Flaubert in the Ruins of Paris: The Story of a Friendship, a Novel, and a Terrible Year
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From a distinguished literary historian, a look at Gustave Flaubert and his correspondence with George Sand during France's "terrible year"--summer 1870 through spring 1871
From the summer of 1870 through the spring of 1871, France suffered a humiliating defeat in its war against Prussia and witnessed bloody class warfare that culminated in the crushing of the Paris Commune. In Flaubert in the Ruins of Paris, Peter Brooks examines why Flaubert thought his recently published novel, Sentimental Education, was prophetic of the upheavals in France during this "terrible year," and how Flaubert's life and that of his compatriots were changed forever.
Brooks uses letters between Flaubert and his novelist friend and confidante George Sand to tell the story of Flaubert and his work, exploring his political commitments and his understanding of war, occupation, insurrection, and bloody political repression. Interweaving history, art history, and literary criticism-from Flaubert's magnificent novel of historical despair, to the building of the reactionary monument the Sacré-Coeur on Paris's highest summit, to the emergence of photography as historical witness-Brooks sheds new light on the pivotal moment when France redefined herself for the modern world.
From the summer of 1870 through the spring of 1871, France suffered a humiliating defeat in its war against Prussia and witnessed bloody class warfare that culminated in the crushing of the Paris Commune. In Flaubert in the Ruins of Paris, Peter Brooks examines why Flaubert thought his recently published novel, Sentimental Education, was prophetic of the upheavals in France during this "terrible year," and how Flaubert's life and that of his compatriots were changed forever.
Brooks uses letters between Flaubert and his novelist friend and confidante George Sand to tell the story of Flaubert and his work, exploring his political commitments and his understanding of war, occupation, insurrection, and bloody political repression. Interweaving history, art history, and literary criticism-from Flaubert's magnificent novel of historical despair, to the building of the reactionary monument the Sacré-Coeur on Paris's highest summit, to the emergence of photography as historical witness-Brooks sheds new light on the pivotal moment when France redefined herself for the modern world.
『往復書簡 サンド＝フロベール』 持田明子編訳、藤原書店、1998年
Correspondence with George Sand:
The George Sand–Gustave Flaubert Letters, translated by Aimée G. Leffingwell McKenzie (A. L. McKenzie), introduced by Stuart Sherman (1921), available at the Gutenberg website as E-text N° 5115
The George Sand–Gustave Flaubert Letters, translated by Aimée G. Leffingwell McKenzie (A. L. McKenzie), introduced by Stuart Sherman (1921), available at the Gutenberg website as E-text N° 5115
Flaubert–Sand: The Correspondence (1993)
這本以前介紹的
這本以前介紹的
1869年元旦 一時 兩人靈犀相通 各寫一信 (平均2周一封)
http://www.musee-rodin.fr/....../sculptures/cathedral
The Cathedral | Rodin Museum
Carved in stone and still covered in toolmarks,The Cathedral is a combination of two right hands,…
MUSEE-RODIN.FR
Paperback: 424 pages
Publisher: Harvill Press, The (1999)
Language: English New York : Knopf : Distributed by Random House, 1993
[ARTWORK OF THE WEEK] The Cathedral is a combination of two right hands. This work emphasizes #Rodin’s fondness and passion for these hands, in order to give them a more finished and autonomous form. > Learn more : http://ow.ly/SzKJs 《喬治‧ 桑與福樓拜 》(1920s-1930s) 收入身後7年出版的 《性格與文化》(1937) 譯本:北京三聯 ，2010 黎烈文《藝文談片‧佛洛貝爾的沙龍》(台北:文星，1965，頁197-204) 介紹《佛洛貝爾給喬治‧ 桑的信》書前有陌伯桑80頁(中文約5-6萬字)的研究佛洛貝爾的導論。作者簡述之。 CXLIV. TO GUSTAVE FLAUBERT, at Croissset Nohant, 9 January, 1870 I have had so much proof to correct that I am stupefied with it. I needed that to console me for your departure, troubadour of my heart, and for another departure also, that of my drudge of a Plauchmar--and still another departure, that of my grand-nephew Edme, my favorite, the one who played the marionettes with Maurice. He has passed his examinations for collector and goes to Pithiviers- -unless by pull, we could get him as substitute at La Chatre. Do you know M. Roy, the head of the management of the domains? If by chance the princess knew him and would be willing to say a word to him in favor of young Simonnet? I should be happy to owe her this joy for his family and this economy for his mother who is poor. It appears that it is very easy to obtain and that no rule opposes it. But one must HAVE PULL; a word to the princess, a line from M. Roy and our tears would change to joy. That child is very dear to me. He is so loving and so good! They had hard work to bring him up, he was always ill, always dandled on the knees and always gentle and sweet. He has a great deal of intelligence and he works well at La Chatre, where his chief the collector adores him and mourns for him also. Well, do what you can, if you can do anything at all. They continue to damn your book. That doesn't prevent it from being a fine and good book. Justice will come later, JUSTICE IS ALWAYS DONE. Apparently it did not come at the right moment, or rather it came too soon. It has demonstrated too well the disorder that reigns in people's minds. It has rubbed the open wound, people recognize themselves too well in it. Everyone adores you here and our consciences are too pure to be upset at the truth: we talk of you every day. Yesterday, Lina said to me that she admired very much all you do, but that she preferred Salammbo to your modern descriptions. If you had been in a corner, this is what you would have heard from her, from me, and from THE OTHERS: "He is taller and larger than the average person. His mind is like him, beyond ordinary proportions. In that he is like Victor Hugo, at least as much as like Balzac, but he has the taste and discernment that Hugo lacks, and he is an artist which Balzac was not.--Is he then more than both? Chi lo sa?--He hasn't let himself out yet. The enormous volume of his brain troubles him. He doesn't know if he is a poet or a realist; and the fact that he is both, hinders him.--He must get straightened out in his different lines of effort. He sees everything and wants to grasp everything at once.--He is not the cut of the public that wants to eat in little mouthfuls, whom large pieces choke. But the public will go to him, just the same, when it understands.--It will even go rather quickly if the author CONDESCENDS to be willing to be quite understood.--For that, perhaps there will have to be asked some concessions to the indolence of its mind. One ought to reflect before daring to give this advice." That sums up what we said. It is not useless to know the opinion of good people and of young people. The youngest say that l'Education sentimentale made them sad. They did not come across themselves in it, they who have not yet lived; but they have illusions and they say: "Why does this man, so good, so kind, so gay, so simple, so sympathetic, wish to discourage us from living?" What they say is poorly reasoned out, but as it is instinctive, perhaps it ought to be taken into account. Aurore talks of you and still cradles her baby in her lap; Gabrielle calls Punch, HER LITTLE ONE, and will not eat her dinner unless he is opposite her. They are our continual idols, these brats. Yesterday, I received, after your letter of the day before, a letter from Berton, who thinks that they will not play l'Affranchi longer than the 18th or the 20th. Wait for me, since you can delay your departure a little. It is too bad weather to go to Croisset; it is always an effort for me to leave my dear nest to go to attend to my miserable profession; but the effort is less when I hope to find you in Paris. I embrace you for myself and for all my brood. CXLIV。在克羅伊塞特推出FLAUBERT Nohant，1870年1月9日 我有很多證據證明我糾正了這個問題。一世 需要我安慰你離開我的時候，我的嬉皮士 心，還有另一種情況，那就是我厭倦了一個 普勞赫馬爾 - 還有一次，那就是我的侄子 埃蒙，我最喜歡的，和莫里斯一起玩木偶的人。 他已經通過了收藏家的考試，然後去了Pithiviers- - 除了拉，我們可以讓他在拉Chatre取代。 你知道領域管理負責人M. Roy嗎？如果通過 公主有機會認識他，並且願意說一句話 他贊成年輕的西蒙內特？我應該為此感到高興 他的家庭和這個經濟對他的窮人母親來說是快樂的。它似乎很容易獲得，並且沒有規則反對它。 但是必須要有一個拉;公爵的一句話，來自M.羅伊的一句話我們的眼淚會變成歡樂。 那個孩子對我很珍貴。他是如此的愛和如此美好！他們有努力工作來撫養他，他總是生病，總是被打擾膝蓋，總是溫柔甜美。他有很多情報和他在拉查塔爾，他的首席執行官收藏家崇拜他並為他哀悼。那麼，盡你所能，如果你能做任何事情。 他們繼續詛咒你的書。這並不妨礙它的存在 一本很好的書。正義會遲一點，正義是永遠DONE。顯然它並不是在正確的時刻，或者說是它來得太快了。它證明了這種混亂的情況太好了 在人們的腦海裡。人們認識到它已經擦傷了傷口 他們自己太好了。 大家都喜歡你，我們的良知太純潔了 對事實感到不滿：我們每天都在談論你。昨天，麗娜說對我而言，她非常崇拜你所做的一切，但她更喜歡 薩拉姆博到你的現代描述。如果你在一個角落裡，這是你從她，從我和從THE聽到的 其他： “他比普通人更高，更大，他的思想就像 他超越了普通的比例。因為他就像維克多雨果一樣 最少和巴爾扎克一樣多，但他有品位和洞察力 雨果缺乏，他是巴爾扎克不是的藝術家 - 是他嗎？ 那麼比兩者都多？ Chi lo sa？ - 他還沒有讓自己失望。該 他大腦的巨大麻煩使他煩惱。他不知道他是不是 詩人或現實主義者;而他既是事實，也阻礙了他.--他 必須通過不同的努力得到理順。他看 一切，並希望立即把握所有事情.--他不是被割斷的 想要在小口大口吃的大眾 件嗆。但是，公眾會在他看來，就像他一樣 理解 - 如果作者這樣做甚至會很快 CONDESCENDS願意被理解.--也許 將不得不被要求讓步 心神。在敢於提出這個建議之前，應該反思一下。“ 這總結了我們所說的。知道的意見不無用處 好人和年輕人。最年輕的說l'教育 情感讓他們難過。他們沒有遇到過 它，還沒有活過的人;但他們有幻想，他們 說：“為什麼這個人，這麼好，那麼善良，那麼同性戀，那麼簡單，如此 同情，希望阻止我們活下去？“他們說的是 理由不充分，但因為它本能，所以也許它應該 應予以考慮。 奧羅爾和你說話，仍然抱著她的嬰兒在她的膝蓋上;加布里埃爾 打電話給Punch，她的小一，除非他不吃晚餐 在她的對面。他們是我們不斷的偶像，這些小子。 昨天，在收到你前一封信後，我收到了一封信 來自貝頓，他認為他們不會再玩l'Affranchi 比十八號或二十號還要好。等我，因為你可以延遲你的 離開一點。去Croisset天氣太糟糕了;它是 總是努力讓我離開親愛的巢去參加我的 悲慘的職業;但是當我希望找到你時，努力就會減少 在巴黎。 我為自己和我所有的孩子擁抱你。 ---《喬治‧ 桑傳》1804-76 朱靜編 台北: 業強 1994 他倆1866年初交 十年內的通信錄如此豐富喬治‧ 桑死時 Flaubert 等15位法國名人趕去訣別 "她永遠是法國的一位傑出人物， 而且是法國獨特的光榮"--Flaubert  喬治桑傳 |
| Nohant-Vic/ George Sand了解為什麼 Sand 死時， 只幾人去參加喪禮：Nohant 很遠 2éme partie Nohant le samedi 10 juin 1876, Gustave Flaubert est demeuré près de nous. Sa haute taille domine la foule. Son grand chapeau de feutre gris, ses longues moustaches rousses, son teint coloré, son air martial enfin lui donnent je ne sais quel aspect de mousquetaire. Lui aussi est ému et il ne le cache point. Ce grand homme pleure comme un enfant. La cérémonie est terminée; le cortège sort lentement du porche de l'humble petite église. D'abord vient le vieux sonneur, le père Caruat; il s'avance à pas très lents le dos voûté sous sa blouse bleue. La flamme du cierge qu'il porte est rendue vacillante par le tremblement de sa main. Derrière lui apparaît le corps porté à bras, puis la famille; les enfants et les femmes berrichonnes jeunes et vieilles tout enveloppées de la tête aux pieds de leurs grandes capuches noires. En voyant sortir ce pieux cortège de l'église, Gustave Flaubert, tout en se découvrant en même temps que nous tous, ne cherche point à retenir, les grosses larmes qui s'échappent de ses yeux, puis presque tout haut faisant un geste large qui embrasse tout ce que nous voyons « Ça lui ressemble » s'écrie-t-il. Et c'est vrai. Cette poétique et simple cérémonie tout empreinte de triste mélancolie est d'accord avec le souvenir de la grande âme qui n'est plus. Mme Maurice nous a fait distribuer à tous de petites branches de laurier que chacun de nous jettera dans la tombe au lieu d'eau bénite. La chère morte emportera ainsi avec elle tous les lauriers qu'elle aurait pu cueillir encore. Nous voici au cimetière. Alexandre Dumas fils ne prononce point le discours qu'il a passé la nuit à écrire. (L'auteur du Demi-monde a fait paraître ce discours un an plus tard dans une Revue.) Victor Hugo vient d'adresser télégraphiquement à M. Paul Meurice un discours qu'il le charge de lire; il commence ainsi : « Je pleure une morte et je salue une immortelle. Je l'ai aimée; je l'ai admirée; je l'ai vénérée aujourd'hui, dans l'auguste sérénité de la mort je la contemple, Je la félicite parce que ce qu'elle a fait est grand, et je la remercie parce que ce qu'elle a fait est bon. Je me souviens qu'un jour je lui ai écrit : Je vous remercie d'être une si grande âme. Est-ce que nous l'avons perdue ? Non. Ces hautes figures disparaissent mais ne s’évanouissent pas. Loin de là, on pourrait presque dire qu'elles se réalisent. En devenant invisibles sous une forme, elles deviennent visibles sous l'autre, transfiguration sublime ». Les discours se succèdent. Ils sont tous ce qu'ils doivent être. La mémoire de Mme Sand ne périra point," son souvenir demeurera éternel; c'est vrai. Mais la gloire ne console que les cœurs sans tendresse. Autour de nous paysans et paysannes pleurent à grands sanglots. La plupart d'entre eux ne savent ni lire, ni écrire, ce qu'ils savent bien seulement c'est que la bonne dame de Nohant est morte. Ils ne comprennent rien du tout à la gloire littéraire de leur illustre compatriote, et ils en peuvent très peu savoir. Finalement ce n'est point sur elle, c'est sur eux-mêmes qu'ils s'apitoient et se lamentent. George Sand était compatissante à toutes les misères. Elle se cachait pour faire le bien, comme d'autres pour faire le mal. Photo : Dessin représentant les obsèques de George Sand publié le 24 juin 1876 dans le Monde illustré. 透過Google 翻譯成英文Part 2 Nohant on Saturday, June 10, 1876, Gustave Flaubert remained close to us. His tall figure dominates the crowd. His big gray felt hat, his long red mustaches, his colored complexion, his martial air finally give him some musketeer aspect. He too is moved and he does not hide it. This big man cries like a child. The ceremony is over; the procession slowly leaves the porch of the humble little church. First comes the old ringer, Father Caruat; he walks at a very slow pace with his back arched under his blue blouse. The flame of the candle that he carries is made vacillating by the trembling of his hand. Behind him appears the body carried to arms, then the family; the young and old Berry children and women all wrapped from head to toe of their big black hoods. On seeing this pious cortege coming out of the church, Gustave Flaubert, while discovering himself at the same time as all of us, does not try to restrain, the big tears that escape from his eyes, then almost aloud making a broad gesture. who embraces everything we see "It looks like him," he exclaims. And that's true. This poetic and simple ceremony all stamped with sad melancholy agrees with the memory of the great soul that is no more. Madame Maurice has distributed to all of us small branches of laurel that each of us will throw in the grave instead of holy water. The dear dead woman will thus take with her all the laurels that she could have picked yet. Here we are at the cemetery. Alexandre Dumas Jr. does not pronounce the speech he spent the night writing. (The author of The Half-World published this speech a year later in a Review.) Victor Hugo has just telegraphed to M. Paul Meurice a speech which he charges him to read; he begins like this: "I cry a dead woman and I greet an immortal. I loved it; I admired her; I venerated her today, in the august serenity of death I contemplate her, I congratulate her because what she has done is great, and I thank her because what she has done is good. I remember one day I wrote to him: Thank you for being such a great soul. Have we lost it? No. These high figures disappear but do not fade. Far from it, we could almost say that they come true. By becoming invisible in one form, they become visible under the other, a sublime transfiguration ". The speeches follow one another. They are all what they must be. The memory of Mrs. Sand will not perish, her memory will remain eternal, it is true, but glory only consoles hearts without tenderness. Around us peasants and peasants cry with great sobs. Most of them do not know how to read or write, what they only know is that Nohant's good lady is dead. They understand nothing at all about the literary glory of their illustrious compatriot, and they can know very little about it. Finally it is not on her, it is on themselves that they apologize and lament. George Sand was compassionate to all misery. She was hiding to do good, like others to do evil. Photo: Drawing depicting the funeral of George Sand published June 24, 1876 in the Illustrated World.  **** 福樓拜文學書簡 [法]福樓拜 北京燕山出版社2011 這本書翻譯不合格 我根據其中幾封與喬治 桑的通信的對照 凡是難的 都以"......"表示 http://blog.udn.com/le14nov/8587194 《原创经典译丛:福楼拜文学书简》是一本福楼拜书信的精选集。在《原创经典译丛:福楼拜文学书简》里，我们将会欣赏到福楼拜，用他直率的语言，丰富的想象力和独特的观察力，去探讨关于文学、政治、女人和生活的种种命题。福楼拜的书信具有重要的美学价值和文献价值，其中的真知灼见惠及后世众多文坛巨匠，是我们认识福楼拜以及艺术主张，了解19世纪文坛现状的一面镜子。 作者简介 · · · · · ·福楼拜，伟大的法国批判现实主义作家。以其不朽名作《包法利夫人》、《情感教育》、《萨朗波》等现代小说闻名，亦以其书信闻名。他的文学理论更是对莫泊桑、高尔基、昆德拉产生重要影响，被誉为“自然主义文学的鼻祖”、“西方现代小说的奠基者”。 目录 · · · · · ·包法利夫人就是我（代译序） 情与性 致鲁伊丝·高莱 致鲁伊丝·高莱 致鲁伊丝·高莱 致鲁伊丝·高莱 致鲁伊丝·高莱 致维克多·雨果 致鲁伊丝·高莱 致鲁伊丝·高莱 致鲁伊丝·高莱 致勒鲁瓦叶·德·尚特皮小姐 致勒鲁瓦叶·德·尚特皮小姐 致乔治·桑 致乔治·桑 致马克西姆·杜刚 致莱奥妮·薄蕾娜 致玛蒂尔德公主 致爱德玛·德·热奈特 致莱奥妮·薄蕾娜 致莱奥妮·薄蕾娜 致甥女卡罗琳 致玛格丽特·夏邦蒂埃 个性化与非个性化 致路易·布耶 致马克西姆·杜刚 致鲁伊丝·高莱 致鲁伊丝·高莱 致鲁伊丝·高莱 致鲁伊丝·高莱 致鲁伊丝·高莱 致鲁伊丝·高莱 致儒勒·杜勃朗 致伊万·屠格涅夫 致卡米叶·勒莫尼埃 艺术至上 致鲁伊丝·高莱 致马克西姆·杜刚 致夏尔·波德莱尔 致龚古尔兄弟 致龚古尔兄弟 致希波里特·泰纳 致乔治·桑 致居伊·德·莫泊桑 致伊万·屠格涅夫 致居伊·德·莫泊桑 致居伊·德·莫泊桑 内心的使命 致鲁伊丝·高莱 致恩斯特·费多 致戴奥菲尔·戈蒂埃 致恩斯特·费多 致爱德玛·德·热奈特 致圣伯甫 致儒勒·杜勃朗 致马克西姆·杜刚 致伊万·屠格涅夫 致勒鲁瓦叶·德·尚特皮小姐 致艾米尔·左拉 致伊万·屠格涅夫 时代下的思考 致希波里特·泰纳 致乔治·桑 致乔治·桑 致乔治·桑 致考尔努夫人 致乔治·桑 致莱奥妮·薄蕾娜 致居伊·德·莫泊桑 致玛蒂尔德公主 致伊万·屠格涅夫 致爱德玛·德·热奈特 致于斯曼 致艾米尔·左拉 致甥女卡罗琳 一切取决于构思 致鲁伊丝·高莱 致鲁伊丝·高莱 致儒勒·德·龚古尔 致爱德玛·德·热奈特 致圣伯甫 致儒勒·米什莱 致居伊·德·莫泊桑 致居伊·德·莫泊桑 致爱德玛·德·热奈特 致爱德玛·德·热奈特 致爱德玛·德·热奈特 附录 译者后记 传统与创新 |
