Cristina Benito từ Saint-Rémy-aux-Bois, France



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Cristina Benito Đánh giá sách (10)

2019-04-12 22:30

Hướng Dẫn Chăn Nuôi Gà Lương Phượng Hoa Trực tuyến Người đọc

Sách được viết bởi Tác giả:

Having come to Les Miserables with only a North American osmosis-knowledge of the musical, memories of the 1998 film, and a lifetime of sermons referencing the encounter between Jean Valjean, the Bishop and the candlesticks, I am surprised by what I actually found here. Maybe it was all the times I've seen high-schoolers perform "Do You Hear the People SIng?", but somehow I got it in my brain that this was about the French Revolution. Maybe I conflated it with" A Tale of Two Cities" (wouldn't be hard to do). But instead, we find ourselves in 1830 for the most part, dealing with a France recovering or revolting from the post-Napoleonic return to monarchy. While I know a lot about what was happening in England from 1790-1840, French history of this period is pretty much a blank for me. As a result, every time Hugo spent a couple chapters recreating the battle of Waterloo blow for blow or profiling specific royalist publications vs republican barroom conversations, I couldn't help but feel a bit lost/bored. Because here's the charming/enervating thing about Hugo's writing. You notice early on that every time a new character is introduced or even a new building entered, you are regaled with 40 pages detailing the history of everything leading up to the moment at hand, or sometimes ending twenty years in the past, with connections to the present only to be made 700 pages later. At first, especially when pertaining to the Bishop and his sister, these pastoral expansions of narrative-background help the reader gain a wide sense of the world inhabited by the characters. But by page 1030 when Hugo decides to spend 6 chapter sections on the history of Parisian sewers and how France would flourish financially if it used human waste to fertilize farmlands, you can't blame yourself if you decide to skim a bit. Ultimately, any adaptation of Les Miserables is plot-focused: Jean Valjean's journey of atonement/rehabilitation or the love story between Cosette and Marius. But when you read the novel, it's pretty clear that plot was just a means for Hugo to ruminate on a changing France and the forces which altered her. The book is far more history text than novel. Further, Hugo appears a bit cagey in how he's actually portraying his protagonists. It's often difficult to discern when he's praising their actions or mocking their self-delusions. Most surprising was the narration of the riots and barricade. Unlike the stouthearted portrayals on film and stage, these scenes from Hugo most often read sardonically and mockingly. He seems to treat all the characters with a fair bit of irony and often patronizes their noble intentions and celebrates their ineffectualness. This is not the anthemic battle cry of a Broadway show; it's a deliberation on mankind's folly and the ever-eroding nature of time. Hugo's ostensibly playful, ironic style also comes through rather delightfully in his obtuse chapter names, such as: "V. It's Not Enough To Be A Drunk To Be Immortal," "XVI. Where You Will Find The Words Of An English Tune Fashionable In 1832," or "IV. Mademoiselle Gillenormand Winds Up Deciding It Is Not Such A Bad Thing That Monsieur Fauchelevent Came With Something Under His Arm." Previously, I've never understood how people are willing to read an abridged version of a book. With Les Miserables, it makes sense. But then again, that leaves readers with the impression that Hugo only wrote a dramatic plot about identity and escape. If you're going to tackle this epic, might as well read the one Hugo wanted you to know. Like Moby Dick, though, don't beat yourself up if you skip 10 pages here and there.

Người đọc Cristina Benito từ Saint-Rémy-aux-Bois, France

Danh sách sách miễn phí Cristina Benito được coi là lý tưởng để đọc trong năm 2017-2018, ban biên tập của cổng thông tin "Trực tuyến Người đọc" mạnh mẽ đề nghị xem chúng.