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Chargement... Trois poètes de leur viepar Stefan Zweig
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Casanova, Stendhal, Tolstoy: Adepts in Self-Portraiture, the final volume of Stefan Zweig's masterful Master Builders of the Spirittrilogy, discloses the smaller version of a writer's own ego. Unconscious though it is, no reality is as important to the writer as the reality of their own life. Giacomo Casanova, Stendhal (Marie-Henri Beyle), and Leo Tolstoy have different approaches to self-portraiture, but Zweig shows that together they symbolize three levels which represent successively ascending gradations of the same creative function. Casanova is depicted as having a primitive gradation; he simply records deeds and happenings, without any attempt to appraise them or to study the deeper working of the self. Stendhal's self-portraiture is depicted as psychological; he observes himself and investigates his own feelings. Tolstoy has the highest level; he describes his own life, records what led him to his own actions, and focuses on self-reflection in a completely unexaggerated manner. At first glance it might seem as if self-portraiture is an artist's easiest task. With no further trouble than a probing of memory and a description of the facts of life, "the truth" is revealed. The history of literature shows that ordinary autobiographers are no more than commonplace witnesses testifying to facts that chance has brought to their knowledge. A practiced artist is needed to discern the innermost happenings of the soul; few who have attempted autobiography have been successful in this difficult task. The present volume expounds the characteristics of these subjectively minded artists, and of autobiography as their typical method of personal expression. lf-reflection in a completely unexaggerated manner. At first glance it might seem as if self-portraiture is an artist's easiest task. With no further trouble than a probing of memory and a description of the facts of life, "the truth" is revealed. The history of literature shows that ordinary autobiographers are no more than commonplace witnesses testifying to facts that chance has brought to their knowledge. A practiced artist is needed to discern the innermost happenings of the soul; few who have attempted autobiography have been successful in this difficult task. The present volume expounds the characteristics of these subjectively minded artists, and of autobiography as their typical method of personal expression. Aucune description trouvée dans une bibliothèque |
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Google Books — Chargement... GenresClassification décimale de Melvil (CDD)809.93592Literature By Topic History, description and criticism of more than two literatures By topic Other aspects Biography As LiteratureClassification de la Bibliothèque du CongrèsÉvaluationMoyenne:
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Ce qui intéresse Zweig chez Henri Beyle, aka Stendhal, c'est sa capacité au mensonge. Rien de ce qu'il ne dit n'est vrai, et comme il le remarque lui même dans les premières pages, une lettre envoyée dit-on de Besançon a certainement été écrite ailleurs, et que la date, l'heure, l'année et la signature en sont toute aussi fausse. Stendhal est un menteur, cache sa vie derrière mille voiles, sans doute parce qu'elle le décevait profondément. Ni Don Juan, ni soldat napoléonien valeureux, ni diplomate reconnu, Stendhal n'a cherché qu'une seule chose, le plaisir et il l'a rarement trouvé, du moins chez les femmes. Son seul bonheur, remarque Zweig, a été dans scrutation éperdue de son être, dans l'analyse des moindres mouvements de son coeur, dans l'éloge du ressenti. Et en cela, Stendhal a été le plus honnête des hommes "il fait librement, et avec un respect scrupuleux de la vérité toutes sortes d'aveux que les plus cruels supplices n'arrachent pas d'ordinaire à la pudeur.". Stendhal, écartelé dans un sentimentalisme que Zweig voit hérité de sa mère, et une rigueur scientifique qui lui viendrait de son père, chérit l'un et l'autre et se plait à marcher sur l'étroitesse qui les sépare.