from it they could not say . In a final classic Fitzgerald touch it has an ambiguous ending which depending on your point of view can be read as more unhappy than happy - (if you are really optimistic you might find the glass of happiness certainly half full).
It reminded me of a countryside version of Wedekind's play , or to express it differently it is roughly mid way between and . It also dug out memories for me of , and as I have read, the story is very similar to that of the slightly later just in that case the story is played out by people who are adults in years.
The story relies a lot on the grossly improbable, but sinking into the atmosphere of the story these I found acceptable and they did not make me laugh though some of the improbabilities are quite silly - one boy does not recognise another who he is sitting in the same classroom with simply because the other boy has a bandage round his forehead - and not like the invisible man - just a single strip of bandage. Such a dasterdly mastery of disguise!
Anyhow the tale is narrated by the son of a village school master, when one day Le Grand Meaules - a big strapping adventurous boy - joins the school. All the boys are in awe of him if not at least a little in love with him. Le Grand Meaules - or Augustin by first name is the opposite of the narrator Francois, tall, strong, and outgoing compared to the narrator with his gammy knee who barely is bold enough to leave his house. Augustin casually takes a break from school one day and vanishes for three days (that's the kind of boy he is) when he comes back he relates a strange adventure that swallows up the emotional lives of both Augustin and Francois.
The story seems to be constructed from mirrors, Augustin and Francois are mirror images of each other, and the relationship between Augustin and Yvonne is the mirror image of that between Franz and Valentine. The mirror image is maybe the central idea of the book as characters gaze with longing on something that they can no longer touch: their past, indeed as readers we know that each day carries them further from the moments of perfection that they could not entirely enter into at he time - like those knights of the Round table who caught sight of the Holy Grail and don't know what question they are supposed to ask.
In short this is an utterly Romantic tale of longing, loss and impossibility, the lost, or departing, world of childhood, a literal estate that is nearby, mysterious, and almost impossible to find. It is compellingly dreamy, but WWI is just round the corner and will provide a harsh awakening.
The appeal to Fitzgerald seems clear. It is a strange little tale akin to a fable, it conjures up a dream like atmosphere, it takes the lives of adolescents with one foot in the adult world and one foot in childhood very seriously and captures their state of mind and allows it to command the story, perhaps she too might have noticed that it is at once shy of and explicit about adult sex and sexuality, with characters who are running, but whether towards it or away from it they could not say . In a final classic Fitzgerald touch it has an ambiguous ending which depending on your point of view can be read as more unhappy than happy - (if you are really optimistic you might find the glass of happiness certainly half full).
It reminded me of a countryside version of Wedekind's play , or to express it differently it is roughly mid way between and . It also dug out memories for me of , and as I have read, the story is very similar to that of the slightly later just in that case the story is played out by people who are adults in years.
The story relies a lot on the grossly improbable, but sinking into the atmosphere of the story these I found acceptable and they did not make me laugh though some of the improbabilities are quite silly - one boy does not recognise another who he is sitting in the same classroom with simply because the other boy has a bandage round his forehead - and not like the invisible man - just a single strip of bandage. Such a dasterdly mastery of disguise!
Anyhow the tale is narrated by the son of a village school master, when one day Le Grand Meaules - a big strapping adventurous boy - joins the school. All the boys are in awe of him if not at least a little in love with him. Le Grand Meaules - or Augustin by first name is the opposite of the narrator Francois, tall, strong, and outgoing compared to the narrator with his gammy knee who barely is bold enough to leave his house. Augustin casually takes a break from school one day and vanishes for three days (that's the kind of boy he is) when he comes back he relates a strange adventure that swallows up the emotional lives of both Augustin and Francois.
The story seems to be constructed from mirrors, Augustin and Francois are mirror images of each other, and the relationship between Augustin and Yvonne is the mirror image of that between Franz and Valentine. The mirror image is maybe the central idea of the book as characters gaze with longing on something that they can no longer touch: their past, indeed as readers we know that each day carries them further from the moments of perfection that they could not entirely enter into at he time - like those knights of the Round table who caught sight of the Holy Grail and don't know what question they are supposed to ask.
In short this is an utterly Romantic tale of longing, loss and impossibility, the lost, or departing, world of childhood, a literal estate that is nearby, mysterious, and almost impossible to find. It is compellingly dreamy, but WWI is just round the corner and will provide a harsh awakening.
November 17, 2014
When I was about 10 I spent what felt like an entire summer playing in a marsh with a friend. The marsh was a gradual discovery. Each day, as our courage increased, we penetrated deeper into it, crawling and hopping from tree mound to tree mound, until we had mapped out quite a large area in our imaginations. And of course we were the only two who knew about it. This area of the marsh became our sprawling fort, with significant crossings and islands given names from my primary reading matter of the time, The Book of Lists. So the longest "bridge鈥� (a downed tree) was dubbed Verrazano Narrows, and the crossing that required the longest leap was called Bob Beamon Way. There was also Edison鈥檚 Isle, where we found a light bulb; and The Sewer, where we pissed. Every day I dreamed about this place, and every day that I could I returned to it. It was a wonderful time in a secret world.
By the next summer my friend had moved, but that didn鈥檛 deter me; I returned to it alone. But just one year had wrought irreversible changes 鈥� plants were so overgrown I couldn鈥檛 even find my way in, let alone make it back to Edison鈥檚 Isle. I was devastated, but being 11 or so I quickly recovered and moved on to other adventures, though in many ways the adventures in that secret marsh were never replicated, never surpassed, so it became a place in my imagination, a fertile place representing the unselfconscious mysteries and adventures of youth.
Many years later I spoke to this friend, now far along in a life fairly antithetical to my own, and I mentioned the marsh, hoping to recapture some of its magic by tapping into his memories, but he had little or no recollection of the place. I was newly devastated, as I had wanted for years to ask him about it, and I felt a hard lump of sadness drop to the bottom of my being, but in some ways this sadness fortified even further the magical significance of the marsh in my imagination.
This book, too, is about a 鈥渟ecret domain鈥� discovered by chance and never found again, and the spell the experience casts on the children involved. But its secret domain was also populated by a beautiful girl (the children being not 10 or 11 but 15 or 16), and so there鈥檚 the added tragic element of lost love permeating Le Grand Meaulnes鈥� life, infecting it with an ideal that can never be realized, making of him a wanderer on this earth.
But what is it about this book that is so affecting, so haunting and magical? The subject matter, sure, is one reason: the end of youth as precipitated by life-long obsession with unattainable beauty and mystery encountered in one鈥檚 youth, bringing on the realization that one peaked early, that those early wonders will never be experienced again. This is always a powerful theme, and in one way or another is the emotional substratum of much literature. But why does this book in particular pack such a wallop? I have now read it twice, the first time being many years ago, but I still don鈥檛 know exactly. One possibility that struck me this time is the odd hybrid nature of the sensibility expressed in its pages. There鈥檚 an enchanted wistfulness, a Romantic sensitivity to very delicate natural mysteries and adolescent relations, but coupled with this is an almost blunt and matter-of-fact rusticity that is somewhat detached. In other words the sensibility is that of a sensitive rustic intellectual; a character type I always find intriguing. And then there鈥檚 the writing itself which had every opportunity to launch into floweriness and mystical indulgence, yet didn鈥檛, instead it steered a steady course of basic description, which enhanced even more the aching unresolved mystery of the subject matter.
I love this book and its impact on me was no less than the first time around, and upon finishing it I鈥檓 having some difficulty moving on to another novel.
By the next summer my friend had moved, but that didn鈥檛 deter me; I returned to it alone. But just one year had wrought irreversible changes 鈥� plants were so overgrown I couldn鈥檛 even find my way in, let alone make it back to Edison鈥檚 Isle. I was devastated, but being 11 or so I quickly recovered and moved on to other adventures, though in many ways the adventures in that secret marsh were never replicated, never surpassed, so it became a place in my imagination, a fertile place representing the unselfconscious mysteries and adventures of youth.
Many years later I spoke to this friend, now far along in a life fairly antithetical to my own, and I mentioned the marsh, hoping to recapture some of its magic by tapping into his memories, but he had little or no recollection of the place. I was newly devastated, as I had wanted for years to ask him about it, and I felt a hard lump of sadness drop to the bottom of my being, but in some ways this sadness fortified even further the magical significance of the marsh in my imagination.
This book, too, is about a 鈥渟ecret domain鈥� discovered by chance and never found again, and the spell the experience casts on the children involved. But its secret domain was also populated by a beautiful girl (the children being not 10 or 11 but 15 or 16), and so there鈥檚 the added tragic element of lost love permeating Le Grand Meaulnes鈥� life, infecting it with an ideal that can never be realized, making of him a wanderer on this earth.
But what is it about this book that is so affecting, so haunting and magical? The subject matter, sure, is one reason: the end of youth as precipitated by life-long obsession with unattainable beauty and mystery encountered in one鈥檚 youth, bringing on the realization that one peaked early, that those early wonders will never be experienced again. This is always a powerful theme, and in one way or another is the emotional substratum of much literature. But why does this book in particular pack such a wallop? I have now read it twice, the first time being many years ago, but I still don鈥檛 know exactly. One possibility that struck me this time is the odd hybrid nature of the sensibility expressed in its pages. There鈥檚 an enchanted wistfulness, a Romantic sensitivity to very delicate natural mysteries and adolescent relations, but coupled with this is an almost blunt and matter-of-fact rusticity that is somewhat detached. In other words the sensibility is that of a sensitive rustic intellectual; a character type I always find intriguing. And then there鈥檚 the writing itself which had every opportunity to launch into floweriness and mystical indulgence, yet didn鈥檛, instead it steered a steady course of basic description, which enhanced even more the aching unresolved mystery of the subject matter.
I love this book and its impact on me was no less than the first time around, and upon finishing it I鈥檓 having some difficulty moving on to another novel.
October 18, 2024
A timeless coming of age story, which despite being told from a 15 year olds perspective is full of melancholy and fear of not being able to overcome the happiness of youth
But can the past come to life again?
This classic, which inspired has a lot of crying, emotional men and I found it remarkably like in terms of extreme feelings and mood swings characters go through. The narrator, 15 year old, is the child of two teachers. He grows enamored by a visitor, the from the title. An almost magical wedding crashing scene in the countryside of France and a battle for schoolground popularity and dominance unfold, followed by yearning and a glimpse of an answer to what happens to someone when he gets everything he wants.
Teens trying suicide in this pre-World War I classic was something I hadn't expected.
I was drawn to this book by how the main character in his coming of age novel is inspired by this book, and a lot of the themes about growing up and finding oneself beyond the confines of school and popularity (and even gypsies making an appearance) come back.
The key question that is haunting Le Grand seems to be How to surpass happiness of youth, which gives the latter parts of the book a wistful, melancholy feel But can the past come to life again?, almost like a quarter-life crisis avant le lettre.
The main character really is just a terminal to tell Grand Meaulnes his story, which besides an attitude of dread in respect to growing up, and what it means to have everything one thought one desired (quite a forward theme in 1913) also features a lot of side effects of too much pride: So much pride had ended in this?
Reproach him for absurdly playing the romantic hero is something that goes through the mind of the narrator, but he decides against it. This is a kindness, with so much potential unrealised in Le Grand Meaulnes, a subtle capturing of the impending, rough awakening which was set to unfold in the real world in 1914.
Rich, with overtures of and in terms of family relationships, dramatic confrontations and coincidences driving the narrative forward, while the modern world and disillusionment are never far away. Sadly we haven't more of his work to enjoy.
But can the past come to life again?
This classic, which inspired has a lot of crying, emotional men and I found it remarkably like in terms of extreme feelings and mood swings characters go through. The narrator, 15 year old, is the child of two teachers. He grows enamored by a visitor, the from the title. An almost magical wedding crashing scene in the countryside of France and a battle for schoolground popularity and dominance unfold, followed by yearning and a glimpse of an answer to what happens to someone when he gets everything he wants.
Teens trying suicide in this pre-World War I classic was something I hadn't expected.
I was drawn to this book by how the main character in his coming of age novel is inspired by this book, and a lot of the themes about growing up and finding oneself beyond the confines of school and popularity (and even gypsies making an appearance) come back.
The key question that is haunting Le Grand seems to be How to surpass happiness of youth, which gives the latter parts of the book a wistful, melancholy feel But can the past come to life again?, almost like a quarter-life crisis avant le lettre.
The main character really is just a terminal to tell Grand Meaulnes his story, which besides an attitude of dread in respect to growing up, and what it means to have everything one thought one desired (quite a forward theme in 1913) also features a lot of side effects of too much pride: So much pride had ended in this?
Reproach him for absurdly playing the romantic hero is something that goes through the mind of the narrator, but he decides against it. This is a kindness, with so much potential unrealised in Le Grand Meaulnes, a subtle capturing of the impending, rough awakening which was set to unfold in the real world in 1914.
Rich, with overtures of and in terms of family relationships, dramatic confrontations and coincidences driving the narrative forward, while the modern world and disillusionment are never far away. Sadly we haven't more of his work to enjoy.
May 17, 2024
T铆tulo original: 芦Le Grand Meaulnes禄
Alain-Fournier nasceu em Fran莽a. Era amigo 铆ntimo de Jacques Rivi猫re, Henri R茅gnier, Francis Jammes e Jules Laforgue; foi, no entanto, Charles P茅guy quem o influenciou a escrever:芦Haver谩s de ir longe, Fournier, e haver谩s de lembrar que fui eu que o disse.禄
Numa carta dirigida a Jacques Rivi猫re, Fournier escreveu:
Encontrei a minha estrada de Damasco: pus-me simplesmente a escrever, directamente, como nas minhas cartas, em pequenos par谩grafos, densos e voluptuosos
O caminho de Damasco 茅 um trajecto que cada um ter谩 um dia de fazer para o bem ou para o mal: n茫o h谩 como deixar de percorr锚-lo.
As personagens deste livro tamb茅m percorrem o bosque, a floresta po茅tica onde decorre grande parte da ac莽茫o em busca do tempo das ilus玫es perdidas.
A escrita 茅 bel铆ssima mas o ambiente misterioso e quase on铆rico dificultou-me a leitura; mas a seu favor a op莽茫o por um narrador n茫o protagonista, Fran莽ois Seurel, 脿 semelhan莽a do Grande Gatsby, encantou-me. Na vida e na literatura tenho um fasc铆nio por amizades masculinas e pelas recorda莽玫es do passado (alguns cap铆tulos est茫o escritos no presente do indicativo pois algumas mem贸rias da inf芒ncia e da adolesc锚ncia est茫o t茫o claras na mem贸ria que podem ser transformadas em presente)
Num grupo de amigos h谩 sempre um mais admirado pelas suas caracter铆sticas pessoais.
Fran莽ois Surrel vivia medroso e infeliz nas instala莽玫es da Escola Prim谩ria de Sainte-Agathe onde o seu pai era simultaneamente director do Curso Superior e do Curso M茅dio. Num certo Domingo de Novembro de 189...receberam um aluno interno, Augustin Meaulnes que rapidamente come莽ou a ser tratado pelo Grande Meaulnes - foi o come莽o de uma nova vida para Fran莽ois. O grande Meaulnes tinha ar de viajante, aventureiro, triste e distraido e gerou em todos uma sensa莽茫o de prazer e curiosidade. Um dia esteve desaparecido durante tr锚s dias e conheceu uma rapariga, Yvonne de Galais, numa mans茫o para onde (depois do seu regresso 脿 escola) n茫o sabe o caminho.
Viajante 茅 talvez a palavra mais usada neste livro...se encontrar aquela mans茫o s贸 contar谩 com tempos felizes.
脡 dif铆cil ser adolescente ou jovem adulto e pensar que a felicidade est谩 pr贸xima e que basta caminhar para a alcan莽ar (faltam sempre algumas l茅guas...nada 茅 t茫o perto como se pensa); h谩 frustra莽玫es, medos,desola莽玫es, ang煤stias mas tamb茅m camaradagem, amores, amizades e remorsos.
芦A nossa aventura terminou. O inverno deste ano est谩 morto, sepultado. Talvez ao morrermos, talvez ent茫o a morte, apenas ela, nos possa mostrar o significado, o seguimento e o fim desta aventura falhada.禄
芦Le Grand Meaulnes禄 transporta-nos para um mundo de sonhos, buscas de amores perdidos e nostalgia da juventude. A viagem de Augustin Meaulnes 茅 repleta de altos e baixos. N茫o direi que 茅 um fracasso absoluto mas tomou decis玫es que o afastaram dos seus desejos iniciais como comprovado no ep铆logo. Quem nunca? H谩 amores vividos pela metade.
Alain-Fournier nasceu em Fran莽a. Era amigo 铆ntimo de Jacques Rivi猫re, Henri R茅gnier, Francis Jammes e Jules Laforgue; foi, no entanto, Charles P茅guy quem o influenciou a escrever:芦Haver谩s de ir longe, Fournier, e haver谩s de lembrar que fui eu que o disse.禄
Numa carta dirigida a Jacques Rivi猫re, Fournier escreveu:
Encontrei a minha estrada de Damasco: pus-me simplesmente a escrever, directamente, como nas minhas cartas, em pequenos par谩grafos, densos e voluptuosos
O caminho de Damasco 茅 um trajecto que cada um ter谩 um dia de fazer para o bem ou para o mal: n茫o h谩 como deixar de percorr锚-lo.
As personagens deste livro tamb茅m percorrem o bosque, a floresta po茅tica onde decorre grande parte da ac莽茫o em busca do tempo das ilus玫es perdidas.
A escrita 茅 bel铆ssima mas o ambiente misterioso e quase on铆rico dificultou-me a leitura; mas a seu favor a op莽茫o por um narrador n茫o protagonista, Fran莽ois Seurel, 脿 semelhan莽a do Grande Gatsby, encantou-me. Na vida e na literatura tenho um fasc铆nio por amizades masculinas e pelas recorda莽玫es do passado (alguns cap铆tulos est茫o escritos no presente do indicativo pois algumas mem贸rias da inf芒ncia e da adolesc锚ncia est茫o t茫o claras na mem贸ria que podem ser transformadas em presente)
Num grupo de amigos h谩 sempre um mais admirado pelas suas caracter铆sticas pessoais.
Fran莽ois Surrel vivia medroso e infeliz nas instala莽玫es da Escola Prim谩ria de Sainte-Agathe onde o seu pai era simultaneamente director do Curso Superior e do Curso M茅dio. Num certo Domingo de Novembro de 189...receberam um aluno interno, Augustin Meaulnes que rapidamente come莽ou a ser tratado pelo Grande Meaulnes - foi o come莽o de uma nova vida para Fran莽ois. O grande Meaulnes tinha ar de viajante, aventureiro, triste e distraido e gerou em todos uma sensa莽茫o de prazer e curiosidade. Um dia esteve desaparecido durante tr锚s dias e conheceu uma rapariga, Yvonne de Galais, numa mans茫o para onde (depois do seu regresso 脿 escola) n茫o sabe o caminho.
Viajante 茅 talvez a palavra mais usada neste livro...se encontrar aquela mans茫o s贸 contar谩 com tempos felizes.
脡 dif铆cil ser adolescente ou jovem adulto e pensar que a felicidade est谩 pr贸xima e que basta caminhar para a alcan莽ar (faltam sempre algumas l茅guas...nada 茅 t茫o perto como se pensa); h谩 frustra莽玫es, medos,desola莽玫es, ang煤stias mas tamb茅m camaradagem, amores, amizades e remorsos.
芦A nossa aventura terminou. O inverno deste ano est谩 morto, sepultado. Talvez ao morrermos, talvez ent茫o a morte, apenas ela, nos possa mostrar o significado, o seguimento e o fim desta aventura falhada.禄
芦Le Grand Meaulnes禄 transporta-nos para um mundo de sonhos, buscas de amores perdidos e nostalgia da juventude. A viagem de Augustin Meaulnes 茅 repleta de altos e baixos. N茫o direi que 茅 um fracasso absoluto mas tomou decis玫es que o afastaram dos seus desejos iniciais como comprovado no ep铆logo. Quem nunca? H谩 amores vividos pela metade.
March 23, 2020
鈥楤ut you have read Madame Bovary?鈥�
(I鈥檇 heard of the book.) 鈥楴o.鈥�
鈥楴ot even,鈥� she looked ratty now, 鈥楬ermann Hesse?鈥�
鈥楴o.鈥� Unwisely I tried to dampen Madame Crommelynck鈥檚 disgust. 鈥業 only really did English literature at school鈥︹€�
鈥樷€淓nglish鈥�? Australia was part of the English Empire, England is European! No French? No German? You are Australian, you illiterate monkey of puberty! Thomas Mann, Rilke, Gogol! Proust, Bulgakov, Victor Hugo! This should be your culture, your inheritance, your skeleton! You are ignorant even of Kafka?鈥�
I flinched. 鈥業鈥檝e heard of him. I鈥檝e even discussed him on 欧宝娱乐鈥�
鈥溑繁τ槔�?鈥� she shrieked 鈥楾his?鈥� She held up Le Grand Meaulnes.
鈥榊es, I鈥檝e just finished it.鈥�
鈥業s one of my bibles. I read it every year. So!鈥� She frisbeed her copy at me, hard. It hurt. 鈥楢lain-Fournier is your first true master. He is nostalgic and tragic and enchantible and he aches and you would have ached too and, best of everything, he is true.鈥�
As I opened it up a cloud of foreign words blew out. Il arriva chez nous un dimanche de novembre 189鈥�
鈥榊our copy. It鈥檚 in French!鈥�
鈥楾ranslations are incourteous between Europeans.鈥� She detected the guilt in my silence. 鈥極ho? Australian schoolboys in the less than enlightened 1970s never read a book in a foreign language?鈥�
鈥榃e never had French at school鈥︹€� (Madame Crommelynck made me go on.) 鈥樷€ut we had Citizenship Education.鈥� I said brightly.
鈥楶fffffffffffft! Citizenship Education? What is that? When I was thirteen I spoke French and Dutch fluently! I could converse in German, in English, in Italian! Ackkk, for your schoolmasters, for your minister of education, execution is too good! Is not even arrogance! It is a baby who is too primitive to know its nappy is stinking and bursting! You Australians, Queenslanders especially, you deserve the government of Monster Joh Bjelke Peterson! I curse you with twenty years of Bjelke Peterson! Maybe then you comprehend, speaking one language only is prison! You have a French dictionary and a grammar, anyhow?鈥�
鈥楴o but I have read and now finished Le Grand Meaulnes as translated into English by Frank Davidson鈥� 鈥楢nd you like?鈥� Madame Crommelynck asked. 鈥楰inda鈥� I said.
鈥溾€滽inda, kinda鈥欌€� Madame Crommelynck sneered. 鈥業s that this strine that you antipodean halfwits speak? What do you mean Kinda?鈥� 鈥業t all seemed kinda clunky in parts of the translation鈥� I replied and caught the outrage in Madame Crommelynck eyes. 鈥楢nd the story was just a little too sweet and cloying, saccharine one might say. For my tastes anyway but I do understa鈥︹€�
鈥榮weet, cloying, saccharine?鈥� roared the good Madame 鈥渙ut of my sight now and read鈥�.and read鈥� read that David Mitchell鈥︹€�. Onzin!鈥�
As I slunk away feeling a great sense of guilt that I could only give a French classic 3 stars I heard an exasperated 鈥楢ckkk鈥� deep in the throat of Madame Crommelynck.
(I鈥檇 heard of the book.) 鈥楴o.鈥�
鈥楴ot even,鈥� she looked ratty now, 鈥楬ermann Hesse?鈥�
鈥楴o.鈥� Unwisely I tried to dampen Madame Crommelynck鈥檚 disgust. 鈥業 only really did English literature at school鈥︹€�
鈥樷€淓nglish鈥�? Australia was part of the English Empire, England is European! No French? No German? You are Australian, you illiterate monkey of puberty! Thomas Mann, Rilke, Gogol! Proust, Bulgakov, Victor Hugo! This should be your culture, your inheritance, your skeleton! You are ignorant even of Kafka?鈥�
I flinched. 鈥業鈥檝e heard of him. I鈥檝e even discussed him on 欧宝娱乐鈥�
鈥溑繁τ槔�?鈥� she shrieked 鈥楾his?鈥� She held up Le Grand Meaulnes.
鈥榊es, I鈥檝e just finished it.鈥�
鈥業s one of my bibles. I read it every year. So!鈥� She frisbeed her copy at me, hard. It hurt. 鈥楢lain-Fournier is your first true master. He is nostalgic and tragic and enchantible and he aches and you would have ached too and, best of everything, he is true.鈥�
As I opened it up a cloud of foreign words blew out. Il arriva chez nous un dimanche de novembre 189鈥�
鈥榊our copy. It鈥檚 in French!鈥�
鈥楾ranslations are incourteous between Europeans.鈥� She detected the guilt in my silence. 鈥極ho? Australian schoolboys in the less than enlightened 1970s never read a book in a foreign language?鈥�
鈥榃e never had French at school鈥︹€� (Madame Crommelynck made me go on.) 鈥樷€ut we had Citizenship Education.鈥� I said brightly.
鈥楶fffffffffffft! Citizenship Education? What is that? When I was thirteen I spoke French and Dutch fluently! I could converse in German, in English, in Italian! Ackkk, for your schoolmasters, for your minister of education, execution is too good! Is not even arrogance! It is a baby who is too primitive to know its nappy is stinking and bursting! You Australians, Queenslanders especially, you deserve the government of Monster Joh Bjelke Peterson! I curse you with twenty years of Bjelke Peterson! Maybe then you comprehend, speaking one language only is prison! You have a French dictionary and a grammar, anyhow?鈥�
鈥楴o but I have read and now finished Le Grand Meaulnes as translated into English by Frank Davidson鈥� 鈥楢nd you like?鈥� Madame Crommelynck asked. 鈥楰inda鈥� I said.
鈥溾€滽inda, kinda鈥欌€� Madame Crommelynck sneered. 鈥業s that this strine that you antipodean halfwits speak? What do you mean Kinda?鈥� 鈥業t all seemed kinda clunky in parts of the translation鈥� I replied and caught the outrage in Madame Crommelynck eyes. 鈥楢nd the story was just a little too sweet and cloying, saccharine one might say. For my tastes anyway but I do understa鈥︹€�
鈥榮weet, cloying, saccharine?鈥� roared the good Madame 鈥渙ut of my sight now and read鈥�.and read鈥� read that David Mitchell鈥︹€�. Onzin!鈥�
As I slunk away feeling a great sense of guilt that I could only give a French classic 3 stars I heard an exasperated 鈥楢ckkk鈥� deep in the throat of Madame Crommelynck.
July 11, 2019
Le Grand Meaulnes = The Lost Estate, Alain-Fournier
Alain-Fournier was the pseudonym of Henri-Alban Fournier (3 October 1886 鈥� 22 September 1914), a French author and soldier. He was the author of a single novel, Le Grand Meaulnes (1913), which has been twice filmed and is considered a classic of French literature. Le Grand Meaulnes is the only novel by French author Alain-Fournier, who was killed in the first month of World War I. The novel, published in 1913, a year before the author's death, is somewhat biographical 鈥� especially the name of the heroine Yvonne, for whom he had a doomed infatuation in Paris. Fifteen-year-old Fran莽ois Seurel narrates the story of his friendship with seventeen-year-old Augustin Meaulnes as Meaulnes searches for his lost love. Impulsive, reckless and heroic, Meaulnes embodies the romantic ideal, the search for the unobtainable, and the mysterious world between childhood and adulthood.
毓賳賵丕賳賴丕: 丿賵爻鬲 賲賳 賲賵賳貨 賲賵賳 亘夭乇诏貨 賲購賱賳 亘夭乇诏貨 賳賵蹖爻賳丿賴: 丌賱賳 賮賵乇賳蹖賴貨 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 爻丕賱 1970 賲蹖賱丕丿蹖
毓賳賵丕賳: 賲購賱賳 亘夭乇诏貨 賳賵蹖爻賳丿賴: 丌賱賳 賮賵乇賳蹖賴貨貨 賲鬲乇噩賲: 賲丨賲丿賲賴丿蹖 丿丕賴蹖貨 夭蹖乇 賳馗乇: 丕丨爻丕賳 蹖丕乇卮丕胤乇貨 鬲賴乇丕賳貙 亘賳诏丕賴 鬲乇噩賲賴 賵 賳卮乇 讴鬲丕亘貙 1343貨 丿乇 359 氐貨 趩丕倬 丿賵賲 1347貨 趩丕倬 丿蹖诏乇: 鬲賴乇丕賳貙 丕賳鬲卮丕乇丕鬲 毓賱賲蹖 賮乇賴賳诏蹖貙 1394貨 丿乇 賴賮丿賴貙 賵 292 氐貨 卮丕亘讴: 9786001219573貨 賲賵囟賵毓: 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 賮乇丕賳爻賵蹖 - 爻丿賴 20 賲
毓賳賵丕賳: 丿賵爻鬲 賲賳 賲賵賳貨 賳賵蹖爻賳丿賴: 丌賱賳 賮賵乇賳蹖賴貨貨 賲鬲乇噩賲: 賲賴丿蹖 爻丨丕亘蹖貨 亘丕亘賱貙 讴鬲丕亘爻乇丕蹖 亘丕亘賱貙 1368貨 丿乇 272 氐貨 趩丕倬 趩賴丕乇賲 1368貨
毓賳賵丕賳: 賲賵賳 亘夭乇诏貨 賳賵蹖爻賳丿賴: 丌賱賳 賮賵乇賳蹖賴貨貨 賲鬲乇噩賲: 賲賴丿蹖 爻丨丕亘蹖貨 鬲賴乇丕賳貙 賳卮乇 賲乇讴夭貙 1381貨 丿乇 賴卮鬲 賵 293 氐貨 卮丕亘讴: 9643056600貨 趩丕倬 丿賵賲 1389貨 趩丕倬 爻賵賲 1392貨
毓賳賵丕賳: 賲賵賳 亘夭乇诏貨 賳賵蹖爻賳丿賴: 丌賱賳 賮賵乇賳蹖賴貨貨 賲鬲乇噩賲: 賮丕卅跇賴 禺丿丕賵乇丿蹖貨 賵蹖乇丕爻鬲丕乇: 賮乇賳丕夭 爻丕爻丕賳蹖貨 鬲賴乇丕賳貙 讴鬲丕亘爻乇丕蹖 賵氐丕賱貨 1398貨 丿乇 120 氐貨 賲氐賵乇貙 卮丕亘讴: 9786226454148貨
賲賵賱賳 亘夭乇诏 蹖丕 芦賲賵賳 亘夭乇诏禄 鬲賳賴丕 丕孬乇 丿丕爻鬲丕賳蹖 賳賵蹖爻賳丿賴 賮乇丕賳爻賵蹖: 芦丌賱賳 賮賵乇賳蹖賴禄 丕爻鬲. 乇丕賵蹖 丿丕爻鬲丕賳貙 賳賵噩賵丕賳蹖 丿亘蹖乇爻鬲丕賳蹖 丕爻鬲貙 讴賴 賯氐賴 蹖 丿賵爻鬲卮 芦丕诏賵爻鬲賳 賲賵賳禄 乇丕貙 亘丕夭诏賵 賲蹖鈥屭┵嗀�. 丕賵 丿乇 噩爻鬲噩賵蹖 毓卮賯 禺賵蹖卮貙 丿乇 賲讴丕賳蹖 诏賲卮丿賴 丕爻鬲. 丕蹖賳 讴鬲丕亘 亘乇丕蹖 丕爻鬲賵丕乇蹖 爻亘讴貙 賵 爻丕禺鬲丕乇 丿丕爻鬲丕賳貙 賵 倬蹖卮乇賮鬲 丌賴爻鬲賴 蹖 乇賲夭 賵 乇丕夭貙 賵 乇禺丿丕丿賴丕蹖 賮賵賯 胤亘蹖毓蹖貙 讴賴 乇賳诏蹖 丕夭 賲鬲丕賮蹖夭蹖讴 卮丕毓乇丕賳賴 賳蹖夭貙 趩丕卮賳蹖 丌賳 丕爻鬲貙 讴鬲丕亘蹖 讴丕賲賱丕賸 倬禺鬲賴 賵 賴賳乇賲賳丿丕賳賴 亘賴 卮賲丕乇 賲蹖鈥屫辟堌�. 芦賲賵賱賳 亘夭乇诏禄貙 爻乇卮丕乇 丕夭 乇丐蹖丕賴丕貙 賵 噩賴丕賳賴丕蹖 噩賵丕賳蹖 爻鬲貨 賵 亘賴 诏賵賳賴鈥� 丕蹖 禺蹖丕賱 丕賳诏蹖夭貙 乇賵蹖丕賴丕蹖 爻丕賱賴丕蹖 噩賵丕賳蹖貙 賵 賲蹖賱 賳丕卮讴蹖亘丕蹖蹖 丕賳爻丕賳賴丕貙 丿乇 亘賴 丿爻鬲 丌賵乇丿賳貙 賵 賴爻鬲蹖 亘禺卮蹖丿賳 亘賴 乇丐蹖丕賴丕蹖 禺賵蹖卮 乇丕貙 亘賴 賳诏丕乇賴 賲蹖鈥屭┴簇�. 丕蹖賳 乇賲丕賳 丿乇 賲蹖丕賳 蹖讴氐丿 讴鬲丕亘 爻丿賴 蹖 亘蹖爻鬲 賲蹖賱丕丿蹖 芦賱賵賲賵賳丿禄貙 讴賴 賮賴乇爻鬲蹖 丕夭 讴鬲丕亘賴丕蹖 亘乇诏夭蹖丿賴 爻丿賴 蹖 亘蹖爻鬲賲 賲蹖賱丕丿蹖 爻鬲貙 丿乇 乇鬲亘賴 賳賴賲 丌乇丕賲 诏乇賮鬲賴. 芦賲賵賱賳 亘夭乇诏禄 賳禺爻鬲蹖賳 亘丕乇 丿乇 爻丕賱 1343 賴噩乇蹖 禺賵乇卮蹖丿蹖 貙 亘丕 毓賳賵丕賳 芦賲購賱賳 亘夭乇诏禄貨 鬲賵爻胤 噩賳丕亘 丌賯丕蹖 芦賲丨賲丿賲賴丿蹖 丿丕賴蹖禄貙 亘賴 賮丕乇爻蹖 鬲乇噩賲賴 卮丿. 噩賳丕亘 丌賯丕蹖: 芦賲賴丿蹖 爻丨丕亘蹖禄 賳蹖夭貙 丕蹖賳 讴鬲丕亘 乇丕 亘丕乇 丿蹖诏乇 鬲乇噩賲賴 讴乇丿賴 丕賳丿貙 讴賴 丿乇 趩丕倬 賳禺爻鬲 亘賴 爻丕賱 1368 賴噩乇蹖 禺賵乇卮蹖丿蹖貙 亘丕 毓賳賵丕賳: 芦丿賵爻鬲 賲賳貙 賲賵賳禄貙 賵 丿乇 趩丕倬賴丕蹖 亘毓丿蹖 亘丕 毓賳賵丕賳: 芦賲賵賳 亘夭乇诏禄貙 賲賳鬲卮乇 卮丿賴鈥� 丕爻鬲. 丕. 卮乇亘蹖丕賳蹖
Alain-Fournier was the pseudonym of Henri-Alban Fournier (3 October 1886 鈥� 22 September 1914), a French author and soldier. He was the author of a single novel, Le Grand Meaulnes (1913), which has been twice filmed and is considered a classic of French literature. Le Grand Meaulnes is the only novel by French author Alain-Fournier, who was killed in the first month of World War I. The novel, published in 1913, a year before the author's death, is somewhat biographical 鈥� especially the name of the heroine Yvonne, for whom he had a doomed infatuation in Paris. Fifteen-year-old Fran莽ois Seurel narrates the story of his friendship with seventeen-year-old Augustin Meaulnes as Meaulnes searches for his lost love. Impulsive, reckless and heroic, Meaulnes embodies the romantic ideal, the search for the unobtainable, and the mysterious world between childhood and adulthood.
毓賳賵丕賳賴丕: 丿賵爻鬲 賲賳 賲賵賳貨 賲賵賳 亘夭乇诏貨 賲購賱賳 亘夭乇诏貨 賳賵蹖爻賳丿賴: 丌賱賳 賮賵乇賳蹖賴貨 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 爻丕賱 1970 賲蹖賱丕丿蹖
毓賳賵丕賳: 賲購賱賳 亘夭乇诏貨 賳賵蹖爻賳丿賴: 丌賱賳 賮賵乇賳蹖賴貨貨 賲鬲乇噩賲: 賲丨賲丿賲賴丿蹖 丿丕賴蹖貨 夭蹖乇 賳馗乇: 丕丨爻丕賳 蹖丕乇卮丕胤乇貨 鬲賴乇丕賳貙 亘賳诏丕賴 鬲乇噩賲賴 賵 賳卮乇 讴鬲丕亘貙 1343貨 丿乇 359 氐貨 趩丕倬 丿賵賲 1347貨 趩丕倬 丿蹖诏乇: 鬲賴乇丕賳貙 丕賳鬲卮丕乇丕鬲 毓賱賲蹖 賮乇賴賳诏蹖貙 1394貨 丿乇 賴賮丿賴貙 賵 292 氐貨 卮丕亘讴: 9786001219573貨 賲賵囟賵毓: 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 賮乇丕賳爻賵蹖 - 爻丿賴 20 賲
毓賳賵丕賳: 丿賵爻鬲 賲賳 賲賵賳貨 賳賵蹖爻賳丿賴: 丌賱賳 賮賵乇賳蹖賴貨貨 賲鬲乇噩賲: 賲賴丿蹖 爻丨丕亘蹖貨 亘丕亘賱貙 讴鬲丕亘爻乇丕蹖 亘丕亘賱貙 1368貨 丿乇 272 氐貨 趩丕倬 趩賴丕乇賲 1368貨
毓賳賵丕賳: 賲賵賳 亘夭乇诏貨 賳賵蹖爻賳丿賴: 丌賱賳 賮賵乇賳蹖賴貨貨 賲鬲乇噩賲: 賲賴丿蹖 爻丨丕亘蹖貨 鬲賴乇丕賳貙 賳卮乇 賲乇讴夭貙 1381貨 丿乇 賴卮鬲 賵 293 氐貨 卮丕亘讴: 9643056600貨 趩丕倬 丿賵賲 1389貨 趩丕倬 爻賵賲 1392貨
毓賳賵丕賳: 賲賵賳 亘夭乇诏貨 賳賵蹖爻賳丿賴: 丌賱賳 賮賵乇賳蹖賴貨貨 賲鬲乇噩賲: 賮丕卅跇賴 禺丿丕賵乇丿蹖貨 賵蹖乇丕爻鬲丕乇: 賮乇賳丕夭 爻丕爻丕賳蹖貨 鬲賴乇丕賳貙 讴鬲丕亘爻乇丕蹖 賵氐丕賱貨 1398貨 丿乇 120 氐貨 賲氐賵乇貙 卮丕亘讴: 9786226454148貨
賲賵賱賳 亘夭乇诏 蹖丕 芦賲賵賳 亘夭乇诏禄 鬲賳賴丕 丕孬乇 丿丕爻鬲丕賳蹖 賳賵蹖爻賳丿賴 賮乇丕賳爻賵蹖: 芦丌賱賳 賮賵乇賳蹖賴禄 丕爻鬲. 乇丕賵蹖 丿丕爻鬲丕賳貙 賳賵噩賵丕賳蹖 丿亘蹖乇爻鬲丕賳蹖 丕爻鬲貙 讴賴 賯氐賴 蹖 丿賵爻鬲卮 芦丕诏賵爻鬲賳 賲賵賳禄 乇丕貙 亘丕夭诏賵 賲蹖鈥屭┵嗀�. 丕賵 丿乇 噩爻鬲噩賵蹖 毓卮賯 禺賵蹖卮貙 丿乇 賲讴丕賳蹖 诏賲卮丿賴 丕爻鬲. 丕蹖賳 讴鬲丕亘 亘乇丕蹖 丕爻鬲賵丕乇蹖 爻亘讴貙 賵 爻丕禺鬲丕乇 丿丕爻鬲丕賳貙 賵 倬蹖卮乇賮鬲 丌賴爻鬲賴 蹖 乇賲夭 賵 乇丕夭貙 賵 乇禺丿丕丿賴丕蹖 賮賵賯 胤亘蹖毓蹖貙 讴賴 乇賳诏蹖 丕夭 賲鬲丕賮蹖夭蹖讴 卮丕毓乇丕賳賴 賳蹖夭貙 趩丕卮賳蹖 丌賳 丕爻鬲貙 讴鬲丕亘蹖 讴丕賲賱丕賸 倬禺鬲賴 賵 賴賳乇賲賳丿丕賳賴 亘賴 卮賲丕乇 賲蹖鈥屫辟堌�. 芦賲賵賱賳 亘夭乇诏禄貙 爻乇卮丕乇 丕夭 乇丐蹖丕賴丕貙 賵 噩賴丕賳賴丕蹖 噩賵丕賳蹖 爻鬲貨 賵 亘賴 诏賵賳賴鈥� 丕蹖 禺蹖丕賱 丕賳诏蹖夭貙 乇賵蹖丕賴丕蹖 爻丕賱賴丕蹖 噩賵丕賳蹖貙 賵 賲蹖賱 賳丕卮讴蹖亘丕蹖蹖 丕賳爻丕賳賴丕貙 丿乇 亘賴 丿爻鬲 丌賵乇丿賳貙 賵 賴爻鬲蹖 亘禺卮蹖丿賳 亘賴 乇丐蹖丕賴丕蹖 禺賵蹖卮 乇丕貙 亘賴 賳诏丕乇賴 賲蹖鈥屭┴簇�. 丕蹖賳 乇賲丕賳 丿乇 賲蹖丕賳 蹖讴氐丿 讴鬲丕亘 爻丿賴 蹖 亘蹖爻鬲 賲蹖賱丕丿蹖 芦賱賵賲賵賳丿禄貙 讴賴 賮賴乇爻鬲蹖 丕夭 讴鬲丕亘賴丕蹖 亘乇诏夭蹖丿賴 爻丿賴 蹖 亘蹖爻鬲賲 賲蹖賱丕丿蹖 爻鬲貙 丿乇 乇鬲亘賴 賳賴賲 丌乇丕賲 诏乇賮鬲賴. 芦賲賵賱賳 亘夭乇诏禄 賳禺爻鬲蹖賳 亘丕乇 丿乇 爻丕賱 1343 賴噩乇蹖 禺賵乇卮蹖丿蹖 貙 亘丕 毓賳賵丕賳 芦賲購賱賳 亘夭乇诏禄貨 鬲賵爻胤 噩賳丕亘 丌賯丕蹖 芦賲丨賲丿賲賴丿蹖 丿丕賴蹖禄貙 亘賴 賮丕乇爻蹖 鬲乇噩賲賴 卮丿. 噩賳丕亘 丌賯丕蹖: 芦賲賴丿蹖 爻丨丕亘蹖禄 賳蹖夭貙 丕蹖賳 讴鬲丕亘 乇丕 亘丕乇 丿蹖诏乇 鬲乇噩賲賴 讴乇丿賴 丕賳丿貙 讴賴 丿乇 趩丕倬 賳禺爻鬲 亘賴 爻丕賱 1368 賴噩乇蹖 禺賵乇卮蹖丿蹖貙 亘丕 毓賳賵丕賳: 芦丿賵爻鬲 賲賳貙 賲賵賳禄貙 賵 丿乇 趩丕倬賴丕蹖 亘毓丿蹖 亘丕 毓賳賵丕賳: 芦賲賵賳 亘夭乇诏禄貙 賲賳鬲卮乇 卮丿賴鈥� 丕爻鬲. 丕. 卮乇亘蹖丕賳蹖
February 19, 2022
賵丕賯毓丕 禺賵賳丿賳賽 丕蹖賳 讴鬲丕亘 蹖賴 鬲賵賴蹖賳賴馃槀
賵丕賯毓丕 丿賵爻 賳丿丕乇賲 讴賴 讴鬲丕亘丕乇賵 丿賵爻 賳丿丕卮鬲賴 亘丕卮賲貙 丕賵賱 賲蹖禺賵丕爻鬲賲 亘賴 丕蹖賳 鄢 亘丿賲 賵賱蹖 賵丕賯毓丕 丨賯卮 賳蹖爻鬲 丨鬲蹖 蹖賴 爻鬲丕乇賲 夭蹖丕丿蹖卮賴
禺亘 丕賵賱 丕夭 賴賲賴 亘诏賲 讴賴 丕蹖賳 讴鬲丕亘賵 鬲賵 蹖賴 乇蹖丿蹖賳诏 丕爻賱丕賲倬 胤賵賱丕賳蹖 卮乇賵毓 讴乇丿賲貙 蹖毓賳蹖 禺乇丿丕丿郾鄞郯郯卮乇賵毓卮 讴乇丿賲...卮丕蹖丿 亘倬乇爻蹖賳 禺亘 趩乇丕 丕賳賯丿 胤賵賱卮 丿丕丿蹖責 丕賵賱 丕蹖賳讴賴 賵爻胤賽 禺賵賳丿賳卮 丕蹖丕賲 丕賲鬲丨丕賳丕鬲賲 卮乇賵毓 卮丿 賵 丨囟賵乇蹖 亘賵丿...禺亘 讴蹖 賲蹖鬲賵賳賴 讴鬲丕亘 亘禺賵賳賴責亘丕蹖丿 蹖賴 爻丕丕丕丕丕賱 丿乇爻賽 賳禺賵賳丿賴 乇賵 噩賲毓 賲蹖讴乇丿賲:)))
亘毓丿卮賲 讴賴 禺賵丕爻鬲賲 亘禺賵賳賲 賵賱蹖 丨賵氐賱賲 賳讴卮蹖丿貙 亘毓丿 丿蹖诏賴 丕賲乇賵夭 丿蹖丿賲 鬲賵蹖 亘禺卮 丿乇 丨丕賱 禺賵賳丿賳賴貙 丕毓氐丕亘賲 禺賵乇丿 卮丿(趩賵賳 亘禺卮 讴丕乇賳鬲賱蹖 乇蹖丿蹖賳诏 賲乇鬲亘 賳亘賵丿馃槮) 賵 丌賵乇丿賲卮 讴賴 鬲賲賵賲卮 讴賳賲 丕蹖賳賵
丨賯蹖賯鬲卮 丕夭 亘禺卮 丕賵賱 讴鬲丕亘 禺賵卮賲 賲蹖賵賲丿貙 卮蹖胤賳鬲丕卮賵賳 禺蹖賱蹖 噩丕賱亘 亘賵丿貙 丕氐賳 賴賲賴 趩蹖賽 亘禺卮 丕賵賱 讴鬲丕亘 禺蹖賱蹖 禺賵亘 亘賵丿貙 亘乇丕蹖 賲賳 蹖讴蹖 讴賴 噩丕賱亘 亘賵丿
賵賱蹖 賵丕賯毓丕 亘毓丿賽 丕蹖賳讴賴 亘夭乇诏鬲乇 卮丿賳 賵丕賯毓丕 賲爻禺乇賴 卮丿 丿丕爻鬲丕賳卮賵賳:/
倬丕蹖丕賳 亘賳丿蹖卮賲 讴賴 丕賮鬲氐丕丨(賲賳 賲蹖诏賲 丕賮鬲囟丕丨 卮賲丕 亘禺賵賳蹖丿 賮丕噩毓賴貙 賵丨卮鬲賳丕讴貙 乇賯鬲 丕賳诏蹖夭)
賴毓蹖蹖 讴丕卮 丕賳賯丿 賮丕氐賱賴 賳賲蹖賵賮鬲丕丿 亘蹖賳 禺賵賳丿賳 丕蹖賳...丿蹖诏賴 丕卮讴丕賱 賳丿丕乇賴 噩賵丕賳蹖 丕爻鬲 賵 禺丕賲蹖馃椏馃槀
賴賲蹖賳 讴賴 亘丕賱丕禺乇賴 鬲賲賵賲 卮丿 禺賵丿卮 蹖賴 賳毓賲鬲賴...
賵丕賯毓丕 丿賵爻 賳丿丕乇賲 讴賴 讴鬲丕亘丕乇賵 丿賵爻 賳丿丕卮鬲賴 亘丕卮賲貙 丕賵賱 賲蹖禺賵丕爻鬲賲 亘賴 丕蹖賳 鄢 亘丿賲 賵賱蹖 賵丕賯毓丕 丨賯卮 賳蹖爻鬲 丨鬲蹖 蹖賴 爻鬲丕乇賲 夭蹖丕丿蹖卮賴
禺亘 丕賵賱 丕夭 賴賲賴 亘诏賲 讴賴 丕蹖賳 讴鬲丕亘賵 鬲賵 蹖賴 乇蹖丿蹖賳诏 丕爻賱丕賲倬 胤賵賱丕賳蹖 卮乇賵毓 讴乇丿賲貙 蹖毓賳蹖 禺乇丿丕丿郾鄞郯郯卮乇賵毓卮 讴乇丿賲...卮丕蹖丿 亘倬乇爻蹖賳 禺亘 趩乇丕 丕賳賯丿 胤賵賱卮 丿丕丿蹖責 丕賵賱 丕蹖賳讴賴 賵爻胤賽 禺賵賳丿賳卮 丕蹖丕賲 丕賲鬲丨丕賳丕鬲賲 卮乇賵毓 卮丿 賵 丨囟賵乇蹖 亘賵丿...禺亘 讴蹖 賲蹖鬲賵賳賴 讴鬲丕亘 亘禺賵賳賴責亘丕蹖丿 蹖賴 爻丕丕丕丕丕賱 丿乇爻賽 賳禺賵賳丿賴 乇賵 噩賲毓 賲蹖讴乇丿賲:)))
亘毓丿卮賲 讴賴 禺賵丕爻鬲賲 亘禺賵賳賲 賵賱蹖 丨賵氐賱賲 賳讴卮蹖丿貙 亘毓丿 丿蹖诏賴 丕賲乇賵夭 丿蹖丿賲 鬲賵蹖 亘禺卮 丿乇 丨丕賱 禺賵賳丿賳賴貙 丕毓氐丕亘賲 禺賵乇丿 卮丿(趩賵賳 亘禺卮 讴丕乇賳鬲賱蹖 乇蹖丿蹖賳诏 賲乇鬲亘 賳亘賵丿馃槮) 賵 丌賵乇丿賲卮 讴賴 鬲賲賵賲卮 讴賳賲 丕蹖賳賵
丨賯蹖賯鬲卮 丕夭 亘禺卮 丕賵賱 讴鬲丕亘 禺賵卮賲 賲蹖賵賲丿貙 卮蹖胤賳鬲丕卮賵賳 禺蹖賱蹖 噩丕賱亘 亘賵丿貙 丕氐賳 賴賲賴 趩蹖賽 亘禺卮 丕賵賱 讴鬲丕亘 禺蹖賱蹖 禺賵亘 亘賵丿貙 亘乇丕蹖 賲賳 蹖讴蹖 讴賴 噩丕賱亘 亘賵丿
賵賱蹖 賵丕賯毓丕 亘毓丿賽 丕蹖賳讴賴 亘夭乇诏鬲乇 卮丿賳 賵丕賯毓丕 賲爻禺乇賴 卮丿 丿丕爻鬲丕賳卮賵賳:/
倬丕蹖丕賳 亘賳丿蹖卮賲 讴賴 丕賮鬲氐丕丨(賲賳 賲蹖诏賲 丕賮鬲囟丕丨 卮賲丕 亘禺賵賳蹖丿 賮丕噩毓賴貙 賵丨卮鬲賳丕讴貙 乇賯鬲 丕賳诏蹖夭)
賴毓蹖蹖 讴丕卮 丕賳賯丿 賮丕氐賱賴 賳賲蹖賵賮鬲丕丿 亘蹖賳 禺賵賳丿賳 丕蹖賳...丿蹖诏賴 丕卮讴丕賱 賳丿丕乇賴 噩賵丕賳蹖 丕爻鬲 賵 禺丕賲蹖馃椏馃槀
賴賲蹖賳 讴賴 亘丕賱丕禺乇賴 鬲賲賵賲 卮丿 禺賵丿卮 蹖賴 賳毓賲鬲賴...
October 2, 2017
鈥庁堌池з嗁� 诏乇丕賳賯丿乇貙 丿丕爻鬲丕賳賽 丕蹖賳 讴鬲丕亘 丕夭 夭亘丕賳賽 倬爻乇蹖 亘賴 賳丕賲賽 <賮乇丕賳爻賵丕 爻賵乇賽賱> 乇賵丕蹖鬲 賲蹖卮賵丿... 賮乇丕賳爻賵丕 丿乇 乇賵爻鬲丕蹖蹖 讴賵趩讴 賵 夭蹖亘丕 亘賴 賳丕賲賽 "爻賵賱賵賳蹖" 夭賳丿诏蹖 賲蹖讴賳丿 賵 倬丿乇 賵 賲丕丿乇卮 丌賲賵夭诏丕乇丕賳賽 賲丿乇爻賴贁 賴賲丕賳 乇賵爻鬲丕 賴爻鬲賳丿... 卮禺氐蹖鬲 丿蹖诏乇蹖 亘賴 賳丕賲賽 <丕诏賵爻鬲賳 賲賵賱賳> 賳蹖夭 丿乇 丿丕爻鬲丕賳 丨囟賵乇 倬蹖丿丕 賲蹖讴賳丿 讴賴 丕賵 賳蹖夭 丌賲賵夭诏丕乇 丕爻鬲 賵 賴賲讴丕乇賽 倬丿乇 賵 賲丕丿乇 賮乇丕賳爻賵丕 賲蹖亘丕卮丿 賵 丕夭 胤乇賮蹖 丿乇 賲賳夭賱賽 丌賳賴丕 賳蹖夭 夭賳丿诏蹖 賲蹖讴賳丿... 丕夭 丌賳噩丕蹖蹖 讴賴 賲賵賱賳 卮禺氐蹖鬲蹖 噩丕賱亘 賵 毓噩蹖亘 丿丕乇丿 賵 丕禺賱丕賯 賵 丌丿丕亘賽 賵蹖 禺賵亘 賵 賳蹖讴賵爻鬲貙 丕夭 丕蹖賳 乇賵 賲乇丿賲 丕賵 乇丕 <賲賵賱賳 亘夭乇诏> 氐丿丕 賲蹖夭賳賳丿
鈥庁辟堌槽� 丕夭 乇賵夭賴丕蹖 爻乇丿 夭賲爻鬲丕賳蹖貙 賲賵賱賳 乇丕賴賽 禺賵丿 乇丕 诏賲 讴乇丿賴 賵 丌賳賯丿乇 爻乇诏乇丿丕賳 賲蹖卮賵丿 讴賴 賳丕禺賵丿丌诏丕賴 亘賴 噩丕蹖蹖 賲蹖乇爻丿 讴賴 丿乇 丌賳 噩卮賳蹖 亘乇诏夭丕乇 卮丿賴 丕爻鬲 賵 賴賲賴 賲丕爻讴 亘乇 趩賴乇賴 夭丿賴 丕賳丿 賵 乇賯氐 賵 倬丕蹖讴賵亘蹖 賲蹖讴賳賳丿... 賲賵賱賳 亘賴 賴賲乇丕賴 趩賳丿 鬲賳 丿蹖诏乇 爻賵丕乇 亘乇 賯丕蹖賯 卮丿賴 賵 丕夭 鬲賲丕卮丕蹖 噩卮賳 賵 賲賳馗乇賴 賴丕蹖賽 丕胤乇丕賮賽 乇賵丿禺丕賳賴 賱匕鬲 賲蹖亘乇丿... 丿乇 賴賲丕賳 噩卮賳貙 賲賵賱賳 亘丕 丿禺鬲乇蹖 夭蹖亘丕乇賵蹖 亘賴 賳丕賲賽 <丕蹖賵賳 丿賵诏丕賱賴> 丌卮賳丕 賲蹖卮賵丿 賵 蹖讴 丿賱 賳賴 氐丿 丿賱貙 毓丕卮賯 丕賵 卮丿賴 賵 亘賴 賵蹖 丿賱 賲蹖亘丕夭丿.... 倬爻 丕夭 倬丕蹖丕賳賽 噩卮賳貙 賴賲賴 亘賴 爻賲鬲賽 讴丕禺 讴賵趩讴蹖 乇賮鬲賴 鬲丕 丿乇 賲乇丕爻賲賽 賳丕賲夭丿蹖賽 <賵丕賱丕賳鬲蹖賳> 卮乇讴鬲 讴賳賳丿... 丕賲賾丕 倬爻 丕夭 诏匕卮鬲賽 爻丕毓鬲蹖貙 賴賲賴 賲鬲賵噩賴 賲蹖卮賵賳丿 讴賴 <賵丕賱丕賳鬲蹖賳> 賳丕倬丿蹖丿 卮丿賴 丕爻鬲... 賴賲丕賳 賱丨馗賴 賴賲賴 噩丕 鬲丕乇蹖讴 卮丿賴 賵 氐丿丕蹖賽 卮賱蹖讴 亘賴 诏賵卮 賲蹖乇爻丿
鈥庂呝堎勝� 丿乇 乇賵蹖丕 賮乇賵 乇賮鬲賴 賵 夭賲丕賳蹖 讴賴 亘賴 丿賳亘丕賱賽 乇丕賴 乇爻蹖丿賳 亘賴 卮賴乇賽 "爻賳鬲 丌诏丕鬲" 賲蹖亘丕卮丿貙 賳丕诏賴丕賳 丿乇 鬲丕乇蹖讴蹖 <賮乇丕賳爻 丿賵诏丕賱賴> 乇丕 賲蹖亘蹖賳丿 讴賴 亘賴 丿賳亘丕賱賽 賳丕賲夭丿卮 賵丕賱丕賳鬲蹖賳 賲蹖诏乇丿丿.. 賮乇丕賳爻 夭賲丕賳蹖 讴賴 賳丕丕賲蹖丿 卮丿賴 丕爻鬲 賯氐丿 禺賵丿讴卮蹖 丿丕卮鬲賴 讴賴 鬲蹖乇 亘賴 禺胤丕 乇賮鬲賴 賵 丌賳 氐丿丕蹖賽 卮賱蹖讴蹖 讴賴 丿乇 鬲丕乇蹖讴蹖賽 噩卮賳 卮賳蹖丿賴 卮丿賴 亘賵丿貙 賴賲丕賳 氐丿丕蹖賽 鬲賮賳诏賽 賮乇丕賳爻 亘賵丿賴 丕爻鬲... 賱丕夭賲 亘賴 匕讴乇 丕爻鬲 讴賴 賮乇丕賳爻 丿賵诏丕賱賴 亘乇丕丿乇賽 丕蹖賵賳 丿賵诏丕賱賴貙 賴賲丕賳 丿禺鬲乇賽 夭蹖亘丕爻鬲 讴賴 賲毓卮賵賯賴贁 賲賵賱賳 賳蹖夭 賲蹖亘丕卮丿
鈥庂呝堎勝� 倬爻 丕夭 趩賳丿 乇賵夭貙 亘丕 丕蹖賵賳 丿賵诏丕賱賴貙 丕夭丿賵丕噩 賲蹖讴賳丿 賵 趩賳丿 賲丕賴 亘毓丿貙 賴賲乇丕賴 亘丕 亘乇丕丿乇 夭賳卮 蹖毓賳蹖 賮乇丕賳爻貙 爻賮乇蹖 乇丕 丌睾丕夭 賲蹖讴賳賳丿 鬲丕 亘賱讴賴 賵丕賱丕賳鬲蹖賳 乇丕 丿乇 丕蹖賳 噩爻鬲噩賵貙 亘蹖丕亘賳丿
鈥庁关槽屫藏з嗁呚� 亘賴鬲乇 丕爻鬲 禺賵丿鬲丕賳 丕蹖賳 讴鬲丕亘 乇丕 亘禺賵丕賳蹖丿 賵 丕夭 爻乇賳賵卮鬲賽 丕蹖賳 丿丕爻鬲丕賳賽 倬蹖趩 丿乇 倬蹖趩貙 丌诏丕賴 卮賵蹖丿
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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>
鈥庁辟堌槽� 丕夭 乇賵夭賴丕蹖 爻乇丿 夭賲爻鬲丕賳蹖貙 賲賵賱賳 乇丕賴賽 禺賵丿 乇丕 诏賲 讴乇丿賴 賵 丌賳賯丿乇 爻乇诏乇丿丕賳 賲蹖卮賵丿 讴賴 賳丕禺賵丿丌诏丕賴 亘賴 噩丕蹖蹖 賲蹖乇爻丿 讴賴 丿乇 丌賳 噩卮賳蹖 亘乇诏夭丕乇 卮丿賴 丕爻鬲 賵 賴賲賴 賲丕爻讴 亘乇 趩賴乇賴 夭丿賴 丕賳丿 賵 乇賯氐 賵 倬丕蹖讴賵亘蹖 賲蹖讴賳賳丿... 賲賵賱賳 亘賴 賴賲乇丕賴 趩賳丿 鬲賳 丿蹖诏乇 爻賵丕乇 亘乇 賯丕蹖賯 卮丿賴 賵 丕夭 鬲賲丕卮丕蹖 噩卮賳 賵 賲賳馗乇賴 賴丕蹖賽 丕胤乇丕賮賽 乇賵丿禺丕賳賴 賱匕鬲 賲蹖亘乇丿... 丿乇 賴賲丕賳 噩卮賳貙 賲賵賱賳 亘丕 丿禺鬲乇蹖 夭蹖亘丕乇賵蹖 亘賴 賳丕賲賽 <丕蹖賵賳 丿賵诏丕賱賴> 丌卮賳丕 賲蹖卮賵丿 賵 蹖讴 丿賱 賳賴 氐丿 丿賱貙 毓丕卮賯 丕賵 卮丿賴 賵 亘賴 賵蹖 丿賱 賲蹖亘丕夭丿.... 倬爻 丕夭 倬丕蹖丕賳賽 噩卮賳貙 賴賲賴 亘賴 爻賲鬲賽 讴丕禺 讴賵趩讴蹖 乇賮鬲賴 鬲丕 丿乇 賲乇丕爻賲賽 賳丕賲夭丿蹖賽 <賵丕賱丕賳鬲蹖賳> 卮乇讴鬲 讴賳賳丿... 丕賲賾丕 倬爻 丕夭 诏匕卮鬲賽 爻丕毓鬲蹖貙 賴賲賴 賲鬲賵噩賴 賲蹖卮賵賳丿 讴賴 <賵丕賱丕賳鬲蹖賳> 賳丕倬丿蹖丿 卮丿賴 丕爻鬲... 賴賲丕賳 賱丨馗賴 賴賲賴 噩丕 鬲丕乇蹖讴 卮丿賴 賵 氐丿丕蹖賽 卮賱蹖讴 亘賴 诏賵卮 賲蹖乇爻丿
鈥庂呝堎勝� 丿乇 乇賵蹖丕 賮乇賵 乇賮鬲賴 賵 夭賲丕賳蹖 讴賴 亘賴 丿賳亘丕賱賽 乇丕賴 乇爻蹖丿賳 亘賴 卮賴乇賽 "爻賳鬲 丌诏丕鬲" 賲蹖亘丕卮丿貙 賳丕诏賴丕賳 丿乇 鬲丕乇蹖讴蹖 <賮乇丕賳爻 丿賵诏丕賱賴> 乇丕 賲蹖亘蹖賳丿 讴賴 亘賴 丿賳亘丕賱賽 賳丕賲夭丿卮 賵丕賱丕賳鬲蹖賳 賲蹖诏乇丿丿.. 賮乇丕賳爻 夭賲丕賳蹖 讴賴 賳丕丕賲蹖丿 卮丿賴 丕爻鬲 賯氐丿 禺賵丿讴卮蹖 丿丕卮鬲賴 讴賴 鬲蹖乇 亘賴 禺胤丕 乇賮鬲賴 賵 丌賳 氐丿丕蹖賽 卮賱蹖讴蹖 讴賴 丿乇 鬲丕乇蹖讴蹖賽 噩卮賳 卮賳蹖丿賴 卮丿賴 亘賵丿貙 賴賲丕賳 氐丿丕蹖賽 鬲賮賳诏賽 賮乇丕賳爻 亘賵丿賴 丕爻鬲... 賱丕夭賲 亘賴 匕讴乇 丕爻鬲 讴賴 賮乇丕賳爻 丿賵诏丕賱賴 亘乇丕丿乇賽 丕蹖賵賳 丿賵诏丕賱賴貙 賴賲丕賳 丿禺鬲乇賽 夭蹖亘丕爻鬲 讴賴 賲毓卮賵賯賴贁 賲賵賱賳 賳蹖夭 賲蹖亘丕卮丿
鈥庂呝堎勝� 倬爻 丕夭 趩賳丿 乇賵夭貙 亘丕 丕蹖賵賳 丿賵诏丕賱賴貙 丕夭丿賵丕噩 賲蹖讴賳丿 賵 趩賳丿 賲丕賴 亘毓丿貙 賴賲乇丕賴 亘丕 亘乇丕丿乇 夭賳卮 蹖毓賳蹖 賮乇丕賳爻貙 爻賮乇蹖 乇丕 丌睾丕夭 賲蹖讴賳賳丿 鬲丕 亘賱讴賴 賵丕賱丕賳鬲蹖賳 乇丕 丿乇 丕蹖賳 噩爻鬲噩賵貙 亘蹖丕亘賳丿
鈥庁关槽屫藏з嗁呚� 亘賴鬲乇 丕爻鬲 禺賵丿鬲丕賳 丕蹖賳 讴鬲丕亘 乇丕 亘禺賵丕賳蹖丿 賵 丕夭 爻乇賳賵卮鬲賽 丕蹖賳 丿丕爻鬲丕賳賽 倬蹖趩 丿乇 倬蹖趩貙 丌诏丕賴 卮賵蹖丿
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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>
November 21, 2020
Most French people read this book at school and a recent poll in France made it the sixth best book of the 20th century.
Unlike the average French person, I came to this story of adolescent love in my early 50s. Would the book's charms work for the older reader? The answer is an emphatic yes. It perfectly captures that magical period when emotions are at their most intense.
Le Grand Meaulnes, the protagonist, is an adventurous, charismatic wanderer who stumbles across a lost chateau where partygoers, dressed in period costumes from the 1830s are gathered to celebrate a wedding. At the chateau Meaulnes falls in love with Yvonne.
What follows is an enchanting story of tragedy, intensity, dreams and love. The plot doesn't bear too much scrutiny however that is not the point. The point is to simply surrender to this delightful and atmospheric book and (re)discover your inner adolescent.
4/5
Unlike the average French person, I came to this story of adolescent love in my early 50s. Would the book's charms work for the older reader? The answer is an emphatic yes. It perfectly captures that magical period when emotions are at their most intense.
Le Grand Meaulnes, the protagonist, is an adventurous, charismatic wanderer who stumbles across a lost chateau where partygoers, dressed in period costumes from the 1830s are gathered to celebrate a wedding. At the chateau Meaulnes falls in love with Yvonne.
What follows is an enchanting story of tragedy, intensity, dreams and love. The plot doesn't bear too much scrutiny however that is not the point. The point is to simply surrender to this delightful and atmospheric book and (re)discover your inner adolescent.
4/5
March 31, 2012
Le Grand Meaulnes is supposed to be untranslatable, and this translation by French classics legend Robin Buss doesn鈥檛 convince me otherwise. The novel hinges upon the titular Meaulnes being such a charming force of character in a lower-class school, his name echoes down the ages and his antics and adventures make him a much-beloved geezer in the province. Doesn鈥檛 quite work. But the narrator Fran莽ois is certainly smitten and describes Meaulnes鈥檚 first love in fits of florid descriptive prose worthy of Huysmans. Alain-Fournier (who died in the First War after this was published) seeks to capture the end of adolescence in a wistful and romantic way, and many passages in this short-chapter novel succeed at creating a dreamy forgotten arcadian paradise that might raise a tear or two, depending how pleasant your past was. But the novel lacks cohesion or credible characters, so the end result is a hotchpotch of moments within a sentimental bildungsroman frame, with a lapse or two into melodrama.
September 9, 2023
Literatur, die mit Schmerz vers枚hnt, ohne ihn zu verleugnen oder wegzuerkl盲ren.
鈥濪er gro脽e Meaulnes鈥� (1913) blieb Alain-Fournier einziger fertiggestellter Roman, bevor er 27-j盲hrig im 1. Weltkrieg fiel. Er schrieb an diesem acht Jahre lang, um eine ungl眉ckliche Verliebtheit zu 眉berwinden, die ihn mit 18 Jahren 眉berkam, als er im Grand Palais in Paris einem M盲dchen begegnete. Zwar gehen das Leben des Autors mit den Ereignissen in 鈥濪er gro脽e Meaulnes鈥� Hand in Hand, dennoch schiebt sich zwischen diese und jene eine ausgefeilte, f眉r sich bestehende Erz盲hllogik, die den Text abschlie脽t und unabh盲ngig von jedweder Referenz f眉r sich bestehen l盲sst. Es bedarf keines Wissens 眉ber die Zeit, der Umst盲nde, 眉ber das Leben des Autors, um in 鈥濪er gro脽e Meaulnes鈥� in der 脺bersetzung von Arthur Seiffhart, urspr眉nglich als 鈥濪er gro脽e Kamerad鈥� 1930 erschienen, abtauchen zu k枚nnen:
鈥濰inter den Hecken der Wiese verborgen weideten K眉he, und ich h枚rte ihre Glocken, w盲hrend ich, vom Rad gestiegen, beide H盲nde am Lenker, die Gegend betrachtete, in die ich eine so schwerwiegende Nachricht bringen sollte. Die H盲user, zu deren Eing盲ngen kleine Holzbr眉cken f眉hrten, waren am Rande eines Grabens entlang der Stra脽e aneinandergereiht wie Barken, die mit gerefften Segeln im Hafen in der Abendruhe ankern. Es war die Stunde, in der in jeder K眉che das Feuer entz眉ndet wird.鈥�
In den 1890er Jahren lernt der Ich-Erz盲hler einen 盲lteren Mitsch眉ler, besagten Meaulnes, kennen, der eines Tages ausb眉chst und v枚llig ver盲ndert, n盲mlich verliebt, wiederkehrt. Von diesem Moment an versucht Meaulnes seine gro脽e Liebe wiederzufinden. Nach vielem Hin und Her bekommt er die Nachricht, dass diese in Paris weilt. Er reist nach, verpasst sie aber, verstrickt sich in eine Aff盲re, kehrt verdrossen und mit schlechtem Gewissen zur眉ck. Unterdessen schlie脽t der Ich-Erz盲hler seine Ausbildung ab, wird Lehrer und bleibt dem Freund behilflich seinen Lebenstraum zu verwirklichen, n盲mlich mit der Angebeteten eine Familie zu gr眉nden und ein beschauliches Leben auf dem Lande zu f眉hren.
鈥濾on drau脽en dringt jetzt kein Ger盲usch mehr zu den jungen Leuten, nur ein entbl盲tterter Rosenzweig schl盲gt ab und zu gegen das Fenster zur Heide hin. Wie zwei Insassen eines dahintreibenden Bootes sind die beiden Liebenden, w盲hrend der Winterwind braust, eingeschlossen mit ihrem Gl眉ck.鈥�
Was wie eine Schmonzette auszuarten droht, bleibt dicht und poetisch im Nachempfinden und Nacherleben eines Erz盲hlers, der dem Leben die volle Aufmerksamkeit widmet. Nichts scheint ihm unbedeutend. Alles nimmt teil an der Freundschaft, der Verliebtheit, an dem Abenteuer Leben, Lieben, am Sein im Hier und Jetzt, mit dem Freund, den Wolken, den Hoffnungen und Tr盲umen und alles zusammen:
鈥濪ann gingen wir der Reihe nach zum Brunnen, den wir zuerst verschm盲ht hatten, und n盲herten langsam das Gesicht der Oberfl盲che des klaren Wassers. Aber nicht alle waren an die Sitten der Landleute gew枚hnt. Vielen, wie mir selbst, gelang es nicht, den Durst zu stillen: den einen, weil sie Wasser nicht mochten, anderen, weil ihnen die Furcht, eine Assel zu verschlucken, die Kehle zuschn眉rte, wieder anderen, weil sie, durch die starke Durchsichtigkeit des Wassers get盲uscht, die Oberfl盲che nicht richtig einsch盲tzen konnten und daher gleichzeitig mit dem Mund die H盲lfte des Gesichts eintauchten, sodass ihnen beim Atmen stechend das Wasser in die Nase drang und ihnen hei脽 vorkam, anderen gelang es aus allen diesen Gr眉nden zugleich nicht 鈥� Aber was schadete das? 鈥� Uns schien, als ob dieser Ort an den unfruchtbaren Ufern des Cher die ganze irdische K眉hle enthielte. Und heute noch, wenn ich irgendwo das Wort 芦Brunnen禄 h枚re, denke ich lange nur an diesen Brunnen.鈥�
Alain-Fourniers 鈥濪er gro脽e Meaulnes鈥� erz盲hlt eine Geschichte, aber die Erz盲hlweise steht im Vordergrund. In ihr belebt sich das Empfindungsverm枚gens des Erz盲hlers. Angstlos, sich r眉ckhaltlos den eigenen Assoziationen und Erinnerungen 眉berlassend, steht 鈥濪er gro脽e Meaulnes鈥� im direkten Zusammenhang mit Marcel Prousts 鈥濧uf der Suche nach der verlorenen Zeit鈥�, Robert Musils 鈥濪ie Verwirrung des Z枚glings T枚rle脽鈥� und Rainer Maria Rilkes 鈥濪ie Aufzeichnungen des Malte Laurids Brigge鈥�. Traum, Hoffnungen, Poesie und Prosa mischen sich und erschaffen eine Textwelt f眉r sich, nach der St茅phane Mallarm茅 in der absoluten Dichtung suchte. Im Gegensatz zu diesem, der alle Bez眉ge zur Realit盲t unterbinden wollte, taucht Alain-Fournier aber in ihnen ein, l盲sst sich emporheben und erschafft die ganze Welt neu, nur bunter, intensiver, friedlicher, bar jedweder Gewalt oder Brutalit盲t.
鈥濪er gro脽e Meaulnes鈥� (1913) blieb Alain-Fournier einziger fertiggestellter Roman, bevor er 27-j盲hrig im 1. Weltkrieg fiel. Er schrieb an diesem acht Jahre lang, um eine ungl眉ckliche Verliebtheit zu 眉berwinden, die ihn mit 18 Jahren 眉berkam, als er im Grand Palais in Paris einem M盲dchen begegnete. Zwar gehen das Leben des Autors mit den Ereignissen in 鈥濪er gro脽e Meaulnes鈥� Hand in Hand, dennoch schiebt sich zwischen diese und jene eine ausgefeilte, f眉r sich bestehende Erz盲hllogik, die den Text abschlie脽t und unabh盲ngig von jedweder Referenz f眉r sich bestehen l盲sst. Es bedarf keines Wissens 眉ber die Zeit, der Umst盲nde, 眉ber das Leben des Autors, um in 鈥濪er gro脽e Meaulnes鈥� in der 脺bersetzung von Arthur Seiffhart, urspr眉nglich als 鈥濪er gro脽e Kamerad鈥� 1930 erschienen, abtauchen zu k枚nnen:
鈥濰inter den Hecken der Wiese verborgen weideten K眉he, und ich h枚rte ihre Glocken, w盲hrend ich, vom Rad gestiegen, beide H盲nde am Lenker, die Gegend betrachtete, in die ich eine so schwerwiegende Nachricht bringen sollte. Die H盲user, zu deren Eing盲ngen kleine Holzbr眉cken f眉hrten, waren am Rande eines Grabens entlang der Stra脽e aneinandergereiht wie Barken, die mit gerefften Segeln im Hafen in der Abendruhe ankern. Es war die Stunde, in der in jeder K眉che das Feuer entz眉ndet wird.鈥�
In den 1890er Jahren lernt der Ich-Erz盲hler einen 盲lteren Mitsch眉ler, besagten Meaulnes, kennen, der eines Tages ausb眉chst und v枚llig ver盲ndert, n盲mlich verliebt, wiederkehrt. Von diesem Moment an versucht Meaulnes seine gro脽e Liebe wiederzufinden. Nach vielem Hin und Her bekommt er die Nachricht, dass diese in Paris weilt. Er reist nach, verpasst sie aber, verstrickt sich in eine Aff盲re, kehrt verdrossen und mit schlechtem Gewissen zur眉ck. Unterdessen schlie脽t der Ich-Erz盲hler seine Ausbildung ab, wird Lehrer und bleibt dem Freund behilflich seinen Lebenstraum zu verwirklichen, n盲mlich mit der Angebeteten eine Familie zu gr眉nden und ein beschauliches Leben auf dem Lande zu f眉hren.
鈥濾on drau脽en dringt jetzt kein Ger盲usch mehr zu den jungen Leuten, nur ein entbl盲tterter Rosenzweig schl盲gt ab und zu gegen das Fenster zur Heide hin. Wie zwei Insassen eines dahintreibenden Bootes sind die beiden Liebenden, w盲hrend der Winterwind braust, eingeschlossen mit ihrem Gl眉ck.鈥�
Was wie eine Schmonzette auszuarten droht, bleibt dicht und poetisch im Nachempfinden und Nacherleben eines Erz盲hlers, der dem Leben die volle Aufmerksamkeit widmet. Nichts scheint ihm unbedeutend. Alles nimmt teil an der Freundschaft, der Verliebtheit, an dem Abenteuer Leben, Lieben, am Sein im Hier und Jetzt, mit dem Freund, den Wolken, den Hoffnungen und Tr盲umen und alles zusammen:
鈥濪ann gingen wir der Reihe nach zum Brunnen, den wir zuerst verschm盲ht hatten, und n盲herten langsam das Gesicht der Oberfl盲che des klaren Wassers. Aber nicht alle waren an die Sitten der Landleute gew枚hnt. Vielen, wie mir selbst, gelang es nicht, den Durst zu stillen: den einen, weil sie Wasser nicht mochten, anderen, weil ihnen die Furcht, eine Assel zu verschlucken, die Kehle zuschn眉rte, wieder anderen, weil sie, durch die starke Durchsichtigkeit des Wassers get盲uscht, die Oberfl盲che nicht richtig einsch盲tzen konnten und daher gleichzeitig mit dem Mund die H盲lfte des Gesichts eintauchten, sodass ihnen beim Atmen stechend das Wasser in die Nase drang und ihnen hei脽 vorkam, anderen gelang es aus allen diesen Gr眉nden zugleich nicht 鈥� Aber was schadete das? 鈥� Uns schien, als ob dieser Ort an den unfruchtbaren Ufern des Cher die ganze irdische K眉hle enthielte. Und heute noch, wenn ich irgendwo das Wort 芦Brunnen禄 h枚re, denke ich lange nur an diesen Brunnen.鈥�
Alain-Fourniers 鈥濪er gro脽e Meaulnes鈥� erz盲hlt eine Geschichte, aber die Erz盲hlweise steht im Vordergrund. In ihr belebt sich das Empfindungsverm枚gens des Erz盲hlers. Angstlos, sich r眉ckhaltlos den eigenen Assoziationen und Erinnerungen 眉berlassend, steht 鈥濪er gro脽e Meaulnes鈥� im direkten Zusammenhang mit Marcel Prousts 鈥濧uf der Suche nach der verlorenen Zeit鈥�, Robert Musils 鈥濪ie Verwirrung des Z枚glings T枚rle脽鈥� und Rainer Maria Rilkes 鈥濪ie Aufzeichnungen des Malte Laurids Brigge鈥�. Traum, Hoffnungen, Poesie und Prosa mischen sich und erschaffen eine Textwelt f眉r sich, nach der St茅phane Mallarm茅 in der absoluten Dichtung suchte. Im Gegensatz zu diesem, der alle Bez眉ge zur Realit盲t unterbinden wollte, taucht Alain-Fournier aber in ihnen ein, l盲sst sich emporheben und erschafft die ganze Welt neu, nur bunter, intensiver, friedlicher, bar jedweder Gewalt oder Brutalit盲t.
July 21, 2011
Alain-Fournier was the pseudonym of Henri Alban-Fournier (1886-1914), a French author and soldier. Le Grand Meaulnes (1913) was his only novel, filmed twice and is now considered one of the greatest works of French literature. He was a friend to Andre Gide (1869-1951) who wrote The Fruits of the Earth (1897), Strait is the Gate (1909), The Counterfeiters (1927) among many others. Alain-Fournier started work on a second novel Colombe Blanchet in 1914. However, that same year, he joined the army and died while in the battlefront. It was World War I.
Le Grand Meaulnes, also known as The Wanderer when translated and published in the US, is a semi-autobiographical novel. It is about a 17-y/o boy Augustin Meaulnes, who got lost in a forest and meets a girl of his dreams, Yvonne de Galais. This fictional female character was based on Alain-Fournier鈥檚 crush, Yvonne de Quievrecourt who agreed to meet with him a year after along the Seine riverbanks. However, de Quievrecourt did not show up and it broke Alain-Fournier鈥檚 young heart. The narrator of the story, 15-y/o Francois Seurel is like a boy who is having an awakening while witnessing the older boy鈥檚 first lesson on love. What makes the dreamlike narration captivating is the fact that both of them are young boys who are innocent in the ways of love. When Meaulnes disappears in search of his lost or should I say mysterious love, I felt his loss too and thought of the first time my first crush broke my heart. It is a bittersweet story that everyone, young and old, can identify with. Meaulnes determination to find his love back proves to us that romantic idealism is still something that can sweep our feet off. Even in this era of cyberspace, still鈥� nothing can replace the impact of a true and heartfelt story of young love.
Critics compare this to F. Scott-Fitzgerald鈥檚 masterpiece The Great Gatsby (1925), one of the greatest work of American literature. I can see the similarities: enchanted estate, the guests, the festivities and the use of the third-person narrator. Fitzgerald was in France when he wrote his masterpiece and did not deny being influenced by this Alain-Fournier鈥檚 work.
Finally, like Gatsby, Le Grand Meaulnes is also a sad love story. In fact, this is one of the saddest love story that I鈥檝e ever read that can compete with Eric Segal鈥檚 Love Story. The fact that broken-hearted Alain-Fournier died while fighting for his country a year later adds to the appeal of the novel.
Come to think of it, Alain-Fournier鈥檚 lost or unrequited love for de Quievrecourt did not go to waste. In fact, he made it immortal by putting his experience 鈥� of that loving and hurting 鈥� by writing this novel, Le Grand Meaulnes.
Glad to have read a Alain-Fournier. No wonder French people are known to be romantic. They have this book as a required reading in their schools.
Le Grand Meaulnes, also known as The Wanderer when translated and published in the US, is a semi-autobiographical novel. It is about a 17-y/o boy Augustin Meaulnes, who got lost in a forest and meets a girl of his dreams, Yvonne de Galais. This fictional female character was based on Alain-Fournier鈥檚 crush, Yvonne de Quievrecourt who agreed to meet with him a year after along the Seine riverbanks. However, de Quievrecourt did not show up and it broke Alain-Fournier鈥檚 young heart. The narrator of the story, 15-y/o Francois Seurel is like a boy who is having an awakening while witnessing the older boy鈥檚 first lesson on love. What makes the dreamlike narration captivating is the fact that both of them are young boys who are innocent in the ways of love. When Meaulnes disappears in search of his lost or should I say mysterious love, I felt his loss too and thought of the first time my first crush broke my heart. It is a bittersweet story that everyone, young and old, can identify with. Meaulnes determination to find his love back proves to us that romantic idealism is still something that can sweep our feet off. Even in this era of cyberspace, still鈥� nothing can replace the impact of a true and heartfelt story of young love.
Critics compare this to F. Scott-Fitzgerald鈥檚 masterpiece The Great Gatsby (1925), one of the greatest work of American literature. I can see the similarities: enchanted estate, the guests, the festivities and the use of the third-person narrator. Fitzgerald was in France when he wrote his masterpiece and did not deny being influenced by this Alain-Fournier鈥檚 work.
Finally, like Gatsby, Le Grand Meaulnes is also a sad love story. In fact, this is one of the saddest love story that I鈥檝e ever read that can compete with Eric Segal鈥檚 Love Story. The fact that broken-hearted Alain-Fournier died while fighting for his country a year later adds to the appeal of the novel.
Come to think of it, Alain-Fournier鈥檚 lost or unrequited love for de Quievrecourt did not go to waste. In fact, he made it immortal by putting his experience 鈥� of that loving and hurting 鈥� by writing this novel, Le Grand Meaulnes.
Glad to have read a Alain-Fournier. No wonder French people are known to be romantic. They have this book as a required reading in their schools.
August 21, 2018
Alain-Fournier nasceu em Fran莽a em 1886. O Grande Meaulnes, publicado em 1913, 茅 o seu 煤nico romance. Estava a trabalhar numa segunda obra quando foi mobilizado para combater na Primeira Guerra Mundial. Desapareceu, em 22 de Setembro de 1914, durante uma batalha. Em 1991, uma equipa de historiadores encontrou uma vala comum com vinte e um esqueletos e sup玫e-se ser um deles de Alain-Fournier.
Sempre que me cruzava com este livro vinha ao 欧宝娱乐 e ao ver a m茅dia de estrelas (3,77) perdia o interesse. Este ano na Feira do Livro disseram-me que de certeza era um livro de que eu gostaria muito. Pelo sim, pelo n茫o, comprei-o mas arrumei-o no monte "n茫o me parece...". H谩 dias, vi a lista dos 50 livros preferidos de um leitor que tenho em grande conta. Li-o e j谩 est谩 na minha estante dos 100 livros favoritos. Na lista do Le Monde dos 100 livros do s茅culo XX est谩 em nono lugar.
Sobre o conte煤do do livro, e as minhas emo莽玫es ao l锚-lo, n茫o me apetece dizer nada. Apenas que gosto muito do t铆tulo da edi莽茫o brasileira: O Bosque das Ilus玫es Perdidas...
Sempre que me cruzava com este livro vinha ao 欧宝娱乐 e ao ver a m茅dia de estrelas (3,77) perdia o interesse. Este ano na Feira do Livro disseram-me que de certeza era um livro de que eu gostaria muito. Pelo sim, pelo n茫o, comprei-o mas arrumei-o no monte "n茫o me parece...". H谩 dias, vi a lista dos 50 livros preferidos de um leitor que tenho em grande conta. Li-o e j谩 est谩 na minha estante dos 100 livros favoritos. Na lista do Le Monde dos 100 livros do s茅culo XX est谩 em nono lugar.
Sobre o conte煤do do livro, e as minhas emo莽玫es ao l锚-lo, n茫o me apetece dizer nada. Apenas que gosto muito do t铆tulo da edi莽茫o brasileira: O Bosque das Ilus玫es Perdidas...
April 8, 2020
by Alain-Fournier goes by two titles. The second is . 鈥淕rand鈥�, being a French word with different connotations, it is best to avoid a direct translation and so the English title is completely different. The French author, Henri-Alban Fournier (1886-1914), went by the pseudonym Alain-Fournier. The book was published in 1913. The author died in 1914 at the age of twenty seven, killed in action, at the start of the First World War.
I like the ending of this book. I like how the author ties up the plot. There is a twist at the end that I didn鈥檛 see coming. I also think the character portrayal of the two central protagonists is very well done. You cannot judge the book until the very end. Only at the end does what the book is really about hit you with a smack. It is about . It is also about the transition from adolescence to adulthood. You won鈥檛 understand this until the end. I do not want to tell you too much; it is realizing this yourself that is fun.
As a bit of introduction, I will just say this. The story is set in the village of Sainte Agathe, in the Sologne region of central France. There is a Sainte Agathe chapel that does exist. The tale starts in the year 1890 and covers events of a few years, about five. The story circles around two friends, one is fifteen, the other is seventeen. Actually, it is best to say three! The younger boy tells the story. Girls come into the tale too, in a very important way! I am not going to tell you anymore.
Why not more stars? I cannot properly judge the writing, the prose. The book is translated into English. The audio I listened to is translated by Fran莽oise Delisle and has been revised for the audio recording. I have not compared line by line the French versus the English, but improvements are needed. Incorrect prepositions are used. The language is not fluid. The choice of words is often clumsy鈥斺€渙ccupiers鈥� is used, 鈥渙ccupants鈥� would have been better. Rather than being told the town is quiet and still, we are told 鈥渆verything is sleeping鈥�. Things do not sleep! In French, adjectives are usually placed after the noun they modify. In English, adjectives precede the noun. This error is made multiple times. The translation is so bad I cannot judge the prose, and prose is important to me. I want to enjoy the lines as I read, I didn鈥檛 here. This explains why I have not given the book more stars.
The tone of the novel has a special feel鈥攎ysterious, dreamlike. This intrigues me. I am guessing I would have enjoyed the book more had I been given a better translation.
John Hollingworth narrates the audiobook I listened to. I did not enjoy his narration, and I do not recommend it. He mumbles words; he does not enunciate clearly. The pacing is off; he pauses where it is not necessary. This makes the tempo jerky. Not all lines are read in this staccato fashion, but all too many are. The narration performance I have give one star.
I like the ending of this book. I like how the author ties up the plot. There is a twist at the end that I didn鈥檛 see coming. I also think the character portrayal of the two central protagonists is very well done. You cannot judge the book until the very end. Only at the end does what the book is really about hit you with a smack. It is about . It is also about the transition from adolescence to adulthood. You won鈥檛 understand this until the end. I do not want to tell you too much; it is realizing this yourself that is fun.
As a bit of introduction, I will just say this. The story is set in the village of Sainte Agathe, in the Sologne region of central France. There is a Sainte Agathe chapel that does exist. The tale starts in the year 1890 and covers events of a few years, about five. The story circles around two friends, one is fifteen, the other is seventeen. Actually, it is best to say three! The younger boy tells the story. Girls come into the tale too, in a very important way! I am not going to tell you anymore.
Why not more stars? I cannot properly judge the writing, the prose. The book is translated into English. The audio I listened to is translated by Fran莽oise Delisle and has been revised for the audio recording. I have not compared line by line the French versus the English, but improvements are needed. Incorrect prepositions are used. The language is not fluid. The choice of words is often clumsy鈥斺€渙ccupiers鈥� is used, 鈥渙ccupants鈥� would have been better. Rather than being told the town is quiet and still, we are told 鈥渆verything is sleeping鈥�. Things do not sleep! In French, adjectives are usually placed after the noun they modify. In English, adjectives precede the noun. This error is made multiple times. The translation is so bad I cannot judge the prose, and prose is important to me. I want to enjoy the lines as I read, I didn鈥檛 here. This explains why I have not given the book more stars.
The tone of the novel has a special feel鈥攎ysterious, dreamlike. This intrigues me. I am guessing I would have enjoyed the book more had I been given a better translation.
John Hollingworth narrates the audiobook I listened to. I did not enjoy his narration, and I do not recommend it. He mumbles words; he does not enunciate clearly. The pacing is off; he pauses where it is not necessary. This makes the tempo jerky. Not all lines are read in this staccato fashion, but all too many are. The narration performance I have give one star.
July 29, 2019
A few moments later a strange equipage drew up in front of the glass doors: an outlandish old farm wagon with rounded panels and moulded ornaments; an aged white horse with head bent so low that he seemed to be hoping to find grass in the road; and in the driving seat鈥旾 say it in the simplicity of my heart, well knowing what I say鈥昿erhaps the most beautiful young woman that ever existed in the whole world.
For the first half of Le Grand Meaulnes I was well-nigh intoxicated by the air of romance as it鈥檚 only breathed in youth: from the arrival of the singleminded adventurous Meaulnes (a less angry proto-James Dean as Jim Stark) in the cloistered village schoolroom to his inadvertent discovery of the mysterious 鈥渄omain鈥� where he meets the abovementioned beautiful young woman, despite challenges to credibility that a lesser story would have collapsed under, I bought it all, surprised and touched by my own softheartedness. But from the moment (p142 in my Penguin edition) when the narrator鈥檚 aunt meets a 鈥測oung man鈥� with 鈥渇ace so white and so pretty that it was frightening鈥� I began, rapidly, to wake from the trance, having guessed the 鈥渄ark secret鈥� around which the book kept circling. Which isn鈥檛 to say I didn鈥檛 like it, only that where earlier I鈥檇 wondered how Alain-Fournier, at age 27, could possibly have conceived it, by its end I鈥檇 relegated its sorceror-author back to the realm of mortals, able to enchant through a rare mix of lucidity and young ardour but constrained by the young man鈥檚 love of mystery stories to make of his modern fairytale a convoluted puzzle with pat ending. Still, I鈥檒l take Meaulnes over Werther, over Raymond Radiguet, over Hamsun鈥檚 Victoria, because when Meaulnes is on he鈥檚 every young man鈥檚 fearless alter ego, and his Lost Domain the ultimate young man鈥檚 dream鈥昦 masked ball where children rule over adults and a never-to-be-forgotten young woman presides鈥昩ut one from which he never awakes. At first, as I delved deeper into that domain, I feared that Alain-Fournier would pull the ground from under me (鈥淚t was all a dream,鈥� he鈥檇 say), or that he鈥檇 strain my faith in him too far. But no, he brought me down gently, and for that alone he鈥檚 a genius. So he then contorts himself in plot-twists? I forgive him, because somewhere in here is an archetype awaiting (re?)birth. Whether its author knew it or not, Le Grand Meaulnes strays magically close to perfection. In the relationship of its hero to its narrator, in the mirror-images of Meaulnes/Frantz and Yvonne/Valentine, in its tightrope straddling of the line between childhood and adulthood, fantasy and realism, this flawed novel hints at a deep well of intuited meaning. That its young author chose a mystery story to convey that essence doesn鈥檛 bother me; that he let the form distort the essence does. Never mind! One day, I鈥檒l read just the first half. Until then, long live the Lost Domain! Long live Yvonne de Galais! Long live le grand Meaulnes!
May 23, 2012
Never have I found it more difficult to finish a lovelier book. My first attempt was derailed five years ago; the second was ultimately successful only after a three-month hiatus. And this little volume carried so much weight by now, as a favourite of several people - exes, friends, the hard-to-label - from different times and places in my life ... all of which have something of the partially-lost domain about them.
I started reading it again in a sunny May garden surrounded by birdsong - the first time I'd had a garden to myself; it proved the perfect place and bestowed the magic for the book to take on its own life.
It's so delicately perfect that I hesitate to describe it and review it in my clumsy words. I was in the vicinity of the verge of tears for most of the story, yet not upset.
The descriptions of the seasons are some of the prettiest I can recall.
Most of this book is a beautiful bittersweet dream. Occasionally, it is like waking in a sweat and wondering, cursing, why the hell one did something. Though being characters in a highly romanticised novel, these people do take some of their actions to extremes.
Meaulnes contains elements of many - more recently written - books I've already read, yet it never palled. As Augustin and Francois glimpse an enchanting place, reading this felt like seeing a source of favourite stories and ideas.
I started reading it again in a sunny May garden surrounded by birdsong - the first time I'd had a garden to myself; it proved the perfect place and bestowed the magic for the book to take on its own life.
It's so delicately perfect that I hesitate to describe it and review it in my clumsy words. I was in the vicinity of the verge of tears for most of the story, yet not upset.
The descriptions of the seasons are some of the prettiest I can recall.
Most of this book is a beautiful bittersweet dream. Occasionally, it is like waking in a sweat and wondering, cursing, why the hell one did something. Though being characters in a highly romanticised novel, these people do take some of their actions to extremes.
Meaulnes contains elements of many - more recently written - books I've already read, yet it never palled. As Augustin and Francois glimpse an enchanting place, reading this felt like seeing a source of favourite stories and ideas.
November 22, 2021
I knew nothing about Alain-Fournier when Eva van Outryve de Crommelynck strongly recommended to read this book. A feeble complaint that the book was in French was dismissed on the basis that all books should be read in their original languages. While this presents a formidable obstacle to an aspiring reader, specifically for this book she was quite right.
I am not sure if many agree with this personal observation but I found that books written in French can rarely be translated well into English. Into Russian - yes, into English - no. A case in point, a fine French writer Eric-Emmanuel Shmitt, when translated into English reads like a pretentious bore, which cannot be further away from his actual style of writing. He is anything but pretentious. Ok, this digression is over, I will pick it up and expand on it elsewhere.
Finally, I braved Le Grand Meaulnes in French assisted by a fabulous reading of the novel by William Mesguich and I was not disappointed. The writing was inspired, almost transcending into poetry at times, the music of the words adding palpably to the emotions overwhelming the children in the story.
The book is a Bildungsroman of a kind but its unique attribute is the feeling of loss accompanying the graduation into adulthood. Some intangible property of childhood, some magical feature of life is forever lost when one regrettably grows up. The wonderous celebration, 'la fete 茅trange' once witnessed, can never be relived, can never be returned. One can look to substitute this wonder with love or with friendship but 'la fete 茅trange' of the childhood is no more.
Not all aspects of the story will be appreciated by contemporary readers. Perched on an ivory tower of our present knowledge and understanding of the world, we cannot help but look down on some trivial psychological mistakes of an aspiring writer of the age before modernism. It's fitting to not say anything else about the book and just thank once more the person who insistently recommended it.
Eva, a troubled and an almost silent adolescent in Zedelghem chapter of Cloud Atlas reappears as an unlikely mentor in Black Swan Green. It is there that she mentions Le Grand Meaulnes as an absolute must read. Everything is connected, a thin thread attaches this reader nostalgic for his own lost childhood to David Mitchell and his characters, to Fran莽ois and his great friend Meaulnes, to Alain-Fournier himself, who never got to write another book. He was killed in the first month of the war.
I am not sure if many agree with this personal observation but I found that books written in French can rarely be translated well into English. Into Russian - yes, into English - no. A case in point, a fine French writer Eric-Emmanuel Shmitt, when translated into English reads like a pretentious bore, which cannot be further away from his actual style of writing. He is anything but pretentious. Ok, this digression is over, I will pick it up and expand on it elsewhere.
Finally, I braved Le Grand Meaulnes in French assisted by a fabulous reading of the novel by William Mesguich and I was not disappointed. The writing was inspired, almost transcending into poetry at times, the music of the words adding palpably to the emotions overwhelming the children in the story.
The book is a Bildungsroman of a kind but its unique attribute is the feeling of loss accompanying the graduation into adulthood. Some intangible property of childhood, some magical feature of life is forever lost when one regrettably grows up. The wonderous celebration, 'la fete 茅trange' once witnessed, can never be relived, can never be returned. One can look to substitute this wonder with love or with friendship but 'la fete 茅trange' of the childhood is no more.
Not all aspects of the story will be appreciated by contemporary readers. Perched on an ivory tower of our present knowledge and understanding of the world, we cannot help but look down on some trivial psychological mistakes of an aspiring writer of the age before modernism. It's fitting to not say anything else about the book and just thank once more the person who insistently recommended it.
Eva, a troubled and an almost silent adolescent in Zedelghem chapter of Cloud Atlas reappears as an unlikely mentor in Black Swan Green. It is there that she mentions Le Grand Meaulnes as an absolute must read. Everything is connected, a thin thread attaches this reader nostalgic for his own lost childhood to David Mitchell and his characters, to Fran莽ois and his great friend Meaulnes, to Alain-Fournier himself, who never got to write another book. He was killed in the first month of the war.
July 13, 2009
Although Le Grand Meaulnes (sometimes translated as The Wanderer or The Lost Estate) was written in 1913, which was more in the decadent or modernism era, this lovely, mysterious novel falls definitely into the category of late Romanticism. Just one year after publishing his one and only novel, young Henri Alain-Fournier was killed in a World War I battle at Epargnes in 1914. The literary world is so much the poorer for his loss as well as for the loss of many more novels he surely would have written.
The title character in Le Grand Meaulnes is a 17-year-old student, Augustin Meaulnes, who arrives at a boys' school in rural France, about 1910. Meaulnes is worldly and charismatic, and soon has all the boys wanting to be his friend. The narrator of the story is Meanlnes's best friend Francois Seurel, a sickly 15-year-old boy upon whom Meaulnes seems to have a healing effect. Francois carefully chronicles all the elated and brooding emotions of his moody new friend. One day, Meaulnes takes a cart and horse from the school and disappears for three days without explanation. When he returns, Meaulnes seems dazed and forlorn. He relates to Francois how he accidentally stumbled upon a beautiful old house--what he will later call "the lost domain" --in the middle of a forest. Meaulnes sneaked into an engagement party that was going on there. The party had a dreamy, surrealistic feel to it until Meaulnes heard from the sad, young groom that the wedding was off because the fiancee fled. Meaulnes also met and talked to beautiful Yvonne de Galais, the sister of the would-be groom. But before he could really get to know her, she disappeared and he had to stumble his way back to the school. The original 1960s film version of this novel is a beautiful tribute to the spirit of Alain-Fournier's story. As Meaulnes tells in flashback his experience at the lost domaine, the footage is shot in a blurred style, like a Monet painting, to indicate his dreaminess and confusion during his disoriented and ethereal state. (I have also read that the 2006 film version is disappointing; too bad!) The events that subsequently continue to bring together and pull apart Meanlnes, Yvonne, Franz, and his would-be bride Valentine, and various "bohemian" youth of the region continue in Francois's narrative for the next three years until the story comes to its melancholic conclusion. This is beautiful piece of writing in terms of coming-of-age, adolescent angst, and the typical Romantic search for the unattainable ideal. Highly recommended.
The title character in Le Grand Meaulnes is a 17-year-old student, Augustin Meaulnes, who arrives at a boys' school in rural France, about 1910. Meaulnes is worldly and charismatic, and soon has all the boys wanting to be his friend. The narrator of the story is Meanlnes's best friend Francois Seurel, a sickly 15-year-old boy upon whom Meaulnes seems to have a healing effect. Francois carefully chronicles all the elated and brooding emotions of his moody new friend. One day, Meaulnes takes a cart and horse from the school and disappears for three days without explanation. When he returns, Meaulnes seems dazed and forlorn. He relates to Francois how he accidentally stumbled upon a beautiful old house--what he will later call "the lost domain" --in the middle of a forest. Meaulnes sneaked into an engagement party that was going on there. The party had a dreamy, surrealistic feel to it until Meaulnes heard from the sad, young groom that the wedding was off because the fiancee fled. Meaulnes also met and talked to beautiful Yvonne de Galais, the sister of the would-be groom. But before he could really get to know her, she disappeared and he had to stumble his way back to the school. The original 1960s film version of this novel is a beautiful tribute to the spirit of Alain-Fournier's story. As Meaulnes tells in flashback his experience at the lost domaine, the footage is shot in a blurred style, like a Monet painting, to indicate his dreaminess and confusion during his disoriented and ethereal state. (I have also read that the 2006 film version is disappointing; too bad!) The events that subsequently continue to bring together and pull apart Meanlnes, Yvonne, Franz, and his would-be bride Valentine, and various "bohemian" youth of the region continue in Francois's narrative for the next three years until the story comes to its melancholic conclusion. This is beautiful piece of writing in terms of coming-of-age, adolescent angst, and the typical Romantic search for the unattainable ideal. Highly recommended.
March 2, 2024
丿賵 鬲丕 毓賳氐乇 丕氐賱蹖 丿乇 丕丿亘蹖丕鬲 賮乇丕賳爻賴 賳馗乇 賲賳 乇賵 亘賴 禺賵丿卮 噩賱亘 讴乇丿賴 賵 賲蹖讴賳賴 賴賲蹖卮賴:
1. 鬲禺蹖賱 賲鬲賮丕賵鬲卮賵賳
2. 丨爻 賳賵爻鬲丕賱跇蹖卮賵賳
鬲禺蹖賱 賲鬲賮丕賵鬲卮賵賳 賱夭賵賲丕賸 亘賴 丕蹖賳 賲毓賳丕 賳蹖爻鬲 讴賴 賲丨鬲賵丕賴丕 蹖丕 賮購乇賲 賴丕蹖 禺蹖賱蹖 賲鬲賮丕賵鬲 賵 乇丕丿蹖讴丕賱 禺賱賯 賲蹖讴賳賳 - 賴乇趩賳丿 賲蹖讴賳賳 賵 丕氐賵賱丕賸 丕夭 丕蹖賳 賵噩賴 亘賴 賳馗乇賲 倬蹖卮鬲丕夭 賴爻鬲賳 - 亘賱讴賴 蹖毓賳蹖 乇賵丕蹖鬲 賴丕蹖 倬蹖卮 倬丕 丕賮鬲丕丿賴 賵 乇賵夭賲乇賴 乇賵 亘丕 鬲禺蹖賱蹖 乇賵丕蹖鬲 賲蹖讴賳賳 讴賴 爻乇卮丕乇卮 賲蹖讴賳賴 丕夭 賳賵毓蹖 丨爻 丕毓噩丕亘貨 丕诏賴 鬲賵氐蹖賮賴貙 丕賵賳賯丿乇 鬲兀孬蹖乇诏匕丕乇賴 讴賴 丕毓噩丕亘 丕賳诏蹖夭 賲蹖卮賴貙 丕诏賴 卮乇丨 乇禺丿丕丿 蹖丕 卮禺氐蹖鬲賴貙 賲鬲賮丕賵鬲 丕夭 丌亘 丿乇 賲蹖丕丿貨 賵 丿乇 讴賱 鬲禺蹖賱 賯丿乇鬲賲賳丿蹖 乇賵 亘賴 賲丕 賳卮賵賳 賲蹖丿賴.
丿賵 丨爻 賳賵爻鬲丕賱跇蹖賴貨 丨爻 蹖賴 噩賵乇 诏匕卮鬲踿 丕夭 丿爻鬲 乇賮鬲賴貨 丨爻 蹖賴 噩賵乇 丨乇賲丕賳 噩亘乇丕賳 賳丕倬匕蹖乇貨 賱夭賵賲丕賸 賴賲 丿乇 诏匕卮鬲賴 賳賴貨 亘賱讴賴 賳賵毓蹖 睾蹖丕亘貨 賳賵毓蹖 賳亘賵丿賳 讴賴 噩丕蹖 禺丕賱蹖卮 丨爻 賲蹖卮賴貨
鬲乇讴蹖亘 丕蹖賳 丿賵 鬲丕 乇賵 丿乇 丕蹖賳 乇賲丕賳 丿蹖丿賲. 乇賲丕賳 丕夭 丕賵賳賴丕爻鬲 讴賴 禺蹖賱蹖 乇丕丨鬲 賲蹖卮賴 賴賲賴 趩蹖夭卮 乇賵 賱賵 丿丕丿. 倬爻 丕夭 賲丨鬲賵丕卮 趩蹖夭蹖 賳賲蹖诏賲. 丕賲丕 夭亘丕賳 賵 鬲賵氐蹖賮 賴丕蹖 亘蹖賳賴丕蹖鬲 夭蹖亘丕蹖蹖 丿丕乇賴貨 賵 讴賲蹖 鬲丕 賯爻賲鬲蹖 睾賲 丕賳诏蹖夭賴貨 賵 卮丕蹖爻鬲賴 爻 讴賴 毓賳賵丕賳 讴賱丕爻蹖讴 賮乇丕賳爻賵蹖 乇賵 丿乇 賲賵乇丿卮 亘賴 讴丕乇 亘亘乇蹖賲.
1. 鬲禺蹖賱 賲鬲賮丕賵鬲卮賵賳
2. 丨爻 賳賵爻鬲丕賱跇蹖卮賵賳
鬲禺蹖賱 賲鬲賮丕賵鬲卮賵賳 賱夭賵賲丕賸 亘賴 丕蹖賳 賲毓賳丕 賳蹖爻鬲 讴賴 賲丨鬲賵丕賴丕 蹖丕 賮購乇賲 賴丕蹖 禺蹖賱蹖 賲鬲賮丕賵鬲 賵 乇丕丿蹖讴丕賱 禺賱賯 賲蹖讴賳賳 - 賴乇趩賳丿 賲蹖讴賳賳 賵 丕氐賵賱丕賸 丕夭 丕蹖賳 賵噩賴 亘賴 賳馗乇賲 倬蹖卮鬲丕夭 賴爻鬲賳 - 亘賱讴賴 蹖毓賳蹖 乇賵丕蹖鬲 賴丕蹖 倬蹖卮 倬丕 丕賮鬲丕丿賴 賵 乇賵夭賲乇賴 乇賵 亘丕 鬲禺蹖賱蹖 乇賵丕蹖鬲 賲蹖讴賳賳 讴賴 爻乇卮丕乇卮 賲蹖讴賳賴 丕夭 賳賵毓蹖 丨爻 丕毓噩丕亘貨 丕诏賴 鬲賵氐蹖賮賴貙 丕賵賳賯丿乇 鬲兀孬蹖乇诏匕丕乇賴 讴賴 丕毓噩丕亘 丕賳诏蹖夭 賲蹖卮賴貙 丕诏賴 卮乇丨 乇禺丿丕丿 蹖丕 卮禺氐蹖鬲賴貙 賲鬲賮丕賵鬲 丕夭 丌亘 丿乇 賲蹖丕丿貨 賵 丿乇 讴賱 鬲禺蹖賱 賯丿乇鬲賲賳丿蹖 乇賵 亘賴 賲丕 賳卮賵賳 賲蹖丿賴.
丿賵 丨爻 賳賵爻鬲丕賱跇蹖賴貨 丨爻 蹖賴 噩賵乇 诏匕卮鬲踿 丕夭 丿爻鬲 乇賮鬲賴貨 丨爻 蹖賴 噩賵乇 丨乇賲丕賳 噩亘乇丕賳 賳丕倬匕蹖乇貨 賱夭賵賲丕賸 賴賲 丿乇 诏匕卮鬲賴 賳賴貨 亘賱讴賴 賳賵毓蹖 睾蹖丕亘貨 賳賵毓蹖 賳亘賵丿賳 讴賴 噩丕蹖 禺丕賱蹖卮 丨爻 賲蹖卮賴貨
鬲乇讴蹖亘 丕蹖賳 丿賵 鬲丕 乇賵 丿乇 丕蹖賳 乇賲丕賳 丿蹖丿賲. 乇賲丕賳 丕夭 丕賵賳賴丕爻鬲 讴賴 禺蹖賱蹖 乇丕丨鬲 賲蹖卮賴 賴賲賴 趩蹖夭卮 乇賵 賱賵 丿丕丿. 倬爻 丕夭 賲丨鬲賵丕卮 趩蹖夭蹖 賳賲蹖诏賲. 丕賲丕 夭亘丕賳 賵 鬲賵氐蹖賮 賴丕蹖 亘蹖賳賴丕蹖鬲 夭蹖亘丕蹖蹖 丿丕乇賴貨 賵 讴賲蹖 鬲丕 賯爻賲鬲蹖 睾賲 丕賳诏蹖夭賴貨 賵 卮丕蹖爻鬲賴 爻 讴賴 毓賳賵丕賳 讴賱丕爻蹖讴 賮乇丕賳爻賵蹖 乇賵 丿乇 賲賵乇丿卮 亘賴 讴丕乇 亘亘乇蹖賲.
April 25, 2018
The End of Childhood
Augustin Meaulnes, the larger-than-life hero of Alain-Fournier's charming French classic of 1913, is a curious mixture of tormented adolescent and knight errant. The soubriquet "grand" that is always associated with him refers perhaps to his size (large, tall) but also to the power of his dreams (grandiose, or even great). As told by the fifteen-year-old teacher's son Fran莽ois Seurel, the impact of this lad of seventeen who arrives as a boarder in his father's school has the transformative magic of Nick Carraway's first encounter with Jay Gatsby, only transferred to the world of schoolboys in provincial France. The comparison with is only one of many brilliant insights by Adam Gopnik, who wrote the introduction to this excellent Penguin Classics translation by Robin Buss (I have been checking the book in the original also). The text now seems slightly dated, with characters who are more ideas than real people, but Gopnik places those ideas within a clear literary, historical, and Freudian context; this edition is almost worth buying for his essay alone.
Monsieur Seurel and his pupils seem to spend as much time in the countryside as they do in the classroom, and the life of that countryside is precisely situated in the Cher region of France, not far from Bourges. But in the midst of it there is a lost estate that is almost like a dream, never to be found again. Meaulnes arrives there by accident one night, after falling asleep in a horse-drawn wagon, and finds himself in the midst of preparations for a wedding. It is a passage of sheer magic: a Watteauesque f锚te champ锚tre populated by extravagantly-dressed children and figures from a harlequinade. He meets the daughter of the manor and falls instantly in love. But the wedding is called off and the guests disperse. Meaulnes spends the next years trying to find the way back again, eventually following his distant beloved Yvonne to Paris. The waking dream is not unlike the mysterious chivalric world of Maurice Maeterinck's of 1892, seen here through the eyes of childhood as a lament for childhood's end.
As Gopnik observes, Alain-Fournier places "what is essentially a medieval allegory of love in the terms of a late nineteenth-century realist novel." The realist element is always there even at the beginning鈥攖he routine of the school, the peasant life of the region. As the book moves on, however, the realism becomes stronger, not weaker. The lady setting out for the enchanted isle will become a housewife and mother; the absent bride at the wedding feast threatens to become a prostitute in Paris. Fantasy butts heads with life. Gopnik again: "The intensity of the romance of childhood鈥攁nd the attempt to marry it (literally) to an erotic-romantic dream鈥攇low bright for Fournier with the light of something not quite real, a flare not a fire." A flare, certainly, for within a year of publication, France would enter the Great War; and within a month of that, Alain-Fournier would be dead.
Augustin Meaulnes, the larger-than-life hero of Alain-Fournier's charming French classic of 1913, is a curious mixture of tormented adolescent and knight errant. The soubriquet "grand" that is always associated with him refers perhaps to his size (large, tall) but also to the power of his dreams (grandiose, or even great). As told by the fifteen-year-old teacher's son Fran莽ois Seurel, the impact of this lad of seventeen who arrives as a boarder in his father's school has the transformative magic of Nick Carraway's first encounter with Jay Gatsby, only transferred to the world of schoolboys in provincial France. The comparison with is only one of many brilliant insights by Adam Gopnik, who wrote the introduction to this excellent Penguin Classics translation by Robin Buss (I have been checking the book in the original also). The text now seems slightly dated, with characters who are more ideas than real people, but Gopnik places those ideas within a clear literary, historical, and Freudian context; this edition is almost worth buying for his essay alone.
Monsieur Seurel and his pupils seem to spend as much time in the countryside as they do in the classroom, and the life of that countryside is precisely situated in the Cher region of France, not far from Bourges. But in the midst of it there is a lost estate that is almost like a dream, never to be found again. Meaulnes arrives there by accident one night, after falling asleep in a horse-drawn wagon, and finds himself in the midst of preparations for a wedding. It is a passage of sheer magic: a Watteauesque f锚te champ锚tre populated by extravagantly-dressed children and figures from a harlequinade. He meets the daughter of the manor and falls instantly in love. But the wedding is called off and the guests disperse. Meaulnes spends the next years trying to find the way back again, eventually following his distant beloved Yvonne to Paris. The waking dream is not unlike the mysterious chivalric world of Maurice Maeterinck's of 1892, seen here through the eyes of childhood as a lament for childhood's end.
As Gopnik observes, Alain-Fournier places "what is essentially a medieval allegory of love in the terms of a late nineteenth-century realist novel." The realist element is always there even at the beginning鈥攖he routine of the school, the peasant life of the region. As the book moves on, however, the realism becomes stronger, not weaker. The lady setting out for the enchanted isle will become a housewife and mother; the absent bride at the wedding feast threatens to become a prostitute in Paris. Fantasy butts heads with life. Gopnik again: "The intensity of the romance of childhood鈥攁nd the attempt to marry it (literally) to an erotic-romantic dream鈥攇low bright for Fournier with the light of something not quite real, a flare not a fire." A flare, certainly, for within a year of publication, France would enter the Great War; and within a month of that, Alain-Fournier would be dead.
July 5, 2015
In a boring afternoon of one of these days of June, I chose Le Grand Meaulnes immediately in the local library right after the librarian's alarm that they were closing. It was French and I thought I had a glance on a review before. By reading a few pages of it, I realized that it was a young adult story of two boys Fran莽ois and his best friend Meaulnes who lived in a lower-class school in a village. Narrating in a first person, I thought despite its title there was no trace of Meaulnes himself. I thought "No, I don't feel like reading this", I even wanted to interrupt. But because I did not have any other fiction unread in my bookshelves I continued reading. Well...is it a Tim Burton transcription? Mysterious abandoned house in the middle of a jungle鈥� kids鈥irls dancing...a mysterious party. I kept reading and then again came back to the little preface and read it carefully to find out what kind of French classic it was:
It is going to be a love story? Although the blurb says another The catcher in the rye but I thought maybe The great Gatsby too, unless it is not historical at all. In the middle of the book I thought that it was going to find its shape and kind of unputdownable because everything seemed to be finished and still half of the book remained. Well, he finds a mysterious house and a mysterious girl. Then all his life he searches for that house and girl. He becomes a wanderer. The magic and mysteriousness of that house and atmosphere unconsciously form his feelings. He searches maybe not to find the girl but to find that feeling again.
By finishing the book I had this feeling that it had that message of Gustave Flaubert in Sentimental Education. By depicting that this book declares the end of romanticism and its possible natural consequences, the protagonist, the great Meaulnes is the symbol of a transition.
It is said that a poll of French readers some years ago placed this book sixth of all 20th-century books, just behind Proust and Camus and also it has been twice filmed.
This little mysterious masterpiece with its astounding simplicity and purity, and its deep sensitivity that is used for showing the feelings and emotions of a little mysterious world full of hope and sadness, has influenced strongly many works after itself.
It is going to be a love story? Although the blurb says another The catcher in the rye but I thought maybe The great Gatsby too, unless it is not historical at all. In the middle of the book I thought that it was going to find its shape and kind of unputdownable because everything seemed to be finished and still half of the book remained. Well, he finds a mysterious house and a mysterious girl. Then all his life he searches for that house and girl. He becomes a wanderer. The magic and mysteriousness of that house and atmosphere unconsciously form his feelings. He searches maybe not to find the girl but to find that feeling again.
By finishing the book I had this feeling that it had that message of Gustave Flaubert in Sentimental Education. By depicting that this book declares the end of romanticism and its possible natural consequences, the protagonist, the great Meaulnes is the symbol of a transition.
It is said that a poll of French readers some years ago placed this book sixth of all 20th-century books, just behind Proust and Camus and also it has been twice filmed.
November 12, 2020
螠慰谓伪未喂魏萎 位慰纬慰蟿蔚蠂谓喂魏萎 蟺伪蟻伪魏伪蟿伪胃萎魏畏 蟿慰蠀 Alain Fournier, 蔚谓蠈蟼 蟽蠀纬纬蟻伪蠁苇伪 蟺慰蠀 蟽魏慰蟿蠋胃畏魏蔚 蟽蟿慰谓 螒鈥櫸犖� 渭蠈位喂蟼 蟽蟿伪 蔚委魏慰蟽喂 慰魏蟿蠋 蟿慰蠀 蠂蟻蠈谓喂伪, 芦螣 螠蔚纬维位慰蟼 螠蠅位谓禄 蔚委谓伪喂 苇谓伪 尾喂尾位委慰 蟺慰蠀 未蔚谓 渭蟺慰蟻蔚委 蟺伪蟻维 谓伪 蟿伪蟻维尉蔚喂 蟿伪 谓蔚蟻维 蟿畏蟼 慰谓蔚喂蟻慰蠁伪谓蟿伪蟽委伪蟼 魏伪喂 蟿畏蟼 伪谓伪魏位畏渭苇谓畏蟼, 伪蟺蠅胃畏渭苇谓畏蟼 谓慰蟽蟿伪位纬委伪蟼 蟿慰蠀 蔚蠀伪委蟽胃畏蟿慰蠀 蔚谓萎位喂魏伪 伪谓伪纬谓蠋蟽蟿畏. 螠蔚 蟽蟿慰喂蠂蔚委伪 蟺伪蟻伪渭蠀胃喂慰蠉, 蠈蟺慰蠀 蔚蟺喂蟽蟿蟻伪蟿蔚蠉慰谓蟿伪喂 蟽蠉渭尾慰位伪 魏伪喂 魏位蔚喂未喂维 蔚谓蠈蟼 魏萎蟺慰蠀 蟿畏蟼 螘未苇渭 蟿蠈蟽慰 渭伪纬喂魏慰蠉 蠈蟽慰 魏伪喂 魏伪蟿伪蟻伪渭苇谓慰蠀, 畏 喂蟽蟿慰蟻委伪 蟺慰蠀 尉蔚未喂蟺位蠋谓蔚蟿伪喂 伪谓维 蟽蠉谓蟿慰渭伪 魏蔚蠁维位伪喂伪 蟺伪蟻伪蟽苇蟻谓蔚喂 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏 渭伪味委 渭蔚 蟿慰谓 螒蠀纬慰蠀蟽蟿委谓慰 螠蠅位谓 蟽蟿畏谓 伪谓伪味萎蟿畏蟽畏 蟿慰蠀 围伪渭苇谓慰蠀 螝蟿萎渭伪蟿慰蟼, 蔚谓蠈蟼 蟺伪蟻伪未蔚委蟽慰蠀 蟺慰蠀 蔚蟽蠅魏位蔚委蔚喂 蠈位畏 蟿畏谓 蔚谓苇蟻纬蔚喂伪 渭喂伪蟼 伪蟺蠈位蠀蟿畏蟼 蔚蠀蟿蠀蠂委伪蟼 魏伪喂 渭喂伪蟼 蟺位萎蟻蠅蟽畏蟼 蟺慰蠀 渭慰喂维味蔚喂 慰 苇谓伪蟼 魏伪喂 渭慰谓伪未喂魏蠈蟼 蟽蟿蠈蠂慰蟼, 蟿慰 渭蠈谓慰 魏苇谓蟿蟻慰 蟺慰蠀 伪尉委味蔚喂 魏伪谓蔚委蟼 谓伪 蟿伪 蟺伪委尉蔚喂 蠈位伪 纬喂伪 蠈位伪.
螕喂谓蠈渭伪蟽蟿蔚 魏慰喂谓蠅谓慰委 渭喂伪蟼 渭喂蟽慰蟿蔚位蔚喂蠅渭苇谓畏蟼 蟺蔚蟻喂蟺苇蟿蔚喂伪蟼, 渭喂伪蟼 尾慰蠀蟿喂维蟼 蟽蟿慰谓 魏蠈蟽渭慰 蟿畏蟼 谓蔚蠈蟿畏蟿伪蟼 魏伪喂 蟿畏蟼 伪谓蟿维蟻伪蟼 蟿畏蟼, 渭蔚 蟿畏谓 蟿蔚位蔚蠀蟿伪委伪 谓伪 蔚委谓伪喂 畏 蟽蟿伪胃蔚蟻萎, 维蠂伪蟻畏 魏伪喂 蟽蠀谓维渭伪 蟿蠈蟽慰 蔚位魏蠀蟽蟿喂魏萎 蟽蠀谓慰未蔚委伪. 螁蟺伪尉 魏伪喂 尾维位蔚喂蟼 蟿慰 蟺蠈未喂 蟽慰蠀 蟽蟿慰谓 渭伪纬蔚渭苇谓慰 魏萎蟺慰, 苇蠂蔚喂 萎未畏 纬委谓蔚喂 蟿慰 渭蔚纬维位慰 尾萎渭伪 蟺慰蠀 胃伪 蟽蔚 蟽蟺蟻蠋尉蔚喂 蟽蟿畏谓 蔚谓畏位喂魏委蠅蟽畏. 韦慰 魏慰谓蟿苇蟻 未蔚谓 尉伪谓伪渭畏未蔚谓委味蔚喂, 蟺蟻苇蟺蔚喂 谓伪 蟿蟻苇尉蔚喂蟼 谓伪 尾蟻蔚喂蟼 蟿伪 谓苇伪 蟽慰蠀 蠈蟻喂伪. 螡伪 伪谓伪渭蔚蟿蟻畏胃蔚委蟼 渭伪味委 蟿慰蠀蟼.
危伪谓 蟿慰 渭蠅蟻蠈 蟺慰蠀 未蔚 纬谓蠅蟻委味蔚喂 蟿伪 蠈蟻喂伪 蟿畏蟼 蠉蟺伪蟻尉萎蟼 蟿慰蠀 蟺伪蟻维 渭蠈谓慰 渭苇蟽伪 伪蟺蠈 蟿畏谓 蟽蠅渭伪蟿喂魏萎 蔚蟺伪蠁萎 渭蔚 蟿畏 渭维谓伪 蟿慰蠀, 慰 苇蠁畏尾慰蟼 魏伪位蔚委蟿伪喂 谓伪 伪谓伪魏伪位蠉蠄蔚喂 蟿伪 未喂魏维 蟿慰蠀 蠈蟻喂伪, 苇蠂慰谓蟿伪蟼 未喂伪尾蔚委 蟿慰 蟽蠉谓慰蟻慰 蟿畏蟼 蟺伪喂未喂魏蠈蟿畏蟿伪蟼, 蔚魏蔚委 蠈蟺慰蠀 畏 蠈蠄畏 伪位位维味蔚喂, 蟿慰 蟺谓蔚蠉渭伪 渭蔚蟿伪位位维蟽蟽蔚蟿伪喂, 蟿慰 尾位苇渭渭伪 蟽慰尾伪蟻蔚蠉蔚喂 魏伪喂 蟿慰 渭蠀伪位蠈 尾蟻委蟽魏蔚蟿伪喂 蔚魏蟿蔚胃蔚喂渭苇谓慰 谓伪 蟿慰 渭伪蟽蟿喂纬蠋谓慰蠀谓 慰喂 维纬蟻喂慰喂 维谓蔚渭慰喂 蟿畏蟼 蔚谓畏位喂魏委蠅蟽畏蟼. 螝伪喂 伪蠀蟿蠈 蔚委谓伪喂 渭喂伪 蟽慰尾伪蟻萎 蠀蟺蠈胃蔚蟽畏, 纬委谓蔚蟿伪喂 伪渭苇蟽蠅蟼 蟿慰 魏蠉蟻喂慰 味萎蟿畏渭伪 蟿畏蟼 味蠅萎蟼 蟿慰蠀.
螆谓伪蟼 蟺伪喂未喂魏蠈蟼 蠈蟻魏慰蟼 蟺伪蟻伪蟽苇蟻谓蔚蟿伪喂 魏喂 伪蟺慰魏蟿维 蟿畏 蟽畏渭伪蟽委伪 蟿慰蠀 蟽魏慰蟺慰蠉 味蠅萎蟼. 螒蠀蟿蠈蟼 纬委谓蔚蟿伪喂 蟿慰 魏苇谓蟿蟻慰 伪蟺蠈 蟿慰 慰蟺慰委慰 畏 蠉蟺伪蟻尉畏 蟿慰蠀 螒蠀纬慰蠀蟽蟿委谓慰蠀 螠蠅位谓 尉蔚魏喂谓维 魏伪喂 蟿蔚位蔚喂蠋谓蔚锟斤拷, 蟽魏慰蟺蠈蟼 纬蠉蟻蠅 伪蟺蠈 蟿慰谓 慰蟺慰委慰 畏 味蠅萎 蟺蔚蟻喂蟽蟿蟻苇蠁蔚蟿伪喂 渭苇蠂蟻喂 谓伪 蔚魏蟺位畏蟻蠅胃蔚委, 渭苇蠂蟻喂 谓伪 伪蟺慰魏伪蟿伪蟽蟿伪胃蔚委 畏 蟿伪纬渭苇谓畏 喂蟽慰蟻蟻慰蟺委伪.
螚 伪蠁萎纬畏蟽畏 蟿畏蟼 蟽蠀谓伪蟻蟺伪蟽蟿喂魏萎蟼 伪蠀蟿萎蟼 喂蟽蟿慰蟻委伪蟼 蔚委谓伪喂 蟽蟿伪 蠂苇蟻喂伪 蟿慰蠀 桅蟻伪纬魏委蟽魏慰蠀 危蔚蟻苇位, 蟿慰蠀 伪未蔚蟻蠁喂魏慰蠉 蠁委位慰蠀 蟿慰蠀 螠蔚纬维位慰蠀 螠蠅位谓. 违蟺蠈 蟿畏谓 蔚蟺萎蟻蔚喂伪 蟿畏蟼 渭伪纬蔚委伪蟼 蟺慰蠀 蟿慰蠀 苇蠂蔚喂 伪蟽魏畏胃蔚委 伪蟺蠈 蟿慰谓 渭蔚纬维位慰 蟿慰蠀 蠁委位慰, 伪蟺慰位蠉蟿蠅蟼 未喂魏伪喂慰位慰纬畏渭苇谓畏 纬喂伪 苇谓伪 蟺伪喂未委 蟺慰蠀 蟽蟿喂纬渭伪蟿委味蔚蟿伪喂 伪蟺蠈 苇谓伪谓 渭蠀蟽蟿畏蟻喂蠋未畏 谓苇慰 渭蔚 蠁蠅蟿慰尾慰位委未蔚蟼 蟽蟿慰 渭蠀伪位蠈 蟺慰蠀 蟿慰蠀 蠂伪蟻委味蔚喂 蟿慰 渭蔚纬维位慰 未蠋蟻慰 蟿畏蟼 蔚渭蟺喂蟽蟿慰蟽蠉谓畏蟼 魏伪喂 蟿畏蟼 伪未蔚蟻蠁慰蟽蠉谓畏蟼, 慰 桅蟻伪纬魏委蟽魏慰蟼 渭维蟼 渭蔚蟿伪蠁苇蟻蔚喂 渭苇蟽伪 蟽蟿慰 蟽魏畏谓喂魏蠈 魏伪喂 渭伪蟼 蔚喂蟽维纬蔚喂 蟽蟿畏 渭蔚纬维位畏 蟺蔚蟻喂蟺苇蟿蔚喂伪 蟿畏蟼 谓蔚蠈蟿畏蟿维蟼 蟿慰蠀蟼 渭蔚 蟿蟻蠈蟺慰 蟽蠀纬魏喂谓畏蟿喂魏蠈.
螌蟿伪谓 蔚委蟽伪喂 渭喂魏蟻蠈蟼 伪魏蠈渭伪 魏伪喂 慰喂 蟺喂慰 渭喂魏蟻苇蟼 伪蟺慰蟽蟿维蟽蔚喂蟼 蠁伪谓蟿维味慰蠀谓 蟿蔚蟻维蟽蟿喂蔚蟼 魏伪喂 渭蠈谓慰 渭蔚 蟿慰 蠈蟺位慰 蟿畏蟼 蠁伪谓蟿伪蟽委伪蟼 蟺慰蠀 蔚委谓伪喂 蟺蟻慰喂魏喂蟽渭苇谓伪 蟿伪 蟺伪喂未喂维 渭蟺慰蟻蔚委蟼 谓伪 蟿喂蟼 未蟻伪蟽魏蔚位委蟽蔚喂蟼. 螝伪喂 尉蠀蟺谓蠋谓蟿伪蟼 胃伪蟻蟻蔚委蟼 伪蟺蠈 伪蠀蟿蠈 蟿慰 蠈谓蔚喂蟻慰, 蟿慰 蠈谓蔚喂蟻慰 蟿畏蟼 蟺伪喂未喂魏萎蟼 畏位喂魏委伪蟼, 畏 胃蔚蠅蟻委伪 未蠉谓伪蟿伪喂 尉伪蠁谓喂魏维 谓伪 纬委谓蔚喂 蟺蟻维尉畏 魏伪喂 慰喂 伪蟺慰蟽蟿维蟽蔚喂蟼 伪蠀蟿苇蟼 渭蟺慰蟻慰蠉谓 谓伪 魏伪蟿伪魏蟿畏胃慰蠉谓 渭蔚 渭喂伪 伪谓维蟽伪, 纬喂伪蟿委 蔚委谓伪喂 伪蠀蟿苇蟼 蟺慰蠀 蟽蔚 蔚魏蟿慰尉蔚蠉慰蠀谓 蟽蟿畏谓 蟺蟻伪纬渭伪蟿喂魏萎 渭伪纬蔚委伪, 魏伪喂 蠅 蟿慰蠀 胃伪蠉渭伪蟿慰蟼! 蟿慰 苇蠂蔚喂蟼 渭蠈位喂蟼 伪谓蟿喂位畏蠁胃蔚委, 纬委谓蔚蟿伪喂 畏 胃蔚委伪 未苇畏蟽萎 蟽慰蠀 蟽蟿畏谓 蟺慰位蠀蟺蠈胃畏蟿畏 蔚蠀蟿蠀蠂委伪. 螚 蔚蠀蟿蠀蠂委伪 蟽蟿喂蟼 蟽蔚位委未蔚蟼 蟿慰蠀 尾喂尾位委慰蠀 蔚委谓伪喂 蔚蠉胃蟻伪蠀蟽蟿畏, 渭喂伪 蟻伪纬委味蔚喂, 渭喂伪 蟽蠀纬魏慰位位维蟿伪喂 尉伪谓维, 蠁蠅蟿委味蔚蟿伪喂 渭蠈谓慰 纬喂伪 位委纬慰 魏伪喂 尉伪谓伪蟽魏慰蟿蔚喂谓喂维味蔚喂 蔚蠀胃蠉蟼 伪渭苇蟽蠅蟼, 尾慰蠀蟿维 渭苇蟽伪 蟽蟿慰 苇蟻蔚尾慰蟼 蟿蠅谓 纬蔚纬慰谓蠈蟿蠅谓 蟺慰蠀 蟿畏谓 尉蔚蟺蔚蟻谓慰蠉谓.
芦螒未蔚蟻蠁苇, 蟽蠉谓蟿蟻慰蠁蔚, 蟿伪尉喂未蔚蠀蟿萎, 蟺蠈蟽慰 蟿慰鈥櫹囄蔽嘉� 蟺喂蟽蟿苇蠄蔚喂 魏伪喂 慰喂 未蠀慰 渭伪蟼 蟺蠅蟼 畏 蔚蠀蟿蠀蠂委伪 尾蟻委蟽魏蔚蟿伪喂 蔚魏蔚喂未维 蟺位维喂 渭伪蟼, 魏喂 苇蠁蟿伪谓蔚 谓伪 尉蔚魏喂谓萎蟽慰蠀渭蔚 纬喂伪 谓伪 蟿畏 蠁蟿维蟽慰蠀渭蔚鈥β�
螣 螠蔚纬维位慰蟼 螠蠅位谓 蔚委谓伪喂 苇谓伪 尾喂尾位委慰 蟺慰蠀 未委谓蔚喂 渭蔚 蠀蟺苇蟻慰蠂慰, 蟽蠀纬魏喂谓畏蟿喂魏蠈 魏伪喂 蟿蟻蠀蠁蔚蟻维 伪纬蟻喂蔚渭苇谓慰 蟿蟻蠈蟺慰 蟿畏谓 苇谓蟿伪蟽畏 魏伪喂 蟿畏谓 苇尉伪蠄畏 蟺慰蠀 纬蔚谓谓维蟿伪喂 蟽蟿慰谓 蟺蟻慰胃维位伪渭慰 蟿畏蟼 蔚谓畏位喂魏委蠅蟽畏蟼, 蟿畏谓 喂蔚蟻蠈蟿畏蟿伪 蟿畏蟼 蠁喂位委伪蟼, 蟿伪 维蠁伪蟿伪 蟽蠀谓伪喂蟽胃萎渭伪蟿伪 蟺慰蠀 蟺蟻慰魏伪位蔚委 慰 苇蟻蠅蟿伪蟼 魏伪喂 蟿畏 渭慰喂蟻伪喂蠈蟿畏蟿伪 蟺慰蠀 蟺伪蟻伪蠁蠀位维蔚喂 蟺慰位位苇蟼 蠁慰蟻苇蟼 蟽蟿喂蟼 蟺蠉位蔚蟼 蟿畏蟼 委未喂伪蟼 蟿畏蟼 味蠅萎蟼.
螕喂谓蠈渭伪蟽蟿蔚 魏慰喂谓蠅谓慰委 渭喂伪蟼 渭喂蟽慰蟿蔚位蔚喂蠅渭苇谓畏蟼 蟺蔚蟻喂蟺苇蟿蔚喂伪蟼, 渭喂伪蟼 尾慰蠀蟿喂维蟼 蟽蟿慰谓 魏蠈蟽渭慰 蟿畏蟼 谓蔚蠈蟿畏蟿伪蟼 魏伪喂 蟿畏蟼 伪谓蟿维蟻伪蟼 蟿畏蟼, 渭蔚 蟿畏谓 蟿蔚位蔚蠀蟿伪委伪 谓伪 蔚委谓伪喂 畏 蟽蟿伪胃蔚蟻萎, 维蠂伪蟻畏 魏伪喂 蟽蠀谓维渭伪 蟿蠈蟽慰 蔚位魏蠀蟽蟿喂魏萎 蟽蠀谓慰未蔚委伪. 螁蟺伪尉 魏伪喂 尾维位蔚喂蟼 蟿慰 蟺蠈未喂 蟽慰蠀 蟽蟿慰谓 渭伪纬蔚渭苇谓慰 魏萎蟺慰, 苇蠂蔚喂 萎未畏 纬委谓蔚喂 蟿慰 渭蔚纬维位慰 尾萎渭伪 蟺慰蠀 胃伪 蟽蔚 蟽蟺蟻蠋尉蔚喂 蟽蟿畏谓 蔚谓畏位喂魏委蠅蟽畏. 韦慰 魏慰谓蟿苇蟻 未蔚谓 尉伪谓伪渭畏未蔚谓委味蔚喂, 蟺蟻苇蟺蔚喂 谓伪 蟿蟻苇尉蔚喂蟼 谓伪 尾蟻蔚喂蟼 蟿伪 谓苇伪 蟽慰蠀 蠈蟻喂伪. 螡伪 伪谓伪渭蔚蟿蟻畏胃蔚委蟼 渭伪味委 蟿慰蠀蟼.
危伪谓 蟿慰 渭蠅蟻蠈 蟺慰蠀 未蔚 纬谓蠅蟻委味蔚喂 蟿伪 蠈蟻喂伪 蟿畏蟼 蠉蟺伪蟻尉萎蟼 蟿慰蠀 蟺伪蟻维 渭蠈谓慰 渭苇蟽伪 伪蟺蠈 蟿畏谓 蟽蠅渭伪蟿喂魏萎 蔚蟺伪蠁萎 渭蔚 蟿畏 渭维谓伪 蟿慰蠀, 慰 苇蠁畏尾慰蟼 魏伪位蔚委蟿伪喂 谓伪 伪谓伪魏伪位蠉蠄蔚喂 蟿伪 未喂魏维 蟿慰蠀 蠈蟻喂伪, 苇蠂慰谓蟿伪蟼 未喂伪尾蔚委 蟿慰 蟽蠉谓慰蟻慰 蟿畏蟼 蟺伪喂未喂魏蠈蟿畏蟿伪蟼, 蔚魏蔚委 蠈蟺慰蠀 畏 蠈蠄畏 伪位位维味蔚喂, 蟿慰 蟺谓蔚蠉渭伪 渭蔚蟿伪位位维蟽蟽蔚蟿伪喂, 蟿慰 尾位苇渭渭伪 蟽慰尾伪蟻蔚蠉蔚喂 魏伪喂 蟿慰 渭蠀伪位蠈 尾蟻委蟽魏蔚蟿伪喂 蔚魏蟿蔚胃蔚喂渭苇谓慰 谓伪 蟿慰 渭伪蟽蟿喂纬蠋谓慰蠀谓 慰喂 维纬蟻喂慰喂 维谓蔚渭慰喂 蟿畏蟼 蔚谓畏位喂魏委蠅蟽畏蟼. 螝伪喂 伪蠀蟿蠈 蔚委谓伪喂 渭喂伪 蟽慰尾伪蟻萎 蠀蟺蠈胃蔚蟽畏, 纬委谓蔚蟿伪喂 伪渭苇蟽蠅蟼 蟿慰 魏蠉蟻喂慰 味萎蟿畏渭伪 蟿畏蟼 味蠅萎蟼 蟿慰蠀.
螆谓伪蟼 蟺伪喂未喂魏蠈蟼 蠈蟻魏慰蟼 蟺伪蟻伪蟽苇蟻谓蔚蟿伪喂 魏喂 伪蟺慰魏蟿维 蟿畏 蟽畏渭伪蟽委伪 蟿慰蠀 蟽魏慰蟺慰蠉 味蠅萎蟼. 螒蠀蟿蠈蟼 纬委谓蔚蟿伪喂 蟿慰 魏苇谓蟿蟻慰 伪蟺蠈 蟿慰 慰蟺慰委慰 畏 蠉蟺伪蟻尉畏 蟿慰蠀 螒蠀纬慰蠀蟽蟿委谓慰蠀 螠蠅位谓 尉蔚魏喂谓维 魏伪喂 蟿蔚位蔚喂蠋谓蔚锟斤拷, 蟽魏慰蟺蠈蟼 纬蠉蟻蠅 伪蟺蠈 蟿慰谓 慰蟺慰委慰 畏 味蠅萎 蟺蔚蟻喂蟽蟿蟻苇蠁蔚蟿伪喂 渭苇蠂蟻喂 谓伪 蔚魏蟺位畏蟻蠅胃蔚委, 渭苇蠂蟻喂 谓伪 伪蟺慰魏伪蟿伪蟽蟿伪胃蔚委 畏 蟿伪纬渭苇谓畏 喂蟽慰蟻蟻慰蟺委伪.
螚 伪蠁萎纬畏蟽畏 蟿畏蟼 蟽蠀谓伪蟻蟺伪蟽蟿喂魏萎蟼 伪蠀蟿萎蟼 喂蟽蟿慰蟻委伪蟼 蔚委谓伪喂 蟽蟿伪 蠂苇蟻喂伪 蟿慰蠀 桅蟻伪纬魏委蟽魏慰蠀 危蔚蟻苇位, 蟿慰蠀 伪未蔚蟻蠁喂魏慰蠉 蠁委位慰蠀 蟿慰蠀 螠蔚纬维位慰蠀 螠蠅位谓. 违蟺蠈 蟿畏谓 蔚蟺萎蟻蔚喂伪 蟿畏蟼 渭伪纬蔚委伪蟼 蟺慰蠀 蟿慰蠀 苇蠂蔚喂 伪蟽魏畏胃蔚委 伪蟺蠈 蟿慰谓 渭蔚纬维位慰 蟿慰蠀 蠁委位慰, 伪蟺慰位蠉蟿蠅蟼 未喂魏伪喂慰位慰纬畏渭苇谓畏 纬喂伪 苇谓伪 蟺伪喂未委 蟺慰蠀 蟽蟿喂纬渭伪蟿委味蔚蟿伪喂 伪蟺蠈 苇谓伪谓 渭蠀蟽蟿畏蟻喂蠋未畏 谓苇慰 渭蔚 蠁蠅蟿慰尾慰位委未蔚蟼 蟽蟿慰 渭蠀伪位蠈 蟺慰蠀 蟿慰蠀 蠂伪蟻委味蔚喂 蟿慰 渭蔚纬维位慰 未蠋蟻慰 蟿畏蟼 蔚渭蟺喂蟽蟿慰蟽蠉谓畏蟼 魏伪喂 蟿畏蟼 伪未蔚蟻蠁慰蟽蠉谓畏蟼, 慰 桅蟻伪纬魏委蟽魏慰蟼 渭维蟼 渭蔚蟿伪蠁苇蟻蔚喂 渭苇蟽伪 蟽蟿慰 蟽魏畏谓喂魏蠈 魏伪喂 渭伪蟼 蔚喂蟽维纬蔚喂 蟽蟿畏 渭蔚纬维位畏 蟺蔚蟻喂蟺苇蟿蔚喂伪 蟿畏蟼 谓蔚蠈蟿畏蟿维蟼 蟿慰蠀蟼 渭蔚 蟿蟻蠈蟺慰 蟽蠀纬魏喂谓畏蟿喂魏蠈.
螌蟿伪谓 蔚委蟽伪喂 渭喂魏蟻蠈蟼 伪魏蠈渭伪 魏伪喂 慰喂 蟺喂慰 渭喂魏蟻苇蟼 伪蟺慰蟽蟿维蟽蔚喂蟼 蠁伪谓蟿维味慰蠀谓 蟿蔚蟻维蟽蟿喂蔚蟼 魏伪喂 渭蠈谓慰 渭蔚 蟿慰 蠈蟺位慰 蟿畏蟼 蠁伪谓蟿伪蟽委伪蟼 蟺慰蠀 蔚委谓伪喂 蟺蟻慰喂魏喂蟽渭苇谓伪 蟿伪 蟺伪喂未喂维 渭蟺慰蟻蔚委蟼 谓伪 蟿喂蟼 未蟻伪蟽魏蔚位委蟽蔚喂蟼. 螝伪喂 尉蠀蟺谓蠋谓蟿伪蟼 胃伪蟻蟻蔚委蟼 伪蟺蠈 伪蠀蟿蠈 蟿慰 蠈谓蔚喂蟻慰, 蟿慰 蠈谓蔚喂蟻慰 蟿畏蟼 蟺伪喂未喂魏萎蟼 畏位喂魏委伪蟼, 畏 胃蔚蠅蟻委伪 未蠉谓伪蟿伪喂 尉伪蠁谓喂魏维 谓伪 纬委谓蔚喂 蟺蟻维尉畏 魏伪喂 慰喂 伪蟺慰蟽蟿维蟽蔚喂蟼 伪蠀蟿苇蟼 渭蟺慰蟻慰蠉谓 谓伪 魏伪蟿伪魏蟿畏胃慰蠉谓 渭蔚 渭喂伪 伪谓维蟽伪, 纬喂伪蟿委 蔚委谓伪喂 伪蠀蟿苇蟼 蟺慰蠀 蟽蔚 蔚魏蟿慰尉蔚蠉慰蠀谓 蟽蟿畏谓 蟺蟻伪纬渭伪蟿喂魏萎 渭伪纬蔚委伪, 魏伪喂 蠅 蟿慰蠀 胃伪蠉渭伪蟿慰蟼! 蟿慰 苇蠂蔚喂蟼 渭蠈位喂蟼 伪谓蟿喂位畏蠁胃蔚委, 纬委谓蔚蟿伪喂 畏 胃蔚委伪 未苇畏蟽萎 蟽慰蠀 蟽蟿畏谓 蟺慰位蠀蟺蠈胃畏蟿畏 蔚蠀蟿蠀蠂委伪. 螚 蔚蠀蟿蠀蠂委伪 蟽蟿喂蟼 蟽蔚位委未蔚蟼 蟿慰蠀 尾喂尾位委慰蠀 蔚委谓伪喂 蔚蠉胃蟻伪蠀蟽蟿畏, 渭喂伪 蟻伪纬委味蔚喂, 渭喂伪 蟽蠀纬魏慰位位维蟿伪喂 尉伪谓维, 蠁蠅蟿委味蔚蟿伪喂 渭蠈谓慰 纬喂伪 位委纬慰 魏伪喂 尉伪谓伪蟽魏慰蟿蔚喂谓喂维味蔚喂 蔚蠀胃蠉蟼 伪渭苇蟽蠅蟼, 尾慰蠀蟿维 渭苇蟽伪 蟽蟿慰 苇蟻蔚尾慰蟼 蟿蠅谓 纬蔚纬慰谓蠈蟿蠅谓 蟺慰蠀 蟿畏谓 尉蔚蟺蔚蟻谓慰蠉谓.
芦螒未蔚蟻蠁苇, 蟽蠉谓蟿蟻慰蠁蔚, 蟿伪尉喂未蔚蠀蟿萎, 蟺蠈蟽慰 蟿慰鈥櫹囄蔽嘉� 蟺喂蟽蟿苇蠄蔚喂 魏伪喂 慰喂 未蠀慰 渭伪蟼 蟺蠅蟼 畏 蔚蠀蟿蠀蠂委伪 尾蟻委蟽魏蔚蟿伪喂 蔚魏蔚喂未维 蟺位维喂 渭伪蟼, 魏喂 苇蠁蟿伪谓蔚 谓伪 尉蔚魏喂谓萎蟽慰蠀渭蔚 纬喂伪 谓伪 蟿畏 蠁蟿维蟽慰蠀渭蔚鈥β�
螣 螠蔚纬维位慰蟼 螠蠅位谓 蔚委谓伪喂 苇谓伪 尾喂尾位委慰 蟺慰蠀 未委谓蔚喂 渭蔚 蠀蟺苇蟻慰蠂慰, 蟽蠀纬魏喂谓畏蟿喂魏蠈 魏伪喂 蟿蟻蠀蠁蔚蟻维 伪纬蟻喂蔚渭苇谓慰 蟿蟻蠈蟺慰 蟿畏谓 苇谓蟿伪蟽畏 魏伪喂 蟿畏谓 苇尉伪蠄畏 蟺慰蠀 纬蔚谓谓维蟿伪喂 蟽蟿慰谓 蟺蟻慰胃维位伪渭慰 蟿畏蟼 蔚谓畏位喂魏委蠅蟽畏蟼, 蟿畏谓 喂蔚蟻蠈蟿畏蟿伪 蟿畏蟼 蠁喂位委伪蟼, 蟿伪 维蠁伪蟿伪 蟽蠀谓伪喂蟽胃萎渭伪蟿伪 蟺慰蠀 蟺蟻慰魏伪位蔚委 慰 苇蟻蠅蟿伪蟼 魏伪喂 蟿畏 渭慰喂蟻伪喂蠈蟿畏蟿伪 蟺慰蠀 蟺伪蟻伪蠁蠀位维蔚喂 蟺慰位位苇蟼 蠁慰蟻苇蟼 蟽蟿喂蟼 蟺蠉位蔚蟼 蟿畏蟼 委未喂伪蟼 蟿畏蟼 味蠅萎蟼.
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