Against Nature: A New Translation of 'a Rebours' (Penguin Classics)

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Il personaggio è uno solo e À rebours si configura come la storia di una nevrosi, il diario della malattia di un essere umano disgustato dal mondo. And so, of course, we see that they are just as dominated and defined by the culture as the ‘sheep’ they so assiduously mock. The iconoclast doesn’t look left and right to see what everyone else is doing before they act, because their actions aren’t defined by conforming to or rejecting what others do. A Rebour is indeed the poisonous/liberating guide book that Dorian Gray has bound in various colours to suit his moods; the book that Symons described as “the breviary of the decadence.

Reception and influence [ edit ] Title page of the 1926 first complete English translation with the caption "the book that Dorian Gray loved and that inspired Oscar Wilde". It resembles more the philosophical treatise/fictionalized autobiography of Confessions of an English Opium Eater, Sartor Resartus, or Marius the Epicurean. Paris’den ve Paris yaşamından kaçtıkça sığınağı çok da adlandıramadığı din ve din refaranslı eserlerden bulmaya başlar, Salome’a ilgisi kösnül bel kıvırmalarının felaketleriyle ilgilidir. Huysmans' work expresses a disgust with modern life and a deep pessimism, which led the author first to the philosophy of Arthur Schopenhauer then to the teachings of the Catholic Church. It occurred to me that this tension within the meaning of the title itself is a good indication of the contents of the novel.

His next works were similar: sombre, realistic and filled with detailed evocations of Paris, a city Huysmans knew intimately.

Konu, içerik ve biçem daha önce hiç işlenmemiş bir şekil almış ve geleneğin kalıpları tahribata uğratılmıştır. sur l’art (1867-1905) Archived 2008-11-14 at the Wayback Machine, edited and introduced by Patrice Locmant, Paris, Éditions Bartillat, 2006. Instead of taking the Disney approach of embedding a clear takeaway moral message, the novel's aim is to have the reader make decisions on how to travel through life and in that sense it is the paragon of letting the reader take away whatever usefulness can be derived, even if this means rejecting the novel. Huymans views his protagonist with devastating irony, particularly in the frequent juxtaposition of grandiose schemes with physical illnesses and practical and psychological failings.This often kills the iconoclast, or drives him mad, or makes him bitter and misanthropic--sometimes all of the above. After feasting on an excessive orgy of oysters, smoked salmon, quail eggs, marinated lobster, rare partridge breast, honey glazed pig trotters and spiced wine, which I followed with a double desert consisting of apple strudel with clotted cream and then chocolate pudding filled with a rich orange sauce, I took to the sofa in front of the open log fire whilst stretching my feet out on the Persian rug, keeping my fine Turkish cigarettes and bottle of plum brandy close at hand, I finished reading 'À rebours' (Against Nature).

Les Églises de Paris Archived 2006-12-06 at the Wayback Machine, edited and introduced by Patrice Locmant, Paris, Éditions de Paris, 2005. We are also provided exquisite detail of, among other luxurious, lavish, plush, extravagant belongings, his vast library of rare books, ancient and modern, and his marvelous collection of paintings and prints.Had Huysmans simply woken up, he woulda seen his habits in fact are very much in agreement With, and not Against Human Nature! The specific problem is: "Section is mainly a list of quotations with no unifying formatting, making the sources unclear for some of the material. His first major publication was a collection of prose poems, Le drageoir aux épices (1874), which were strongly influenced by Baudelaire. It very much resembles Chapter 11 in Dorian, with its trailing descriptions of things and ideas and art).