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袦邪薪芯薪 袥械褋泻芯
袗斜斜邪褌 袩褉械胁芯 蟹邪胁芯械胁邪谢 胁褋械屑懈褉薪褍褞 懈蟹胁械褋褌薪芯褋褌褜 懈 胁芯褕械谢 胁 懈褋褌芯褉懈褞 谢懈褌械褉邪褌褍褉褘 胁芯胁褋械 薪械 斜谢邪谐芯写邪褉褟 锌褉懈薪邪写谢械卸邪褖懈屑 械谐芯 锌械褉褍 屑薪芯谐芯褌芯屑薪褘屑 谐褉芯屑芯蟹写泻懈屑 褉芯屑邪薪邪屑. 小谢邪胁褍 械屑褍 锌褉懈薪械褋谢邪 薪械斜芯谢褜褕邪褟 锌芯胁械褋褌褜 芦袠褋褌芯褉懈褟 泻邪胁邪谢械褉邪 写械 袚褉懈械 懈 袦邪薪芯薪 袥械褋泻芯禄 芯 薪械芯斜褘泻薪芯胁械薪薪芯泄 谢褞斜胁懈 薪械蟹邪褍褉褟写薪芯谐芯 褞薪芯褕懈 懈 褞薪芯泄 写械胁褍褕泻懈, 胁 芯斜褉邪蟹械 泻芯褌芯褉芯泄, 锌芯 胁褘褉邪卸械薪懈褞 袦芯锌邪褋褋邪薪邪, 胁芯锌谢芯褌懈谢芯褋褜 芦胁褋械, 褔褌芯 械褋褌褜 褋邪屑芯谐芯 褍胁谢械泻邪褌械谢褜薪芯谐芯, 锌谢械薪懈褌械谢褜薪芯谐芯 懈 薪懈蟹泻芯谐芯 胁 卸械薪褖懈薪邪褏禄.
192 pages, Paperback
First published January 1, 1731
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8,364 people want to read
About the author
Antoine Fran莽ois Pr茅vost d'Exiles
1,020听books61听followersAntoine Fran莽ois Pr茅vost d'Exiles (April 1, 1697 鈥� December 23, 1763), usually known simply as the Abb茅 Pr茅vost, was a French author and novelist.
He was born at Hesdin, Artois, and first appears with the full name of Pr茅vost d'Exiles, in a letter to the booksellers of Amsterdam in 1731. His father, Lievin Pr茅vost, was a lawyer, and several members of the family had embraced the ecclesiastical estate. Pr茅vost was educated at the Jesuit school of Hesdin, and in 1713 became a novice of the order in Paris, pursuing his studies at the same time at the college in La Fl猫che.
At the end of 1716 he left the Jesuits to join the army, but soon tired of military life, and returned to Paris in 1719, apparently with the idea of resuming his novitiate. He is said to have travelled in the Netherlands about this time; in any case he returned to the army, this time with a commission. Some biographers have assumed that he suffered some of the misfortunes assigned to his hero Des Grieux. Whatever the truth, he joined the learned community of the Benedictines of St Maur, with whom he found refuge, he himself says, after the unlucky termination of a love affair. He took his vows at Jumi猫ges in 1721 after a year's novitiate, and in 1726 took priest's orders at St Germer de Flaix. He spent seven years in various houses of the order, teaching, preaching and studying. In 1728 he was at the Abbey of Saint-Germain-des-Pr茅s, Paris, where he was engaged on the Gallia Christiana, the learned work undertaken by the monks in continuation of the works of Denys de Sainte-Marthe, who had been a member of their order. His restless spirit made him seek from the Pope a transfer to the easier rule of Cluny; but he left the abbey without leave (1728), and, learning that his superiors had obtained a lettre de cachet against him, fled to England.
In London he acquired a wide knowledge of English history and literature, as can be seen in his writings. Before leaving the Benedictines Pr茅vost had begun perhaps his most famous novel, M茅moires et aventures d鈥檜n homme de qualit茅 qui s鈥檈st retir茅 du monde, the first four volumes of which were published in Paris in 1728, and two years later at Amsterdam. In 1729 he left England for the Netherlands, where he began to publish (Utrecht, 1731) a novel, the material of which, at least, had been gathered in London Le Philosophe anglais, ou Histoire de Monsieur Cleveland, fils naturel de Cromwell, 茅crite par lui-m锚me, et traduite de l'anglais (Paris 1731-1739, 8 vols., but most of the existing sets are partly Paris and partly Utrecht). A spurious fifth volume (Utrecht, 1734) contained attacks on the Jesuits, and an English translation of the whole appeared in 1734.
Meanwhile, during his residence at the Hague, he engaged on a translation of De Thou's Historia, and, relying on the popularity of his first book, published at Amsterdam a Suite in three volumes, forming volumes v, vi, and vii of the original M茅moires et aventures d鈥檜n homme de qualit茅. The seventh volume contained the famous Manon Lescaut, separately published in Paris in 1731 as Histoire du Chevalier des Grieux et de Manon Lescaut. The book was eagerly read, chiefly in pirated copies, being forbidden in France. In 1733 he left the Hague for London in company with a lady whose character, according to Pr茅vost's enemies, was doubtful. In London he edited a weekly gazette on the model of Joseph Addison's Spectator, Le Pour et contre, which he continued to produce, with short intervals, until 1740.
In the autumn of 1734 Pr茅vost was reconciled with the Benedictines, and, returning to France, was received in the Benedictine monastery of La Croix-Saint-Leufroy in the diocese of 脡vreux to pass through a new, though brief, novitiate. In 1735 he was dispensed from residence in a monastery by becoming almoner to the Prince de Conti, and in 1754 obtained the priory of St Georges de Gesnes. He continued to prod
He was born at Hesdin, Artois, and first appears with the full name of Pr茅vost d'Exiles, in a letter to the booksellers of Amsterdam in 1731. His father, Lievin Pr茅vost, was a lawyer, and several members of the family had embraced the ecclesiastical estate. Pr茅vost was educated at the Jesuit school of Hesdin, and in 1713 became a novice of the order in Paris, pursuing his studies at the same time at the college in La Fl猫che.
At the end of 1716 he left the Jesuits to join the army, but soon tired of military life, and returned to Paris in 1719, apparently with the idea of resuming his novitiate. He is said to have travelled in the Netherlands about this time; in any case he returned to the army, this time with a commission. Some biographers have assumed that he suffered some of the misfortunes assigned to his hero Des Grieux. Whatever the truth, he joined the learned community of the Benedictines of St Maur, with whom he found refuge, he himself says, after the unlucky termination of a love affair. He took his vows at Jumi猫ges in 1721 after a year's novitiate, and in 1726 took priest's orders at St Germer de Flaix. He spent seven years in various houses of the order, teaching, preaching and studying. In 1728 he was at the Abbey of Saint-Germain-des-Pr茅s, Paris, where he was engaged on the Gallia Christiana, the learned work undertaken by the monks in continuation of the works of Denys de Sainte-Marthe, who had been a member of their order. His restless spirit made him seek from the Pope a transfer to the easier rule of Cluny; but he left the abbey without leave (1728), and, learning that his superiors had obtained a lettre de cachet against him, fled to England.
In London he acquired a wide knowledge of English history and literature, as can be seen in his writings. Before leaving the Benedictines Pr茅vost had begun perhaps his most famous novel, M茅moires et aventures d鈥檜n homme de qualit茅 qui s鈥檈st retir茅 du monde, the first four volumes of which were published in Paris in 1728, and two years later at Amsterdam. In 1729 he left England for the Netherlands, where he began to publish (Utrecht, 1731) a novel, the material of which, at least, had been gathered in London Le Philosophe anglais, ou Histoire de Monsieur Cleveland, fils naturel de Cromwell, 茅crite par lui-m锚me, et traduite de l'anglais (Paris 1731-1739, 8 vols., but most of the existing sets are partly Paris and partly Utrecht). A spurious fifth volume (Utrecht, 1734) contained attacks on the Jesuits, and an English translation of the whole appeared in 1734.
Meanwhile, during his residence at the Hague, he engaged on a translation of De Thou's Historia, and, relying on the popularity of his first book, published at Amsterdam a Suite in three volumes, forming volumes v, vi, and vii of the original M茅moires et aventures d鈥檜n homme de qualit茅. The seventh volume contained the famous Manon Lescaut, separately published in Paris in 1731 as Histoire du Chevalier des Grieux et de Manon Lescaut. The book was eagerly read, chiefly in pirated copies, being forbidden in France. In 1733 he left the Hague for London in company with a lady whose character, according to Pr茅vost's enemies, was doubtful. In London he edited a weekly gazette on the model of Joseph Addison's Spectator, Le Pour et contre, which he continued to produce, with short intervals, until 1740.
In the autumn of 1734 Pr茅vost was reconciled with the Benedictines, and, returning to France, was received in the Benedictine monastery of La Croix-Saint-Leufroy in the diocese of 脡vreux to pass through a new, though brief, novitiate. In 1735 he was dispensed from residence in a monastery by becoming almoner to the Prince de Conti, and in 1754 obtained the priory of St Georges de Gesnes. He continued to prod
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April 26, 2023
Update 26/04/2023:
I finally managed to attend the Opera by Massenet in El Gran Teatre del Liceu in Barcelona and was utterly transported back to the tragic story of Manon. The production was provocative, ground-breaking and performed flawlessly, setting the scenes in the sordid and commonplace brothels where dancers and Manon herself appear in state of complete nudity. Quite a musical triumph that elevates Manon to the status of literary myth such as Cleopatra or Carmen.
Manon Lescaut is a deceptive novel in multiple ways.
It could be easily labeled as a classic, picturesque short tale of a doomed love affair between a noble young man, Chevalier des Grieux, and a beautiful maiden from a lower breed, set in the Paris of The R茅gence, a convulsive era where class structures and ancient regime ruled the world.
Told from the male lover point of view in a fast-paced, flowing narrative, the reader is presented with the irrevocable passion, almost obsession des Grieux is consumed with when he first sets his eyes on Manon, a fatal moment which will make his inner peace crumble down and bring him to perform all sort of dubious acts, even to commit murder, to keep his beloved with him.
Des Grieux constructs his own story in retrospection, using a nameless narrator who crosses paths with him almost at the end of his misadventures, giving this way a foreboding tone to the story.
"Love has made me too soft, too passionate, too faithful and perhaps over-indulgent of the desires of a most charming woman; and that is the sum of my crimes" says des Grieux, talking about his beloved Manon, the temptress, and the one to blame for his forthcoming misdeeds.
The fact that we only get to hear Manon鈥檚 voice throughout des Grieux鈥檚 account leaves the reader completely blind about her character, devoid of her motivations or her true feelings. Des Grieux describes her as a fickle, capricious creature prone to take other lovers in order to live lavishly. So Manon appears as a cold, calculating character, becoming a sort of desirable object to possess, an object des Grieux rightfully believes to belong to him. But still, in the rare passages where Manon can voice her quiescent values, we can envisage a strong spirit who keeps defying des Grieux鈥檚 views with her struggles to remain her own mistress. Couldn鈥檛 it be that in challenging him to broaden his conservative views about relationships, Manon would also be challenging the imposed gender politics of the time?
In any case, the driven plot of the story takes sweet revenge separating the lovers again and again in myriad forms: family, legal authority and the gulf between social classes keep preventing them from being together until they receive the ultimate punishment in being exiled to the colonies in New Orleans, where against all odds and once set free of the French, rotten social pressures, the idea of a simple, bare existence in a new world impregnates them with a wish to live at peace with rekindled values of virtue and morality, flirting even with an improbable happy ending, which makes the final twist in the story even more brusque and cruel than expected.
As I stated at the beginning of this rambling review, this self-righteous account, this seemingly lineal plot and simple, direct style can be misleading.
My first instinctive reaction to the story was to doubt the veracity of des Grieux鈥檚 biased tale for he is a flawed hero and unreliable narrator. His constant search for self-excuse, his vain urge in blaming others for his own acts, his theatrical, almost parodic explosion of emotive outbursts and his unremorseful confession of using them to take advantage of others made it very difficult to empathize with him.
But what most struck me when trying to add perspective into the story was the shameful realization that my dislike for des Grieux came from recognition, as his futile attempts at trying to hold on to Manon revealed the universal impossibility of a mutual understanding, the hopelessness of a complete possession of the other.
No simple tale then, but a novel which oozes with the complexity of human relationships and the tragic consequences of trying to cross the barrier of subjectivity in appealing to raw emotions, as one can鈥檛 disengage from individual consciousness , however much we try.
"What fatal power had dragged me down to crime? How came it that love, an innocent passion, had turned for me into the source of all misery and vice" wonders a despairing des Grieux.
Exalted existential questions about the tragic consequences of being in love, as being infected by an incurable disease, which robs us of our former selves, blinding us with passion, making it difficult to find our place in a material world where authority and order prevail over emotions.
And in this sense, I鈥檇 say that Manon Lescaut is a disruptive novel because in giving free expression to des Grieux鈥檚 feelings, even if charged with subjectivity, Pr茅vost is encouraging us to reach our own truths through language, although he also whispers a warning, reminding us that our own reached reality might be easily misunderstood by those we love the most and by the world we live in.
I finally managed to attend the Opera by Massenet in El Gran Teatre del Liceu in Barcelona and was utterly transported back to the tragic story of Manon. The production was provocative, ground-breaking and performed flawlessly, setting the scenes in the sordid and commonplace brothels where dancers and Manon herself appear in state of complete nudity. Quite a musical triumph that elevates Manon to the status of literary myth such as Cleopatra or Carmen.
Manon Lescaut is a deceptive novel in multiple ways.
It could be easily labeled as a classic, picturesque short tale of a doomed love affair between a noble young man, Chevalier des Grieux, and a beautiful maiden from a lower breed, set in the Paris of The R茅gence, a convulsive era where class structures and ancient regime ruled the world.
Told from the male lover point of view in a fast-paced, flowing narrative, the reader is presented with the irrevocable passion, almost obsession des Grieux is consumed with when he first sets his eyes on Manon, a fatal moment which will make his inner peace crumble down and bring him to perform all sort of dubious acts, even to commit murder, to keep his beloved with him.
Des Grieux constructs his own story in retrospection, using a nameless narrator who crosses paths with him almost at the end of his misadventures, giving this way a foreboding tone to the story.
"Love has made me too soft, too passionate, too faithful and perhaps over-indulgent of the desires of a most charming woman; and that is the sum of my crimes" says des Grieux, talking about his beloved Manon, the temptress, and the one to blame for his forthcoming misdeeds.
The fact that we only get to hear Manon鈥檚 voice throughout des Grieux鈥檚 account leaves the reader completely blind about her character, devoid of her motivations or her true feelings. Des Grieux describes her as a fickle, capricious creature prone to take other lovers in order to live lavishly. So Manon appears as a cold, calculating character, becoming a sort of desirable object to possess, an object des Grieux rightfully believes to belong to him. But still, in the rare passages where Manon can voice her quiescent values, we can envisage a strong spirit who keeps defying des Grieux鈥檚 views with her struggles to remain her own mistress. Couldn鈥檛 it be that in challenging him to broaden his conservative views about relationships, Manon would also be challenging the imposed gender politics of the time?
In any case, the driven plot of the story takes sweet revenge separating the lovers again and again in myriad forms: family, legal authority and the gulf between social classes keep preventing them from being together until they receive the ultimate punishment in being exiled to the colonies in New Orleans, where against all odds and once set free of the French, rotten social pressures, the idea of a simple, bare existence in a new world impregnates them with a wish to live at peace with rekindled values of virtue and morality, flirting even with an improbable happy ending, which makes the final twist in the story even more brusque and cruel than expected.
As I stated at the beginning of this rambling review, this self-righteous account, this seemingly lineal plot and simple, direct style can be misleading.
My first instinctive reaction to the story was to doubt the veracity of des Grieux鈥檚 biased tale for he is a flawed hero and unreliable narrator. His constant search for self-excuse, his vain urge in blaming others for his own acts, his theatrical, almost parodic explosion of emotive outbursts and his unremorseful confession of using them to take advantage of others made it very difficult to empathize with him.
But what most struck me when trying to add perspective into the story was the shameful realization that my dislike for des Grieux came from recognition, as his futile attempts at trying to hold on to Manon revealed the universal impossibility of a mutual understanding, the hopelessness of a complete possession of the other.
No simple tale then, but a novel which oozes with the complexity of human relationships and the tragic consequences of trying to cross the barrier of subjectivity in appealing to raw emotions, as one can鈥檛 disengage from individual consciousness , however much we try.
"What fatal power had dragged me down to crime? How came it that love, an innocent passion, had turned for me into the source of all misery and vice" wonders a despairing des Grieux.
Exalted existential questions about the tragic consequences of being in love, as being infected by an incurable disease, which robs us of our former selves, blinding us with passion, making it difficult to find our place in a material world where authority and order prevail over emotions.
And in this sense, I鈥檇 say that Manon Lescaut is a disruptive novel because in giving free expression to des Grieux鈥檚 feelings, even if charged with subjectivity, Pr茅vost is encouraging us to reach our own truths through language, although he also whispers a warning, reminding us that our own reached reality might be easily misunderstood by those we love the most and by the world we live in.
May 29, 2013
This is a novel that puts me in the not completely unfamiliar position of attempting to balance my extreme distaste for the narrator - and even for his story - against my admiration for the way the story is told. Let's get the aggravations out of the way: objections so strong, they caused me to put this relatively short novel down twice before I finally finished it.
The Chevalier de Grieux is nothing short of an idiot. A young man from a wealthy family, he falls in rapturous love with a lower class waif, Manon, and proceeds to squander his fortune, his education, his career, and his principles for her. Which is bad enough, but the net result is that he squanders HER, too - his inept actions put her in greater and greater jeopardy, until he has no choice but to follow her to the penal colony of New Orleans,
And Manon is bringing little or nothing to the table. Aside from her apparently ravishing looks and ability to cry on command, it's difficult to understand why anyone would devote himself to her. She's easily distracted by other lovers, only seems genuinely interested in the Chevalier when he has large quantities of money to spend on her, and at several points seems completely ready to throw him over for a wealthier suitor, until he bumbles in with another disastrous rescue attempt and she has no choice but to throw her lot in with him again.
The part that brought my irritation to a full boil was the very end.
I almost believe Abbe Prevost wrote the story as an endurance read, to see if anyone would care to stick with these two repulsive people until the end, though from what I understand, the novel received quite a different response in 1731 - it was found to be salacious, ribald, and titillating enough to be banned, likely because the two leads never get married, and Manon engages in a number of sexual liaisons to raise funds over the course of this steeplechase.
So why bother, then? Why see this novel through? Because there is a quality in the narration that makes it difficult to believe this writing dates to the eighteenth century. There is an almost relentless immediacy in the way it is told, even though the entire story is a long flashback. We are shackled to the Chevalier's side, almost in real time, and he drags us through his desperate story, daring us to question his obviously questionable judgment. In short, it is because of the richness of the Chevalier's monologue that I can hate him as rabidly as I do. It is because of the relentlessness of his self-inflicted misadventures that I can be so provoked by them.
Even though the modern romance novel is in many ways the mirror opposite of Manon Lescaut, it is a direct descendant of this novel - in which romantic love no longer inspires noble gestures, but pratfalls and reversals of fortune, and in which passion translates not into gallantry but impetuousness and self-sabotage. The Chevalier is the anti-hero, the Don Quixote, and if only Manon were his unseen, unharmed Dulcinea - instead she bears the full brunt of all his windmill-tilting.
There is a reason to read Manon Lescaut - it is a key link between Cervantes and later writers like Alexandre Dumas. It is with that perspective that I would recommend approaching this text.
The Chevalier de Grieux is nothing short of an idiot. A young man from a wealthy family, he falls in rapturous love with a lower class waif, Manon, and proceeds to squander his fortune, his education, his career, and his principles for her. Which is bad enough, but the net result is that he squanders HER, too - his inept actions put her in greater and greater jeopardy, until he has no choice but to follow her to the penal colony of New Orleans,
And Manon is bringing little or nothing to the table. Aside from her apparently ravishing looks and ability to cry on command, it's difficult to understand why anyone would devote himself to her. She's easily distracted by other lovers, only seems genuinely interested in the Chevalier when he has large quantities of money to spend on her, and at several points seems completely ready to throw him over for a wealthier suitor, until he bumbles in with another disastrous rescue attempt and she has no choice but to throw her lot in with him again.
The part that brought my irritation to a full boil was the very end.
I almost believe Abbe Prevost wrote the story as an endurance read, to see if anyone would care to stick with these two repulsive people until the end, though from what I understand, the novel received quite a different response in 1731 - it was found to be salacious, ribald, and titillating enough to be banned, likely because the two leads never get married, and Manon engages in a number of sexual liaisons to raise funds over the course of this steeplechase.
So why bother, then? Why see this novel through? Because there is a quality in the narration that makes it difficult to believe this writing dates to the eighteenth century. There is an almost relentless immediacy in the way it is told, even though the entire story is a long flashback. We are shackled to the Chevalier's side, almost in real time, and he drags us through his desperate story, daring us to question his obviously questionable judgment. In short, it is because of the richness of the Chevalier's monologue that I can hate him as rabidly as I do. It is because of the relentlessness of his self-inflicted misadventures that I can be so provoked by them.
Even though the modern romance novel is in many ways the mirror opposite of Manon Lescaut, it is a direct descendant of this novel - in which romantic love no longer inspires noble gestures, but pratfalls and reversals of fortune, and in which passion translates not into gallantry but impetuousness and self-sabotage. The Chevalier is the anti-hero, the Don Quixote, and if only Manon were his unseen, unharmed Dulcinea - instead she bears the full brunt of all his windmill-tilting.
There is a reason to read Manon Lescaut - it is a key link between Cervantes and later writers like Alexandre Dumas. It is with that perspective that I would recommend approaching this text.
January 15, 2024
袪芯屑邪薪 芯 褋褌褉邪褋褌薪芯泄 谢褞斜胁懈 蟹薪邪褌薪芯谐芯 邪褉懈褋褌芯泻褉邪褌邪 泻邪胁邪谢械褉邪 写械 袚褉懈泄械 泻 锌褉懈薪邪写谢械卸邪褖械泄 斜芯谢械械 薪懈蟹泻芯屑褍 褋芯褋谢芯胁懈褞 袦邪薪芯薪, 泻芯褌芯褉褍褞 斜芯谢褜褕械 胁褋械谐芯 薪邪 褋胁械褌械 锌褉械谢褜褖邪褞褌 写械薪褜谐懈 懈 斜芯谐邪褌褋褌胁芯, 胁芯褋锌褉懈薪懈屑邪械褌褋褟 褋械谐芯写薪褟, 泻邪泻 懈褋泻谢褞褔懈褌械谢褜薪芯 薪褉邪胁芯褍褔懈褌械谢褜薪褘泄. 袙屑械褋褌械 褋 褌械屑, 褝褌芯褌 褉芯屑邪薪 斜褘谢 蟹邪锌褉械褖械薪 胁芯 肖褉邪薪褑懈懈, 泻邪泻 斜械蟹薪褉邪胁褋褌胁械薪薪褘泄. 小械泄褔邪褋 褝褌芯褌 褎邪泻褌 胁褘蟹褘胁邪械褌 褍写懈胁谢械薪懈械 鈥� 褔褌芯 卸械 胁 薪械屑 斜械蟹薪褉邪胁褋褌胁械薪薪芯谐芯?
袚械褉芯懈 褉芯屑邪薪邪 薪械 懈褋泻谢褞褔懈褌械谢褜薪芯 锌芯谢芯卸懈褌械谢褜薪褘械 懈谢懈 懈褋泻谢褞褔懈褌械谢褜薪芯 芯褌褉懈褑邪褌械谢褜薪褘械. 袦邪薪芯薪, 写邪, 卸邪卸写械褌 斜芯谐邪褌褋褌胁邪 懈 褍写芯胁芯谢褜褋褌胁懈泄, 泻芯褌芯褉褘械 屑芯卸薪芯 泻褍锌懈褌褜 蟹邪 写械薪褜谐懈, 懈 谐芯褌芯胁邪 锌褉芯写邪褌褜 褋械斜褟, 褔褌芯斜褘 锌芯谢褍褔懈褌褜 卸械谢邪械屑芯械, 薪芯 锌邪褉邪写芯泻褋邪谢褜薪褘屑 芯斜褉邪蟹芯屑, 褉邪胁薪芯写褍褕薪邪 泻 写械薪褜谐邪屑, 泻邪泻 褌邪泻芯胁褘屑. 袠蟹屑械薪褟褟, 芯薪邪 锌褉懈 褝褌芯屑 芯写薪芯胁褉械屑械薪薪芯 芦胁械褉薪邪 胁 褋胁芯械屑 褋械褉写褑械禄 写械 袚褉懈泄械, 械褋谢懈 屑芯卸薪芯 褌邪泻 胁褘褉邪蟹懈褌褜褋褟. 袨斜褉邪蟹 袦邪薪芯薪 褋谢芯卸械薪 懈 锌褉芯褌懈胁芯褉械褔懈胁, 褔褌芯 薪械褏邪褉邪泻褌械褉薪芯 写谢褟 谢懈褌械褉邪褌褍褉褘 XVII 胁械泻邪. 袧芯 褋邪屑芯械 谐谢邪胁薪芯械, 褔褌芯 锌芯泻芯褉褟械褌 褔懈褌邪褌械谢褟 - 褝褌芯 谢褞斜芯胁褜, 泻芯褌芯褉邪褟 锌褉懈 胁褋械褏 锌邪褉邪写芯泻褋邪谢褜薪褘褏 芯斜褋褌芯褟褌械谢褜褋褌胁邪褏, 褌械屑 薪械 屑械薪械械 胁芯褋锌褉懈薪懈屑邪械褌褋褟, 泻邪泻 懈褋泻褉械薪薪械泄.
袚械褉芯懈 褉芯屑邪薪邪 薪械 懈褋泻谢褞褔懈褌械谢褜薪芯 锌芯谢芯卸懈褌械谢褜薪褘械 懈谢懈 懈褋泻谢褞褔懈褌械谢褜薪芯 芯褌褉懈褑邪褌械谢褜薪褘械. 袦邪薪芯薪, 写邪, 卸邪卸写械褌 斜芯谐邪褌褋褌胁邪 懈 褍写芯胁芯谢褜褋褌胁懈泄, 泻芯褌芯褉褘械 屑芯卸薪芯 泻褍锌懈褌褜 蟹邪 写械薪褜谐懈, 懈 谐芯褌芯胁邪 锌褉芯写邪褌褜 褋械斜褟, 褔褌芯斜褘 锌芯谢褍褔懈褌褜 卸械谢邪械屑芯械, 薪芯 锌邪褉邪写芯泻褋邪谢褜薪褘屑 芯斜褉邪蟹芯屑, 褉邪胁薪芯写褍褕薪邪 泻 写械薪褜谐邪屑, 泻邪泻 褌邪泻芯胁褘屑. 袠蟹屑械薪褟褟, 芯薪邪 锌褉懈 褝褌芯屑 芯写薪芯胁褉械屑械薪薪芯 芦胁械褉薪邪 胁 褋胁芯械屑 褋械褉写褑械禄 写械 袚褉懈泄械, 械褋谢懈 屑芯卸薪芯 褌邪泻 胁褘褉邪蟹懈褌褜褋褟. 袨斜褉邪蟹 袦邪薪芯薪 褋谢芯卸械薪 懈 锌褉芯褌懈胁芯褉械褔懈胁, 褔褌芯 薪械褏邪褉邪泻褌械褉薪芯 写谢褟 谢懈褌械褉邪褌褍褉褘 XVII 胁械泻邪. 袧芯 褋邪屑芯械 谐谢邪胁薪芯械, 褔褌芯 锌芯泻芯褉褟械褌 褔懈褌邪褌械谢褟 - 褝褌芯 谢褞斜芯胁褜, 泻芯褌芯褉邪褟 锌褉懈 胁褋械褏 锌邪褉邪写芯泻褋邪谢褜薪褘褏 芯斜褋褌芯褟褌械谢褜褋褌胁邪褏, 褌械屑 薪械 屑械薪械械 胁芯褋锌褉懈薪懈屑邪械褌褋褟, 泻邪泻 懈褋泻褉械薪薪械泄.
October 16, 2022
des grieux certifi茅 l'homme le plus frustrant de la litt茅rature fran莽aise.
January 8, 2023
je pensais jamais arriver au bout, pas vraiment mon style de litt茅rature 脿 la base si je devrais r茅sumer en une phrase ce serait 芦听tout 莽a pour 莽a听禄
quand tu te mets 脿 donner des secondes chances 脿 des secondes chances faut commencer 脿 s鈥檌nqui茅ter
ps : pens茅e pour Tiberge qui a pr锚t茅 bcp trop d鈥檃rgent 脿 un mec qui se fait avoir par la m锚me fille pendant 195 pages
quand tu te mets 脿 donner des secondes chances 脿 des secondes chances faut commencer 脿 s鈥檌nqui茅ter
ps : pens茅e pour Tiberge qui a pr锚t茅 bcp trop d鈥檃rgent 脿 un mec qui se fait avoir par la m锚me fille pendant 195 pages
December 12, 2021
Montaigne said the more things change the more things stay the same and this short novel published in 1731 proves that the madness that comes along with first love/infatuation is common to teenagers of whatever era.
Chevalier des Grieux is the 18 year old son of a wealthy influential father sees 15 year old Manon for the first time at the inn they are both staying in overnight as they travel to their destinations 鈥� she is on her way to a convent a place she is does not want to go to but acquiesces to stating that God has offered her no alternative. God might not have intervened directly but she is saved from this fate by Chevalier who elopes with her that night on a journey to Paris that would have made Paul Revere seem tardy.
This is no Romeo and Juliet story though. Love here is one sided 鈥� Manon will, like Judas, betray Chevalier three times for money and the men who can provide her with the lifestyle she desires. Love for this pair does not edify but demean 鈥� Chevalier lies, cheats (literally becoming a card sharp), murders and is imprisoned during the course of his entanglement. He discards lifelong friends and his family to be with the vain and mercenary Manon and while we read it, perhaps at a distance of some years from our own teens, and question the realism of his actions I am reminded of a friend who told me once that she and her first boyfriend (in their mid-teens at the time) used to bitch and bad-mouth her mother in ways that she finds incomprehensible now and said if her husband even looked at her mother the wrong way he鈥檇 be out. This is the intensity of that first foray into love.
The structure of the book is one of my favourite things 鈥� the narrator who retells the story he has been told by a stranger. Our narrator meets Chevalier 9 months after the madness has ended, so while the events are still fresh and not completely devoid of emotion he at least has some perspective on his actions. That distance means that he recognises the folly of his actions and he can be honest enough to see that even at the time he knew he was being a fool but that he was helpless to extricate himself from her. Her third betrayal leads to him calling her out for what she is,
Now I can see more clearly than ever that you are nothing but a liar and a whore. Now I know your mean little character.
Yet he doesn鈥檛 get as far as the door before her tears has him apologising.
A relationship this dysfunctional can only have one inevitable conclusion and so it is that the death of Manon frees Chevalier from his spell (or curse) and allows him to tell his tale before returning home to his family and resuming the life he should have been living. Perhaps this is the bleakest note 鈥� that the wealthy can have a period of indiscretion and return to their lives unscathed but the poor are punished for trying to better themselves. In this respect Montaigne is again apt.
Chevalier des Grieux is the 18 year old son of a wealthy influential father sees 15 year old Manon for the first time at the inn they are both staying in overnight as they travel to their destinations 鈥� she is on her way to a convent a place she is does not want to go to but acquiesces to stating that God has offered her no alternative. God might not have intervened directly but she is saved from this fate by Chevalier who elopes with her that night on a journey to Paris that would have made Paul Revere seem tardy.
This is no Romeo and Juliet story though. Love here is one sided 鈥� Manon will, like Judas, betray Chevalier three times for money and the men who can provide her with the lifestyle she desires. Love for this pair does not edify but demean 鈥� Chevalier lies, cheats (literally becoming a card sharp), murders and is imprisoned during the course of his entanglement. He discards lifelong friends and his family to be with the vain and mercenary Manon and while we read it, perhaps at a distance of some years from our own teens, and question the realism of his actions I am reminded of a friend who told me once that she and her first boyfriend (in their mid-teens at the time) used to bitch and bad-mouth her mother in ways that she finds incomprehensible now and said if her husband even looked at her mother the wrong way he鈥檇 be out. This is the intensity of that first foray into love.
The structure of the book is one of my favourite things 鈥� the narrator who retells the story he has been told by a stranger. Our narrator meets Chevalier 9 months after the madness has ended, so while the events are still fresh and not completely devoid of emotion he at least has some perspective on his actions. That distance means that he recognises the folly of his actions and he can be honest enough to see that even at the time he knew he was being a fool but that he was helpless to extricate himself from her. Her third betrayal leads to him calling her out for what she is,
Now I can see more clearly than ever that you are nothing but a liar and a whore. Now I know your mean little character.
Yet he doesn鈥檛 get as far as the door before her tears has him apologising.
A relationship this dysfunctional can only have one inevitable conclusion and so it is that the death of Manon frees Chevalier from his spell (or curse) and allows him to tell his tale before returning home to his family and resuming the life he should have been living. Perhaps this is the bleakest note 鈥� that the wealthy can have a period of indiscretion and return to their lives unscathed but the poor are punished for trying to better themselves. In this respect Montaigne is again apt.
December 14, 2023
I read this book mainly because it forms the basis of the eponymous opera by Giacomo Puccini.
Young Chevalier des Grieux, from a good provincial French family, falls in with Manon Lescault, a young woman of loose morals, focussed completely on the easy life and entertainment. Although professing to be in love with des Grieux, she 鈥榯akes on鈥� wealthy men, while des Grieux turns his hand to cheating at cards in gambling dens. Anyway, it all goes horribly wrong and Manon is eventually sent as a convict to Louisiana for prostitution, and the story, which takes a tragic end, continues in the New World.
It turns out this is a pretty racy story, considering it was written in the early 18th century. At some point Manon鈥檚 brother actually pimps her to rich Parisians! No wonder the book was originally banned in France. The author, Abb茅 (!) Pr茅vost, then put in some homilies about virtue over debauchery, to make the book more palatable to the authorities. The homilies take the form of harangues to des Grieux by his friend Tiberge, and are actually rather tedious.
Verdict: Unlike many books from the early 18th century, this one perhaps hasn鈥檛 stood the test of time, except of course as an opera libretto, which can never be too absurd and preposterous!
Young Chevalier des Grieux, from a good provincial French family, falls in with Manon Lescault, a young woman of loose morals, focussed completely on the easy life and entertainment. Although professing to be in love with des Grieux, she 鈥榯akes on鈥� wealthy men, while des Grieux turns his hand to cheating at cards in gambling dens. Anyway, it all goes horribly wrong and Manon is eventually sent as a convict to Louisiana for prostitution, and the story, which takes a tragic end, continues in the New World.
It turns out this is a pretty racy story, considering it was written in the early 18th century. At some point Manon鈥檚 brother actually pimps her to rich Parisians! No wonder the book was originally banned in France. The author, Abb茅 (!) Pr茅vost, then put in some homilies about virtue over debauchery, to make the book more palatable to the authorities. The homilies take the form of harangues to des Grieux by his friend Tiberge, and are actually rather tedious.
Verdict: Unlike many books from the early 18th century, this one perhaps hasn鈥檛 stood the test of time, except of course as an opera libretto, which can never be too absurd and preposterous!
January 9, 2017
Introduction
Note on the Text
Note on the Illustrations
Select Bibliography
A Chronology of the Abb茅 Pr茅vost
--Manon Lescaut
Explanatory Notes
Note on the Text
Note on the Illustrations
Select Bibliography
A Chronology of the Abb茅 Pr茅vost
--Manon Lescaut
Explanatory Notes
July 2, 2013
Manon Lescaut is a slut. A priestess of the highest order: and, made to order. Its hard to know if she is real, or the uber male fantasy wet dream, she juxtastruts about so: think John Cage 4.33.
Its the Chevalier whose lament we witness. Not in the ordinary-esque tableau. Which latter didacts a scene like this:
[image error]
And this:
Notice the lamented: stone inarticulate. Dodo-ed out. Now, where is the fun in that? Prevost, see, anticipated
in 1731 and had the decency to be indecent, which If you have a handsome, monied, upper class but not uppity, suave but not swine-y, witty not wily, besotted but not beguiled, generous but not geriatric, brainy but not bovine, in short a beau who does not blight, and he offers you 鈥榯he whole wide world in your hand鈥�, are you (Manon) going to say no, or spread your legs and think of England? Especially if it means keeping your true love (Chevalier) on the side, and in the style YOU are accustomed to? Which is what Manon doeth. Does. Repeatedly. What does the Chevalier do? Well, whine like a little bitch. (the usual: his heart is broken, the infidelity is killing him. Oh, OK lets do it one more time then. Three times over, in fact. )
Why three times? Because the cock crows three times silly. You can鈥檛 read 18c without some Bible under your belt. Heck, you can鈥檛 read this if you ARE in the Bible Belt. God will smite you. But rest assured: sluttery gets slated. Now I don鈥檛 think I鈥檓 letting slip any spoilers here: we all know that all women who have sex outside the marriage bed die a horrible death just before the mid 20c. Madame Bovary: dead. Therese Raquine: dead. Anna Karenina: even deader. Catherine Linton: dead as the dodo (mind, she only thought about sex: off with her head). La boile suife: ok maybe not dead, but bet she wished she was. Or might as well be. (in fact, maybe she DID die by end of journey). A lot of dead-i-ness going about, see?
What then is the Chevalier doing, whilst Manon is putting about for his 401K and edging towards decided deadness? Well, he is...pontificating. And credit to him: he is trying to put paid all kinds of classical rhetorical oratorical methods, Ciceronian and others, in justifying an ideal (ised) love which 鈥榖ends not with the remover to remove鈥� (and who wants to remove a plethora of ducats), and failing miserably, and pre-empting scores of texture-laden sound bytes from all kindsof bildungrommen (not) and maybe my favourite Nathaniel West
And surviving the debauchery, because, he is....a man.
And, well, men. You just have to let men play with their toys, right?
Ummm.
Jean Rhys? Please. Can you Saragossa this one? Any way you can? Posthumously is OK.
Its the Chevalier whose lament we witness. Not in the ordinary-esque tableau. Which latter didacts a scene like this:
[image error]
And this:
Notice the lamented: stone inarticulate. Dodo-ed out. Now, where is the fun in that? Prevost, see, anticipated
in 1731 and had the decency to be indecent, which If you have a handsome, monied, upper class but not uppity, suave but not swine-y, witty not wily, besotted but not beguiled, generous but not geriatric, brainy but not bovine, in short a beau who does not blight, and he offers you 鈥榯he whole wide world in your hand鈥�, are you (Manon) going to say no, or spread your legs and think of England? Especially if it means keeping your true love (Chevalier) on the side, and in the style YOU are accustomed to? Which is what Manon doeth. Does. Repeatedly. What does the Chevalier do? Well, whine like a little bitch. (the usual: his heart is broken, the infidelity is killing him. Oh, OK lets do it one more time then. Three times over, in fact. )
Why three times? Because the cock crows three times silly. You can鈥檛 read 18c without some Bible under your belt. Heck, you can鈥檛 read this if you ARE in the Bible Belt. God will smite you. But rest assured: sluttery gets slated. Now I don鈥檛 think I鈥檓 letting slip any spoilers here: we all know that all women who have sex outside the marriage bed die a horrible death just before the mid 20c. Madame Bovary: dead. Therese Raquine: dead. Anna Karenina: even deader. Catherine Linton: dead as the dodo (mind, she only thought about sex: off with her head). La boile suife: ok maybe not dead, but bet she wished she was. Or might as well be. (in fact, maybe she DID die by end of journey). A lot of dead-i-ness going about, see?
What then is the Chevalier doing, whilst Manon is putting about for his 401K and edging towards decided deadness? Well, he is...pontificating. And credit to him: he is trying to put paid all kinds of classical rhetorical oratorical methods, Ciceronian and others, in justifying an ideal (ised) love which 鈥榖ends not with the remover to remove鈥� (and who wants to remove a plethora of ducats), and failing miserably, and pre-empting scores of texture-laden sound bytes from all kindsof bildungrommen (not) and maybe my favourite Nathaniel West
And surviving the debauchery, because, he is....a man.
And, well, men. You just have to let men play with their toys, right?
Ummm.
Jean Rhys? Please. Can you Saragossa this one? Any way you can? Posthumously is OK.
Read
June 8, 2019My love is as a fever longing still,
For that which longer nurseth the disease;
Feeding on that which doth preserve the ill,
The uncertain sickly appetite to please.
My reason, the physician to my love,
Angry that his prescriptions are not kept,
Hath left me, and I desperate now approve
Desire is death, which physic did except.
Past cure I am, now Reason is past care,
And frantic-mad with evermore unrest;
My thoughts and my discourse as madmen's are,
At random from the truth vainly expressed;
For I have sworn thee fair, and thought thee bright,
Who art as black as hell, as dark as night.
William Shakespeare: Sonnet 147
Shakespeare's notorious Dark Lady, black as hell, dark as night; she was no more faithful to the poet than Manon is to her lover, des Grieux. Two men complaining of women who feel they have every right to bestow their favours where they please - both men see themselves as past reason, but for Shakespeare that is sickness, madness, a disease that needs curing. Des Grieux, curiously, does not. This is love, unconditional, irrational, inexplicable, a force of nature that comes over you, that overcomes you, that turns everything upside down. He knows in his mind that it is unreasonable, and he cannot be sure if his Manon really loves him best, and cannot be sure if she would have loved him and him alone if only he'd had enough money to keep her in the manner to which she'd like to become accustomed. But he doesn't want the cure, he doesn't even see this as sickness. He gives up everything for her, follows her even to the New World, to a world that they can make new, according to their rules. It nearly works, until the machinery of French Ancien R茅gime government, transposed to this brave new world with such goodly creatures in it, once again cranks into action. The Governor of New Orleans discovers that Manon and des Grieux are not married at all, as they have been claiming. In which case, as in the Old World, she is disposable goods, once more. Poor Manon.
What surprised me most about this is how French of close to 300 years ago doesn't feel terribly different to French nowadays. Once or twice I checked on a phrase in the online English version and found sweetly archaic sounding sentences: "Alas!' replied I, after a moment's silence, 'it is but too true that I am the unhappy victim of the vilest perfidy." Oh woe is me, alack and alas, but strangely, the rest doesn't sound nearly as stuffy in French. Maybe that explains why des Grieux didn't make me fume with frustration, an effect that he seems to have on a lot of reviewers hereabouts. "Idiotic" is one of the more polite epithets.
A lot of people seem to think he's blind. Hasn't a clue about love, as this is obviously nothing but lust. But love is sparked by desire - what you make out of it, to go along with the desire, is up to each individual. Des Grieux stays with her through thick and thin, follows her all the way to America - surely that must count as real love? (Sorry, that came out wrong. It's a long way, is all.) And he is blind it's true, but only to the fact that he and Manon are operating on different codes. She is sweet, and compliant, and fond of pretty things and going to the theatre, which is precisely what he loves about her. But it means, in her pragmatic way, that she can be sweet and compliant with rich men too, which is a useful way of getting her the pretty things and the visits to the theatre. But that is separate. Her heart belongs to her Chevalier, not her body. Get over it Chevalier.
For that which longer nurseth the disease;
Feeding on that which doth preserve the ill,
The uncertain sickly appetite to please.
My reason, the physician to my love,
Angry that his prescriptions are not kept,
Hath left me, and I desperate now approve
Desire is death, which physic did except.
Past cure I am, now Reason is past care,
And frantic-mad with evermore unrest;
My thoughts and my discourse as madmen's are,
At random from the truth vainly expressed;
For I have sworn thee fair, and thought thee bright,
Who art as black as hell, as dark as night.
William Shakespeare: Sonnet 147
Shakespeare's notorious Dark Lady, black as hell, dark as night; she was no more faithful to the poet than Manon is to her lover, des Grieux. Two men complaining of women who feel they have every right to bestow their favours where they please - both men see themselves as past reason, but for Shakespeare that is sickness, madness, a disease that needs curing. Des Grieux, curiously, does not. This is love, unconditional, irrational, inexplicable, a force of nature that comes over you, that overcomes you, that turns everything upside down. He knows in his mind that it is unreasonable, and he cannot be sure if his Manon really loves him best, and cannot be sure if she would have loved him and him alone if only he'd had enough money to keep her in the manner to which she'd like to become accustomed. But he doesn't want the cure, he doesn't even see this as sickness. He gives up everything for her, follows her even to the New World, to a world that they can make new, according to their rules. It nearly works, until the machinery of French Ancien R茅gime government, transposed to this brave new world with such goodly creatures in it, once again cranks into action. The Governor of New Orleans discovers that Manon and des Grieux are not married at all, as they have been claiming. In which case, as in the Old World, she is disposable goods, once more. Poor Manon.
What surprised me most about this is how French of close to 300 years ago doesn't feel terribly different to French nowadays. Once or twice I checked on a phrase in the online English version and found sweetly archaic sounding sentences: "Alas!' replied I, after a moment's silence, 'it is but too true that I am the unhappy victim of the vilest perfidy." Oh woe is me, alack and alas, but strangely, the rest doesn't sound nearly as stuffy in French. Maybe that explains why des Grieux didn't make me fume with frustration, an effect that he seems to have on a lot of reviewers hereabouts. "Idiotic" is one of the more polite epithets.
A lot of people seem to think he's blind. Hasn't a clue about love, as this is obviously nothing but lust. But love is sparked by desire - what you make out of it, to go along with the desire, is up to each individual. Des Grieux stays with her through thick and thin, follows her all the way to America - surely that must count as real love? (Sorry, that came out wrong. It's a long way, is all.) And he is blind it's true, but only to the fact that he and Manon are operating on different codes. She is sweet, and compliant, and fond of pretty things and going to the theatre, which is precisely what he loves about her. But it means, in her pragmatic way, that she can be sweet and compliant with rich men too, which is a useful way of getting her the pretty things and the visits to the theatre. But that is separate. Her heart belongs to her Chevalier, not her body. Get over it Chevalier.
February 20, 2023
le personnage principal est VRMT insupportable,
l鈥檋istoire elle est al茅atoire ptn jsuis d茅sol茅, 300 pages d鈥櫭﹙猫nements random qui font pas avancer l鈥檋istoire (tout 莽a pr que au final le type retourne en france comme si de rien n鈥櫭﹖ait??) bref tiberge force
l鈥檋istoire elle est al茅atoire ptn jsuis d茅sol茅, 300 pages d鈥櫭﹙猫nements random qui font pas avancer l鈥檋istoire (tout 莽a pr que au final le type retourne en france comme si de rien n鈥櫭﹖ait??) bref tiberge force
September 21, 2018
"Afirmen que las delicias del amor son pasajeras, que est谩n prohibidas, que ser谩n seguidas de penas eternas y que, cuanto m谩s dulces y sabrosas sean, mayor ser谩 la magnanimidad del Cielo al recompensar tan gran sacrificio; pero confiesen que con corazones como los nuestros aqu铆 abajo constituyen la suprema felicidad"
"Manon Lescaut" u originalmente "Historia del caballero Des Grieux y Manon Lescaut" es un segmento de la monumental obra del 谩bate Pr茅vost titulada "Memorias y Aventuras de un hombre de calidad retirado del mundo" y obviamente es la que alcanz贸 mayor fama y gloria. Cl谩sico de 肠濒谩蝉颈肠辞蝉 para los franceses. Lectura obligada quiz谩s hasta nuestros d铆as fue conocido por generaciones enteras.
Nuevamente por Stendhal en su "Rojo y Negro" llegu茅 a ella, cuando Juli谩n pensaba que la 贸pera de igual nombre no era superior a la novela. La influencia que ha tenido en la obra mencionada de Stendhal, "Carmen" de M茅rim茅e e incluso "La dama de las camelias" de Dumas es palpable y evidente.
Sin embargo para su 茅poca fue una total novedad el tema que trataba y la manera de contarlo, en el siglo XVIII, all谩 por el a帽o 1732, pues contaba de una relaci贸n amorosa obsesiva y hasta un cierto punto libertina e inmoral. En efecto el personaje masculino el caballero Des Grieux, joven de apenas 20 a帽os, t铆mido como 茅l mismo se dec铆a, conocer谩 a Manon Lescaut quien lo cautivar谩 de por vida y por ella entrar谩 en un c铆rculo de contradicciones y situaciones terriblemente enojosas de las cuales tratar谩 de salir.
Las actitudes contradictorias hasta cierto punto de su bella y joven amante sacar谩 de quicio no solamente a 茅l sino seguro al lector que tenga la oportunidad de leer esta historia. En general las acciones siempre est谩n presentes y eso es algo que me encant贸, la manera de contarlo es sencilla y no demasiado profunda. Se hablan de muchas cosas como la infidelidad, la amistad, la religiosidad, la obsesi贸n, la virtud, la traici贸n, la corrupci贸n y un largo etc茅tera. Muchos temas importantes y frases a mi parecer muy buenas.
Sin embargo considero que la novela es relativamente sencilla, los personajes manejan lenguajes similares como en Alejandro Dumas, no hay una riqueza de di谩logos ni pensamientos, tampoco encuentro grandes reflexiones aunque los temas se plantean y con relativo 茅xito. El tema sin duda fue vanguardista e inaugur贸 pr谩cticamente un nuevo g茅nero en las novelas francesas de esa 茅poca. Contradijo la idea que la virtud es el 煤nico camino del hombre de aquella 茅poca para darle una importancia mayor al amor e incluso al placer, por ello fue muchas veces censurada. La historia en general vale y mucho.
Espero leer alg煤n d铆a el libreto de la 贸pera de Puccini hom贸nima y ver qu茅 tan buena es. Un cl谩sico muy recomendable.
"Manon Lescaut" u originalmente "Historia del caballero Des Grieux y Manon Lescaut" es un segmento de la monumental obra del 谩bate Pr茅vost titulada "Memorias y Aventuras de un hombre de calidad retirado del mundo" y obviamente es la que alcanz贸 mayor fama y gloria. Cl谩sico de 肠濒谩蝉颈肠辞蝉 para los franceses. Lectura obligada quiz谩s hasta nuestros d铆as fue conocido por generaciones enteras.
Nuevamente por Stendhal en su "Rojo y Negro" llegu茅 a ella, cuando Juli谩n pensaba que la 贸pera de igual nombre no era superior a la novela. La influencia que ha tenido en la obra mencionada de Stendhal, "Carmen" de M茅rim茅e e incluso "La dama de las camelias" de Dumas es palpable y evidente.
Sin embargo para su 茅poca fue una total novedad el tema que trataba y la manera de contarlo, en el siglo XVIII, all谩 por el a帽o 1732, pues contaba de una relaci贸n amorosa obsesiva y hasta un cierto punto libertina e inmoral. En efecto el personaje masculino el caballero Des Grieux, joven de apenas 20 a帽os, t铆mido como 茅l mismo se dec铆a, conocer谩 a Manon Lescaut quien lo cautivar谩 de por vida y por ella entrar谩 en un c铆rculo de contradicciones y situaciones terriblemente enojosas de las cuales tratar谩 de salir.
Las actitudes contradictorias hasta cierto punto de su bella y joven amante sacar谩 de quicio no solamente a 茅l sino seguro al lector que tenga la oportunidad de leer esta historia. En general las acciones siempre est谩n presentes y eso es algo que me encant贸, la manera de contarlo es sencilla y no demasiado profunda. Se hablan de muchas cosas como la infidelidad, la amistad, la religiosidad, la obsesi贸n, la virtud, la traici贸n, la corrupci贸n y un largo etc茅tera. Muchos temas importantes y frases a mi parecer muy buenas.
Sin embargo considero que la novela es relativamente sencilla, los personajes manejan lenguajes similares como en Alejandro Dumas, no hay una riqueza de di谩logos ni pensamientos, tampoco encuentro grandes reflexiones aunque los temas se plantean y con relativo 茅xito. El tema sin duda fue vanguardista e inaugur贸 pr谩cticamente un nuevo g茅nero en las novelas francesas de esa 茅poca. Contradijo la idea que la virtud es el 煤nico camino del hombre de aquella 茅poca para darle una importancia mayor al amor e incluso al placer, por ello fue muchas veces censurada. La historia en general vale y mucho.
Espero leer alg煤n d铆a el libreto de la 贸pera de Puccini hom贸nima y ver qu茅 tan buena es. Un cl谩sico muy recomendable.
February 11, 2019
We were just going to get into bed when he opened the door. 'Oh God!' I said to Manon, 'it's old G.M!' I leaped for my sword but, as ill-luck would have it, it was tangled with my belt.
The introduction to my Penguin edition discusses this in terms of tragic grandeur - well, call me a Philistine but I found myself smirking and giggling throughout this tale of femme fatale Manon and her unbelievably naive-to-the-point-of-silliness lover, des Grieux.
Mere teenagers when they meet, he picks her up at an inn as she's being sent to a convent and whisks her off to a love-nest, abandoning his plans to study for the priesthood and ignoring the advice of his best friend and father. Then when the money runs out, Manon abandons him for a rich lover...
One of the reasons I struggled is that that scenario plays out three times: des Grieux loses all his money (and he does seem to be the unluckiest man alive: if his house can burn down, it will!), Manon goes off with a rich lover, they meet again, she makes her excuses, he takes her in his arms, they live happily... till the money runs out... Oh yes, and they go to prison, repeatedly, until Manon is sent as a convict to New Orleans...
Despite some distinct hamminess, there are more interesting things going on: the story is des Grieux's confession to a framed narrator and so the narrative is a slippery one shaped by his self-interest. We only learn about Manon through his story and there are narrative gaps that allow us to interpret her differently from the way des Grieux portrays her. One big question is why, if he is so madly, truly, deeply in love, doesn't he marry her? If anyone could charm his father it's Manon - but no, right to the end he keeps her as his mistress.
So I couldn't see this as a tragic love story of sexual obsession but enjoyed the ambiguity allowed by the 1st person confessional narrative - is the anti-romance in the book or merely in my interpretation? Hard to tell.
March 28, 2025
亘乇 禺賱丕賮 乇賲丕賳 賴丕蹖 毓卮賯蹖 貙 丕蹖賳 乇賲丕賳 噩匕丕亘 亘賵丿. 趩賵賳 亘亘卮鬲乇 亘賴 賴賵爻 賵 乇丕亘胤賴 丕蹖 倬乇 丕夭 丕卮鬲蹖丕賯 賵 賴賵爻 賵 賱匕鬲 丕卮丕乇賴 丿丕卮鬲 鬲丕 禺賵丿 毓卮賯. 噩匕丕亘 亘賵丿 趩賵賳 亘丕賱丕禺乇賴 讴鬲丕亘蹖 賲蹖禺賵賳蹖 讴賴 卮丕蹖丿 亘乇 禺賱丕賮 丕賵賳 丿丕爻鬲丕賳 賴丕蹖 毓卮賯蹖 讴賱丕爻蹖讴 亘賵丿 賵 亘蹖卮鬲乇 亘賴 賱匕鬲 亘乇丿賳 丕夭 禺賵丿 乇丕亘胤賴 倬乇丿丕禺鬲賴 卮丿賴 鬲丕 毓卮賯 賴賲蹖賳 讴鬲丕亘 乇賵 禺賵賳丿賳蹖 鬲乇貙 卮蹖乇蹖賳 鬲乇貙 噩匕丕亘 鬲乇 賵 賵丕賯毓 亘蹖賳丕賳賴 鬲乇 讴乇丿賴 亘賵丿. 賱匕鬲 亘乇丿賲 丕夭 禺賵賳丿賳卮
February 27, 2013
Des Grieux is a nobleman who falls in love with the irresistible Manon Lescaut, a woman from the lower classes. They run away together and during the course of their relationship, Manon betrays des Grieux three times. He takes her back every time after experiencing some angsty thoughts, such as 鈥淏ut in my heart I was so overjoyed at seeing her again that I could scarcely bring myself to say a hard word to her, despite all the grounds I had for being angry. Yet my heart was bleeding at the cruel outrage she had done me. I quickly called all this to mind in an attempt to fan the flames of my indignation, and I tried to make my eyes blaze with other fires than those of love.鈥�
The blurb on the back of the book describes Manon Lescaut as a femme fatale so I was expecting her to be really evil, akin to Mildred in Somerset Maugham's Of Human Bondage. Well, she really wasn鈥檛 as bad as I thought she was, just silly and childish, as was her lover, Chevalier des Grieux.
I really enjoyed reading the book, although des Grieux quite annoyed me. Some may say that it was romantic that he left his inheritance for love but I found him more and more irritating as the story went on.
The language was quite poetic and it was obvious that the author had some religious training or knowledge. De Grieux was the narrator for the majority of the book, and he told his story in a very engaging way.
Definitely a book I鈥檇 read again.
The blurb on the back of the book describes Manon Lescaut as a femme fatale so I was expecting her to be really evil, akin to Mildred in Somerset Maugham's Of Human Bondage. Well, she really wasn鈥檛 as bad as I thought she was, just silly and childish, as was her lover, Chevalier des Grieux.
I really enjoyed reading the book, although des Grieux quite annoyed me. Some may say that it was romantic that he left his inheritance for love but I found him more and more irritating as the story went on.
The language was quite poetic and it was obvious that the author had some religious training or knowledge. De Grieux was the narrator for the majority of the book, and he told his story in a very engaging way.
Definitely a book I鈥檇 read again.
July 16, 2024
-丕蹖 毓卮賯貙丕蹖 毓卮賯!爻乇 丌卮鬲蹖 亘丕 毓賯賱 賳丿丕乇蹖責
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毓賳丕氐乇蹖 讴賴 鬲賵蹖 丿丕爻鬲丕賳 亘賵丿 卮亘丕賴鬲 夭蹖丕丿蹖 亘丕 賴賲丕賳 毓賳丕氐乇 丨丕囟乇 丿乇 鬲乇丕跇丿蹖鈥屬囏й� 卮讴爻倬蹖乇蹖 丿丕卮鬲貨禺蹖丕賳鬲貙毓卮賯貙丕賳鬲賯丕賲貙賲乇诏 賵..
丿賵 卮禺氐蹖鬲 噩匕丕亘 賵 鬲賯乇蹖亘丕 毓噩蹖亘 丕蹖賳 丿丕爻鬲丕賳 蹖毓賳蹖 賲丕賳賵賳 賱爻讴賵 賵 丿诏乇蹖賵 丕賮乇丕丿蹖 賴爻鬲賳丿 讴賴 亘乇丕蹖 丕爻丕蹖卮 賲丕賱蹖(賲禺氐賵氐丕 賲丕賳賵賳)趩賴 讴丕乇賴丕 讴賴 賳賲蹖讴賳賳丿...
賲丕賳賵賳 丿丕卅賲丕 丕夭 丿蹖丿诏丕賴 丿诏乇蹖賵 乇賵丕蹖鬲 賲蹖卮賵丿貙卮禺氐蹖 讴賴 賮賯胤 亘丕 賲毓蹖丕乇 賴丕蹖 夭蹖亘丕蹖蹖 賵 鬲丨鬲 鬲丕孬蹖乇 毓卮賯 丿诏乇蹖賵 賲毓乇賮蹖 賲蹖鈥屫促堌� 丕賲丕 賮賯胤 丿乇 蹖讴 噩丕 賵賯鬲蹖 賲丕賳賵賳 丕夭 丕賳丿蹖卮賴 賴丕蹖卮 丨乇賮 賲蹖夭賳丿 賲蹖賮賴賲蹖賲 讴賴 夭讴丕賵鬲 賵 倬蹖趩蹖丿诏蹖 丕蹖賳 卮禺氐蹖鬲 賳丕丿蹖丿賴 诏乇賮鬲賴 卮丿賴 丕爻鬲 賵 賳卮丕賳 丕夭 丕蹖賳 丕爻鬲 讴賴 丿诏乇蹖賵 丕丨鬲賲丕賱丕 賵丕賯毓丕 丕賵 乇丕 賳賲蹖鈥屫促嗀ж池� 賵 丿乇讴 賳賲蹖鈥屭┵嗀�.
卮丕蹖丿 賲丕賳賵賳 夭賳蹖鈥屫池� 賲毓鬲賯丿 亘賴 乇賵丕亘胤 丕夭丕丿 賵 噩丿丕蹖蹖 毓卮賯 丕夭 乇丕亘胤賴 丕賲丕 丿乇 賳賴丕蹖鬲 賴賲蹖卮賴 亘乇趩爻倬 禺蹖丕賳鬲讴丕乇 乇丕 亘賴 丿賵卮 賲蹖讴卮丿 賵 爻禺鬲 鬲乇蹖賳 賲噩丕夭丕鬲 賴丕 亘乇丕蹖 丕蹖賳 夭賳 丕爻鬲 丕蹖賳 丿乇 丨丕賱蹖 丕爻鬲 讴賴 丿诏乇蹖賵 亘丕 鬲賲丕賲 鬲氐賲蹖賲 賴丕蹖 賳丕 亘賴 噩丕 賵 丕毓賲丕賱 賴賵賱賳丕讴 禺賵丿 氐乇賮丕 賲乇丿蹖 賮乇蹖亘 禺賵乇丿賴 賲毓乇賮蹖 賲蹖鈥屫促堌� 賵 亘賴 乇丕丨鬲蹖 賲卮賲賵賱 毓賮賵 賲蹖卮賵丿.
夭賵噩 噩丕賱亘蹖 賴爻鬲賳丿 丿乇 蹖讴 丿丕爻鬲丕賳 賯乇賳 郾鄹貙亘丕 毓卮賯蹖 鬲賯乇蹖亘丕 賳丕賲鬲毓丕乇賮 賵 鬲氐賲蹖賲丕鬲 丕卮鬲亘丕賴 丿乇 賲賵賯毓蹖鬲 賴丕蹖 丕卮鬲亘丕賴...
December 12, 2021
I wrongly thought this was a classic gay romance due to not being specific on the blurb I read for it on the book app I'm using. It wasn't. But still a good story, not a favorite though.
December 25, 2019
<< 螌渭蠅蟼 慰喂 维谓胃蟻蠅蟺慰喂 渭蔚 蠂伪蟻伪魏蟿萎蟻伪 渭蟺慰蟻慰蠉谓 谓伪 蟽蠀纬魏位慰谓委味慰谓蟿伪喂 渭蔚 蠂委位喂慰蠀蟼 未喂伪蠁慰蟻蔚蟿喂魏慰蠉蟼 蟿蟻蠈蟺慰蠀蟼. 螘委谓伪喂 蟽伪 谓伪 未喂伪胃苇蟿慰蠀谓 蟺维谓蠅 伪蟺蠈 蟺苇谓蟿蔚 伪喂蟽胃萎蟽蔚喂蟼 魏伪喂 谓伪 渭蟺慰蟻慰蠉谓 谓伪 蟽蠀位位伪渭尾维谓慰蠀谓 喂未苇蔚蟼 魏伪喂 蔚蟻蔚胃委蟽渭伪蟿伪 蟺慰蠀 尉蔚蟺蔚蟻谓慰蠉谓 蟿伪 魏伪谓慰谓喂魏维 蠈蟻喂伪 蟿畏蟼 蠁蠉蟽畏蟼. 螝伪喂 蔚蟺蔚喂未萎 苇蠂慰蠀谓 蟽蠀谓伪委蟽胃畏蟽畏 蟿慰蠀 渭蔚纬伪位蔚委慰蠀 蟺慰蠀 蟿慰蠀蟼 伪谓蠀蠄蠋谓蔚喂 蟺维谓蠅 伪蟺鈥� 蟿慰 蠂蠀未伪委慰, 未蔚谓 蠀蟺维蟻蠂蔚喂 蟿委蟺慰蟿伪 蟺慰蠀 谓伪 蟿慰蠀蟼 蔚委谓伪喂 蟺喂慰 蟺慰位蠉蟿喂渭慰 伪蟺鈥� 伪蠀蟿蠈. 螕喂鈥� 伪蠀蟿蠈 魏伪喂 未蔚 渭蟺慰蟻慰蠉谓 谓伪 蠀蟺慰蠁苇蟻慰蠀谓 蟿畏谓 蟺蔚蟻喂蠁蟻蠈谓畏蟽畏 魏伪喂 蟿慰谓 蔚渭蟺伪喂纬渭蠈, 纬喂鈥� 伪蠀蟿蠈 畏 谓蟿蟻慰蟺萎 蔚委谓伪喂 苇谓伪 伪蟺蠈 蟿伪 蟺喂慰 尾委伪喂伪 蟺维胃畏 蟿慰蠀蟼 >>
螌蟺慰喂慰蟼 未喂伪尾维蟽蔚喂 伪蠀蟿蠈 蟿慰 尾喂尾位委慰 魏伪喂 蟿慰 蠂伪蟻伪魏蟿畏蟻委蟽蔚喂 伪蠁蔚位苇蟼, 蔚委谓伪喂 渭蔚纬伪位蠈蟽蟿慰渭慰蟼 尾位伪尉.
螚 畏胃慰纬蟻伪蠁委伪 蟽蠀谓萎胃蠅蟼 渭苇蟽蠅 蟿慰蠀 蟽蠂萎渭伪蟿慰蟼 蟿畏蟼 渭蠀胃喂蟽蟿慰蟻委伪蟼 蟺蟻慰蠅胃蔚委 蟿慰蠀蟼 畏胃喂魏慰蠉蟼 蟽蠂畏渭伪蟿喂蟽渭慰蠉蟼 萎 渭蔚蟿伪蟽蠂畏渭伪蟿喂蟽渭慰蠉蟼 ( 蔚谓委慰蟿蔚, 魏伪喂, 渭蔚蟿伪位位维尉蔚喂蟼 ) 魏维蟺慰喂蠅谓 未蔚未慰渭苇谓蠅谓 蟺蟻慰蟽蠋蟺蠅谓, 蟽蔚 渭慰谓蟿苇位伪 纬蔚纬慰谓蠈蟿蠅谓. 螣喂 畏胃喂魏苇蟼 蟽蟺慰蠀未苇蟼 伪蟺蠈 蟿畏谓 维位位畏, 蔚委谓伪喂, 伪蟽魏萎蟽蔚喂蟼, 畏胃喂魏萎蟼 伪位位畏位蔚蟺委未蟻伪蟽畏蟼 渭蔚蟿伪尉蠉 蟽蠀纬纬蟻伪蠁苇伪 魏伪喂 伪谓伪纬谓蠋蟽蟿畏. 螒蠀蟿蠈 蟺慰蠀 苇蠂慰蠀渭蔚 蔚未蠋.
<< 螕喂伪蟿委 谓伪 渭畏 纬蔚谓谓畏胃慰蠉渭蔚 魏喂 慰喂 未蠀慰 渭蔚 蠂伪蟻伪魏蟿萎蟻蔚蟼 蟺慰蠀 蟿伪喂蟻喂维味慰蠀谓 蟽蟿畏 未蠀蟽蟿蠀蠂喂蟽渭苇谓畏 渭伪蟼 味蠅萎; 螠伪蟼 蟺蟻慰委魏喂蟽蔚蟼 渭蔚 蟺谓蔚蠉渭伪, 渭蔚 伪纬维蟺畏 纬喂伪 蟿慰 蠅蟻伪委慰 魏伪喂 渭蔚 伪喂蟽胃萎渭伪蟿伪. 螒位委渭慰谓慰 >>!
螣喂 蔚蟺喂未蟻维蟽蔚喂蟼 蟿慰蠀 蟺维谓蠅 蟽蟿慰 危伪谓蟿, 蟿慰 螕魏伪委蟿蔚, 蟿慰 螠伪味蠈蠂 蔚渭蠁伪谓蔚委蟼. 桅喂位慰蟽慰蠁喂魏维, 蠁蠀蟽喂魏维. 韦畏谓 维纬蟻伪 未喂伪蟽蟿蟻慰蠁蠋谓 纬喂伪 伪蠁慰蟻喂蟽渭慰蠉蟼, 蟿畏谓 伪蠁萎谓蠅 蟽蔚 维位位慰蠀蟼. 螆谓伪 蠈渭慰喂慰 蟺谓蔚蠉渭伪, 蟺蔚喂蟻伪蠂蟿萎蟻喂 渭蔚 蟿慰 螔慰位蟿伪委蟻慰.
韦慰 1731, 蔚魏未蠈胃畏魏蔚 纬喂伪 蟺蟻蠋蟿畏 蠁慰蟻维 畏 蟽魏位畏蟻蠈蟿蔚蟻畏 蟽蟺慰蠀未萎 蟺维谓蠅 蟽蟿慰 委蟽慰 未喂魏伪委蠅渭伪 谓伪 位苇纬蔚蟿伪喂 维谓胃蟻蠅蟺慰蟼, 畏 纬蠀谓伪委魏伪 魏伪喂 谓伪 伪蟺慰魏蟿萎蟽蔚喂 胃苇蟽畏 鈥� 伪蟿慰渭喂魏萎 胃苇蟽畏, 蟺苇蟻伪 伪蟺鈥� 蟿伪 未蔚蟽渭维 魏伪喂 蟿畏 蟽魏苇蟺畏 慰蟺慰喂慰蠀未萎蟺慰蟿蔚 维谓蟿蟻伪, 畏 螠伪谓蠈谓 螞蔚蟽魏蠋.
违蟺维蟻蠂慰蠀谓 维谓胃蟻蠅蟺慰喂 伪蟿蠀蠂苇蟽蟿蔚蟻慰喂 伪蟺蠈 维位位慰蠀蟼 萎 维谓胃蟻蠅蟺慰喂 蟺慰蠀 苇位魏慰蠀谓 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 蟿伪 未蔚喂谓维; 韦伪 蔚蟺喂蠁伪喂谓蠈渭蔚谓伪, 蠁蠀蟽喂魏维, 蟿慰 蔚蟺喂尾蔚尾伪喂蠋谓慰蠀谓. 螌渭蠅蟼, 蔚委谓伪喂 蔚尉鈥� 委蟽慰蠀 尾苇尾伪喂慰 蟺蠅蟼 畏 尾慰蠉位畏蟽畏 蟺伪蟻蔚位伪蠉谓蔚喂 蔚蟻萎渭畏谓 蟿蠅谓 伪蟺慰蠁维蟽蔚蠅谓, 纬喂伪 蟿畏谓 伪魏蟻委尾蔚喂伪 蔚委谓伪喂 畏 渭畏蟿苇蟻伪 蟿慰蠀蟼, 蟺慰蠀 蟿慰蠀蟼 魏蟻蠉尾蔚喂 蠈蟿喂 蔚委谓伪喂 渭畏蟿苇蟻伪 蟿慰蠀蟼. 螝喂 委蟽蠅蟼 伪蠀蟿蠈 蔚尉畏纬蔚委 伪魏蠈渭畏 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 蟿畏谓 魏伪胃慰位喂魏萎 喂蟽蠂蠉 伪蠀蟿慰蠉 蟿慰蠀 蠁伪喂谓慰渭蔚谓喂魏维 伪蟺位慰蠉 蟻慰渭维谓蟿味慰蠀, 蟺维谓蠅 蟽蔚 喂蔚蟻维 蟿苇蟻伪蟿伪 蟿畏蟼 位慰纬慰蟿蔚蠂谓委伪蟼 魏伪喂 蟿畏蟼 未喂伪谓蠈畏蟽畏蟼.
韦喂 纬蔚谓谓维蔚喂 维蟻伪纬蔚 蟿慰 喂未蔚蠋未蔚蟼 伪蠀蟿慰胃蠀蟽委伪蟼; 螞苇谓蔚 蟺蠅蟼 渭蠈谓慰 伪蠀蟿蠈蟼 蟺慰蠀 蠁慰尾维蟿伪喂 纬委谓蔚蟿伪喂 萎蟻蠅伪蟼. 螉蟽蠅蟼 渭蠈谓慰蟼 伪蠀蟿蠈蟼 伪蟿蟻蠈渭畏蟿慰蟼, 谓伪 渭蟺慰蟻蔚委 谓伪 蟽尾萎蟽蔚喂 蟿慰谓 蔚伪蠀蟿蠈 蟿慰蠀, 纬喂伪 蟿慰谓 维位位慰. 违蟺维蟻蠂慰蠀谓 魏维蟺慰喂伪 尾伪胃蠉蟿伪蟿伪 蟽蠀谓伪喂蟽胃萎渭伪蟿伪 鈥� 未委谓蔚蟼 鈥� 蠀蟺蔚蟻尾维蟽蔚喂蟼 纬喂伪 蟿慰蠀蟼 维位位慰蠀蟼, 蟿苇蟿慰喂伪 蟺慰蠀 魏伪蟿伪蟺伪蟿慰蠉谓 蟿慰 未喂魏伪委蠅渭伪 渭伪蟼 蟽蟿慰 蠁蠈尾慰 魏伪喂 蟽蔚 魏维胃蔚 蟺蟻慰蟽蠅蟺喂魏萎 魏蠉位喂蟽畏. 螇 伪谓 胃苇位慰蠀渭蔚 谓伪 蔚委渭伪蟽蟿蔚 蟺喂慰 魏蠀谓喂魏慰委, 魏维蟿蠅 伪蟺鈥� 蟿畏谓 伪喂蟿喂慰位蠈纬畏蟽畏 蟿慰蠀 位蠈纬慰蠀 蟿畏蟼 伪蠀蟿慰胃蠀蟽委伪蟼 谓伪 尾蟻委蟽魏蔚蟿伪喂 蟺维谓蟿伪 畏 尾慰蠉位畏蟽畏 蟺慰蠀 蠀蟺慰魏喂谓蔚委 谓伪 蟽蠀谓蔚蠂委味慰蠀渭蔚, 纬喂伪 蠈蟽慰 蠂蟻蔚喂维味蔚蟿伪喂 谓伪 魏维谓慰蠀渭蔚 魏维蟿喂, 谓伪 魏维谓慰蠀渭蔚 蟿慰 慰蟿喂未萎蟺慰蟿蔚 伪蟻魏蔚委 谓伪 未喂伪喂蠅谓委味慰蠀渭蔚 蟿畏谓 蠉蟺伪蟻尉畏 渭伪蟼.
韦慰 尾喂尾位委慰 伪蠀蟿蠈 渭蔚 蟿畏谓 蔚蟺喂渭慰谓萎 蟿慰蠀 蟽蟿慰 蠅蟻伪委慰 渭苇蟽伪 蟽蟿畏 位慰纬喂魏萎 魏伪喂 蟿畏谓 蟿蟻苇位伪 蟽蟿慰 蟽蠀谓伪委蟽胃畏渭伪, 蟽蟿维胃畏魏蔚 喂魏伪谓蠈 位维蟽慰 纬喂伪 谓伪 渭蔚 蟿蟻伪尾萎尉蔚喂 伪蟺蠈 蟿喂蟼 蟿蟻蠉蟺蔚蟼 蟺慰蠀 蟺萎纬伪 魏伪喂 蠂蠋胃畏魏伪, 渭蔚 蟿慰 味蔚蠀纬维蟻喂 伪蟻蠂苇蟿蠀蟺慰 纬喂伪 蟿慰蠀蟼 螠蟺蠈谓喂 魏伪喂 螝位维蠇谓蟿, 渭蔚 蟿畏 蟽慰尾伪蟻萎, 蟿委渭喂伪 蔚蟺喂渭慰谓萎 蟿慰蠀 蟺维谓蠅 蟽蟿畏 蟽蠀谓蠉蟺伪蟻尉畏 蟿慰蠀 渭蠀伪位慰蠉 魏伪喂 蟿畏蟼 蠄蠀蠂萎蟼 渭伪蟼, 蟽蟿畏谓 蔚魏味萎蟿畏蟽畏 渭蔚 蟿畏谓 慰蟺慰委伪 伪蟺伪喂蟿蔚委 谓伪 蔚委渭伪蟽蟿蔚 蔚位伪蟽蟿喂魏慰委 蟽蔚 蠈,蟿喂 伪蟺伪喂蟿蔚委 谓伪 蔚委渭伪蟽蟿蔚 蔚魏蔚委, 慰位蠈魏位畏蟻慰喂, 蠂蠅蟻委蟼 谓伪 未蠀蟽伪谓伪蟽蠂蔚蟿慰蠉渭蔚 纬喂伪 蠈,蟿喂 渭慰喂维味蔚喂 蟺慰位蠉 渭喂魏蟻蠈, 纬喂伪 蟿慰谓 魏蠀谓喂蟽渭蠈 渭伪蟼.
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韦慰 未喂魏伪委蠅渭伪 谓伪 蔚委谓伪喂 伪喂蟻蔚蟿喂魏蠈蟼 蟿慰 苇蠂蔚喂 慰 慰蟺慰喂慰蟽未萎蟺慰蟿蔚 未蔚谓 苇蠂蔚喂 苇蟿慰喂渭慰 蟿慰 螡伪喂 蟿慰 蟽蠅蟽蟿蠈 魏伪喂 蟿慰 尾苇尾伪喂慰. 螌蟺慰喂慰蟼 伪谓伪味畏蟿维 伪蠀蟿蠈 蟺慰蠀 位蔚喂蟿慰蠀蟻纬蔚委, 魏蠈谓蟿蟻伪 蟽蟿慰 慰蟿喂未萎蟺慰蟿蔚, 蟽蠀蠂谓维 伪谓蟿委胃蔚蟿慰 蟽蟿喂蟼 纬蔚谓喂魏苇蟼 蟺蔚蟺慰喂胃萎蟽蔚喂蟼, 伪魏蠈渭伪 魏喂 伪谓 蔚委谓伪喂 伪蟽蟿伪胃苇蟼 蟺苇蟻伪 伪蟺鈥� 蟿慰 蔚喂未喂魏蠈. 螌,蟿喂 未慰蠀位蔚蠉蔚喂, 蟺蟻蔚蟽尾蔚蠉蔚喂 魏喂 伪蟼 蔚委谓伪喂 慰 伪蟻谓畏胃蔚委蟼 蟺慰蠀 蟺维位喂 螌蠂喂 胃伪 尉伪谓维位蔚纬蔚, 蠈蟽慰 魏喂 伪谓 蟿慰谓 魏伪蟿伪尾维位位蔚喂, 纬喂伪蟿委 未蔚 渭蟺慰蟻蔚委 谓伪 蟿慰谓 魏伪胃蠀蟺慰蟿维尉蔚喂. 螕喂伪蟿委 未蔚谓 蟺位苇蔚喂 渭伪味委 渭蔚 蟿慰 蟽蠀蟻蠁蔚蟿蠈. 危魏苇蠁蟿蔚蟿伪喂, 伪喂蟽胃维谓蔚蟿伪喂, 魏维谓蔚喂 位维胃畏, 蟺苇蠁蟿蔚喂 蟺维位喂 魏伪喂 蟺维位喂.
螌蟺慰喂慰蟼 未喂伪尾维蟽蔚喂 伪蠀蟿蠈 蟿慰 尾喂尾位委慰 魏伪喂 蟿慰 蠂伪蟻伪魏蟿畏蟻委蟽蔚喂 伪蠁蔚位苇蟼, 蔚委谓伪喂 渭蔚纬伪位蠈蟽蟿慰渭慰蟼 尾位伪尉.
螚 畏胃慰纬蟻伪蠁委伪 蟽蠀谓萎胃蠅蟼 渭苇蟽蠅 蟿慰蠀 蟽蠂萎渭伪蟿慰蟼 蟿畏蟼 渭蠀胃喂蟽蟿慰蟻委伪蟼 蟺蟻慰蠅胃蔚委 蟿慰蠀蟼 畏胃喂魏慰蠉蟼 蟽蠂畏渭伪蟿喂蟽渭慰蠉蟼 萎 渭蔚蟿伪蟽蠂畏渭伪蟿喂蟽渭慰蠉蟼 ( 蔚谓委慰蟿蔚, 魏伪喂, 渭蔚蟿伪位位维尉蔚喂蟼 ) 魏维蟺慰喂蠅谓 未蔚未慰渭苇谓蠅谓 蟺蟻慰蟽蠋蟺蠅谓, 蟽蔚 渭慰谓蟿苇位伪 纬蔚纬慰谓蠈蟿蠅谓. 螣喂 畏胃喂魏苇蟼 蟽蟺慰蠀未苇蟼 伪蟺蠈 蟿畏谓 维位位畏, 蔚委谓伪喂, 伪蟽魏萎蟽蔚喂蟼, 畏胃喂魏萎蟼 伪位位畏位蔚蟺委未蟻伪蟽畏蟼 渭蔚蟿伪尉蠉 蟽蠀纬纬蟻伪蠁苇伪 魏伪喂 伪谓伪纬谓蠋蟽蟿畏. 螒蠀蟿蠈 蟺慰蠀 苇蠂慰蠀渭蔚 蔚未蠋.
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螣喂 蔚蟺喂未蟻维蟽蔚喂蟼 蟿慰蠀 蟺维谓蠅 蟽蟿慰 危伪谓蟿, 蟿慰 螕魏伪委蟿蔚, 蟿慰 螠伪味蠈蠂 蔚渭蠁伪谓蔚委蟼. 桅喂位慰蟽慰蠁喂魏维, 蠁蠀蟽喂魏维. 韦畏谓 维纬蟻伪 未喂伪蟽蟿蟻慰蠁蠋谓 纬喂伪 伪蠁慰蟻喂蟽渭慰蠉蟼, 蟿畏谓 伪蠁萎谓蠅 蟽蔚 维位位慰蠀蟼. 螆谓伪 蠈渭慰喂慰 蟺谓蔚蠉渭伪, 蟺蔚喂蟻伪蠂蟿萎蟻喂 渭蔚 蟿慰 螔慰位蟿伪委蟻慰.
韦慰 1731, 蔚魏未蠈胃畏魏蔚 纬喂伪 蟺蟻蠋蟿畏 蠁慰蟻维 畏 蟽魏位畏蟻蠈蟿蔚蟻畏 蟽蟺慰蠀未萎 蟺维谓蠅 蟽蟿慰 委蟽慰 未喂魏伪委蠅渭伪 谓伪 位苇纬蔚蟿伪喂 维谓胃蟻蠅蟺慰蟼, 畏 纬蠀谓伪委魏伪 魏伪喂 谓伪 伪蟺慰魏蟿萎蟽蔚喂 胃苇蟽畏 鈥� 伪蟿慰渭喂魏萎 胃苇蟽畏, 蟺苇蟻伪 伪蟺鈥� 蟿伪 未蔚蟽渭维 魏伪喂 蟿畏 蟽魏苇蟺畏 慰蟺慰喂慰蠀未萎蟺慰蟿蔚 维谓蟿蟻伪, 畏 螠伪谓蠈谓 螞蔚蟽魏蠋.
违蟺维蟻蠂慰蠀谓 维谓胃蟻蠅蟺慰喂 伪蟿蠀蠂苇蟽蟿蔚蟻慰喂 伪蟺蠈 维位位慰蠀蟼 萎 维谓胃蟻蠅蟺慰喂 蟺慰蠀 苇位魏慰蠀谓 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 蟿伪 未蔚喂谓维; 韦伪 蔚蟺喂蠁伪喂谓蠈渭蔚谓伪, 蠁蠀蟽喂魏维, 蟿慰 蔚蟺喂尾蔚尾伪喂蠋谓慰蠀谓. 螌渭蠅蟼, 蔚委谓伪喂 蔚尉鈥� 委蟽慰蠀 尾苇尾伪喂慰 蟺蠅蟼 畏 尾慰蠉位畏蟽畏 蟺伪蟻蔚位伪蠉谓蔚喂 蔚蟻萎渭畏谓 蟿蠅谓 伪蟺慰蠁维蟽蔚蠅谓, 纬喂伪 蟿畏谓 伪魏蟻委尾蔚喂伪 蔚委谓伪喂 畏 渭畏蟿苇蟻伪 蟿慰蠀蟼, 蟺慰蠀 蟿慰蠀蟼 魏蟻蠉尾蔚喂 蠈蟿喂 蔚委谓伪喂 渭畏蟿苇蟻伪 蟿慰蠀蟼. 螝喂 委蟽蠅蟼 伪蠀蟿蠈 蔚尉畏纬蔚委 伪魏蠈渭畏 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 蟿畏谓 魏伪胃慰位喂魏萎 喂蟽蠂蠉 伪蠀蟿慰蠉 蟿慰蠀 蠁伪喂谓慰渭蔚谓喂魏维 伪蟺位慰蠉 蟻慰渭维谓蟿味慰蠀, 蟺维谓蠅 蟽蔚 喂蔚蟻维 蟿苇蟻伪蟿伪 蟿畏蟼 位慰纬慰蟿蔚蠂谓委伪蟼 魏伪喂 蟿畏蟼 未喂伪谓蠈畏蟽畏蟼.
韦喂 纬蔚谓谓维蔚喂 维蟻伪纬蔚 蟿慰 喂未蔚蠋未蔚蟼 伪蠀蟿慰胃蠀蟽委伪蟼; 螞苇谓蔚 蟺蠅蟼 渭蠈谓慰 伪蠀蟿蠈蟼 蟺慰蠀 蠁慰尾维蟿伪喂 纬委谓蔚蟿伪喂 萎蟻蠅伪蟼. 螉蟽蠅蟼 渭蠈谓慰蟼 伪蠀蟿蠈蟼 伪蟿蟻蠈渭畏蟿慰蟼, 谓伪 渭蟺慰蟻蔚委 谓伪 蟽尾萎蟽蔚喂 蟿慰谓 蔚伪蠀蟿蠈 蟿慰蠀, 纬喂伪 蟿慰谓 维位位慰. 违蟺维蟻蠂慰蠀谓 魏维蟺慰喂伪 尾伪胃蠉蟿伪蟿伪 蟽蠀谓伪喂蟽胃萎渭伪蟿伪 鈥� 未委谓蔚蟼 鈥� 蠀蟺蔚蟻尾维蟽蔚喂蟼 纬喂伪 蟿慰蠀蟼 维位位慰蠀蟼, 蟿苇蟿慰喂伪 蟺慰蠀 魏伪蟿伪蟺伪蟿慰蠉谓 蟿慰 未喂魏伪委蠅渭伪 渭伪蟼 蟽蟿慰 蠁蠈尾慰 魏伪喂 蟽蔚 魏维胃蔚 蟺蟻慰蟽蠅蟺喂魏萎 魏蠉位喂蟽畏. 螇 伪谓 胃苇位慰蠀渭蔚 谓伪 蔚委渭伪蟽蟿蔚 蟺喂慰 魏蠀谓喂魏慰委, 魏维蟿蠅 伪蟺鈥� 蟿畏谓 伪喂蟿喂慰位蠈纬畏蟽畏 蟿慰蠀 位蠈纬慰蠀 蟿畏蟼 伪蠀蟿慰胃蠀蟽委伪蟼 谓伪 尾蟻委蟽魏蔚蟿伪喂 蟺维谓蟿伪 畏 尾慰蠉位畏蟽畏 蟺慰蠀 蠀蟺慰魏喂谓蔚委 谓伪 蟽蠀谓蔚蠂委味慰蠀渭蔚, 纬喂伪 蠈蟽慰 蠂蟻蔚喂维味蔚蟿伪喂 谓伪 魏维谓慰蠀渭蔚 魏维蟿喂, 谓伪 魏维谓慰蠀渭蔚 蟿慰 慰蟿喂未萎蟺慰蟿蔚 伪蟻魏蔚委 谓伪 未喂伪喂蠅谓委味慰蠀渭蔚 蟿畏谓 蠉蟺伪蟻尉畏 渭伪蟼.
韦慰 尾喂尾位委慰 伪蠀蟿蠈 渭蔚 蟿畏谓 蔚蟺喂渭慰谓萎 蟿慰蠀 蟽蟿慰 蠅蟻伪委慰 渭苇蟽伪 蟽蟿畏 位慰纬喂魏萎 魏伪喂 蟿畏谓 蟿蟻苇位伪 蟽蟿慰 蟽蠀谓伪委蟽胃畏渭伪, 蟽蟿维胃畏魏蔚 喂魏伪谓蠈 位维蟽慰 纬喂伪 谓伪 渭蔚 蟿蟻伪尾萎尉蔚喂 伪蟺蠈 蟿喂蟼 蟿蟻蠉蟺蔚蟼 蟺慰蠀 蟺萎纬伪 魏伪喂 蠂蠋胃畏魏伪, 渭蔚 蟿慰 味蔚蠀纬维蟻喂 伪蟻蠂苇蟿蠀蟺慰 纬喂伪 蟿慰蠀蟼 螠蟺蠈谓喂 魏伪喂 螝位维蠇谓蟿, 渭蔚 蟿畏 蟽慰尾伪蟻萎, 蟿委渭喂伪 蔚蟺喂渭慰谓萎 蟿慰蠀 蟺维谓蠅 蟽蟿畏 蟽蠀谓蠉蟺伪蟻尉畏 蟿慰蠀 渭蠀伪位慰蠉 魏伪喂 蟿畏蟼 蠄蠀蠂萎蟼 渭伪蟼, 蟽蟿畏谓 蔚魏味萎蟿畏蟽畏 渭蔚 蟿畏谓 慰蟺慰委伪 伪蟺伪喂蟿蔚委 谓伪 蔚委渭伪蟽蟿蔚 蔚位伪蟽蟿喂魏慰委 蟽蔚 蠈,蟿喂 伪蟺伪喂蟿蔚委 谓伪 蔚委渭伪蟽蟿蔚 蔚魏蔚委, 慰位蠈魏位畏蟻慰喂, 蠂蠅蟻委蟼 谓伪 未蠀蟽伪谓伪蟽蠂蔚蟿慰蠉渭蔚 纬喂伪 蠈,蟿喂 渭慰喂维味蔚喂 蟺慰位蠉 渭喂魏蟻蠈, 纬喂伪 蟿慰谓 魏蠀谓喂蟽渭蠈 渭伪蟼.
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韦慰 未喂魏伪委蠅渭伪 谓伪 蔚委谓伪喂 伪喂蟻蔚蟿喂魏蠈蟼 蟿慰 苇蠂蔚喂 慰 慰蟺慰喂慰蟽未萎蟺慰蟿蔚 未蔚谓 苇蠂蔚喂 苇蟿慰喂渭慰 蟿慰 螡伪喂 蟿慰 蟽蠅蟽蟿蠈 魏伪喂 蟿慰 尾苇尾伪喂慰. 螌蟺慰喂慰蟼 伪谓伪味畏蟿维 伪蠀蟿蠈 蟺慰蠀 位蔚喂蟿慰蠀蟻纬蔚委, 魏蠈谓蟿蟻伪 蟽蟿慰 慰蟿喂未萎蟺慰蟿蔚, 蟽蠀蠂谓维 伪谓蟿委胃蔚蟿慰 蟽蟿喂蟼 纬蔚谓喂魏苇蟼 蟺蔚蟺慰喂胃萎蟽蔚喂蟼, 伪魏蠈渭伪 魏喂 伪谓 蔚委谓伪喂 伪蟽蟿伪胃苇蟼 蟺苇蟻伪 伪蟺鈥� 蟿慰 蔚喂未喂魏蠈. 螌,蟿喂 未慰蠀位蔚蠉蔚喂, 蟺蟻蔚蟽尾蔚蠉蔚喂 魏喂 伪蟼 蔚委谓伪喂 慰 伪蟻谓畏胃蔚委蟼 蟺慰蠀 蟺维位喂 螌蠂喂 胃伪 尉伪谓维位蔚纬蔚, 蠈蟽慰 魏喂 伪谓 蟿慰谓 魏伪蟿伪尾维位位蔚喂, 纬喂伪蟿委 未蔚 渭蟺慰蟻蔚委 谓伪 蟿慰谓 魏伪胃蠀蟺慰蟿维尉蔚喂. 螕喂伪蟿委 未蔚谓 蟺位苇蔚喂 渭伪味委 渭蔚 蟿慰 蟽蠀蟻蠁蔚蟿蠈. 危魏苇蠁蟿蔚蟿伪喂, 伪喂蟽胃维谓蔚蟿伪喂, 魏维谓蔚喂 位维胃畏, 蟺苇蠁蟿蔚喂 蟺维位喂 魏伪喂 蟺维位喂.
August 15, 2022
This is a fast-paced, flowing read, though I can see that some will become annoyed with the Chevalier's constant protestations, especially of nothing being his fault. I'm sure the story was quite scandalous for its time.
The fact that the Chevalier's story is actually being told by another narrator might be easily forgotten. The unnamed narrator says near the beginning that he is quoting the Chevalier's words with no interference, thus as verbatim as possible, which to my 21st-century mind immediately brings up the idea of an unreliable narrator, and whether that might be the narrator himself or the Chevalier. While the motivations for deceptive narrating are very easy to see in the case of the Chevalier, and are undoubtedly within the text, thus adding to the complexity of the Chevalier's character, what would be the motivation for the narrator? To avoid looking like one of the Chevalier's dupes? In that case, the veracity of the whole story would come into question, though I don't think that should be the case. Then there is the character of Manon. We only know what the Chevalier says and thinks about her, and there is a case to be made that she is very different from his depiction.
I'm sure the Abbe intended this to be a tragedy, but it read as a comedy to me with its over-the-top adventures, even through to the climax, which at first seemed tragic but only for a moment as the next thing we learn becomes another event in a sort of 'comedy of errors.' The Chevalier calls all of this his "fate."
In the unhistorical depiction of colonial New Orleans, I found humor as well, perhaps unintentional (and perhaps because I am from N.O.), especially in a passage where the Chevalier is rapturous about the colony, sounding almost like a tourist brochure. I do think it very significant, though, that the lovers end up in a land where their class differences no longer matters, though religion and the law do.
I have no doubt that I am imposing my 21st-century sensibilities onto this 18th-c novel. The theme of trying to make sense of an irrational emotion such as love, however, seems universal.
The fact that the Chevalier's story is actually being told by another narrator might be easily forgotten. The unnamed narrator says near the beginning that he is quoting the Chevalier's words with no interference, thus as verbatim as possible, which to my 21st-century mind immediately brings up the idea of an unreliable narrator, and whether that might be the narrator himself or the Chevalier. While the motivations for deceptive narrating are very easy to see in the case of the Chevalier, and are undoubtedly within the text, thus adding to the complexity of the Chevalier's character, what would be the motivation for the narrator? To avoid looking like one of the Chevalier's dupes? In that case, the veracity of the whole story would come into question, though I don't think that should be the case. Then there is the character of Manon. We only know what the Chevalier says and thinks about her, and there is a case to be made that she is very different from his depiction.
I'm sure the Abbe intended this to be a tragedy, but it read as a comedy to me with its over-the-top adventures, even through to the climax, which at first seemed tragic but only for a moment as the next thing we learn becomes another event in a sort of 'comedy of errors.' The Chevalier calls all of this his "fate."
In the unhistorical depiction of colonial New Orleans, I found humor as well, perhaps unintentional (and perhaps because I am from N.O.), especially in a passage where the Chevalier is rapturous about the colony, sounding almost like a tourist brochure. I do think it very significant, though, that the lovers end up in a land where their class differences no longer matters, though religion and the law do.
I have no doubt that I am imposing my 21st-century sensibilities onto this 18th-c novel. The theme of trying to make sense of an irrational emotion such as love, however, seems universal.
September 3, 2024
賯胤毓丕賸 賲賳 丿乇 噩丕蹖诏丕賴蹖 賳蹖爻鬲賲 讴賴 亘禺賵丕賲 丕孬乇蹖 亘賴 丕蹖賳 賲賴賲蹖 乇賵 賳賯丿 讴賳賲 賵 賴乇趩蹖夭蹖 讴賴 賲蹖鈥屫堌з� 亘诏賲 氐乇賮丕賸 丕夭 丿蹖丿賽 蹖讴 禺賵丕賳賳丿賴鈥屫池� 賵 亘爻.
丕賲丕 亘丕 亘禺卮 賴丕蹖蹖 丕夭 丕蹖賳 丿丕爻鬲丕賳 賲卮讴賱 丿丕卮鬲賲. 卮丕蹖丿 蹖讴蹖 丕夭 丿賱丕蹖賱卮 丕蹖賳 亘丕卮賴 讴賴 鬲毓丿丕丿 鬲乇丕跇丿蹖鈥屬囏й屰� 讴賴 禺賵賳丿賲 亘賴 鬲毓丿丕丿賽 丕賳诏卮鬲丕蹖 丿爻鬲 賴賲 賳賲蹖鈥屫必迟� 賵 蹖讴 賲賯丿丕乇 賮囟丕蹖 丿丕爻鬲丕賳鈥屬囏й� 丕蹖賳 趩賳蹖賳蹖貙 亘乇丕賲 睾乇蹖亘賴.
丕賲丕 丕賵賱 丕夭 賴賲賴 亘丕 倬丕蹖丕賳鈥屫ㄙ嗀屬� 丿丕爻鬲丕賳 賲卮讴賱 丿丕卮鬲賲. 丨爻 賲蹖鈥屭┵嗁� 蹖賴 賲賯丿丕乇 亘乇丕蹖 丕賵賳 丨噩賲 丕夭 卮賵乇 賵 丕卮鬲蹖丕賯 賵 賴蹖噩丕賳貙 爻丕丿賴 賵 爻乇爻乇蹖 亘賵丿.
亘毓丿 丕夭 丕賵賳 丕賲丕 賲卮讴賱賲 亘丕 卮禺氐蹖鬲 賴丕 亘賵丿. 丿乇 胤賵賱賽 乇賵丕蹖鬲賽 卮賵丕賱蹖賴 丿诏乇蹖賵貙 丕鬲賮丕賯丕鬲 噩賵乇蹖 倬蹖卮 賲蹖乇賳 讴賴 丕賳诏丕乇 丿诏乇蹖賵 噩賵丕賳賽 爻丕丿賴 賵 丿爻鬲 賵 倬丕趩賱賮鬲蹖 丕蹖 賴爻鬲 讴賴 鬲賳賴丕 诏賳丕賴卮 毓卮賯 亘蹖 丨丿 賵 丨氐乇卮 亘賴 賲丕賳賵賳賽 禺蹖丕賳鬲讴丕乇 賵 噩賮丕讴丕乇賴.
丿乇 丨丕賱蹖讴賴 亘賴 賳馗乇賲 卮賵丕賱蹖賴 丿诏乇蹖賵 卮禺氐蹖鬲賽 亘賴 卮丿鬲 禺賵丿卮蹖賮鬲賴 丕蹖 丿丕乇賴 讴賴 賴乇 爻禺鬲蹖 丕蹖 乇賵 亘賴 噩賵賳 賲蹖禺乇賴 讴賴 賮賯胤 毓卮賯 賵 丕丨爻丕爻卮 亘賴 賲丕賳賵賳 乇賵 丿丕卮鬲賴 亘丕卮賴 丨鬲蹖 丕诏賴 亘賴 賯蹖賲鬲賽 亘丿亘禺鬲蹖 賵 丕夭 丿爻鬲 乇賮鬲賳 噩賵賳賽 賲丕賳賵賳 亘丕卮賴.
賵 丕賲丕 賲丕賳賵賳! 賳鬲賵賳爻鬲賲 丕夭 丿乇爻鬲 賵 乇丕爻鬲 亘賵丿賳賽 丕丨爻丕爻丕鬲卮 亘賴 卮賵丕賱蹖賴 丿诏乇蹖賵 賲胤賲卅賳 卮賲. 蹖賴 噩丕賴丕蹖蹖 亘丕賵乇賳丕倬匕蹖乇 亘賵丿 賵 蹖賴 噩丕賴丕蹖蹖 亘乇毓讴爻.
賵 禺亘 亘賴 賳馗乇賲 丕蹖賳 賴丕 賴賲賴 賳卮賵賳 丿賴賳丿賴鈥屰� 倬蹖趩蹖丿诏蹖賽 卮禺氐蹖鬲鈥屬囏ж池� 賵 丿乇 賳賴丕蹖鬲 乇爻蹖丿賳 亘賴 丕蹖賳 賳讴鬲賴 讴賴 丕卮禺丕氐 鬲賲丕賲丕賸 爻蹖丕賴 蹖丕 爻賮蹖丿 賳蹖爻鬲賳.
鈥斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌�-
讴鬲丕亘 乇賵 丿乇 賯卮賳诏 鬲乇蹖賳 賵 丌乇賵賲 鬲乇蹖賳 噩丕蹖蹖 讴賴 鬲賵 丕蹖賳 趩賳丿 賵賯鬲賽 丕禺蹖乇 丿蹖丿賲貙 鬲賲賵賲 讴乇丿賲. 讴丕賮賴 丕蹖 讴賴 賮讴乇 讴賳賲 倬丕鬲賵賯賲 卮丿賴 賵 亘丕 倬賱蹖鈥屬勠屫池� 禺賮賳卮貙禺賵賳丿賳 丕蹖賳 讴鬲丕亘 乇賵 亘乇丕賲 禺蹖賱蹖 賱匕鬲 亘禺卮 讴乇丿.馃槶
丕賲丕 亘丕 亘禺卮 賴丕蹖蹖 丕夭 丕蹖賳 丿丕爻鬲丕賳 賲卮讴賱 丿丕卮鬲賲. 卮丕蹖丿 蹖讴蹖 丕夭 丿賱丕蹖賱卮 丕蹖賳 亘丕卮賴 讴賴 鬲毓丿丕丿 鬲乇丕跇丿蹖鈥屬囏й屰� 讴賴 禺賵賳丿賲 亘賴 鬲毓丿丕丿賽 丕賳诏卮鬲丕蹖 丿爻鬲 賴賲 賳賲蹖鈥屫必迟� 賵 蹖讴 賲賯丿丕乇 賮囟丕蹖 丿丕爻鬲丕賳鈥屬囏й� 丕蹖賳 趩賳蹖賳蹖貙 亘乇丕賲 睾乇蹖亘賴.
丕賲丕 丕賵賱 丕夭 賴賲賴 亘丕 倬丕蹖丕賳鈥屫ㄙ嗀屬� 丿丕爻鬲丕賳 賲卮讴賱 丿丕卮鬲賲. 丨爻 賲蹖鈥屭┵嗁� 蹖賴 賲賯丿丕乇 亘乇丕蹖 丕賵賳 丨噩賲 丕夭 卮賵乇 賵 丕卮鬲蹖丕賯 賵 賴蹖噩丕賳貙 爻丕丿賴 賵 爻乇爻乇蹖 亘賵丿.
亘毓丿 丕夭 丕賵賳 丕賲丕 賲卮讴賱賲 亘丕 卮禺氐蹖鬲 賴丕 亘賵丿. 丿乇 胤賵賱賽 乇賵丕蹖鬲賽 卮賵丕賱蹖賴 丿诏乇蹖賵貙 丕鬲賮丕賯丕鬲 噩賵乇蹖 倬蹖卮 賲蹖乇賳 讴賴 丕賳诏丕乇 丿诏乇蹖賵 噩賵丕賳賽 爻丕丿賴 賵 丿爻鬲 賵 倬丕趩賱賮鬲蹖 丕蹖 賴爻鬲 讴賴 鬲賳賴丕 诏賳丕賴卮 毓卮賯 亘蹖 丨丿 賵 丨氐乇卮 亘賴 賲丕賳賵賳賽 禺蹖丕賳鬲讴丕乇 賵 噩賮丕讴丕乇賴.
丿乇 丨丕賱蹖讴賴 亘賴 賳馗乇賲 卮賵丕賱蹖賴 丿诏乇蹖賵 卮禺氐蹖鬲賽 亘賴 卮丿鬲 禺賵丿卮蹖賮鬲賴 丕蹖 丿丕乇賴 讴賴 賴乇 爻禺鬲蹖 丕蹖 乇賵 亘賴 噩賵賳 賲蹖禺乇賴 讴賴 賮賯胤 毓卮賯 賵 丕丨爻丕爻卮 亘賴 賲丕賳賵賳 乇賵 丿丕卮鬲賴 亘丕卮賴 丨鬲蹖 丕诏賴 亘賴 賯蹖賲鬲賽 亘丿亘禺鬲蹖 賵 丕夭 丿爻鬲 乇賮鬲賳 噩賵賳賽 賲丕賳賵賳 亘丕卮賴.
賵 丕賲丕 賲丕賳賵賳! 賳鬲賵賳爻鬲賲 丕夭 丿乇爻鬲 賵 乇丕爻鬲 亘賵丿賳賽 丕丨爻丕爻丕鬲卮 亘賴 卮賵丕賱蹖賴 丿诏乇蹖賵 賲胤賲卅賳 卮賲. 蹖賴 噩丕賴丕蹖蹖 亘丕賵乇賳丕倬匕蹖乇 亘賵丿 賵 蹖賴 噩丕賴丕蹖蹖 亘乇毓讴爻.
賵 禺亘 亘賴 賳馗乇賲 丕蹖賳 賴丕 賴賲賴 賳卮賵賳 丿賴賳丿賴鈥屰� 倬蹖趩蹖丿诏蹖賽 卮禺氐蹖鬲鈥屬囏ж池� 賵 丿乇 賳賴丕蹖鬲 乇爻蹖丿賳 亘賴 丕蹖賳 賳讴鬲賴 讴賴 丕卮禺丕氐 鬲賲丕賲丕賸 爻蹖丕賴 蹖丕 爻賮蹖丿 賳蹖爻鬲賳.
鈥斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌�-
讴鬲丕亘 乇賵 丿乇 賯卮賳诏 鬲乇蹖賳 賵 丌乇賵賲 鬲乇蹖賳 噩丕蹖蹖 讴賴 鬲賵 丕蹖賳 趩賳丿 賵賯鬲賽 丕禺蹖乇 丿蹖丿賲貙 鬲賲賵賲 讴乇丿賲. 讴丕賮賴 丕蹖 讴賴 賮讴乇 讴賳賲 倬丕鬲賵賯賲 卮丿賴 賵 亘丕 倬賱蹖鈥屬勠屫池� 禺賮賳卮貙禺賵賳丿賳 丕蹖賳 讴鬲丕亘 乇賵 亘乇丕賲 禺蹖賱蹖 賱匕鬲 亘禺卮 讴乇丿.馃槶
July 23, 2013
Wow, how do I start this? Because trying to collect my thoughts about this book is a bit like trying to collect body parts of a pedestrian smeared all over the road by a car. This is one train wreck of a book, because it doesn't work on any level - it fails to be a compelling story, it blows as a cautionary tale and it is most certainly is not a believable psychological portrait. But, as spectacular accidents do, it is weirdly fascinating to watch all the gruesome details while being repulsed by them at the same time. I'll look at some of them now to examine the true catastrophe that is "Manon Lescaut".
At first, this books seems to be an innocent novel in the spirit of a morality tale. We have Chevalier des Grieux, a boy, who is desperately in love with a woman who does not deserve his noble feelings. Not the most original of plots, but there are masterpieces that use this plot device (vide "The Great Gatsby") so I won't hold this against the novel. Later on we see how the poor lad is torn between virtue, represented by his friend Tiberge who wants to become a priest, and passion/love for a young woman called Manon Lescaut.
It doesn't take long to see the emerging problems. First off, all the characters are mechanical - they seem programmed to do everything, because they they react the same way to everything that happens and it looks as if they learn nothing from that. Really, take a shot each time Des Grieux does something stupid out of love, Tiberge gives Des Grieux money and/or a lecture or Manon acts as if she loves the protagonist but betrays him instead, and see how long you will stay sober. This, repetitiveness makes it impossible to invest emotionally in the story because it makes these characters seem completely retarded, because they NEVER learn from the consequences of their actions. That is particularly true for the protagonist whose "love" (I'll explain later why I've put this word in quotation marks) makes him completely abandon self-preservation of any kind, what makes him completely unrelatable to (and he is SO STUPID that I just want to SCREAM with frustration; seriously, at one point in the story he tries to dig a grave with an . A goddamned epee!!!). Ultimately that's what makes this book's population of characters mere symbols (des Grieux as the best possible person, young age could muster, Manon as the emptiest of women etc.) who are presented to us to teach us a moral lesson.
I admit, that's a lot of hard feelings that I have, so I'll show an act of kindness and pretend this book depicts real people, not symbols. What happens now? Well, it turns out it gets worse still. First off, in a work of fiction, that is supposedly about love, I see no love whatsoever. I'll even go on a limb and say that there is not one character that truly loves another (and here I assume my definition of love, which is to WISELY care about and SELFLESSLY act on the behalf of the OTHER person). This is obvious in the case of Manon, who prefers comfort and wealth to love and Tiberge whose friendship with des Grieux 鈥� is limited to giving the latter money without thinking if it's the right thing to do and uses every opportunity to lecture him (what I see as a need to boast about his assumed moral superiority).
"Well, but what about the poor, love-sick des Grieux?鈥� some of you might ask. Well, my dear readers, this character is the worst of all of them. He thinks he loves Manon, but the truth is, he does not - he just needs an object of worship, which is supposed to give HIM purpose to live. Also, he does not act selflessly - he just does what might minimize the chance that Manon leaves him without caring if his actions will make her a better person (and I DO believe that the materialistic urges of hers that he mindlessly satisfies achieve the contrarian effect). It is worth adding that not only does this feeling serve mainly him, but it is brutally superficial too 鈥� at one point in the book des Grieux admits that he mainly admires Manon for her looks. Finally, because of this 鈥瀕ove鈥�, the idealistic des Grieux commits the following:
-gambling
-lying
-cheating
-murdering.
This guy is a psychopath... And a selfish idiot.
On a final note, I might add that this book contains some of the most skimmed over details that I have ever seen (and I like it when Haruki Murakami or F. Scott Fitzgerald does it, but Jesus Christ, it needs to be done skillfully!). The most laughable part was when .
Well, that is all. To sum up I'll say that this is one of the WORST books I've ever read and certainly the most annoying next to the feminist utopia 鈥濰erland鈥� by Charlotte Perkins Gilman. 鈥濵anon Lescaut鈥� is to be avoided at all cost (especially if you highly value equality in a relationship!) unless you can approach it with a sense of humour. Because if you can you'll have a riot. To those of you I say: 鈥滺ave more fun than I did.鈥�.
February 5, 2020
Th岷 d貌ng Pr茅vost vi岷縯 膽茫 hay, m脿 b岷 d峄媍h c峄 Nguy峄卬 V膬n V末nh ti锚n-sinh t脿i-t矛nh c农ng l岷痬, qu岷� l脿 m峄檛 cu峄檆 膽峄峜 sung-s瓢峄沶g cho k岷� h岷璾-sinh.
November 20, 2020
"Girl from Wrong Side of Town Jinxes Silver Spooner"
Many years ago I read the classic Chinese novel "Chin Ping Mei" in which overindulgence in sex, wine, and food occurs so regularly that by the end of the hundreds of pages, the reader is glutted and uninterested in more. This, people say, was the Buddhist message of the novel-that the sensual, material world is meaningless. MANON LESCAUT reminded me of that novel because the single moralizing theme-how a talented young aristocrat who falls madly in love with a girl of dubious character wastes his life-dominates so completely that nothing else really matters. The various characters, while potentially interesting, are never built up much, due to subordination to the moral lesson. No matter how many times the beautiful Manon betrays her impetuous lover, he forgives her and indulges in his passion more than ever. His father and friends despair. Jail, murder, betrayal, gambling, prostitution, and eventual exile are only some of the results this passion delivers. The denouement of the novel occurs in far-off New Orleans, about which, it seemed to me, the author had absolutely no idea. An opera was later written based on this minor classic of French literature. I could not say that it is a wonderful piece of writing, nor that many readers will thrill to its ups and downs. You can read it in a short while; it will hold your attention and you will have the satisfaction of being able to say you read it. But, at the end of the day, French literature offers a lot more than MANON LESCAUT.
Many years ago I read the classic Chinese novel "Chin Ping Mei" in which overindulgence in sex, wine, and food occurs so regularly that by the end of the hundreds of pages, the reader is glutted and uninterested in more. This, people say, was the Buddhist message of the novel-that the sensual, material world is meaningless. MANON LESCAUT reminded me of that novel because the single moralizing theme-how a talented young aristocrat who falls madly in love with a girl of dubious character wastes his life-dominates so completely that nothing else really matters. The various characters, while potentially interesting, are never built up much, due to subordination to the moral lesson. No matter how many times the beautiful Manon betrays her impetuous lover, he forgives her and indulges in his passion more than ever. His father and friends despair. Jail, murder, betrayal, gambling, prostitution, and eventual exile are only some of the results this passion delivers. The denouement of the novel occurs in far-off New Orleans, about which, it seemed to me, the author had absolutely no idea. An opera was later written based on this minor classic of French literature. I could not say that it is a wonderful piece of writing, nor that many readers will thrill to its ups and downs. You can read it in a short while; it will hold your attention and you will have the satisfaction of being able to say you read it. But, at the end of the day, French literature offers a lot more than MANON LESCAUT.
September 26, 2022
V-a葲i 卯ntrebat vreodat膬 c芒t de multe compromisuri poate face cineva 卯n numele iubirii?
Cartea aceasta, cumva exagerat膬 卯n opinia mea, prezint膬 povestea cavalerului des Grieux, un t芒n膬r preg膬tit pentru tagma ecleziastic膬, pentru o via葲膬 cinstit膬 葯i cuminte, p芒n膬 c芒nd se 卯ndr膬goste葯te de Manon Lescaut, unul dintre cele mai superficiale personaje feminine pe care le-am 卯nt芒lnit eu, cel pu葲in 卯n literatura clasic膬.
Manon se va dovedi o femeie de moravuri u葯oare, ispitit膬 de via葲a luxoas膬 pe care t芒n膬rul ei cavaler nu i-o poate oferi, cel pu葲in nu pe cale cinstit膬.
Mult膬 tradare, mult膬 gelozie, dar 葯i 卯nfl膬c膬rat膬 pasiune care atrage dup膬 sine 卯n葯el膬ciuni 葯i omoruri.
Cu toate acestea, ac葲iunea este ciclic膬, deci repetitiv膬, iar personajele nu m-au atras. Am notat-o cu 3 stele, nu pot s膬-mi justific nota, 卯ns膬, deci m膬 declar pu葲in dezam膬git膬 de lectur膬.
"La urma urmei, amorul e un dasc膬l bun; soarta nu ne-ar putea pricinui at芒tea suferin葲e c芒te pl膬ceri ne face el s膬 gust膬m."
"Nou膬, numai dragostea 葯i tinere葲ea ne pricinuiser膬 toate nenorocirile."
Cartea aceasta, cumva exagerat膬 卯n opinia mea, prezint膬 povestea cavalerului des Grieux, un t芒n膬r preg膬tit pentru tagma ecleziastic膬, pentru o via葲膬 cinstit膬 葯i cuminte, p芒n膬 c芒nd se 卯ndr膬goste葯te de Manon Lescaut, unul dintre cele mai superficiale personaje feminine pe care le-am 卯nt芒lnit eu, cel pu葲in 卯n literatura clasic膬.
Manon se va dovedi o femeie de moravuri u葯oare, ispitit膬 de via葲a luxoas膬 pe care t芒n膬rul ei cavaler nu i-o poate oferi, cel pu葲in nu pe cale cinstit膬.
Mult膬 tradare, mult膬 gelozie, dar 葯i 卯nfl膬c膬rat膬 pasiune care atrage dup膬 sine 卯n葯el膬ciuni 葯i omoruri.
Cu toate acestea, ac葲iunea este ciclic膬, deci repetitiv膬, iar personajele nu m-au atras. Am notat-o cu 3 stele, nu pot s膬-mi justific nota, 卯ns膬, deci m膬 declar pu葲in dezam膬git膬 de lectur膬.
"La urma urmei, amorul e un dasc膬l bun; soarta nu ne-ar putea pricinui at芒tea suferin葲e c芒te pl膬ceri ne face el s膬 gust膬m."
"Nou膬, numai dragostea 葯i tinere葲ea ne pricinuiser膬 toate nenorocirile."
March 19, 2025
毓卮賯 丕丨賲賯丕賳賴-
October 29, 2021
This is quite honestly one of my favorite works of the 18th century, and one of my favorite French novels. Heavily challenged and censored, it is a story that presents the concept of 鈥渓ove鈥� as the twisted, tyrannical, and deleterious thing it really is, especially for the time and context it was written in. Also, the action eventually arrived at Louisiana. What else could you want?!
September 10, 2014
I like the naked bottom on the cover of the Gallimard Folio edition pictured with this review. Gallimard seems to agree with me in viewing Manon Lescaut as work in the Libertine tradition of 18th century France. Professor Rosenberg who taught this work in a course that I took on the novel in Eighteenth Century French literature viewed it differently. The work is not sordid but realistic. Manon was indeed a liar, a prostitute and a chronic fraudster. However, the fact was that during that era a girl who fell out with her parents had no choice but to live by her body and her wits.
Viewing the book in its correct context in the history of literature, Manon Lescaust is highly realistic. The people and the social environment were as Abbe Prevost described them. Justice was harsh. Laws were unfair and the police were brutes. The language used by Prevost is concise and direct. Gone are all the flowery excesses that had dominated earlier French novels. The motivations of the principal characters are clearly explained and their behaviour is always consistent with their personalities. The operas based on the novel by Massenet and Puccini are highly melodramatic in contrast to Prevost's gritty and unsentimental narrative.
Most French writers included Dumas, Balzac and Flaubert acknowledge that if nothing else Abbe Prevost moved the art of the novel in France forward and provided French writers with the model of a spendthrift courtisan that would appear repeatedly in French literature for the next 200 years. Zola's Nana, Balzac's Esther, Dumas' Marguerite Gauthier and Proust's Odette de Crecy all come to mind.
Viewing the book in its correct context in the history of literature, Manon Lescaust is highly realistic. The people and the social environment were as Abbe Prevost described them. Justice was harsh. Laws were unfair and the police were brutes. The language used by Prevost is concise and direct. Gone are all the flowery excesses that had dominated earlier French novels. The motivations of the principal characters are clearly explained and their behaviour is always consistent with their personalities. The operas based on the novel by Massenet and Puccini are highly melodramatic in contrast to Prevost's gritty and unsentimental narrative.
Most French writers included Dumas, Balzac and Flaubert acknowledge that if nothing else Abbe Prevost moved the art of the novel in France forward and provided French writers with the model of a spendthrift courtisan that would appear repeatedly in French literature for the next 200 years. Zola's Nana, Balzac's Esther, Dumas' Marguerite Gauthier and Proust's Odette de Crecy all come to mind.
September 26, 2022
韦慰 魏位伪蟽喂魏蠈 伪蠀蟿蠈 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟿慰 苇蠄伪蠂谓伪 纬喂伪 伪蟻魏蔚蟿蠈 魏伪喂蟻蠈 蟽蟿伪 蟺伪位伪喂慰尾喂尾位喂慰蟺蠅位蔚委伪 -蠈谓蟿伪蟼 蔚未蠋 魏伪喂 蠂蟻蠈谓喂伪 蔚尉伪谓蟿位畏渭苇谓慰-, 未蠀蟽蟿蠀蠂蠋蟼 未委蠂蠅蟼 蔚蟺喂蟿蠀蠂委伪. 螒位位维 谓伪 蟺慰蠀 魏蠀魏位慰蠁蠈蟻畏蟽蔚 蠂胃蔚蟼 伪蟺蠈 渭喂伪 魏蠀蟻喂伪魏维蟿喂魏畏 蔚蠁畏渭蔚蟻委未伪, 蟽蔚 蠀蟺苇蟻慰蠂畏 蟽魏位畏蟻蠈未蔚蟿畏 苇魏未慰蟽畏 渭蔚 蟺位慰蠉蟽喂伪 魏伪喂 蔚蟺喂蠂蟻蠅渭伪蟿喂蟽渭苇谓畏 蔚喂魏慰谓慰纬蟻维蠁畏蟽畏, 慰蟺蠈蟿蔚 蠁蠀蟽喂魏维 魏伪喂 蟿慰 维蟻蟺伪尉伪 魏伪喂 蟽蟿慰 魏伪蟺维魏喂 蟿慰 未喂维尾伪蟽伪. 螞慰喂蟺蠈谓, 蟺慰位蠉 渭慰蠀 维蟻蔚蟽蔚, 渭蔚 魏蟻维蟿畏蟽蔚 伪蟺蠈 蟿畏谓 伪蟻蠂萎 渭苇蠂蟻喂 蟿慰 蟿苇位慰蟼 蠂维蟻畏 蟽蟿畏 蠂蔚喂渭伪蟻蟻蠋未畏 伪蠁萎纬畏蟽畏 蟺慰蠀 未蔚谓 伪蠁萎谓蔚喂 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏 谓伪 蟺维蟻蔚喂 渭喂伪 伪谓维蟽伪, 渭蔚 蟿慰 苇谓伪 纬蔚纬慰谓蠈蟼 谓伪 未喂伪未苇蠂蔚蟿伪喂 蟿慰 维位位慰. 螤蟻蠈魏蔚喂蟿伪喂 纬喂伪 渭喂伪 魏位伪蟽喂魏萎 喂蟽蟿慰蟻委伪 魏伪蟿伪未喂魏伪蟽渭苇谓慰蠀 苇蟻蠅蟿伪 蟺慰蠀 蟺蔚蟻谓维蔚喂 伪蟺蠈 蠂委位喂伪 魏蠉渭伪蟿伪, 渭蔚 蟿慰蠀蟼 未蠀慰 蔚蟻蠅蟿蔚蠀渭苇谓慰蠀蟼 谓苇慰蠀蟼 谓伪 苇蟻蠂慰谓蟿伪喂 伪谓蟿喂渭苇蟿蠅蟺慰喂 渭蔚 蟺慰位位维 喂蟽蠂蠀蟻维 蔚渭蟺蠈未喂伪, 蠈蟺蠅蟼 渭蔚蟿伪尉蠉 维位位蠅谓 蟿慰 委未喂慰 蟿慰蠀蟼 蟿慰 蟺维胃慰蟼. 违蟺慰胃苇蟿蠅 蟿畏谓 蔚蟺慰蠂萎 蟺慰蠀 纬蟻维蠁蟿畏魏蔚 魏伪喂 魏蠀魏位慰蠁蠈蟻畏蟽蔚 蟿慰 尾喂尾位委慰 萎蟿伪谓 伪蟻魏蔚蟿维 渭蟺蟻慰蟽蟿维 魏伪喂 委蟽蠅蟼 位喂纬维魏喂 蟽魏伪谓未伪位蠋未蔚蟼, 蟿蠋蟻伪, 蟽蠂蔚未蠈谓 蟿蟻喂伪魏蠈蟽喂伪 蠂蟻蠈谓喂伪 渭蔚蟿维 蟿畏谓 苇魏未慰蟽萎 蟿慰蠀 (!) 蟽委纬慰蠀蟻伪 未喂伪尾维味蔚蟿伪喂 渭蔚 渭蔚纬维位慰 蔚谓未喂伪蠁苇蟻慰谓 魏伪喂 蔚委谓伪喂 喂魏伪谓蠈 谓伪 蟺蟻慰蟽蠁苇蟻蔚喂 伪蟻魏蔚蟿苇蟼 蟽蠀纬魏喂谓萎蟽蔚喂蟼, 伪谓 魏伪喂 尾苇尾伪喂伪 未蔚委蠂谓蔚喂 蔚谓 蟺慰位位慰委蟼 蟿畏谓 畏位喂魏委伪 蟿慰蠀, 蠈谓蟿伪蟼 魏伪喂 位委纬慰 渭蔚位慰未蟻伪渭伪蟿喂魏蠈. 围蠅蟻委蟼 伪渭蠁喂尾慰位委伪, 萎蟿伪谓 渭喂伪 维魏蟻蠅蟼 蔚谓未喂伪蠁苇蟻慰蠀蟽伪 魏伪喂 伪蟺慰位伪蠀蟽蟿喂魏萎 伪谓伪纬谓蠅蟽蟿喂魏萎 蔚渭蟺蔚喂蟻委伪.
March 4, 2024
Lord save me from 18th century moralistic writers, where is Laclos when you need him?听
Manon Lescaut is the story of a young aristocrat who falls in love with a "fallen woman" (wikipedia calls Manon a "femme de mauvaise vie", which is a hilarious expression only grandmothers use now). The young man gets into all sorts of scrapes on account of his lady love, including but not limited to house arrest, religious arrest, duels, house robbery and the swindling of an old, lecherous man. Manon is an elusive character, who keeps cheating on her lover, because despite countless opportunities and a variety of different priests in this story they never actually marry, and it's never entirely clear whether she really loves him or not. Thankfully, she dies at the end, so she gets her comeuppance.听
Anyway. Passions are bad, but love is good. Reason is an ideal state, but hard to achieve because it's so damn good to fall in love, isn't it? Read Laclos's Dangerous Liaisons instead.听
Manon Lescaut is the story of a young aristocrat who falls in love with a "fallen woman" (wikipedia calls Manon a "femme de mauvaise vie", which is a hilarious expression only grandmothers use now). The young man gets into all sorts of scrapes on account of his lady love, including but not limited to house arrest, religious arrest, duels, house robbery and the swindling of an old, lecherous man. Manon is an elusive character, who keeps cheating on her lover, because despite countless opportunities and a variety of different priests in this story they never actually marry, and it's never entirely clear whether she really loves him or not. Thankfully, she dies at the end, so she gets her comeuppance.听
Anyway. Passions are bad, but love is good. Reason is an ideal state, but hard to achieve because it's so damn good to fall in love, isn't it? Read Laclos's Dangerous Liaisons instead.听
December 27, 2024
Manon Lescaut鈥� cartea din care 葯i a g膬sit inspira葲ie Al. Dumas fiul pentru celebra sa 鈥淒ama cu camelii鈥�, care se num膬r膬, al膬turi de 鈥淚nvita葲ie la dans鈥� a lui Mihail Drumes, printre preferatele mele 卯n materie de romance.
Nu a fost la fel de str膬lucit膬 cum mi s a p膬rut Dama cu camelii insa mi a placut finalul. Pu葲in cam trasa de p膬r 葯i falsa pe alocuri, cartea se vrea a fi mai mult o culegere de 卯nv膬葲膬turi 卯mbr膬cate intr o poveste de dragoste.
鈥淣u te 卯nsp膬im芒nt膬, am ad膬ugat, v芒nz芒ndu-l ca se 卯ntunec膬 de manie. Singurul lucru pe care vreau s膬-l scot la lumin膬 e acesta: ca s膬 dezgu葯ti o inim膬 de dragoste, cea mai proasta metoda este s膬 def膬imezi pl膬cerile 葯i s膬-i f膬g膬duie葯ti fericirea pe calea virtu葲ii. A葯a cum suntem f膬cu葲i noi, oamenii, fericirea noastr膬 st膬 卯n pl膬cere; desfid pe oricine sus葲ine contrariul.鈥�
Nu a fost la fel de str膬lucit膬 cum mi s a p膬rut Dama cu camelii insa mi a placut finalul. Pu葲in cam trasa de p膬r 葯i falsa pe alocuri, cartea se vrea a fi mai mult o culegere de 卯nv膬葲膬turi 卯mbr膬cate intr o poveste de dragoste.
鈥淣u te 卯nsp膬im芒nt膬, am ad膬ugat, v芒nz芒ndu-l ca se 卯ntunec膬 de manie. Singurul lucru pe care vreau s膬-l scot la lumin膬 e acesta: ca s膬 dezgu葯ti o inim膬 de dragoste, cea mai proasta metoda este s膬 def膬imezi pl膬cerile 葯i s膬-i f膬g膬duie葯ti fericirea pe calea virtu葲ii. A葯a cum suntem f膬cu葲i noi, oamenii, fericirea noastr膬 st膬 卯n pl膬cere; desfid pe oricine sus葲ine contrariul.鈥�
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