By Gérard de Nerval

Édition enrichie (Introduction, notes, chronologie et bibliographie)

Une dame que j'avais aimée longtemps et que j'appellerai du nom d'Aurélia, était perdue pour moi. Peu importent les circonstances de cet événement qui devait avoir une si grande impact sur ma vie. Chacun peut chercher dans ses souvenirs l'émotion l. a. plus navrante, le coup le plus bad frappé sur l'âme par le destin ; il faut alors se résoudre à mourir ou à vivre : - je dirai plus tard pourquoi je n'ai pas choisi los angeles mort. " A los angeles différence du narrateur, Nerval choisit los angeles mort un jour de janvier 1855, laissant Aurélia inachevé. Le récit, qui ne dissocie pas le rêve et l. a. vie mais au contraire les réunit - c'est son sous-titre -, affirme los angeles quête de l'unité perdue par un Je qui raconte et commente travel à travel l'expérience qu'il entend dépasser dans une harmonie retrouvée.

Présentation et notes par Michel Brix.

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He felt sorry for him. His wife came up to him. He glanced at her. She was gazing at him with a look of despair on her face, her mouth open, unwiped tears on her nose and cheeks. He felt sorry for her. . And suddenly it was clear to him that what had been exhausting him and would not leave him was suddenly leaving him, falling away on two sides and ten sides and all sides. 3 Soon after the completion of “The Death of Ivan Ilyich,” Tolstoy reflected yet again on his trip to the distant Penza province in search of cheap land, the trip that brought him to unforgettable Arzamas.

The pursuit of more and better land drives him on, beyond the Volga, and finally to the land of the Bashkirs. They offer him a bizarre bargain—they will sell him as much virgin soil as he can encompass on foot in a day. If he fails to return to his starting point before sunset, he loses his money and the land. Inevitably, acquisitiveness undoes him. The grassland here is so lush. The hollow there is just right for flax. He runs faster and faster to ring his territory. As the sun drops below the horizon, his last, desperate spurt up the hill where he started kills him.

From tomorrow I want to spend my days in such a way that it will be pleasant to recall them. I’ll put my papers in order . . ’ . ” Did Dmitri’s deliberate denial, his blind refusal, become “The Snowstorm’s” insouciance in the face of death? Is that insouciance therefore ironic—carrying its own charge of covert criticism? Should we rather look death directly in the face? A year later, in Paris in March 1857, the tourist Tolstoy took in the sights and touched on the same bruised spot: Got up at 7 feeling ill and went to see an execution.

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Aurélia by Gérard de Nerval


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