Sentimental Education; Or, The History of a Young Man. Volume 1

Оглавление

Gustave Flaubert. Sentimental Education; Or, The History of a Young Man. Volume 1

CHAPTER I. A Promising Pupil

CHAPTER II. Damon and Pythias

CHAPTER III. Sentiment and Passion

CHAPTER IV. The Inexpressible She!

CHAPTER V "Love Knoweth No Laws."

CHAPTER VI. Blighted Hopes

CHAPTER VII. A Change of Fortune

CHAPTER VIII. Frederick Entertains

CHAPTER IX. The Friend of the Family

CHAPTER X. At the Races

Отрывок из книги

Charles Deslauriers' father, an ex-captain in the line, who had left the service in 1818, had come back to Nogent, where he had married, and with the amount of the dowry bought up the business of a process-server,1 which brought him barely enough to maintain him. Embittered by a long course of unjust treatment, suffering still from the effects of old wounds, and always regretting the Emperor, he vented on those around him the fits of rage that seemed to choke him. Few children received so many whackings as his son. In spite of blows, however, the brat did not yield. His mother, when she tried to interpose, was also ill-treated. Finally, the captain planted the boy in his office, and all the day long kept him bent over his desk copying documents, with the result that his right shoulder was noticeably higher than his left.

In 1833, on the invitation of the president, the captain sold his office. His wife died of cancer. He then went to live at Dijon. After that he started in business at Troyes, where he was connected with the slave trade; and, having obtained a small scholarship for Charles, placed him at the college of Sens, where Frederick came across him. But one of the pair was twelve years old, while the other was fifteen; besides, a thousand differences of character and origin tended to keep them apart.

.....

On entering his studio one's attention was directed towards two large pictures, in which the first tones of colour laid on here and there made on the white canvas spots of brown, red, and blue. A network of lines in chalk stretched overhead, like stitches of thread repeated twenty times; it was impossible to understand what it meant. Pellerin explained the subject of these two compositions by pointing out with his thumb the portions that were lacking. The first was intended to represent "The Madness of Nebuchadnezzar," and the second "The Burning of Rome by Nero." Frederick admired them.

He admired academies of women with dishevelled hair, landscapes in which trunks of trees, twisted by the storm, abounded, and above all freaks of the pen, imitations from memory of Callot, Rembrandt, or Goya, of which he did not know the models. Pellerin no longer set any value on these works of his youth. He was now all in favour of the grand style; he dogmatised eloquently about Phidias and Winckelmann. The objects around him strengthened the force of his language; one saw a death's head on a prie-dieu, yataghans, a monk's habit. Frederick put it on.

.....