Conte de nuits parisiennes (French Edition)
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This book is obviously about revenge, but it made me think more about the theme of control. The main character succeeds to have control over almost everything thanks to money and plotting: He seems to feel like he is a superhuman and other characters view him as such.
But some unpredictable events happen anyway, it's impossible for him to have control over everything. In this view, I felt like the end was too well tied. I learned in the preface of this edition that the author was inspired by a news item and created this story around it. I feel like he did a really good job of making it interesting.
The characters were great. I found that some parts of this book dragged out a little. Considering the way it was originally published, it is to be expected. Also, the end didn't feel satisfactory to me. Anyway, it was a fun read and I think people shouldn't be discouraged to read it because of its length. Jan 14, Patrick Robitaille rated it it was amazing Shelves: Jul 05, Ivana rated it it was amazing. Dumas is one of the best story tellers that have ever lived- according to the edition I've read George Bernard Shaw said that and I have to agree with him.
Dumas really is a great story-teller, he has a way of sparking interest in a reader and keeping it alight page after page. Although it was written in a time when writing style and norms were different, I don't think this book is in any way inferior to any great modern novel. I have enjoyed the second part of Le Comte de Monte- Cristo even more Dumas is one of the best story tellers that have ever lived- according to the edition I've read George Bernard Shaw said that and I have to agree with him.
I have enjoyed the second part of Le Comte de Monte- Cristo even more then I have the first and I really liked the first volume. To put it simply- it is a very long book that doesn't have a dull moment in it- at times entertaining, at times philosophical- a pleasure to read. Jul 05, Charlotte rated it it was amazing Shelves: This review has been hidden because it contains spoilers. To view it, click here.
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C'est une histoire que je pense relire un jour plus de pages Couldn't be more satisfied. This is the most unique and satisfying kind of revenge! Aug 10, Sophie rated it it was amazing. Un coup de coeur pour ce second opus! Lo recomiendo a todo el mundo. Oct 16, David Newton rated it really liked it. Classic story of love and revenge - some concepts outdated, but a great historical piece. Mar 20, Tiffany rated it liked it Shelves: Two years of my life!
Two years from beginning to end--that's what I spent with these pages. I do read long books but I don't love 'em--my muscles are fast twitch, not slow twitch. Anyhoo, for the past 6 months I put this book down. The ostensible reason was because I was listening to the on-line audio format and its reader--a man with a wonderful Marseilles accent--had stopped his recitation in the sixth and final tome of the book.
But the real is I was boooooored! About a week ago, when I w Two years of my life! About a week ago, when I was procrastinating from writing my dissertation, I discovered that the sixth tome had been recorded for him by a colleague. It was, happily, the same woman with a wonderful Gascogne accent, who I knew from her stellar reading of Les Trois Mousquetaires. Unfortunately, the final tome in the series is chock-a-block full of tears, saccharine speeches, speechifying, soppy prosody and everything else that the Romantic period of literature is known for, and for which I feel nothing but the utmost repugnance.
This delightful reader has a weepy voice and every single female speech she read sounded hideously lachrymous and pathetic. There were times when I found myself in such recoil I thought I might develop rigor mortis. While I can laud M. Dumas' skillful plotting, and his stunning action sequences nobody does it better--not even today--take for example the scene in which Benedetto is fleeing from Paris. He is a blackguard and a scoundrel, you know he is a sociopath and one recoils from him in every way, but still, in a manner almost Hitchcockian, the writer invited the reader's sympathy with Benedetto in heart and body throughout his entire escape attempt.
It's amazing to read a scenario in which one is subject to so many ambiguous feelings: Simply marvelous, yet I cannot praise his feeble attempts at sentimentalism which are insincere at best and offensive at worse. The same writer who created the sublime Milady, and the same writer who wrote possibly the most amusingly contemptuous letter from husband to cheating wife the world has ever seen in the chapter entitled: It's unsettling because this idea of an omniscient God sounds a little too close to s pious Tom Cruise in Mossion Impossible.
As good as M. Dumas is at writing action and devilry, every bit as bad he is at writing sanctimony. I said this in the first volume of the two: In his place le Comte de Monte-cristo is nowhere near as likeable. He is so supernaturally potent, so unreal it's impossible to have sympathy for him as a character. Which begs the question: I know the credibility of my readership hinges on this response, so I will answer it loudly in the negative. I believe a narrator, or the main actor of a book does not need to be likeable for a book to be enjoyable.
What I do need to see is the psychological reasons for a character's actions. I need to follow it play by play, like for example Ripley, of Ripley's Game. It has to unfold with me being a participant, not just a spectator. With the actions of le Comte, there was nothing but spectatorship. Fortunately, in the final chapters we see le Comte return to a certain reality--all utterly justifiable for his character and his character's arc--and once again sympathy returns for him, especially during a visit to the cachot in which he was imprisoned for many years.
Then I felt I knew him.
He disappeared again in a strange and stagey scene at the end where he helps a junior protagonist, Morrell, be reborn into a new life, right before he sails off into the sunset with a young, nubile bride. Cue the freaking music.
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As a middle-aged woman I must lodge a small personal complaint at this juncture. Especially after he's been complaining about women's fickleness, it feels hypocritically icky. In Mercedes' defense I am reminded of a favorite and well-referenced scene from Persuasion in which Anne Elliott, speaking for women of the world, says to Captain Harville, "We certainly do not forget you so soon as you forget us. It is perhaps our fate rather than our merit.
We cannot help ourselves. We live at home, quiet, confined, and our feelings prey upon us.
Contes Tahitiens
You are forced on exertion. You have always a profession, pursuits, business of some sort or other, to take you back into the world immediately, and continual occupation and change soon weaken impressions. I will not allow it to be more man's nature than woman's to be inconstant and forget those they do love, or have loved. I believe the reverse, I believe in a true analogy between our bodily frames and our mental; and that as our bodies are the strongest so are our feelings; capable of bearing most rough usage and riding out the heaviest weather.
Offenbach himself had a premonition that like Antonia he would die prior to its completion. He continued working on the opera throughout , attending some rehearsals, but died on 5 October with the manuscript in his hand four months before the opening. I have not much time left and my only wish is to attend the opening night. Both men requested the rights, but Offenbach granted them to Carvalho. A four-act version with recitatives was staged at the Ringtheater on 7 December , conducted by Joseph Hellmesberger Jr. The opera reached its hundredth performance at the Salle Favart on the 15 December This production remained in the repertoire until World War II , receiving performances.
A tavern in Nuremberg. The Muse appears and reveals to the audience that her purpose is to draw Hoffmann's attention to herself, and to make him abjure all other loves, so he can be devoted fully to her: She takes the appearance of Hoffmann's closest friend, Nicklausse. The prima donna Stella, currently performing Mozart's Don Giovanni , sends a letter to Hoffmann, requesting a meeting in her dressing room after the performance. Lindorf intends to replace Hoffmann at the rendezvous. In the tavern students wait for Hoffmann. Lindorf coaxes Hoffmann into telling the audience about his life's three great loves.
This act is based on a portion of " Der Sandmann " The Sandman. Hoffmann's first love is Olympia, an automaton created by the scientist Spalanzani. Hoffmann falls in love with her, not knowing that Olympia is a mechanical doll " Allons! Olympia sings one of the opera's most famous arias , " Les oiseaux dans la charmille " The birds in the arbor, nicknamed "The Doll Song" , during which she periodically runs down and needs to be wound up before she can continue.
While dancing with Olympia, Hoffmann falls on the ground and his glasses break. With the crowd laughing at him, Hoffmann realizes that he was in love with an automaton. This act is based on " Rath Krespel ". After a long search, Hoffmann finds the house where Crespel and his daughter Antonia are hiding. Hoffmann and Antonia loved each other, but were separated when Crespel decided to hide his daughter from Hoffmann.
Jacques Offenbach. Offenbach Edition Keck.
Antonia has inherited her mother's talent for singing, but her father forbids her to sing because of the mysterious illness from which she suffers. Antonia wishes that her lover would return to her " Elle a fui, la tourterelle " — "She fled, the dove". Her father also forbids her to see Hoffmann, who encourages Antonia in her musical career, and therefore endangers her without knowing it.
Crespel tells Frantz, his servant, to stay with his daughter, and when Crespel leaves, Frantz sings a comical song about his own talents " Jour et nuit je me mets en quatre " — "Day and night I quarter my mind. When Crespel leaves his house, Hoffmann takes advantage of the occasion to sneak in, and the lovers are reunited love duet: When Crespel returns, he receives a visit from Dr Miracle, the act's Nemesis, who forces Crespel to let him heal Antonia.
Still in the house, Hoffmann listens to the conversation and learns that Antonia may die if she sings too much. He returns to her room and makes her promise to give up her artistic dreams. Antonia reluctantly accepts her lover's will. Once she is alone, Dr Miracle enters Antonia's room and tries to persuade her to sing and follow her mother's path to glory, stating that Hoffmann is sacrificing her to his brutishness and loves her only for her beauty.