Chapter Four Character as Template 1. The progressive diminution of centrality, repleteness, complexity, and interest creates the space within which the central character can be experienced in [.
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Elle y pense, elle y pense, Notes to Pages 74—76 elle y pense. Le sombre en avait disparu. This can perhaps be explained by the fact that his romance model role as villain overlaps in the text with that of his narrative function of le jeune premier. Phoebus, whose name links him symbolically to the sun, is thus handsome on the outside, but criminally mediocre and morally bankrupt on the inside. The names of the characters that make up this second category of type come closer, on the whole, to creating an illusion of social verisimilitude or reality Claude Frollo, Javert, la duchesse Josiane, etc.
This duality of priest-lover is additionally compounded in the novel by another duality central to Frollo—that of priest-sorcerer—as Frollo is expressly described as practicing secret sciences. Javert in this way is the one character who consistently recognizes Jean Valjean throughout the novel in spite of his physical transformations and disguises. Qui, vous? Unlike Cimourdain, however, Lantenac is not composed of a central duality. The fact that all of these heroes are virgins adds to their primitive sides. This virginity and its consequences will be explored in detail in Chapter 6 of this study.
Although also a virgin, Gauvain is an exception in terms of his proximity to the grotesque being described in relation to the animal. He is depicted rather like his precursor, Enjolras consistently in terms of his inherent and almost angelic goodness. While Lantenac can thus be seen as having a conversion that fails, other characters that straddle the categories can also be grouped in reference to their single or multiple conversions.
Many critics have drawn attention to the sexual nature of this encounter, as the octopus literally tries to penetrate Gilliatt. In this, he replaces Mess Lethierry, to whom this function had previously been attributed. Chapter Five Reconfigurations 1. In particular, Roman points to the following repetitive situations: the priest who asks for the blessing of the person whom he has come to bless; the character who penetrates the underworld of society; the action of attacking or defending a fortress; and the character who voluntarily chooses death — Mais [.
Cromwell can be seen as an exception to this pattern, but as it deals with English history—not French—Hugo takes more liberty with both the historical backdrop and characters. While this absence is sometimes softened by the presence of a grandfather, as, for example, for Marius, this relationship too often permanently erodes. In Quatrevingt-treize, the relationship between the grand-nephew Gauvain and the un-grandfatherly great-uncle Lantenac also breaks down in an irreparable way. To this end, Quasimodo offers to try to bring Phoebus to her, and when he refuses to come, shields the truth from her.
Madeleine, Ultime Fauchelevent, etc. The titles given by Hugo to the different books of the novel both underscore and prepare for this collapse. Mon enfant! Chapter Seven Decoding Social Exclusion 1. The often-forgotten subtitle to Notre-Dame de Paris——similarly serves to situate the novel in this larger context. Eponine dies in the place of Marius, taking a bullet that was meant for him. Included in the mass extermination of the siege is the character of Jehan Frollo, who has exploited to the point of rupture his familial ties to his brother Claude Frollo.
It is interesting to note that, in spite of their disconnection, they both have the same fate of being thrown from the cathedral by Quasimodo. Je ne vous demande plus rien, monsieur. With limited narrative itineraries, these animal characters exist largely as extensions of human ones, and can be understood in relation to the largely metonymical function that they serve.
Similarly, Rask imitates Bug in his exceptionality. But it is in his natural superiority that he resembles Bug the Notes to Pages —75 most. The basic distribution of closed and open space operates differently in Notre-Dame de Paris and Quatrevingt-treize. In Notre-Dame de Paris the basic schema of open and closed space is almost reversed, as Quasimodo has unlimited access to the closed space of the cathedral.
It is conversely when he leaves the cathedral and enters the open space of Paris that Quasimodo is in danger of doing harm or being harmed by others.
As we will see, this can be understood insofar as the cathedral functions not as a social space but as a private space of solace from which Quasimodo is eventually forced out. This space is not inaccessible to Gauvain, who is not a marginal hero, but an aristocrat who has given up his noble roots and heritage in favor of the Republic.
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In this way, his private, personal haven is no less destroyed, even if he has a hand in its destruction. Conclusion 1. It is precisely in this way that the characters of Notre-Dame de Paris, for example, are able to be continuously reshaped or remolded so as to apply to the present.
Cosette, une gosse de SDF. Quasimodo, un marginal. Les Derniers Romans de Hugo vus par les contemporains.
Histoire de ma vie (Casanova) - Wikiquote, le recueil de citations libres
Jean Massin. Allen, James Smith. Princeton: Princeton UP, American Heritage Dictionary. Archer, Josette. James Hutton. New York: Norton, Atkinson, Nora. Paris: Nizet, Auerbach, Erich. Bach, Max. Bachelard, Gaston. Paris: Les Presses Universitaires de France, Paris: Gallimard, — Le Grand Imagier Victor Hugo. Paris: Flammarion, Barthes, Roland. Paris: Larousse, Paris: Seuil, Richard Miller. New York: Hill and Wang, Baudoin, Charles. Psychanalyse de Victor Hugo. Paris: Armand Colin, Michel Grimaud. Victor Hugo 1.
Revue des Lettres Modernes Nos. Paris: Lettres Modernes—Minard, Paris: Hachette, Booth, Wayne C. The Rhetoric of Fiction. Chicago: U of Chicago P, Bourneuf, Roland. Brombert, Victor. Victor Hugo and the Visionary Novel. Cambridge: Harvard UP, Brooks, Peter. New Haven: Yale UP, Butor, Michel. Paris: Minuit, Charles, David. Chatman, Seymour. Story and Discourse. Cocteau, Jean. Paris: Grasset, Collot, M. Culler, Jonathan. Structuralist Poetics. Demetz, Peter. Douglas, Wallace W. John B. Lincoln: U of Nebraska P, Dubois, Jacques.
Ducrot, Oswald, and Tzvetan Todorov. Dufour, Philippe. Ferguson, Priscilla Parkhurst. Paris as Revolution: Writing the 19thCentury City. Berkeley: U of California P, Flaubert, Gustave. Paris: Louis Conard, Forster, E. Aspects of the Novel. New York: Harcourt, Frye, Northrop. Anatomy of Criticism. Gaudon, Jean. Le Temps de la contemplation. Antoine Court and Roger Bellet. Bordeaux: Ducros, Figures III. Gerstman, Galya. Goncourt, Edmond et Jules de. Paris: Dictionnaire le Robert, Grant, Richard B. Durham: Duke UP, Harold Bloom. New York: Chelsea House, Greimas, A.
Grimaud, Michel. Grossman, Kathryn M. Carbondale: Southern Illinois UP, Mont-de-Marsan: Editions InterUniversitaires, Halsall, Albert. Victor Hugo and the Romantic Drama. Toronto: U of Toronto P, Hamon, Philippe. Le Personnel du roman. Character and the Novel.
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Hochman, Baruch. Character in Literature. Hovasse, Jean-Marc. Paris: Fayard, Hugo, Victor. Paris: Garnier-Flammarion, Hugo dans les marges. Hugo le fabuleux. Jacques Seebacher and Anne Ubersfeld. Paris: Seghers, Iknayan, Marguerite. Geneva: Droz, Iser, Wolfgang. Format : 19,5 cm x 22,5 cm. Mais les riches yankees pour donner aux pauvres sudistes. Format : 17 cm x 24 cm.
Lieutenant-colonel Georges Masselot Robert Saucourt. Il paya le prix fort ses engagements. Et encore moins si ces gommeux ne sont pas texans…. Au Texas, toutes les femmes sont belles. Dussent les rues en ruisseler de sang… Ce que la presse en dit.. Mais elle porte en elle son histoire. On se trompe. Sans aucun doute. Jean-Claude Rolinat. Le jour de ses noces. Margaret Kelly a disparu en Novembre En 20 mois, il effectue missions de combat en heures de vol.
Ou Pierre Paulot, sergent-chef au 8e? Tous fils de France. On ne leur demandait pas de faire la guerre — ou seulement de ne faire rien que la guerre —, mais aussi de construire. Ils se sont battus. Et bien battus. Alors leur histoire. Et voici Tintin. Et heureux.
Format : 21 cm x 29,7 cm. Il respire Venise. Il exalte Venise. Il est de Venise. En usant la semelle de ses souliers. Venise ne se donne pas au premier venu. La fin du Vietnam libre Alain Sanders. Fin avril Un journaliste occidental les interpelle. Nous allons faire Camerone. En tenant compte de ce que dit la Loi. Qu'il ne faut jamais ignorer, faut-il le rappeler. Format : 14 cm x 20cm. Dans tous ses aspects.
Farouchement anticatho-lique. Le massacre des Cristeros est un exemple de cette haine. Mort au mauvais gouvernement! Format : 16 cm x 24cm. Une rencontre. Rwanda Sur le terrain. Pour la France. On ne devrait jamais quitter son enfance. Un jour, Foulques a mis le cap sur la Patagonie. Des survivants.
Une tranche de vie. De la sociologie? Tout y est. Format : 17 cm x 17cm. Des hagiographies saint-sulpiciennes. Le 9 mars , les Japonais attaquaient nos garnisons. En France. Et dix, vingt, trente autres encore. Mais aussi des sportifs, des acteurs, des chanteurs, des musiciens. Des femmes de sa famille. Une jeunesse de soleil et de rires. Des joies simples. From the depth of his sandy redoubt, the cricket Watching the parade, redoubles his song; Nature, who loves them, exaggerates the lush verdure, She makes water flow from rock, she causes the desert to flower At the feet of the travelers, for them she reveals The shadowy futures within the empire of the familiar.
Free man, you will always love the sea! The sea is your mirror; you contemplate your soul In the infinite undulations of its waves, And your spirit is no less bitter a chasm. To dive into your image upon its breast will delight you; You will kiss its eyelids, its arms, and your heart Will sometimes be distracted from its own rumour-mongering By the groans of this wild, untamable sorrow. See how high I have raised you! But, if I were to expose the flaw In your armor, your shame would equal your glory, And you would find yourself little more than a pathetic foetus!
The very face of the sun turned away; Where once, under the ceilings Within the temple of his intellect, Where once all was ordered and opulent, And where such pomp had courted him, Chaos roiled. The darkness Of perpetual silence overwhelmed him, His mind became a vault whose key he had lost. From that moment he was no more than a beast in the street, And then he went blind, wandering the countryside, Unable to distinguish summer from winter, Filthy, useless, vile, a broken tool, He provided many a child with joy and laughter.
I am as beautiful, o mortals! Poets, faced with such attitude, Appropriated from the fiercest monuments, Consume their days in austere study; For I, to the fascination of these tame amateurs, Have the purest mirrors which make all things beautiful: My eyes, my big eyes of eternal clarity! Back when Nature in her lusty verve Conceived monstrous offspring on a daily basis, I should have liked to live with a young giantess, Like a voluptuous cat at the foot of his queen. I should have liked to watch her body flourish with her soul To see it grow as freely as her dreadful games; To divine whether a somber flame smolders in her heart From the humid mists that drift through her eyes; To hike her magnificent physique at leisure; To crawl up the slope of her enormous knees, And when, in summer, wearied by the oppressive sun, She spreads out over the entire countryside, To sleep without a care in the shadow of her breasts, Like a peaceful hamlet at the foot of a mountain.
Mais non! Let us contemplate this treasure of Florentine grace; Note the undulation of the muscular body Adorned by those divine sisters, Elegance and Strength. Truly a miraculous morsel, this woman, Divinely robust, adorably slim, Born to be enthroned in the most sumptuous beds, Therein to charm by the hour any pope or prince.
Let us closely circumnavigate this beauty. Oh blasphemy of art! O fatal surprise! This divine body, which promises happiness, Proves to be a two-headed monster! But no! Great impoverished beauty! She, perfected beauty At whose feet swoons all human vanity, What evil mystery gnaws your athletic flank? Because she lives! But what she really deplores So much that her knees are nearly unstrung, Is that tomorrow, alas!
Tomorrow, the day after, forever! Sors-tu du gouffre noir ou descends-tu des astres? Do you come from deep space or a deeper abyss, O Beauty! Your eye contains both twilight and dawn; You scatter perfumes like a tempestuous night; Your kisses are aphrodisiac, your love an amphora, They strip heroes of their courage, and promote boys to manhood. Did you arise from the blackest gulf or descend from the stars?
Destiny nips at your petticoats like a smitten pup, You diseminate joy and disaster at random, You govern all and answer to nobody. You not only mock the dead, Beauty, you walk all over them; Among your jewels Horror is not the least charming, And Murder, a treasured bauble on your bracelet, Amorously dances on your proud belly. The most ephemeral beings fly straight into your candle, And in the very act of immolation exclaim: Bless this flame!
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The panting squire leans over the object of his desire With the anticipation of a dying man stroking his tomb. What does it matter, if you come from heaven or hell, O Beauty! If your eye, your smile, your foot, open to me the door To an unknown Infinity that I can love? From Satan, from God, who cares? Angel or Siren, Not an issue, if you give back, — velvet-eyed sprite, Rhythm, perfume, just a glimpse, oh my unique queen! When, eyes closed, on a warm autumn night, I take in the scent of your warmer breasts, I dissolve like a wave on the shore of happiness Bedazzled by the fires of a relentless sun.
Jim Nisbet translates LES FLEURS DU MAL by Baudelaire
A lazy island where Nature produces Unique orchards of savory fruit; And men whose physiques are slim and vigorous, And women with eyes of astonishing frankness. Guided by your scent through this charming climate, I see a port replet with masts and sails Altogether exhausted by the heaving main,. Meanwhile the bouquet of green tamarinds Permeates the air, tickles the nostrils, And the chanties of the mariners mingle with my soul. O boucles! O fleece, tumbling like a tide over the nape! O buckles!
O perfume charged with nonchalance! To populate the dark alcoves of evening With the memories dormant in this hair, I want to shake it in the air like a bandana! Languorous Asia and feverish Africa, Entire worlds, distant, absent, almost defunct, Thrive in the depths or your aromatic forest! While other spirits are borne along by music, Mine, oh my love! There will I go, where both men and trees, full of sap, Swoon all day under the torpor of an arduous climate; Formidable tresses, be the swell that bears me up!
You contain, sea of ebony, a dazzling dream Of sails, of oarsmen, of flames and masts:. A reverberant port where my soul can drink Torrents of fragrance, sound, and color; Where vessels, gliding on golden ripples, Open their vast arms to embrace the glory Of a pure sky shivering with eternal heat. I will plunge my head, drunk with love, Into this black ocean where the other is imprisoned; And among the rolling caresses my subtle spirit I will find you, oh fecund lassitude, Leisure embalmed in rocking infinity!
Blue hair, pavilion of tentative shadows, You return to me the boundless azure of immense heavens, Under the downy borders of your entwined locks I ardently intoxicate myself with the confused aromas Of coconut oil, of civet, of asphalt. Are you not the oasis where I dream, and the gourd From which I drain prolonged drafts of the wine of memory? I worship you as an equal to the celestial vault, O amphora of sadness, oh great taciturnity, And the more you shun me, my beauty, the more I love you, Ornament of my nights, and it seems to me, Ironically, that the more distance you put between us, The greater the blue immensity I hold in my arms.
I advance my army, we clamber the ramparts, Like a choir of worms swarming a cadaver, And I crave, oh beast, implacable and cruel! This frigidity that makes you even more beautiful! Salutaire instrument, buveur du sang du monde. You would put the entire universe in that little street Between your bed and the wall, you immoral woman! Boredom renders your soul cruel. Just to keep your teeth filed for your singular game, every new day you have to rack up a new heart.