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Le Guépard (1958)

par Giuseppe Tomasi di Lampedusa

Autres auteurs: Voir la section autres auteur(e)s.

MembresCritiquesPopularitéÉvaluation moyenneDiscussions / Mentions
5,6961331,412 (4.09)2 / 439
A classic of modern fiction. Set in the 1860s, THE LEOPARD is the spellbinding story of a decadent, dying Sicilian aristocracy threatened by the approaching forces of democracy and revolution.
  1. 70
    Les Buddenbrook : Le déclin d'une famille par Thomas Mann (roby72)
  2. 40
    La Marche de Radetzky par Joseph Roth (Rebeki)
    Rebeki: 19th-century Europe, mourning of a lost era
  3. 30
    Du côté de chez Swann par Marcel Proust (chrisharpe)
  4. 41
    L'insoutenable légèreté de l'être par Milan Kundera (Eustrabirbeonne)
  5. 41
    La Chartreuse de Parme par Stendhal (P_S_Patrick)
    P_S_Patrick: These two books have a fair bit in common, though much is different between them too. They both are set in Italy and are concerned with court and family life, with politics, and the state of the country at the time they were written. The Charterhouse is set mainly in the north, around Milan, Parma, and Lake Como, near the Swiss border, in the first half of the 19th Century. The Leopard is set in the South, much of it in Sicily, starting over halfway through the 19th Century and ending in the next one. Stendhal writes dramatically about adventures and high emotions, whereas Lampedusa is far less baroque about it and writes with greater reserve and elegance. Together these books complement each other and give the reader a reasonably balanced view of Italian life over around a 100 years. Readers are likely to prefer one book over the other, but I am sure that if they enjoyed one they are very likely to enjoy the other. There are passages in the Charterhouse that outshine the best in the Leopard, but I prefer the latter due to it being nearer to perfection when taken as a whole.… (plus d'informations)
  6. 20
    Bomarzo par Manuel Mujica Lainez (pacocillero)
    pacocillero: Nos dous casos son mundos en decadencia aínda que con varios séculos de diferencia.
  7. 10
    Giuseppe Tomasi di Lampedusa: A Biography Through Images par Gioacchino Lanza Tomasi (rvdm61)
  8. 21
    Le Christ s'est arrêté à Eboli par Carlo Levi (defaults)
  9. 21
    Pères et fils par Ivan Turgenev (JamesAbdulla)
  10. 21
    Les princes de Francalanza par Federico De Roberto (roby72)
  11. 00
    Lanterns on the Levee: Recollections of a Planter's Son par William Alexander Percy (pitjrw)
    pitjrw: Two elegies to disappearing elites and the societies they led.
  12. 01
    The Stone Boudoir: Travels Through the Hidden Villages of Sicily par Theresa Maggio (marieke54)
    marieke54: Among those old villages: the inhabited remnants and replacements of Santa Margherita di Belice,(< earthquake 1968), Lampedusa's village. The other villages are like what St. M. once was.
  13. 01
    Shakespeare par Giuseppe Tomasi di Lampedusa (Eustrabirbeonne)
  14. 13
    Sarah et le lieutenant français par John Fowles (Eustrabirbeonne)
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Anglais (94)  Italien (11)  Espagnol (6)  Néerlandais (6)  Français (4)  Catalan (3)  Suédois (2)  Portugais (Brésil) (2)  Danois (1)  Hébreu (1)  Portugais (1)  Allemand (1)  Toutes les langues (132)
4 sur 4
Ce livre sur la fin d'un monde, qui en fait l'éloge par son long phrasé, par ses saillies définitives, assainées de haut n'aurait pas du m'intéresser. Et pourtant, derrière cette aristocratie passéiste et un peu rance, le livre est habité par la mort, le temps qui passe, l'ennui et la vacuité du monde, tout en faisant surnager finalement, de tout cela des moments fugaces et les fragilités des hommes. Plus que la description d'un monde, j'en retiens surtout sa dissolution, sa détestation... et donc, sa sublimation. Et le temps comme un ogre qui à jamais nous dépasse. ( )
  hubertguillaud | Mar 19, 2017 |
Ce ne sera bientôt plus un secret pour personne. J'ai un petit faible pour les littératures latines. Le Guépard, lu au bord d'une rivière un été, fut un véritable choc pour moi.
Depuis je n'ai jamais osé le relire et encore moins en voir l'adaptation! ( )
  Marchand-de-sel | Oct 15, 2009 |
Ce livre, dont la trame est bien connue depuis les multi-rediffusions du film de Visconti, a l'étrange pouvoir de créer des obsessions. J'ai rencontré une personne,en Sicile, qui avait déménagé pour vivre auprès de l'une des villas du Prince, à Palerme, et qui affirmait avoir rencontré le dernier de ses descendants. Elle parlait de l'auteur, bien entendu. Tout un monde de luxe baroque, disparu depuis dans la modernité et la spéculation immobilière sur les villas palermitaines.
  briconcella | Mar 12, 2007 |
4 sur 4
What makes The Leopard an immortal book is that it kisses perfection full on the mouth. Its major theme – the workings of mortality – is explored with an intelligence and poignancy rarely equalled and never, to my knowledge, surpassed.
 
It is not a historical novel. It is a novel which happens to take place in history. Only once does a historical character intrude - King Bomba - and he is rapidly reduced to domestic proportions... I first read this noble book in Italian, but my knowledge of the language is too slight to enable me to judge Mr Archibald Colquhoun’s translation. It does not flow and glow like the original — how should it? — but it is sensitive and scholarly.
ajouté par SnootyBaronet | modifierThe Spectator, E Forster
 
Il Gattopardo is not like a nineteenth-century novel. It goes by much more quickly than the film and is told with an ironic tone that in the film is entirely lacking. Lampedusa’s writing is full of witty phrase and color. It belongs to the end of the century of Huysmans and D’Annunzio, both of whom, although their subjects are so different from one another, it manages to suggest at moments. There are also little patches of Proust. The rich pasta served at the family dinner and the festive refreshments at the ball are described with a splendor of language which is rarely expended on food but which is in keeping with all the rest of Lampedusa’s half-nostalgic, half-humorous picture of a declining but still feudal princely family in Sicily in the sixties of the last century.
ajouté par SnootyBaronet | modifierThe New Yorker, Edmund Wilson
 
While you are reading The Leopard, and particularly while you are rereading it, you are likely to feel that it is one of the greatest novels ever written. If this sense fades as you move away from the book, it is only because one's memory cannot fully retain the pungent artfulness of Lampedusa's brilliant sentences. The Leopard is a true novel: It has a fully formed central character, a narrative thrust that keeps you reading, even a historical grounding in the events surrounding Garibaldi's landing in Sicily and the creation of modern Italy. But unless you treat it essentially as a poem—unless you memorize its sentences as if they were lines by Keats, Hopkins, or Eliot (all of them, incidentally, poets whom Lampedusa adored)—the novel's power will dissipate with eerie rapidity the minute you finish reading. It is as ephemeral as the state of mind it chronicles, which is, in turn, part of a vanishing civilization, and no amount of nostalgic remembrance or effortful evocation will do it justice...

When Bassani contacted the widowed Principessa of Lampedusa to see if there were any more bits of the novel available, she offered him only the chapter about a ball. ("A ball is always a good thing," Bassani agreed—and how would Visconti ever have made his movie without it?) It was not until Bassani's subsequent visit to Palermo, made specifically to ferret out any other missing pieces, that he obtained from Lanza Tomasi the full manuscript, including the chapter about the priest. Licy never did feel happy about the publication of that chapter: Apparently, Lampedusa had expressed last-minute doubts about it. But it is impossible to imagine the finished book without it, and one is grateful to Bassani for his vigorous intervention. Like so much else in the history of this novel, this story seems to demonstrate that only a nearly random process could have yielded such perfection as its endpoint.
ajouté par SnootyBaronet | modifierBookforum, Wendy Lesser
 

» Ajouter d'autres auteur(e)s (36 possibles)

Nom de l'auteur(e)RôleType d'auteurŒuvre ?Statut
Tomasi di Lampedusa, Giuseppeauteur(e) principal(e)toutes les éditionsconfirmé
Aas, NilsIllustrateurauteur secondairequelques éditionsconfirmé
Alexanderson, EvaTraducteurauteur secondairequelques éditionsconfirmé
Barreiros, José ColaçoTraducteurauteur secondairequelques éditionsconfirmé
Birnbaum, CharlotteTraducteurauteur secondairequelques éditionsconfirmé
Codignoto, LeonardoTraducteurauteur secondairequelques éditionsconfirmé
Colquhoun, ArchibaldTraducteurauteur secondairequelques éditionsconfirmé
Gutiérrez, FernandoTraducteurauteur secondairequelques éditionsconfirmé
Holder, JohnIllustrateurauteur secondairequelques éditionsconfirmé
Meli, RodolfoArtiste de la couvertureauteur secondairequelques éditionsconfirmé
Norum, Anna MargretheTraducteurauteur secondairequelques éditionsconfirmé
Romein-Hütschler, J.C.Traducteurauteur secondairequelques éditionsconfirmé
Trevelyan, RaleighIntroductionauteur secondairequelques éditionsconfirmé
Tuulio, TyyniTraducteurauteur secondairequelques éditionsconfirmé
Wis, RobertoIntroductionauteur secondairequelques éditionsconfirmé
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Pour plus d'aide, voir la page Aide sur le Partage des connaissances [en anglais].
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Nunc et in hora mortis nostrae.
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Attribuire ad altri la propria infelicità è l'ultimo ingannevole filtro dei disperati.
He was sitting on a bench, inertly watching the devastation wrought by Bendicò in the flower beds; every now and again the dog would turn innocent eyes toward him as if asking for praise at labor done: fourteen carnations broken off, half a hedge torn apart, an irrigation canal blocked. How human! "Good! Bendicò, come here." And the animal hurried up and put its earthy nostrils into his hand, anxious to show that it had forgiven this silly interruption of a fine job of work.
The Prince was too experienced to offer Sicilian guests, in a town of the interior, a dinner beginning with soup, and he infringed the rules of haute cuisine all the more readily as he disliked it himself.
He began looking at a picture opposite him, a good copy of Greuze’s Death of the Just Man; the old man was expiring on his bed, amid welters of clean linen, surrounded by afflicted grandsons and granddaughters raising arms toward the ceiling. The girls were pretty, provoking, and the disorder of their clothes suggested sex more than sorrow; they, it was obvious at once, were the real subject of the picture.
Many problems that had seemed insoluble to the Prince were resolved in a trice by Don Calogero; free as he was from the shackles imposed on many other men by honesty, decency, and plain good manners, he moved through the jungle of life with the confidence of an elephant which advances in a straight line, rooting up trees and trampling down lairs, without even noticing scratches of thorns and moans from the crushed.
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Isbn 8820114313 contains only Il gattopardo; the reference to La strega e il capitano comes from an Amazon's error.
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A classic of modern fiction. Set in the 1860s, THE LEOPARD is the spellbinding story of a decadent, dying Sicilian aristocracy threatened by the approaching forces of democracy and revolution.

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