The Temptation of St. Anthony E-Book

Gustave Flaubert

• Herausgeber: Gustave Flaubert
• Kategorie: Religion und Spiritualität
• Sprache: Englisch
• Veröffentlichungsjahr: 2016

Beschreibung

Flaubert's studies for the "Temptation" were tremendous. For nearly thirty years he touched and retouched, altered, enlarged, condensed. He kneaded into its substance the knowledge, incessantly sought, of all religions and philosophies; of all the forms man's speculations had taken in his endless endeavours to explain to himself Life and Fate; humanity's untiring, passionate effort to find the meaning of its mysterious origin and purpose, and final destiny. How terrible, how naive, how fantastic, bloody, grovelling, and outrageous were most of the solutions accepted, the gigantic panorama of the book startlingly sets forth. What gory agonies, what mystic exaltations, what dark cruelties, frenzied abandons, and inhuman self denials have marked those puzzled gropings for light and truth are revealed as by lightning flashes in the crowding scenes of the epic. For The Temptation of St. Anthony is an epic. Not a drama of man's actions, as all previous epics have been, but a drama of the soul. All its movement is in the adventure and conflict of the spirit. St. Anthony remains always in the one place, almost as moveless as a mirror.

Leseprobe

Gustave Flaubert

The Temptation of St. Anthony

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Table of contents

INTRODUCTION

I

II

III

IV

V.

VI

VII

FINIS

INTRODUCTION

It was at some period between 1875 and 1876 that Lafcadio Hearn—still a "cub" reporter on a daily paper in Cincinnati—began his translation of Flaubert's "Temptation of St. Anthony." The definitive edition of the work, over which the author had laboured for thirty years, had appeared in 1874.Hearn was, in his early youth, singularly indifferent to the work of the Englishmen of the Victorian period. Though he knew the English masterpieces of that epoch, their large, unacademic freedom of manner awakened no echoes in his spirit. His instinctive taste was for the exquisite in style: for "that peculiar kneading, heightening, and recasting" which Matthew Arnold thought necessary for perfection. Neither did the matter, more than the manner of the Victorians appeal to him. The circumstances of his life had at so many points set him out of touch with his fellows that the affectionate mockery of Thackeray's pictures of English society were alien to his interest. The laughing heartiness of Dickens' studies of the man in the street hardly touched him. Browning's poignant analyses of souls were too rudely robust of manner to move him. Before essaying journalism Hearn had served for a while as an assistant in the Public Library, and there he had found and fallen under the spell, of the great Frenchman of the Romantic School of the '30's—that period of rich flowering of the Gallic genius. Gautier's tales of ancient weirdnesses fired his imagination. The penetrating subtleties of his verse woke in the boy the felicitous emotions which the virtuoso knows in handling cameos and enamellings by hands which have long been dust. So, also, Hugo's revivals of the passions and terrors of the mediæval world stirred the young librarian's eager interest. But most of all his spirit leapt to meet the tremendous drama of the "Temptation." He comprehended at once its large significance, its great import, and in his enthusiastic recognition of its value and meaning he set at once about giving it a language understood of the people of his own tongue.