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clear (Claire Coeckelberghs) No doubt his character ! we come to the world and we learn is that life holds for us, but meanwhile the design of our character is shaped and slowly we will become that we are really a criminal or honest people who get up in the morning to work or a lazy advantage of the kindness of the people ..... J

've seen children who had one parent and their gold is given a good education, yet the child away from this crazy good education! They are the parents of a vulgar nature, and they were super nice and child friendly ... know how to educate a young teenager who has to decide destroy you called me!! I'm not perfect! but I do not deserve it, my son really become a dunce low floor last Friday it was down the door of his room are just happy to hurt me ..... I can not understand the attitude of my son, he has no reason to blame m, I know that the transition from child to adult is difficult but is not the cause of this crime is happening with

the youth today. . . . My story is long explained, so I write per episode and a very precise way it is finally what I think !!!!! ..... (Education is only the word, words that is transmitted and we children of life is listening words that tell us ah! not that my child is ill, ah that's good!! stolen and told it's wrong, so if your children become a petty thief display is not the fault of the parent but the child didn't want to listen to this parent, so why parents need to be feeling guilty! to the child that we do not know when not even the tie would be condemned by justice! while evil is to do !!!!!! you have to tell me ?????????

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Autonomy, freedom and social alienation.

O man! tightens your life inside of you, and you will not be miserable. [...] Your freedom and your power will extend only as far as your natural strength, and not beyond, all the rest is only slavery, illusion, prestige. The same domination is servile when it depends upon opinion, for you depends on the prejudices of those you govern by prejudices. To lead them as you please, you must conduct yourself as they please. They simply change their way of thinking, he will have by force that you change his ways. Those who approach you have to know the opinions of the people govern you think govern, or favorites that you govern or those of your family or thine own: These viziers, courtiers, those priests, soldiers, these lackeys, these stomachs, and even children, when you'd be a Themistocles Engineering, will lead you, like a child yourself in the midst of your legions. Whatever you do, never your real authority will go further than your actual abilities. As soon as he should see through the eyes of others, he must want their wishes. My people are my subjects, you say proudly. Either. But you, what are you? The subject of your ministers. And your ministers, in turn, what are they? the subjects of their clerks, their mistresses, the servants of their servants. Take all, usurp everything and then pour the money with both hands, erect gun batteries; raise the gallows, wheels, giving laws, edicts, multiply the spies, soldiers, executioners, prisons, chains: the poor little men, what you used this? you'll do no better served, stolen or less, no less wrong, or more absolute. You always say: we want, and you'll always be what others want.

The only one who does his will and he who does not need to do it, put the arms of another at the end of his own: hence it follows that first of all goods is not authority but freedom. The truly free man does what he can, and does what he pleases.

Jean-Jacques Rousseau, Emile or Of Education, GF-Flammarion
No. 117, 1966, pages 98-99.

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I. Diderot's character (by G. Lanson).

.

"The head of a Langrois is on his shoulders like a rooster on top of a tower: it is never fixed at one point, and if she returns to the one she left, it is not stopping there. With surprising rapidity of movement, in desires, in projects, in fantasies, in ideas, they have slow speech. For me, I am of my country only stay in the capital and the diligent application just corrected me. Denis Diderot, Langres became a Parisian, had indeed corrected, but not the way he thought. His mind had kept the quickness to turn, but he had equaled the impetuosity of his speech to the speed of his thought. He is talkative, storyteller, counselor, reasoner. This son of a cutler of Langres was never in the world: it has spread in salons that his fame was opening, slovenly ways, vulgar, but of all worldly conveniences, if there is one that it has trodden under foot, the one that constrains language. Big eater, glutton, he does not grace his indigestion: it is full of his subject, he must speak. It has the gaiety of the people, huge, filthy, where it is, to anyone, it makes it loose the nonsense that seethe in his mind: he must speak. He has the frankness of the people, that of the Auvergne by Labiche rather than Molière's Alceste: he throws in the faces of people of their truths, he thinks, they spring: he must speak. He has friends, he sees action, make plans, arrange their lives: it flows through their lives, through their most intimate feelings, advising, arranging, indiscreet pressing, it is the crow that fells nuts, and that's how he fell out with Rousseau: he wants to keep him in Paris, send it to Geneva, he decides, he directs, he must speak.

Bonhomme rest, obliging, generous, full of good feelings, good son, good brother, good father, good husband even close to the fidelity, good friend, warm heart, enthusiastic, always willing to give and devote himself: if only he could s 'pour out freely, always happy to put themselves forward to be a negotiation of a case where there is burning of the activity, thought to evaporate in words. It is the least selfish, the most disinterested of men, provided it is spent. He crossed his age, constantly in the mouth, packed, overflowing, never tired of the ceaseless fermentation dimmed his brain and he said, he had more to say.

Its robust organization provided all expenses. It was a stunning conversationalist, his conversation was a firework, which we saw go with dizzying speed images, ideas, pranks, science, storytelling, metaphysics, crazy dreams, assumptions fruitful divinations amazing. The fireplace in his house Taranne street at the Cafe de la Regence, the dear Madame d'Epinay Chevrette, at Grandval at the Baron d'Holbach, Diderot was always ready, always heated, leaving a word on a sign. And when he was told well, played, cried, he remained of the surplus that had not given way: he took the pen and continued the conversation at times with the same person, sometimes with another, he wrote or Falconet Mlle Volland. And these conversations and letters, this was only his overflow that flowed. I would have said that the relaxation of his books, if his books had tired.

But he wrote as he spoke easily, merrily, without fatigue or break: it serving his mind, as Aristotle would have said. So can we speak here of artistic work, to slow development, composition and scholarly thought: all these antics are not his way. Write or talk is a natural function for him, there is no way he relieves himself, and there is really shameless in its natural spread in his improvisation at full speed, all the places it is good, and all occasions. It has started to Encyclopedia, and as he wants to your destination safely, he lowers the tone. Nothing allows us to better measure the energy expended by Diderot in this case, that this miracle wrought in him the desire to succeed: he has tried to be decent, not to unleash it on the government or religion that was too scandalous. But as his tongue itch while working so wisely! this task as excited! Everything he could not say in his articles, he threw in another structure, it was not for glory or for gain he wrote, was for him to evacuate his thought. He published his Thoughts on the Nature Interpretation its dramas, its interview with a philosopher madame de *** , etc.. But his D'Alembert's Dream , his Supplement au Voyage de Bougainville his Paradox on the Actor his Religious his Jacques the Fatalist his Neveu de Rameau is to say the best and worst, the most characteristic of his work anyway, all that remained buried in his papers. It was written and it was enough to Diderot, he had drawn from his work the pleasure he expected. With equal indifference, he sowed its pages in the books of his friends: a treatise on harpsichord Bemetzrieder of a history of Abbe Raynal, a gazette of Grimm, everything was good, mainly for him was to write, put his name would not add to its fun! And, after thirty years of this relentless outpouring, I can not guarantee that Diderot did not die with regret at having kept something unsaid in her mind.

This intense refund of thinking was the result of active absorption, and its powerful engine ever produced under pressure and incessant work had to be largely fueled. Diderot is not a creative genius, able to make a world of itself and is far from Descartes, Rousseau even further. This requires him to be a scholar and curious. Emile Faguet has rightly said, it is aware of many things which were not common knowledge in his time. When we stick to the easy arguments of Locke, when our frightened people who do not shrink from Spinoza, not to the boldness, but given the depth of his doctrine, and fear of them breaking the head, Diderot , without ceremony, without fuss, assimilates the drive, the great system of Leibniz and there is no other reason, I believe, it has given France's reputation of being a German head. He made mathematics, he has made the physical he made of natural history, he knows the most recent assumptions, the most striking experiences of science that is currently up and stretch. He knows the painting, music: I'm not saying do reasons a little rhyme, but never the absence of specific knowledge or techniques is the source of its deviations trial. In literature, it has the largest reading, watching it abroad, he knows the seventeenth century. He also knows a lot about antiquity, and it is not vague impressions of a quick read, he sees the details, it looks accurate, and if Horace bed, the bed he philologist, a poet, historian, Pliny, if he reads it the bed still philologist, but also a painter, an archaeologist, a chemist and he takes each item on the side of which the skilled person would take, before you press his personal musings.

Thus shall Diderot's fertility is not spontaneous. He needs a shock from outside to put in motion the whirlwind of his thoughts, he can give himself the flick. There comes the flick That's all in motion, the machine hisses, smokes, spits, cracks, we are amazed at the disproportionate share of its breathtaking and its infernal din with a simple gesture that gave them birth. Sterne and Diderot is in a half-page that entertains: he left it, and place three hundred pages of Jacques the Fatalist . I do not know if he has never done anything that is not the occasion for something, like a huge reaction against its being an external impression. But, it will be said, is not it always thus? No, because first, Diderot, the shock is not any emotion, a fact of experience, is the shock of thinking that has tried to translate into speech or art, then the detachment of the external cause of his internal thought is not, his work, so vast it is, Besides, if I may say, pinned on the margins of the book of others is a stunning Diderot commentator, often more interesting than the text. He excels again at the books of others: he is incapable of judging them. While he seems to listen, he took the starting point where the author has placed, and he travels on his behalf: when you finish, you said the book he would have done your place, and this is his way of hearing the criticism. In conversation, he is the same: everything you tell him in two hours, he hears something, one, he takes the works, the growing and your tiny little thought becomes a large system, and you sometimes rebellion, or you fear. That is the mental mechanism of Diderot spontaneity poor reactions prodigious.

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II. Diderot's Thought (by G. Lanson).

.

apart Encyclopedia, Diderot is hardly less significant in the eighteenth century, Voltaire and Rousseau. Before Rousseau, Voltaire and when everything was still bound by prejudice, vanity, worldly ambitions, Diderot had openly declared the man of nature. And here is what nature was for him.

She was - she was at least early on - atheism. God is not in nature. There can be, and there is nothing to do with him. The world is a vast pool where an infinite number of balls roll, intersect, collide, forming an intricate network of movements required, which never run out. But morality? She will not suffer. "Do not you think you can be born so happily found great pleasure in doing good? - I think. - That may have received an excellent education that strengthens the natural tendency to charity? - Certainly. - And that in a later age, the experience has convinced us that on the whole, it is better for his happiness in this world, be an honest man a knave? "Instinct, education and experience: that which is sufficient for morality. Be virtuous to get to heaven, God is lend to small-time , and the trouble is that the lender gives stuffed crocodiles, not good species, for the virtue of vestries is to go to Mass, not to touch the sacred vessels, love comes after the next. Religion, which punishes more sacrilegious than adultery is immoral, it leaves for practices, remain all the corruption of the world. It is a source of crime, fanaticism, war, torture, etc.. : It's too expensive to buy a foundation of morality, which founds nothing at all. God exists or not, if it exists, it does not exist in nature, we do not take them into account. There is no for us, if we say a few imprudent not there at all, there is not much wrong with that. A fine day out of life, we were face to face with him in his world, well, God is not bad enough for hell we want to have it denied, when we had no reason to think so.

Nature, secondly, for Diderot, the opposite of society. All evils, the vices of man, come from the company that invented religion, power, distinctions, hierarchy, wealth, that is to say oppression of some, the tyranny of others, corruption and misery for everyone - especially who invented morality. Because that is the characteristic of Diderot: boldly, bluntly, sometimes cynical, often profound, he attacks morality. It is a social institution, especially its hateful hypocritical compulsion exerted by it: the name of morality, we instructed children to refrain some legitimate pleasures that result from natural functions.

is the naturalism of Rabelais, one of Panurge and Friar John, who reappears in Diderot, in these people he has chosen and conformed to his ideal, in Rameau's Nephew and Jacques the fatalist . It deletes all the virtues, Christian, Stoic, even mundane, who did report that the individual, and are based on respect for oneself. Chastity, modesty, sobriety, reserve, dignity, sincerity, that all this nonsense, prejudice and inconvenience of society. Scruples, the delicacy of the means are absurd grimaces when one is assured of its intention, and we know the good: see the curious dialogue Is it good? Is it bad ? one of the masterpieces of Diderot. What then is virtue? It is in one word: it is charitable. All that is useful to humanity is: everything that is harmful to humanity is evil, which is neither good nor harm anyone is indifferent, that I lie, I get drunk, or worse, that 'important, if these acts have no effect, without fatal extensions outside? And if in my lie, or my drunkenness, it leaves a good for someone, I'm being a liar or drunkard. The nature of Diderot saved the vices which degrade, poor, independent, generous, without lust and without platitudes, he is honest enough to come to a kind of morality with his instinct. It is based on respect, worship of nature, that is to say phenomena because it is only the collection. So can he help admiring, almost loving this great burst of natural energy, appetites, offered by the nephew of Rameau: he falls in agreement with him that "the important point is that you and I are, and we are you and me all go elsewhere as he can. "

Nature, finally, for Diderot, is science. He designed the method, directions, results. But the word nature is determined to Diderot in a very modern sense. He sees no more this inner nature that the seventeenth century especially studied, which Descartes believed life more secure and easier than knowledge of external nature. All his impulses, to him, from without, his philosophy and that of his time, told him that all his ideas came to him through his senses: it is natural that the external nature, and science that apply , are the object of his study. By the middle of the century, he announced, although recklessly, that the reign mathematics is finished, but he announced, by a sure divination that the reign of natural science will begin. Physiology, physics is that side of it is inviting young people, rather emphatically, but her gesture highlights quack ideas learned. Diderot with the relationship between philosophy and science seems to be reversed: the philosophy renounces impose its systems and expects their discoveries to extract a general conception of the universe. The philosophy of Diderot, in his characteristic parts is really a philosophy of nature: it derives from Leibniz, it is these principles of reason, less action, continuity, that the scientific study of inorganic and organic world and it constantly assumed, and it was he who first, before Helvetius, Holbach before, puts the man in nature, and reduces science legal natural sciences.

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III. The art of Diderot (by G. Lanson).

His art is in harmony with his temperament and his philosophy. I do not mean the execution, often dropped, thrown, the perfection of the work is not meeting little home. I mean his art of art intentions it expresses.

So there will be a first in Diderot naturalistic art, expressive life as it is, beings as seen. Contracted as he was by external nature, he receives, and renders, as mechanically, with a wonderful safety. Read Correspondence and see all these pictures, all these stories it is sown. Read Rameau's Nephew, the masterpiece on more equal than Diderot composed. This eccentric and powerful figure removed with terrain, incredible clarity: Profile, accent, gestures, grimaces, instantaneous changes of tone, posture, the fundamental identity and all forms of mobile disguise, everything is noted in the dizzying dialogue of Diderot. He put much of his, no doubt, and he lent his ideas to the character, I do not think that was a true bohemian Rameau as deep. But with an astonishing instinct of objective art, all that was hers was incorporated into the substance of the original character whose inner vision guided his pen. From that story, he sees ; figures, movements, local and accessories everything is in his eye, just under his pen, and his tale is a series of prints.

But the prints were legends and these legends are romantic: at least Diderot tends to romanticism. Of nature, it respects its most nature, and provided it is and it him, he did the rest do not care. Rameau's Nephew is a happy accident: the subjective also mingles with the objective; the impressions of external nature overlap, intertwine, clinging elk, enthusiasms, the indignation of Denis Diderot, any individuality frantic, noisy, bulky. He already carries within it the seeds of romantic lyricism. Here is the proof in two sentences:

"The lark, the lark, the linnet, the canary chatter and babble as the day is. The sun set, they cram their heads under their wings, and that's asleep. Then the genius takes his lamp and lit it, and the solitary bird, wild, untamed, and sad brown plumage, opens his throat, began his singing sounds the melodious grove and breaks the silence and the darkness of the night. "Do this he Chateaubriand's not already?

"The first oath is made two beings of flesh, it was at the foot of a rock falling into dust, they bore witness to their constancy a sky that is not even a moment; everything happening in them, around them, and they believed their hearts free from vicissitudes. O child! still children! And it is literally two stanzas of Musset. But the most curious is to get this jet lyricism where it occurred in Jacques the Fatalist . In the midst of the realistic story of Madame de la Pommeraye all of a sudden a tear occurs in the bark of the narrative thrust of these five throws feeling hot lines, which no character nor the author assumes the same responsibility, once everything calms down, and two minutes after we Buttons on an enormous prank . That's the inconsistency of Diderot. There's something in his style: analysis, synthesis, idea, sensation, hallucination, realism, romanticism, it is a teeming, which has not always beauty, who at least has often life.

This leads to another consideration : Diderot's substitution of a new ideal in the classical ideal. And she still does, because he is human nature. Nature does not care about beauty, that men agree to call it. The nature of the concern that has life is what is beautiful, naturally beautiful. Forms of life and activity of life, that is what the artist must work to make: most of these forms will feature, this activity will be more intense, and there will be beauty in be. The character (and not the regularity, the nobility, the generality and Components classic beauty) should be the subject of the imitation of literary expression. That was the direction already Lesage, Marivaux, Prevost had given the novel but never did this new aesthetic emerged as powerfully as in Rameau's Nephew .

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IV. The "Funeral" by Diderot (by G. Lanson).

.

must say a word about the famous Salons of Diderot (1765, 1766, 1767). The art critic does not satisfy us anymore. It is too literary. It takes too happy about the , the idea to give a development that replaces the work of the writer at work by the painter or sculptor. Here, as elsewhere, the method of Diderot's thought is to hang at the thought of others, lost breath digressions, paintings, statues provide an outlet for more internal bubbling sentimentality, reflection, imagination ferments in him.

But let's not be too severe for Diderot. No truth, first, the devil is true of man, but the truth is otherwise a bit too real. With this strong sense of reality that we have seen in him, he sees the painting, and shows. Before you rant, and while reciting, it puts us in front of the painting where he hangs his thoughts or his effusions: in five lines, half a page, it gives us the sensation. This is no small talent for art criticism. It has, moreover, that of smell, report the nature , accuracy expressive faces, gestures, attitudes, criticism and comments are an original taste, we recognize the man who saw naturally their particularity in their respective reports and the external forms of life. But he still has a quality more valuable: it is to judge, in fact, painting a painter, to focus on light, color, enjoy their delicate or powerful combinations. If his criticism is more technical, is not that the public would not follow? And is it not also the paintings, statues of which he spoke did not include? These works were all full of literary intentions: they wanted to act on public issues and ideas that the topics suggested, saucy ideas in Boucher or Fragonard voluptuous or moral ideas in Greuze, philosophical ideas in Bouchardon. The means of painting and sculpture were a language with which you spoke to intelligence. In the same composition, was still the prevailing literature: the theater provided models of arrangement and coordination of a principle of natural objects. Diderot was wrong, no doubt, to push in that direction. If mishandled Boucher, Greuze he applauded, he shouted: "Let us morals, my friend! And indeed Greuze painted inspirational dramas and boring as the Father of family.

Still the Salons of Diderot are a work of considerable time. We have the right to say that he founded - if not the art critic - at least of art journalism. This is the first time we encounter a literary matters, and has been for the fine arts. Diderot paintings, statues a subject of literature, whereas previously the arts and literature were closed worlds, without communication, and that did not exist for one another. Similarly, artists and writers lived apart, each on their own: Ms. Geoffrin had his dinner artists and writers' dinner, which did not have many guests in common. Diderot knock down all those barriers. Literary man, he haunts the workshops, he talks, he played and he rubs his ideas against their theories, aesthetics poetics against their picturesque beauty or plastic. Confined to the public so far in literary taste, he opens a window on the art through all its expansions and its sentimental dissertations thinker, it is education of the senses of his readers, he teaches them to see and enjoy, to grasp the truth of an attitude, the delicacy of a tone. All this found later, and this communication is established between art and literature is not without contributing to the Romantic revolution.

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ills of others.

The moralist La Rochefoucauld is I believe, who wrote: "We still have enough strength to endure the misfortunes of others," said certainly some truth. But that's only half true. What is more beautiful to notice is that we still have enough strength to bear our own pain. And it must. When we need put his hand on his shoulder, we are well maintained. It would therefore die, or else they saw as can be, and the Most people stop at this last party. The force of life is admirable.

Thus flooded, they adapted. They groaned point on the bridge, where they set foot. Those who were crammed into schools and other public places camped there for the better and ate and slept with all their heart. Those who were at war tell much; major penalties are not so because we are at war, but because it was cold feet, it is thought furiously to make fire, and we are quite happy when it gets warm.

One could even say that existence is more difficult it supports more penalties and more can enjoy the pleasures, for the prediction does not have time to go up merely possible evils, and is held in check by necessity. Robinson begins to regret his country that when he built his house. That is probably why a rich likes to hunt, these are so sore the next as a sore foot, or the pleasures next, as well drink and eat well, and carries all the action, continues everything. He who puts all his attention on an act rather difficult, this one is perfectly happy. Whoever thinks of his past or his future can not be totally happy. As long as we bear the weight things, he must be happy or die, but as soon as door, anxiety, weight per se, any road is tough. The past and future rub hard on the road.

In sum, it should point to think about oneself. The fun is that it is others that bring me back to me with their talk about themselves. Acting together, it is always good, talk together to talk, to whine, to grumble, is one of the great scourges of this world. Besides the human face is terribly expressive, and manages to arouse sadness that made me forget things. We are selfish in society, the clash of individuals, by the response to each other, answer the mouth, eyes reply, reply brotherly heart. A complaint unleashed a thousand complaints and a thousand fears unleashed fear. All the runs in each herd sheep. Therefore a sensitive heart is still a bit misanthropic. These are things that must always remember the friendship. Would be appointed soon too selfish man who seeks sensible precaution against loneliness posts humans and is not a hard heart to bear hardly worry, sadness, suffering, painted on a friendly face. And we doubt if those who are happy with the evil corporation has more attention their own evils, or more courage, more or indifference. This was only moral evil. The evils of others are cumbersome to wear.

March 23, 1910.

Alain , About on happiness.

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Happiness in the crime according to France 2.

~ Windmills.

Not long ago I read The diabolical . Behind this rather catchy title, a collection of stories signed Barbey d'Aurevilly. The announcement relatively catchy France 2, which proposed an adaptation of happiness in the crime, has naturally stirred my curiosity and I am a week ago, sitting quietly in front of my TV to see what it was.
quickly recall the overall plot of this story. A doctor arrives in a small town dying, a bastion of aristocrats with an uncertain future. Only activity of the city: an armory where officiates a strange teacher. Hauteclaire (not Claire) Stassin, lovely young woman and impassive, teaches fencing before disappearing mysteriously. We learn eventually qu'éprise Savigny, she was hired as a maid in his household, under the nose of his wife. The couple manages to kill the countess before living perfect happiness, in spite of their crime ...

Prior to rebel (but it will come), I would say a few words about the concept of adapting a literary work: quickly expose my point of view of history to base my critique. I do not belong to those who howl at the slightest cut or any change cinema (or television) and book are two different mediums and it is quite normal to make some changes in use so as not to be found with infinite films. That is not the problem. However, I consider (and we may be able to challenge me on this point) that when a film like this from a literary work, there must be a little bit true to the About the Author in mind that he wanted to infuse his work. It is a matter of intellectual honesty: that those who wish to learn a script and changing the meaning indicate that their implementation is "freely adapted" or "inspired." I do not demand much in the end. What was not my surprise when I saw a program claiming to be serious, entitled "Fiction nineteenth century "And therefore making clear reference to the sources of stories, this Happiness in the crime of that way ...

Presented as sulfur and provocative, this TV movie seems paradoxically much less scandalous than the original, reinforcing the public in his opinions, making a new "Evil" is a far different, intended to amuse the public. Among the factors that have prevented me to enjoy this film, yet elegantly done, here:
- The whole atmosphere of the new based on the impassive Hauteclaire. Weapon Master, the young woman hides her face constantly, whether behind a fencing mask or a veil. Impossible for the reader '(see his face, much less its expressions. The film about a young woman presenting him surprisingly close to the men, teaching fencing in the open. And it will be anything but impassive as it treats the viewer a little smile every second. yet very important dimension in the news item that Barbey insists that more heavily, impassive, the inaccessibility of the character are completely overshadowed. Hauteclaire was a sphinx and a devilish. As the relationship between the woman and Savigny, the choice of writer seems problematic. Where there was a real sexual indeterminacy (" Strange! In bringing this beautiful couple, it was the woman who had muscle, and the man who had the nerve! ) film shows a passive man, guided by a woman dangerous and harmful. It is rather curious that, given a new (and book) from which the moral condemnation is absent, showing a couple evil, we take great care to show us who they are condemned and seems the most monstrous.

Finally, the adaptation of Happiness in the crime seems wise. This involves reinforcing the public's expectations: it thus makes a stylish movie in costumes, it exacerbates the character of the doctor, free-thinker and confident in scientific developments. Instead, it will erase anything that could interfere, even if he very much present in the new home: sadism, murder premeditated and carried out long-term sexual indeterminacy, lack of morality. Barbey classic rendering, Barbey adapted to bourgeois taste. In this sense, Hauteclaire was a sphinx, a diabolic . Claire is more than a femme fatale. Damage.

(The trailer for the curious)

Image: Félicien Rops-Happiness in Crime

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photographs in a novel? " Debate around Bruges la Morte.

Get an idea of the novel: Amours and landscapes reflect

Rodenbach use with Bruges-la-Morte (1892) an unusual process and that interfere much. The question arises, in effect: can we legitimately illustrate a literary work with the photos? Would this not threaten the establishment, restrict the imagination of the reader? Many at the time, think.

• photography as an enemy of the dream .

be noted first that the problem only photographic illustration, drawing with a long history of law cited in works of literature. But a new process brings new questions. Occurs when a distinction between traditional illustration, which is an art, photography and illustration, designed as a pure reproduction of reality. Can be attributed the distinction to which Baudelaire, in a polemical article written at the Salon of 1859 ( The modern public and photography ) between the respective fields that must occupy photography and pictorial art. Thus he writes, between two invective:

"If allowed to photography to supplement art in some of its functions, it will soon have supplanted or corrupted entirely, thanks to 'natural alliance that found in the stupidity of the multitude. It must therefore return to his real duty, which is to be the servant Science and Arts , but the very humble servant, as the printing and shorthand which have neither created nor supplemented literature . it enriches the album quickly and makes the traveler in his eyes that lacks the precision to his memory, she decorates the library of the naturalist, exaggerates the microscopic animals, even some information strengthens the hypothesis of astronomer, it is finally the secretary and the guard who noted in his profession needs an absolute factual accuracy, so far nothing better. [...] But if it is allowed to encroach on the domain of the impalpable and the imaginary, upon anything that is only because man adds to his soul, then woe to us! " (emphasis added)

This is good for him to distinguish between" art " and" industry. "According to Baudelaire, the photograph does is not art because it applies only to the strict reproduction of reality, and if it becomes as popular is because of a perversion of taste. No progress in the arts should therefore fall within this new technique and being constantly improved. This view, thrust in 1859, has continued to find echoes in the late nineteenth century and continue to walk among the opponents of the photograph.

• But then ... What relationship between book and photograph?

everyone will not agree with the ideas of Baudelaire. And flourish in the 1880s, several publications that combine text with images. One well-known examples being the Five Ladies of the Kasbah Pierre Loti, illustrated by Gervais Courtelle " in collotype from photographs taken direct to Algiers. " However, while this kind of process is more than a grunt, the authors do not seem in any way consider the purely aesthetic possibilities of photography. And if the practice is becoming more and more, photography fails to win the good graces of literary circles, often despised, regarded as belonging to popular taste or simple example of tourist guide. One example is the reaction of John Reibrach's investigation Mercure de France (1) " Is this novel? The question then does not matter: the design will always pretty good for public taste. "

But when it comes to literary, protests mount. Include three opponents marked the addition of photographs to enhance a literary text. There again Ralph, English critic . According to him, "At the call of novel illustrated by the photograph, only the bad writer will respond. " There are still Zola " does not believe in the right job or the effective result of this process. It will fall immediately in the nude. "In the same vein, Octave Uzanne wrote:" The illustration will struggle against his enemy hidden the photography, and imaging and direct from nature, using chemical processes. We will attempt a big effort to acclimate in the modern book the exact determination of people and things, but without success, hopefully. "
The favorable responses are more interesting: very few of them show full confidence in the photographic art and nearly all emit many nuances and objections. The photograph in a novel or why not, but what models to choose, how give an air of reality to scenes put, if one intends to represent the characters? Why not, but only in the case of travelogues written or realistic. Why not, but what it will pose technical problems! Multiple questions are raised no one can give a satisfactory answer. Finally, although many authors claim to support the emergence of photographs in the text, most of the judging process according to various criteria (relevance of the illustration, type of work, audience). The authors also include refractory to any type of image ... I can not as such fail to mention the famous Mallarme: "I am for - no illustrations, all evoked a book to happen in the reader's mind: but if you replace the photograph, that n ' are you entitled to cinematography, which will replace the course, images and texts, maint volume, preferably. " By letting you ponder the respective places that we give to the film and literature today.

• Bruges-la-Morte and his silences.

In this context, the approach of Rodenbach has something innovative. In a book addressed to an educated public ( Bruges-la-Morte is a symbolist novel), he put the number of shots which he justifies the presence in a Warning (2) . What reactions, faced with this audacious attempt? Symptomatically, a lot of silence: many critics do not mention any illustrations, however difficult that pass unnoticed (two to three photographs per chapter). Others, like Charles Merki, openly criticize the process, seen as a "rescue a little childish . He wrote in the Mercure de France " what shocks me definitely in this book comes from the illustration, and the faux prints Bruges [...] seem rather grow apart, they give a good printing dead city, but that stands next to our mind, runs parallel to the text, adds nothing, remains different. "

Hard to understand, mixing realistic photographs and poetic text, the work of Rodenbach will repeatedly amputated his set of photographs. Even in modern editions, we hesitate to withdraw or text images, or to amputate or eliminate the Warning which emphasizes their importance. One of the benefits of the work is yet to have inaugurated the genre of narrative-picture, where text and Inserts weave new networks of meaning and enrich the interpretation. Allusions, and even negative criticism silences about the specificity of the work reflect a discomfort with this new medium of photography, which will Yet a growing role in our daily lives.

And in your eyes, photography (and its suite of new mediums) she is still a threat to art?

Nibelheim.

~ * ~

(Information collected in the critical apparatus of Bruges-la-Morte
Editing Jean-Pierre Bertrand and Daniel Grojnowski, GF.)

Notes:
1. In January 1898, the Mercure de France conducts an investigation, calling different artists to comment on the photographic illustration for novels.
2. Reminder of Warning: " It is important, since these sets of Bruges together with adventures, reproduced here as [...] so that those who read us are also affected by the presence and influence City, feel the contagion of the best waters nearby, in turn feel the shadow of the towers lying on the text. "

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Voltaire: Micromegas, philosophical history. II

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II. Critical considerations.

For years people believed that Micromegas, published in 1752, was written between Zadig and Candide , but the work of Ira Wade revealed earlier version of the text under the title of Baron Travel Gangan, which probably dates to the years 1738-1739, as indicated by the events mentioned in the plot of the story. Voltaire called the first state a "philosophical nonsense " we should read for a relaxing " work serious "(1). Substituting the Baron Gangan, whose name shall rather Rabelaisian farce, the character of Micromegas, Voltaire seems to accentuate the philosophical dimension of the story, by pressing a relativist view of man and the universe. The story does not cease to be as much a fantasy, according to Jean Goulemot, "mixes [...] scientific references, allusions to current events, memories of fantastic tales from Swift or Cyrano de Bergerac, references to scientific theories and doctrines and metaphysical elements farce "(2).

story short, Micromegas is built around a repetition of the sequence / Travel conversation. However, a sequence to another, changing perspective: Micromegas and the Saturnian not a riddle for each other, we, readers who are surprised by their extravagant properties; when second meeting, however, humans are a mystery for travelers Voltaire into a vast stage our own strangeness and invites us to philosophize about our condition.

The tale mixes two genres in vogue at the time: the tale of an imaginary journey, in the style of Gulliver's Travels of Swift (3), with which affiliation seems obvious (travelers exploring unknown worlds), but also the journey of a stranger among us, like the Persian Letters Montesquieu of (foreign eyes popping our absurdities and inconsistencies). If it inspires, it's part parody, most often by rewriting: Micromegas is banned for the same reasons as the hero of Montesquieu, travel to the stars using methods similar those of Dyrcona of Cyrano, the language of the Saturnian cartoon style precious Fontenelle, etc.. Rewriting, but also reversing an agreement: whereas traditionally travelers discover a utopian world that is imposed on them, here are travelers who needed a world described as "ridiculous ," "irregular " " poorly constructed" ...


addition to its parodic, Micromegas also provides a "state of knowledge and readings Voltaire "(4).

Scientific Knowledge first: the 1730s to Voltaire are those of the scientific readings, enthusiasm for the theories of Newton and testing experiments. All this is put to use: Micromegas is presented as an experimenter, observer, physicist, etc.. ; Rigor led him to challenge the findings of its hasty and peremptory saturnine companion, to invent new instruments of observation and communication, and his questions reveal his desire to further science and philosophy (inseparable in the quest Voltaire wisdom). Moreover, it is by the scientific knowledge that humans are able to travel and establish a conversation deemed "interesting ": "Science appears both as a universal language and as the most obvious sign of the greatness of the human mind "(5).

Philosophical reflections then: the curiosity of Micromegas allows the identification of essential features of the human: the ability to think, can reach a certain level of knowledge in the sciences, but also influences of blind passions, which, poorly tamed, can induce fanaticism, intolerance, quest for power over others ... In the field of knowledge, also mixed results: the White Paper Micromegas marks the impossibility of seeing "the tip things." Relative magnitude of human knowledge: the lesson of relativism applies to the whole book: relative size of seas and mountains, which, when we pass to another order of magnitude are no longer as ponds and sand, it is invited to moderation, highlighting the absurdity of a sense of superiority which, however, we do not déprend so easily. This game with dizzying proportions, the observation of human limitations could be put at the service of a sense of anxiety about the mysterious, endlessly, as is the case with Pascal : Voltaire rejects this view, and before Nietzsche, but after Rabelais , opposes him know fun and laughter for saving lives. Man is limited? He recognizes, accepts and laugh: Voltaire is perhaps not a great philosopher, his wisdom is not flawless, but this proposal is probably the most interesting article. .. to me at least.

Antisthenes Ocyrhoé .

Notes :

1. See correspondence Voltaire - Frederick II of June 1739.
   
2. Jean Goulemot, preface to the edition Livre de Poche - Libretti of Micromegas, p.11.
   
3. See my article on Swift: Here
   
4. Jean Goulemot, op.cit. p.18.
   
5. Idem, p. 20-21.

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Voltaire: Micromegas, philosophical history. I

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I - Detailed summary.

From the title, Voltaire gives us the name of its main character: Micromegas, oxymoron formed from Greek micron (small) and mega (large) announces the name of one of the main themes of this "philosophical history" relativism.

Chapter I. We learn that this character is from the distant star Sirius, which has " twenty-one million six hundred thousand times the circumference of our little earth ," he went on a trip on the latter, he is young, as " eight miles high ( is about 32,000 meters ) and it expresses " great wit." It's that spirit that will banish from the court for " eight hundred years" by the religious leader of his country ( the "mufti " ), which saw heresy in a work of Micromegas where it addressed the "substantial form " of " chips Sirius" and " snails " typical passage of irony anticlerical Voltaire , who benefits, in passing, to scratch Blaise Pascal . Not affected by this stigma, Micromegas decides to engage in interstellar travel " to complete the form mind and heart . With its immense size and its broad knowledge of physics, taking advantage of comets and solar energy ( already! ), it moves by jumping from planet to planet "like a bird aerobatics from branch to branch . At the end of his wanderings, he arrived at Saturn, expressed surprise at the smallness of the inhabitants of this planet " is little more than nine hundred times more [big] the earth," that term includes of mind they can " not be ridiculous [s] " and became friends with the secretary of the Academy of Saturates, caricature of the scientist and philosopher Fontenelle .

Chapter II. The narrator recounts a conversation in which both characters are questioning and teach each other knowledge and abilities of their species. Voltaire, again, use fully the mechanism of the exaggeration and the reader learns that the Saturnian own 72 sense, live fifteen thousand years, three hundred known properties of matter, some thirty substances and that the light of the Sun contains seven colors, but all that pales in comparison to the inhabitants of Sirius, which have thousand meanings, live " seven hundred times longer ", etc.., Micromegas and claims to have met " beings much more perfect "Him on these trips. The point of this conversation is twofold implication Voltaire mocks anthropocentrism and invites man to be more modest, at the same time, he questions the universe and the nature of thinking beings: despite their more or less meaning and knowledge, people encountered by Micromegas have at least one thing in common: they all complain of the limits of their capacity, the brevity of their existence, " we always complain little. It has to be a universal law of nature "says Micromegas Voltaire also benefits the conversation to make a profession of faith Deist, being referred to " Creator" and intelligence " views, as evidenced by the perfection of Nature" I admire in all its wisdom, I see differences everywhere, but everywhere proportions. Your world is small, so are your people, you have some feelings, your material has some properties: this is the work of providence "said the sage to his companion giant Saturn. Following this dialogue, the two friends decide to undertake together a " little philosophical journey. "

Chapter III. The narrator recounts their journey from Saturn to Earth. Departure time results in a brief parody of contention in love, in the genre of romance lover, between Saturn and his lover, outraged to learn that he leaves " to go travel with a giant from another world "but, the narrator informs us, consoled himself quickly" with a minor master of the country . E obviously. The quarrel and tears past, travelers set off, stop One year on Jupiter, draw a work "which would now in print without the inquisitors gentlemen, spend a moment on Mars, then join the Earth by an aurora July 5, 1737. The narrator, a critic of anthropocentrism requires, does not fail to note that the Earth " had pity on people who came from Jupiter .

Chapter IV. The two companions quickly perform around the Earth ( in 36 hours), the largest ocean not representing for them that " a small pond." They perceive no first life form, the Saturnian deduces that the planet is not populated, the giant criticizes its lack of rigor " you do not see with your little eyes out [...] I see very distinctly; you conclude from this that these stars exist not? . This remark allows Voltaire a review of the testimony of the senses as a criterion of truth, it also marks the starting point of a quarrel between two companions. Quarrel practice since it provides an additional opportunity to devalue our planet, "this globe it is so poorly constructed, if it is illegal and a form that seems so ridiculous! "According to the Saturnian, but mainly provides the necessary event to the rest of the story: in a fit of anger, Micromegas lost several large diamonds, and by picking them up, they noticed his friend Saturn are very good microscopes to scan the Earth's surface. These tools enable adventurers to identify " something imperceptible stir midwater " it is a whale. This encourages them to continue their investigation, and locate " something bigger " means a ship, one of the expedition led by physicist and philosopher Pierre Louis Maupertuis, who, in 1736-1737, went to the North Pole to check on the validity of certain assumptions about the shape of the Newtonian world. The narrator closed the chapter by saying: "I'll tell ingenuously as the thing passed without anything to mine, which is no small effort for a historian. "remark makes her smile when you know the Century of Louis the Great , historical work of Voltaire the seventeenth century, proceeds from the eulogy.

Chapter V. Micromegas gently manipulates the ship, he takes for an animal on board, the men panicked and left the building. The two giants can not be seen because of their small size, hence a digression Voltaire on the smallness of man and the relativity of his actions: although this may be significant for some, one would think be like Micromegas " these battles we have won two villages that had to make ? Incidentally, without departing from its subject, Voltaire ironically on Frederick " I have no doubt that if any captain of grenadiers great ever reads this book, it does up two big feet at least the cup of his troop, but I warn that it will be beautiful, and he and his family will never be as infinitely small . Mariners finally press in a " alpenstock " in the index of Micromegas: it tickles him and allowed him to discover the existence of men. This discovery is a source of great joy for the two companions, and the chapter ends with a new pic of irony the narrator against the Saturn- Fontenelle, who, always too quick to judge, pass " of excess confidence to an excess of credulity .

Chapter VI. travelers observe men as they can not hear, the Saturn inferred too hastily once again, that men do not have the power of speech; Micromegas it supports the contrary includes the Saturnian Finally, the lesson: " I dare not believe or deny [...] I have no opinion. We must try to examine these insects, so we will post . Micromegas makes a device to listen to men: they speak! Very quickly, the two travelers gain understanding and mastery of French. They are fascinated that " mites [speak] pretty good sense of ": they want to contact. Micromegas makes another tool to mitigate his voice because he fears " his voice of thunder [...] n'assourdît moths without being heard " and addressed to men, surprised and unable to " guess where [these words] went . The dwarf (the Saturnian, called and because of the size difference between him and his companion) explained to them who they are and where they come from, then ask them pell-mell all sorts of questions about their condition, their souls, whales ... One man, a physicist and mathematician, succeeded in measuring the dwarf ... and Micromegas, which amazes them. Voltaire the opportunity to slip into the mouth of the giant, one who feels his tirade Deism " O God, who gave intelligence to substances which appear so contemptible the infinitesimal cost you as little as infinitely large .

Chapter VII. Micromegas believes men perfectly happy as they show great spirit and consist of little matter. Philosophers deny, one of them spoke and argued by referring to the wars and massacres perpetrated by men since time immemorial until the present; Micromegas ask him the cause; " It is only whether [a mud pile as big as your heel] belong to a certain man called Sultan or another called [...] Caesar. Neither one has ever seen or will never see the little patch of land in question, and almost none of these animals who slay each other has never seen the animal for which they slay. "Micromegas and disillusioned indignant, philosopher persists and signs on " these barbarians who settled [...] [...] ordered the massacre of a million men, and then make solemnly thank God. . The interstellar traveler then looks more specifically to the philosophers, who seem to be " the small number of Wise ": he asks questions of astronomy and physics, he and Dwarf surprised at the relevance of their answers, he questions them on matters of metaphysics; " philosophers talked all at once [...] but were different opinions " and Voltaire irony of the Aristotelian , Cartesian, Malebranche and Leibnitz, summarizing their doctrines complex formulas incoherent and grotesque; the next supporter Locke thinker whose Voltaire appreciates the ideas: his agent says that he has " never thought that at [his] senses , that thought may be a attribute of matter, and concludes that " affirms nothing but" [be] happy to believe that there are more things possible we think "Obviously, this is the one that seems the wisest of the giants. At that time, a theologian takes over the floor, claims to have the truth, affirms that the universe was created by God for Rights and, to prove this, invoking the authority of the Sum of Thomas Aquinas . Laughter of the giants. They resumed, and Micromegas, although " sorry in my heart to see that the infinitely small would have an almost infinitely great pride ," promised the men a book of philosophy " strong writing menu "in which" they would see the end of things . It gives them the book and then share. When opened, it " saw nothing that any white book "Sign of the impossibility of any absolute knowledge" Ah! I would actually doubted. , "cried the secretary of the Academy of Sciences.

Ocyrhoé Antisthenes.