الموضوع: ما سر "الروعة" في افضل مائة رواية عالمية؟ دراسة بحثية
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قديم 06-17-2013, 11:36 AM
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تابع .........العناصر التي شكلت الروعة في رواية:13ـ شارترهاوس أوف بارما،للمؤلف ستاندال

- what novel could be so essential that even the dead feel compelled to know what it's about? At the beginning of Jean Giraudoux's 1926 novel ''Bella,'' the narrator, attending a memorial service for schoolmates who fell in the trenches of World War I, begins to hear the voices of his dead comrades.
- For the most part, they talk about mundane, soldierly things: the discomforts of war, annoying commanding officers.
- But the last voice the narrator hears is different -- it's the voice of a young man tormented by the thought that he'd never had a chance to read a certain 75-year-old novel.
- What the dead youth wants is for the narrator to summarize the book ''in a word.'' In a word, because ''with the dead, there are no sentences

- The book in question is Stendhal's ''Charterhouse of Parma,'' an epic and yet intimate tale of political intrigue and erotic frustration, set in the (largely fictionalized) princely court of Parma during the author's own time.

- Almost since the moment it appeared, in 1839, Stendhal's last completed novel has been considered a masterpiece.

- Barely a year after the book was published, Balzac praised it in a lengthy review that immediately established the novel's reputation.

- ''One sees perfection in everything'' was just one of the laurels Balzac heaped on ''Charterhouse,'' in what was surely one of the world's great acts of literary generosity.

- Sixty years after Balzac, Andre Gide ranked ''Charterhouse'' as the greatest of all French novels, and one of only two French works that could be counted among the top 10 of world literature. (The other was ''Les Liaisons Dangereuses.'') The encomiums weren't restricted to France -- or, for that matter, to Europe.

- In an 1874 article for The Nation, Henry James found ''Charterhouse'' to be ''among the dozen finest novels we possess.''

- At first glance, the bare bones of Stendhal's story suggest not so much a literary masterpiece as a historical soap opera.

- The novel recounts the headstrong young Italian aristocrat Fabrice del Dongo's attempt to make a coherent life for himself, first as a soldier in Napoleon's army and then, more cynically, as a prelate in the Roman Catholic Church; the attempts of his beautiful aunt Gina, Duchess of Sanseverina, and her lover, the wily (and married) Prime Minister, Count Mosca, to help establish Fabrice at court, even as Gina tries to fend off the advances of the repellent (and repellently named) Prince Ranuce-Erneste IV; Fabrice's imprisonment in the dreaded Farnese Tower for the murder of a girlfriend's protector, and his subsequent escape with the help of a very long rope; and his star-crossed but ultimately redemptive love affair with his jailer's beautiful (and, it must be said, rather dull) daughter, Clelia.

- So what, exactly, makes all this so indispensible to Giraudoux's soldier? Why, in the words of one contemporary Stendhal scholar, does ''Charterhouse'' exhale ''some incomparable air of which every human being needs absolutely to have taken at least one breath before they die?''

- As it happens, we're now almost exactly as far from Giraudoux's novel as Giraudoux's characters were from the publication of Stendhal's; a good time, perhaps, to consider the question raised by that strange scene in ''Bella.'' More important, the superior new translation of ''Charterhouse'' by the distinguished American poet and translator Richard Howard, published by the Modern Library, makes it possible not only to breathe once again that incomparable air but, as good translations always do, to grasp fully its peculiar qualities, to understand why the experience of reading this work is so famously ''rapturous,'' and why the novel itself continues to be so fresh and sustaining.

- ''Fresh'' is the key word here.

- On Nov. 4, 1838, Stendhal (the most famous of over 200 pseudonyms used by Marie Henri Beyle, a Grenoble-born career diplomat and lover of all things Italian) sat down at his desk at No. 8 Rue Caumartin in Paris, gave orders that he was not to be disturbed under any circumstances, and began dictating a novel.

- The manuscript of ''Charterhouse'' was finished seven weeks later, on the day after Christmas -- an impressive feat, when you think that a typical French edition runs to 500 pages.

- The swiftness of its composition is reflected in the narrative briskness for which it is so well known -- the ''gusto, brio, elan, verve, panache'' of which Howard is rightly conscious in his translation -- and, as even die-hard partisans of the novel would have to admit, in passages where compositional speed clearly took a toll in narrative coherence. (''We have forgotten to mention in its proper place the fact that the duchess had taken a house at Belgirate.'')

- The idea for the book had actually been rattling around in Stendhal's head for some time. His Roman diaries of the late 1820's are crammed with lengthy references to the convoluted histories of the Italian Renaissance nobility, and the lineaments of ''Charterhouse'' owe a great deal to a 17th-century chronicle of the life of Alessandro Farnese, later Pope Paul III, that Stendhal came across during the course of his Italian travels.

- (Farnese, who became Pope in 1534, had a beautiful aunt, Vandozza Farnese, the mistress of the cunning Rodrigo Borgia; murdered a young woman's servant; was imprisoned in the Castel Sant'Angelo; escaped by means of a very long rope; and maintained as his mistress a well-born woman called Cleria.)

- So while the extraordinary speed of the novel's composition can be attributed to an almost supernatural flash of inspiration, it can also be seen as the more natural outcome of a long and deliberate process that had finally achieved fruition.

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