PDF Les ombres de son passé (French Edition)

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Les Rayons et les ombres

September 23, October 8, August 13, August 20, Out of stock online. What images of the past come to us?

The apparent posting is only illusion. Everything is attractive and desirable for the one who, soon, Don't go to see the beauty of the world anymore. This is the mystery of this beauty that accompanies the author throughout this poetic and philosophical ambulation..


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It is with modesty and height of mind that we are invited to accompany him in the evening His attention later came to the commitments and torments accompanying the process of creation, whether they concern musical, pictorial or literary works. Here, at the end of this journey of questions, he let these thoughts of the last days of life come to him. Continue Reading. I very long told who wanted to hear it that I would never write a novel, thinking I had no narrative imagination, and feeling above all poet.


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However, one night I had a dream that I immediately understood, when I woke up, that it was an idea of novel. This certainty was so clear that I had no choice but to write this novel, discovering so with surprise that I not only had narrative imagination, but that romantic writing was a true happiness. What the novel allows and that poetry does not allow - at least in my house -, is the expansion: of the sentence, ideas, patterns.

In my writing, poetry is made of condensation, densification it is the very meaning of the German word that refers to poetry: '.

It is about intensify the word and the world in a picked up form, at the very subtle balance, constantly on the edge of collapse. The novel, on the contrary, allows for me a deployment in a larger form, an extension of phrases, a very terriffic expansion. Although I also weigh every word when writing the novel, the densification that characterizes my poetic writing is less present: it is a kind of liberation, a more extensive momentum, almost as if i follow the characters where they want to Come on.

Where poetic writing can be difficult, almost painful, that of the novel is often jubilant. How do you explain this choice, this way of placing yourself out of a filiation that will be more on the side of a "White writing", to take over the word of barthes? I don't think it's a conscious choice, but a form of inner necessity: my report to the world is quite far away from the one that seems to me carried by what barthes may call "White writing".

I perceive the world and the language in a very sensual, physical way, which means a colorful writing, full of reliefs and nuances. The terms of "beautiful language" hinder me, because I don't think that beauty comes into play: it would rather be pleasure, sensuality, in sum of a carnal relationship to the language that says a to contact with the world , a possibility of meaning by and in literature. Maybe this work of the language also comes from the fact that I am a poet: I wrote my novel in poet, listening to "listening" over and over the phrases, without pushing images, ascertain, rhythmic and sound work Language.

What has the choice of different times and social environments?

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This diversity allowed me to give, far from any exotic, a narrative momentum to the novel thanks to the narrative, while keeping a time form by the figure of the figure. Just as for the work of the language, I had the desire for a kind of wealth, the desire for a very romantic novel far away from the autofiction , which "embark" its readers on multiple time and space trips. These places and times are camped with great features, my novel has nothing historical: I wanted the reader to find something of this happiness of romance fiction, from this taste of surprising stories that you can have at the beginning of Our life as a reader, and that we sometimes lose growing.

I must also say that the chapters far away by the time and place have been paradoxically much easier to write than those that are happening in France nowadays, probably because they have the aura of what is only known by stories Or by imagination. Why stage "misunderstood" - and your book calls for a political reading? Each of the characters is indeed in a kind of room, either by madness or by the rejection of social conventions or by the external situation in which it is isolation, lack of power So encloistered had Mdlle.

In October, , they were wed, the bride nineteen, the bridegroom but one year the elder. He died in an asylum five years later. In spite of new poems revealing a Napoleonic bias, Victor was invited to see Charles X. But though a son was born to him he was not restored to Conservatism; with his mother's death all that had vanished.

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Manual Les ombres de son passé (French Edition)

His tragedy of "Cromwell" broke lances upon Royalists and upholders of the still reigning style of tragedy. The second collection of "Odes" preluding it, showed the spirit of the son of Napoleon's general, rather than of the Bourbonist field-marshal. His "Orientales," though written in a Parisian suburb by one who had not travelled, appealed for Grecian liberty, and depicted sultans and pashas as tyrants, many a line being deemed applicable to personages nearer the Seine than Stamboul.

Still imprudent, the young father again irritated the court with satire in "Marion Delorme" and "Hernani," two plays immediately suppressed by the Censure, all the more active as the Revolution of July, , was surely seething up to the edge of the crater.

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In the summer of , a civil ceremony was performed over the insurgents killed in the previous year, and Hugo was constituted poet-laureate of the Revolution by having his hymn sung in the Pantheon over the biers. It was to have been followed by others, but the publisher unfortunately secured a contract to monopolize all the new novelist's prose fictions for a term of years, and the author revenged himself by publishing poems and plays alone. Heine professed to see in the prominence of the hunchback a personal appeal of the author, who was slightly deformed by one shoulder being a trifle higher than the other; this malicious suggestion reposed also on the fact that the quasi -hero of "Le Roi s'Amuse" , a tragedy suppressed after one representation, for its reflections on royalty , was also a contorted piece of humanity.

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This play was followed by "Lucrezia Borgia," "Marie Tudor," and "Angelo," written in a singular poetic prose. Spite of bald translations, their action was sufficiently dramatic to make them successes, and even still enduring on our stage. They have all been arranged as operas, whilst Hugo himself, to oblige the father of Louise Bertin, a magazine publisher of note, wrote "Esmeralda" for her music in Thus, at , when he was promoted to an officership in the Legion of Honor, it was acknowledged his due as a laborious worker in all fields of literature, however contestable the merits and tendencies of his essays.

In , the Academy, having rejected him several times, elected him among the Forty Immortals.