Flaubert in Egypt: A Sensibility on Tour (Anglais) Broché – 1 mars 1996
Rentrée scolaire 2017 : découvrez notre boutique de livres, fournitures, cartables, ordinateurs, vêtements ... Voir plus.
- Choisissez parmi 17 000 points de collecte en France
- Les membres du programme Amazon Prime bénéficient de livraison gratuites illimitées
- Trouvez votre point de collecte et ajoutez-le à votre carnet d’adresses
- Sélectionnez cette adresse lors de votre commande
Les clients ayant acheté cet article ont également acheté
Description du produit
Présentation de l'éditeur
Biographie de l'auteur
Aucun appareil Kindle n'est requis. Téléchargez l'une des applis Kindle gratuites et commencez à lire les livres Kindle sur votre smartphone, tablette ou ordinateur.
Pour obtenir l'appli gratuite, saisissez votre numéro de téléphone mobile.
Détails sur le produit
Si vous vendez ce produit, souhaitez-vous suggérer des mises à jour par l'intermédiaire du support vendeur ?
Commentaires client les plus utiles sur Amazon.com
FLAUBERT IN EGYPT actually is a composite, assembled from several sources: Flaubert's own travel notes, in their original version and as later re-written by Flaubert (but never published); letters Flaubert sent from Egypt to his beloved mother and to his good friend Louis Bouilhet; and the papers and several publications of Du Camp. Francis Steegmuller has done a brilliant job of selecting, inter-weaving, and translating these various extracts, and then interpolating them with helpful and non-intrusive notes and commentary, so that the result is a very coherent and eminently readable travelogue.
True to its title, the book reveals as much about Gustave Flaubert as it does about Egypt, and to me they are equally engrossing and fascinating. Egypt of 1850 was an extraordinary and exotic place, and Gustave Flaubert was an extraordinary sojourner, highly receptive to the exotica of Egypt. His writing, as translated and edited by Steegmuller, is more literary, readable, and entertaining than that of Sir Richard Francis Burton, who began his famous travels and accounts a few years later, in the 1850s.
FLAUBERT IN EGYPT abounds with the odd, the colorful, the curious, and the grotesque. One example: Flaubert and Du Camp spent five hours perched on a wall watching the ceremony of the Doseh, whereby a sheik (priest) rides his horse over the bodies of more than 200 men, lying on the ground and arranged and pressed together in a row like sardines. According to legend, in so doing the sheik cannot hurt any of the men; if they die, "it is due to their sins." Another: Sailing up the Nile, they passed a Coptic monastery, from which dozens of monks, totally naked, spilled into the river and swam towards their boat shouting "Baksheesh, baksheesh", while the crew of the boat tried to beat them off. Elsewhere, Flaubert writes that baksheesh and the cudgel "are the essence of the Arab." The essence, or symbol, of Egypt turns out to be bird[poop]. Actually, Flaubert, as translated, uses a more vulgar term: "Bird[poop] is Nature's protest in Egypt; she decorates monuments with it instead of with lichen or moss."
As the above suggests, the strait-laced and the politically-correct of today may find offense in some passages of FLAUBERT IN EGYPT. There is much that is vulgar, and a few of Flaubert's observations would quickly be condemned by some as racist. He also described, and participated in, rather exotic venery. Of one night with an "almeh" (dancer/whore), during which he counted "coup" five times, he wrote: "How flattering it would be to one's pride if at the moment of leaving you were sure that you left a memory behind, that she would think of you more than of the others who have been there, that you would remain in her heart!" Be that as it may, Flaubert himself left Egypt with a venereal problem for which he received mercury treatments for the rest of his life.
Steegmuller gently pushes the notion that the expedition and the travel notes Flaubert maintained during it marked an important transition in his writing and aesthetic perspective from romanticism to realism. Along those lines, one of the excerpts from Du Camp's writings tells about Flaubert, on the summit of Gebel Abusir overlooking the Second Cataract of the Nile, suddenly crying out, "I have found it! Eureka! Eureka! I will call her Emma Bovary!"
I think the relatively few sexual episodes get, if understandably for their candor, too much of the attention here compared to the bulk of this slender book, which is given over to the sights. There's amidst the itinerary and dutifully recorded letters to his mother many marvelous descriptions. Not all were addressed to his mother! You get the sense of the languid pace of a brothel, an early visitor's curious wanderings among the colossal statues of Luxor or Thebes, the sun rising over the graffitied Pyramids, his first sight of the Sphinx-- Steegmuller's notes remind us how magical this would have been before the ubiquitous photographs-- and the decaying splendors of Karnak.
Here's a sample of the prose about this last attraction. "The first impression of Karnak is of a land of giants. The stone grilles still existing in the windows give the scale of these formidable beings. As you walk among the forest of tall columns you ask yourself whether men weren't served up whole on skewers, like larks. In the first courtyard, after the two great pylons as you come from the Nile, there is a fallen column all of whose segments are in order, despite the crash, exactly as would a fallen pile of checkers. We return via the avenue of sphinxes: not one has his head-- all decapitated. White vultures with yellow bills are flying around a mound, around a carcass; to the right three have alighted and calmly watch us pass. An Arab trots swiftly on his dromedary." (169)
Out of such awesome silence, Flaubert also gained inspiration for "Madame Bovary," unlikely as it may seem. He also learned early about the fickleness of women, no matter where they might live, in his closing comments to Louise Colet about an "almeh," a lady of the night who often entertained him, Kuchuk: "You and I are thinking of her, but she is certainly not thinking of us. We are weaving an aesthetic around her, whereas this particular very interesting tourist who was vouchsafed the honours of her couch has vanished from her memory completely, like many others. Ah! Traveling makes one modest-- you see what a tiny place you occupy in the world." (220)
These remarks remind us that Flaubert cannot be seen as a mere pawn of mid 19-c imperial strategems. He took advantage of his position, but he also realizes his complicity and the whole game that he by his privilege is able to indulge himself in as long as he pays the price. Another will always be found to accept his payment and render services accordingly, Those who denigrate Flaubert's typically frank account for its coolly documented exchanges might well contemplate how we today are enmeshed in a far greater contest, that began in such initial encounters, a century and a half before the vogue of globalization.
Rechercher des articles similaires par rubrique
- Livres anglais et étrangers > Biographies & Memoirs > Arts & Literature > Authors
- Livres anglais et étrangers > Boutiques > Chercher au Coeur! > Livres en anglais
- Livres anglais et étrangers > History > Middle East > Egypt
- Livres anglais et étrangers > History > World > 19th Century
- Livres anglais et étrangers > Travel > Middle East
- Livres anglais et étrangers > Travel > Reference & Tips > Essays & Travelogues