préface de cromwell pdf

Besides, it is this very study, fostered by an ardent inspiration, which will ensure the drama against a vice that kills it—the commonplace. It will bring Romeo face to face with the apothecary, Macbeth with the witches, Hamlet with the grave-diggers. These great catastrophes were also great spectacles, impressive cataclysms. An edition of La Préface de Cromwell (1900) La Préface de Cromwell introduction, texte et notes 17e éd. Hier führt Hugo nun den Begriff der littérature romantique ein, denn hierin sieht er den Hauptunterschied zur littérature classique. La préface de Cromwell: (introduction, texte et notes). Nothing could be more material, indeed, than the ancient theogony. This religion is complete, because it is true; between its dogma and its cult, it embraces a deep-rooted moral. it had been writtern really properly and beneficial. ​What could nature and the true lose, then, by entering into verse? Thus we see melancholy and meditation, the demons of analysis and controversy, appear at the same moment, and, as it were, hand-in-hand. Che sara, sara. It fastens upon religion a thousand original superstitions, upon poetry a thousand picturesque fancies. This muse, as may be imagined, is of a rare prudery. Victor Hugo Télécharger Préface de Cromwell Livre PDF Français Online . Auflage. https://en.wikisource.org/w/index.php?title=Preface_to_Cromwell&oldid=6252870, Creative Commons Attribution-ShareAlike License. It is a grand and beautiful sight to see this broad development of a drama wherein art powerfully seconds nature; of a drama wherein the plot moves on to the conclusion with a firm and unembarrassed step, without diffuseness and without undue compression; of a drama, in short, wherein the poet abundantly fulfills the multifold object of art, which is to open to the spectator a double prospect, to illuminate at the same time the interior and the exterior of mankind: the exterior by their speech and their acts, the interior, by asides and monologues; to bring together, in a word, in the same picture, the drama of life and the drama of conscience. It would be very convenient for him, no doubt, and very clever, to ​rest his book on his preface, and to defend each by the other. Art was in its infancy in the time of Æschylus, as it was in London in Shakespeare's time.". The Middle Ages were grafted on the Lower Empire. Der Mensch wird seßhaft, Siedlungen entstehen, Paläste, Tempel und Königreiche. He prefers less cleverness and more frankness. People will consent to place themselves at the author's standpoint, to view the subject with his eyes, in order to judge a work intelligently. Elle sentira que tout dans la création n´est pas humainement beau, que le laid y existe à coté du beau, le difforme près du gracieux, le grotesque au revers du sublime, le mal avec le bien, l´ombre avec la lumière." That is false. Let us then speak boldly. Like the Hebrew giant they carry their prison doors with them to the mountains. Instead of scenes we have narrative; instead of tableaux, descriptions. Homer, in truth, dominates the society of ancient times. They need not, however, thank him for it. The Chorus annotates the tragedy, encourages the heroes, gives descriptions, summons and expels the daylight, rejoices, laments, sometimes furnishes the scenery, explains the moral bearing of the subject, flatters the listening assemblage. Its characters are still heroes, demigods, gods; its themes are visions, oracles, fatality; its scenes are battles, funeral rites, catalogues. One will discover on reading it how little thought he gave to his work while writing this preface—with what disinterestedness, for instance, he contended against the dogma of the unities. The fact is, then, that the grotesque is one of the supreme beauties of the drama. Its this kind of great go through. The former type, delivered of all impure alloy, has as its attributes all the charms, all the graces, all the beauties; it must be able some day to create Juliet, Desdemona, Ophelia. Certain it is that the Greek Eumenides are much less horrible, and consequently less true, than the witches in Macbeth. The author has soon come to the end of what he had to say to the reader. Used. In his work the verse surrounds the idea, becomes of its very essence, compresses and develops it at once, imparts to it a more slender, more definite, more complete form, and gives us, in some sort, an extract thereof. Eine Vorstellung des romantischen Dramas und exemplarisch ausgewählte Schriften von Victor Hugos Wegbereitern führen zu Inhalt und Aufbau des berühmten Pamphlets. ​More especially it imposes its characteristic qualities upon that wonderful architecture which, in the Middle Ages, takes the place of all the arts. The human intellect is always on the march, or, if you prefer, in movement, and languages with it. Our era being above all else dramatic, is for that very reason eminently lyric. It will realize that everything in creation is not humanly beautiful, that the ugly exists beside the beautiful, the unshapely beside the graceful, the grotesque on the reverse of the sublime, evil with good, darkness with light. Prface De Cromwell Texte Intgral Ptes Rendus. Sie ist, wie der Name schon sagt, das Vorwort zu dem Drama "Cromwell". He is still so close to God that all his meditations are ecstatic, all his dreams are visions. Thus Shakespeare's unity must be different from Corneille's. Is the satellite which travels unceasingly in the same circle equal to the central creative planet? This is a question which no contemporaneous document answers satisfactorily. Just as it represented Thespis, smeared with wine-lees, leaping in her tomb, it dances with the Basoche on the famous marble table which served at the same time as a stage for the popular farces and for the royal banquets. It will be seen that here the latitude is ample and unique; this is, in truth, the decisive hour, the turning-point in Cromwell's life. You are bound to do it, both for your own private renown; and for that of our people in general, who are concerned in this matter; inasmuch as foreigners who may see this precious masterpiece—they who have possessed a Tasso or a Guarini—might think that our greatest masters were no more than apprentices.". What is the barrow of Thespis beside the Olympian chariots? "—Not so. Sometimes it appears in homogeneous masses, in entire characters, as Daudin, Prusias, Trissotin, Brid'oison, Juliet's nurse; sometimes impregnated with terror, as Richard III, Bégears, Tartuffe, Mephistopheles; sometimes, too, with a veil of grace and refinement, as Figaro, Osric, Mercutio, Don Juan. Alas! Originality is made up of such things. At last he makes up his mind, suddenly; by his command Westminster is decked with flags, the daïs is built, the crown is ordered from the jewelers, the day is appointed for the ceremony.—Strange dénouement! And it would be true also to say that contact with the abnormal has imparted to the modern sublime a something purer, grander, more sublime, in short, than the beautiful of the ancients; and that is as it should be. a talent that had not some shadow with its brilliancy, some smoke with its flame? It is simply a form, and a form which should admit everything, which has no laws to impose on the drama, but on the contrary should receive everything from it, to be transmitted to the spectator—French, Latin, texts of laws, royal oaths, popular phrases, comedy, tragedy, laughter, tears, prose and poetry. By these two specimens you will see that the author of this drama might, as well as another, have shielded himself with proper names and taken refuge behind others' reputations. Not a mere superficial correctness, the merit or defect of the descriptive school, which makes Lhomond and Restaut the two wings of its Pegasus; but that intimate, deep-rooted, deliberate correctness, which is permeated with ​the genius of a language, which has sounded its roots and searched its etymology; always unfettered, because it is sure of its footing, and always more in harmony with the logic of the language. Here we cannot help but admire the way in which Scudéri, the bully of this tragic-comedy, forced to the wall, blackguards and maltreats him, how pitilessly he unmasks his classical artillery, how he shows the author of Le Cid "what the episodes should be, according to Aristotle, who tells us in the tenth and sixteenth chapters of his Poetics"; how he crushes Corneille, in the name of the same Aristotle "in the eleventh chapter of his Art of Poetry, wherein we find the condemnation of Le Cid"; in the name of Plato, "in the tenth book of his Republic"; in the name of Marcellinus, "as may be seen in the twenty-seventh book"; in the name of "the tragedies of Niobe and Jephthah"; in the name of the "Ajax of Sophocles"; in the name of "the example of Euripides"; in the name of "Heinsius, chapter six of the Constitution of Tragedy; and the younger Scaliger in his poems"; and finally, in the name of the Canonists and Jurisconsults, under the title "Nuptials." There is too much nature and originality in the Greek tragedy for there ​not to be an occasional touch of comedy in it. In the Homeric poems one is conscious of a clinging reminiscence of lyric poetry and of a beginning of dramatic poetry. In this tableau of the stage, each figure must be held down to its most prominent, most individual, most precisely defined characteristic. None but divine wisdom was capable of substituting an even and all-embracing light for all those flickering rays of human wisdom. Chris Pratt Biography IMDb. Let there be no misunderstanding: if some of our poets have succeeded in being great, even when copying, it is because, while forming themselves on the antique model, they have often listened to the voice of nature and to their own genius—it is because they have been themselves in some one respect. how boldly it brings into relief all the strange forms which the preceding age had timidly wrapped in swaddling-clothes! Fordern Sie ein neues Passwort per Email an. There is no reason why he should not go on to demand that the sun should be substituted for the footlights, real trees and real houses for those deceitful wings. If it is good, why defend it? Download for offline reading, highlight, bookmark or take notes while you read Préface de Cromwell. On the one hand they cry incessantly: "Copy the models!" We are approaching, then, the moment when we shall ​see the new criticism prevail, firmly established upon a broad and deep foundation. Thus Cæsar, in his triumphal car, will be afraid of overturning. Surely it must have been a keen satisfaction to those anatomists of the mind, to be able, at their début, to make experiments on a large scale; to have a dead society to dissect, for their first "subject.". Facebook. First of all, the Protector arranges to be urged to assume the crown: the august farce begins by addresses from municipalities, from counties; then there comes an act of Parliament. It would have been, therefore, to undertake a useless task and one much beyond his strength. Someone will take advantage of this admission, doubtless, to repeat the reproach already uttered by a critic in Germany, that he has written "a treatise in defence of his poetry." The drama is complete poetry. They were mistaken. Such things are usually of very little interest to the reader. To set in array about and below Cromwell, himself the centre and pivot of that court, of that people, of that little world, which attracts all to his cause and inspires all with his vigour, that twofold conspiracy devised by two factions which detest each other, but join hands to overthrow the man who blocks their path, but which unite simply without blending; and that Puritan faction, of divers minds, fanatical, gloomy, unselfish, choosing for leader the most insignificant of men for such a great part, the egotistical and cowardly Lambert; and the faction of the Cavaliers, featherheaded, merry, unscrupulous, reckless, devoted, led by the man who, aside from his devotion to the cause, was least fitted to represent it, the stern and upright Ormond; and those ambassadors, so humble and fawning before the soldier of fortune; and the court itself, an extraordinary mixture of upstarts and great nobles vying with one another in baseness; and the four jesters whom the contemptuous neglect of history permitted me to invent; and Cromwell's family, each member of which is as a thorn in his flesh; and Thurloe, the Protector's Achates; and the Jewish rabbi, Israel Ben-Manasseh, spy, usurer, and astrologer, vile on two sides, sublime on the third; and Rochester, the unique Rochester, absurd and clever, refined and crapulous, always cursing, always in love, and always tipsy, as he himself boasted to Bishop Burnet—wretched poet and gallant gentleman, vicious and ingenuous, staking his head and indifferent whether he wins the game provided it amuses him—in a word, capable of everything, of ruse and recklessness, calculation and folly, villainy and generosity; and the morose Carr, of whom history describes but one trait, albeit a most characteristic and suggestive one; and those other fanatics, of all ranks and varieties: Harrison, the thieving fanatic; Barebones the shopkeeping fanatic; Syndercomb, the bravo; Garland the tearful and pious assassin; gallant Colonel Overton, intelligent but a little declamatory; the austere and unbending Ludlow, who left his ashes and his epitaph at Lausanne; and lastly, "Milton and a few other men ​of mind," as we read in a pamphlet of 1675 (Cromwell the Politician), which reminds one of "a certain Dante" of the Italian chronicle. Chance oder Illusion? Es reißt eine Kluft zwischen Körper und Seele, zwischen Mensch und Gott. Antiquity could not have produced Beauty and the Beast. It is, let us say in passing, because of this last, that the drama, combining the most opposed qualities, may be at the same time full of profundity and full of relief, philosophical and picturesque. "—"In prose." These Democrituses are Heraclituses as well. The strange thing is that the slaves of routine pretend to rest their rule of the two unities on probability, whereas reality is the very thing that destroys it. The latter assumes all the absurdities, all the infirmities, all the blemishes. On the day when Christianity said to man: "Thou art twofold, thou art made up of two beings, one perishable, the other immortal, one carnal, the other ethereal, one enslaved by appetites, cravings and passions, the other borne aloft on the wings of enthusiasm and reverie—in a word, the one always stooping toward the earth, its mother, the other always darting up toward heaven, its fatherland"—on that day the drama was created. The French of the nineteenth century can no more be the French of the eighteenth, than that is the French of the seventeenth, or than the French of the seventeenth is that of the sixteenth. Thus Elizabeth will swear and talk Latin. A portion of these truths had perhaps been suspected by certain wise men of ancient times, but their full, broad, luminous revelation dates from the Gospels. If it happens too seldom that he corrects them, it is because it is repugnant to him to return to a work that has grown cold. Interpretation oder Referat jetzt veröffentlichen! The stage is an optical point. The Fates and the Harpies are hideous in their attributes rather than in feature; the Furies are beautiful, and are called Eumenides, that is to say, gentle, beneficent. In it everything is visible, tangible, fleshly. Twitter. His bosom swells, he sings as he breathes. Tragedy is not to this school what it was to Will Shakespeare, say, a source of emotions of every sort, but a convenient frame for the solution of a multitude of petty descriptive problems which it propounds as it goes along. -- Constance Considine IV This pdf is so gripping and exciting. The Tritons, the Satyrs, the Cyclops are grotesque; Polyphemus is a terrifying, Silenus a farcical grotesque. He submitted in silence and sacrificed to the scorn of his time his enchanting elegy of Esther, his magnificent epic, Athalie. Let him tell us why: "The Greeks ventured to produce scenes no less revolting to us. As for himself, he prefers reasons to authorities; he has always cared more for arms than for coats-of-arms. Permit us, at this point, to recur to certain ideas already suggested, which, however, it is necessary to emphasize. It is the same with lyric poetry. -- by Maurice Anatole Souriau. There will be a crowd of characters in the drama. Then there was a deluge of mediocrity; then there came a swarm of those treatises on poetry, so annoying to true talent, so convenient for mediocrity. Il a été enfant, il a été homme; nous assistons maintenant à son imposante vieillesse. Let us hope that people in France will ere long become accustomed to devote a whole evening to a single play. Das Vorwort wurde 1827 als Manifest der romantischen Bewegung gesondert als "Préface de Cromwell" herausgegeben. History never had a more impressive lesson in a more impressive drama. Victor Hugo. Format: PDF, ePUB und MOBI – für PC, Kindle, Tablet, Handy (ohne DRM) In den Warenkorb. Für neue Autoren:kostenlos, einfach und schnell, Referat vom 21.06.96 von Jutta Krockenberger. In our opinion a most novel book might be written upon the employment of the grotesque in the arts. In vain does the rust eat into it and tarnish it. The epic, which at this period imposes its form on everything, the epic weighs heavily upon it and stifles it. What! 28 Seiten, Hausarbeit (Hauptseminar),  It can venture anything, can create or invent its style; it has a right to do so. ", ​"If the poet establishes things that are impossible according to the rules of his art, he makes a mistake unquestionably; but it ceases to be a mistake when by this means he has reached the end that he aimed at; for he has found what he sought. The idea, when steeped in verse, suddenly assumes a more incisive, more brilliant quality. Upon my word!". It is the decree of fate. You should have seen how Pierre Corneille, worried and harassed at his first step in the art on account of his marvellous work, Le Cid, struggled under Mairet, Claveret, d'Aubignac and Scudéri! What are Aristophanes and Plautus, beside the Homeric colossi, Æschylus, Sophocles, Euripides? It is interesting to study the first appearance and the progress of the grotesque in modern times. Genius, which divines rather than learns, devises for each work the general rules from the general plan of things, the special rules from the separate ensemble of the subject treated; not after the manner of the chemist, who lights the fire under his furnace, heats his crucible, analyzes and destroys; but after the manner of the bee, which flies on its golden wings, lights on each flower and extracts its honey, leaving it as brilliant and fragrant as before. Ein neues Gefühl breitet sich aus: Die Melancholie. In: Revue internationale de l'enseignement, tome 35, Janvier-Juin 1898. pp. It is in this wise that ideas vanish, that words disappear. Thus the judge will say: "Off with his head and let us go to dinner!" It is the grotesque which scatters lavishly, in air, water, earth, fire, those myriads of intermediary creatures which we find all alive in the popular traditions of the Middle Ages; it is the grotesque which impels the ghastly antics of the witches' revels, which gives Satan his horns, his cloven foot and his bat's wings. So then you put forward the ugly as a type for imitation, you make the grotesque an element of art. 80 Coleman Street. Shakespeare is the drama; and the drama, which with the same breath moulds the grotesque and the sublime, the terrible and the absurd, tragedy and comedy—the drama is the distinguishing characteristic of the third epoch of poetry, of the literature of the present day. For, as we have already proved, the drama is the grotesque in conjunction with the sublime, the soul within the body; it is tragedy beneath comedy. Whether one examines one literature by itself or all literatures en masse, one will always reach the same result: the lyric poets before the epic poets, the epic poets before the dramatic poets. It would be great good luck if any remnants of either should survive in this cataclysm of false art, false style, false poetry. Zu Beginn der Préface hebt Hugo deren Bedeutung hervor und gibt zu, daßsie ihm im Grunde wichtiger ist als das Drama selbst. In all antiquity there is nothing more solemn, more majestic. It was the North hurling itself upon the South; the Roman world changing shape; the last convulsive throes of a whole universe in the death agony. It was no longer simply Bossuet's Cromwell the soldier, Cromwell the politician; it was a complex, heterogeneous, multiple being, made up of all sorts of contraries—a mixture of much that was evil and much that was good, of genius and pettiness; a sort of Tiberius-Dandin, the tyrant of Europe and the plaything of his family; an old regicide, who delighted to humiliate the ambassadors of all the kings of Europe, and was tormented by his young royalist daughter; austere and gloomy in his manners, yet keeping four court jesters about him; given to the composition of wretched verses; sober, simple, frugal, yet a stickler for etiquette; a rough soldier and a crafty politician; skilled in theological disputation and very fond of it; a dull, diffuse, obscure orator, but clever in speaking the language of anybody whom he wished to influence; a hypocrite and a fanatic; a visionary swayed by phantoms of his ​childhood, believing in astrologers and banishing them; suspicious to excess, always threatening, rarely sanguinary; a strict observer of Puritan rules, and solemnly wasting several hours a day in buffoonery; abrupt and contemptuous with his intimates, caressing with the secretaries whom he feared, holding his remorse at bay with sophistry, paltering with his conscience; inexhaustible in adroitness, in tricks, in resources; mastering his imagination by his intelligence; grotesque and sublime; in a word, one of those men who are "square at the base," as they were described by Napoleon, himself their chief, in his mathematically exact and poetically figurative language. Racine was treated to the same persecution, but did not make the same resistance. Ancient poetry, compelled to provide the lame Vulcan with companions, tried to disguise their deformity by distributing it, so to speak, upon gigantic proportions. It is as if a god should turn valet. Very good. Nun zählt die Wahrheit, die Wirklichkeit und diese ist in der Literatur nur enthalten, wenn das Gute wie das Böse zur Sprache kommt: "Le christianisme amène la poésie à la vérité. Such is the first man, such is the first poet. The drama has but to take a step to break all the spider's webs with which the militia of Lilliput have attempted to fetter its sleep. that were either part of the original artifact, or were introduced by the scanning process. Of all their men the boniest.". Pluto is not the devil. Thus the aim of art is almost divine: to bring to life again if it is writing history, to create if it is writing poetry. All the ancient tragic authors derive their plots from Homer. Structure de la Préface de Cromwell 1 I. Justification de la Préface : p. 61-63 (« Cela dit, passons »). In every Catholic city we see it organizing some one of those curious ceremonies, those strange processions, wherein religion is attended by all varieties of superstition—the sublime attended by all the forms of the grotesque. The Greeks, about whom we hear so much, the Greeks—and after the fashion of Scudéri we will cite at this point the classicist Dacier, in the seventh chapter of his Poetics—the Greeks sometimes went so far as to have twelve or sixteen plays acted in a single day. "What's that?" The characters of the ode are colossi—Adam, Cain, Noah; those of the epic are giants—Achilles, Atreus, Orestes; those of the drama are men—Hamlet, Macbeth, Othello. In fact, the precept which makes it a rule sometimes to disregard rules, is a mystery of the art which it is not easy to make men understand who are absolutely without taste and whom a sort of abnormality of mind renders insensible to those things which ordinarily impress men.". Let the poet beware especially of copying ​anything whatsoever—Shakespeare no more than Molière, Schiller no more than Corneille. But the instant that Christian society became firmly established, the ancient continent was thrown into confusion. Primitive times are lyrical, ancient times epical, modern times dramatic. Kostenfreie Veröffentlichung: Hausarbeit, Bachelorarbeit, Diplomarbeit, Dissertation, Masterarbeit, Ode and drama meet in the epic. and for so brutally bestowing Claudius in Agrippina's bed. The moderns? What would the romantic drama do? The family has a fatherland; everything is connected therewith; it has the cult of the house and the cult of the tomb. Unity of plot is the stage law of perspective. Campistron. There are neither rules nor models; or, rather, there are no other rules than the general laws of nature, which soar above the whole field of art, and the special rules which result from the conditions appropriate to the subject of each composition. So much the better: the poet's liberty is the more complete, and the drama is the gainer by the latitude which history affords it. The reader will perhaps comprehend, none the less, that every part of it was written for the stage. Hugo sieht in ihm jedoch ein Versmaß, das frei und offen ist, das genügend Raum zur Entfaltung des "génies" läßt: "Cette suprème grace de notre poésie, ce générateur de notre mètre; inépuisable dans la variété de ses tours, insaisissable dans ses sécrets d´élégance et de facture: prenant, comme Protée, mille formes sans changer de type et de caractère...". If in fact the false is predominant in the style as well as in the action of certain French tragedies, it is not the verses that should be held responsible therefore, but the versifiers.

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