Madeleine Férat (French Edition), by Emile Zola
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Madeleine Férat (French Edition), by Emile Zola
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Madeleine Férat est un roman d'Émile Zola paru en 1882. C'est la version romancée d'une pièce de théâtre qui n'avait pas été acceptée. Ce n'est pas de volonté que manque Madeleine Férat pour se bien conduire dans l'existence mais plutôt de principes de base solides pour asseoir son jugement et choisir le bon chemin ou, s'apercevant qu'elle s'est fourvoyée, revenir en arrière sans prendre ses erreurs au tragique. Sinon, fuyant un tuteur abusif, elle ne se serait pas jetée dans les bras du premier venu et, surtout, n'aurait pas cru qu'elle était obligée d'y rester. L'habitude créant une sorte de bonheur, elle est désespérée quand Jacques la quitte pour s'en aller comme chirurgien militaire en Cochinchine. Elle se sent si bien engagée par cette union fictive et allégrement rompue par son compagnon qu'elle hésite à épouser Guillaume de Viargue quand celui-ci, après un an de liaison heureuse, la demande en mariage. Elle ne s'y décide que parce qu'elle a appris la mort de Jacques dans un naufrage – ce Jacques dont elle a découvert qu'il est l'ami de jeunesse de Guillaume. Quatre ans de bonheur se succèdent dans le domaine normand où le jeune couple vit retiré... jusqu'au jour où Jacques, miraculeusement sauvé, rentre dans leur vie. Alors le drame éclate chez ces deux êtres pris dans un piège que leur faiblesse transforme en fatalité. Dans ce roman, Zola expose sa vision de l'hérédité qui sera développée plus tard dans les Rougon-Macquart. Madeleine a pu s'imprégner de son premier amant de telle manière que sa fille lui ressemble davantage qu'à son véritable père. Cette imprégnation la ramène fatalement à son premier amant, quoi qu'elle fasse. Ce fatalisme rejoint de façon troublante celui que la servante, la vieille paysanne cévenole protestante étaye de ses obsessions religieuses.
Madeleine Férat (French Edition), by Emile Zola- Published on: 2015-10-13
- Original language: French
- Number of items: 1
- Dimensions: 9.00" h x .66" w x 6.00" l, .87 pounds
- Binding: Paperback
- 292 pages
About the Author ?mile Zola was a French writer who is recognized as an exemplar of literary naturalism and for his contributions to the development of theatrical naturalism. Zola s best-known literary works include the twenty-volume Les Rougon-Macquart, an epic work that examined the influences of violence, alcohol and prostitution on French society through the experiences of two families, the Rougons and the Macquarts. Other remarkable works by Zola include Contes ? Ninon, Les Myst?res de Marseille, and Th?r?se Raquin.
In addition to his literary contributions, Zola played a key role in the Dreyfus Affair of the late nineteenth and early twentieth century. His newspaper article J Accuse accused the highest levels of the French military and government of obstruction of justice and anti-semitism, for which he was convicted of libel in 1898. After a brief period of exile in England, Zola returned to France where he died in 1902. ?mile Zola is buried in the Panth?on alongside other esteemed literary figures Victor Hugo and Alexandre Dumas.
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3 of 3 people found the following review helpful. Love tryst soured, super-sensitive duo goes haywire By Bob Newman Well, live and learn as they say. I always thought of Emile Zola as one of the greats, the author of such classics as "Germinal" and "Nana", the hero of the Dreyfus trial, and so on. But it seems that back in the early days, before he bounded onto the world stage, Zola produced a fairly large number of potboilers. Who knew ? He's always strong on atmosphere, on the details of 19th century French life-the parlors, the inns, the gardens, the more decadent parts of the city-and he's a master of human psychology. Still, as I read through MADELEINE FERAT, I had this sinking feeling that I had fallen into a Harlequin romance of bygone years. The lurid details, the many lyrical interludes, the melodrama, corny dialogue, [Example: after the death of his closest friend, the hero says to the heroine on p.71 "The dear fellow ! Now he has gone from us, he is no more, and I am an orphan. But he will always live in me, I have lost my brother......Now, Madeleine, I have only you." ] and above all, the fantastic coincidences that reminded me so much of Bombay movies, put me off. If I needed this sort of book, I could find a million at any local yard sale, embossed in gold and silver cardboard. Zola is a name to reckon with, but he probably wrote this for a bit of cash. (He definitely didn't write it for the movies.) Also, I remember as I review this book that Theodore Dreiser's "Sister Carrie" was held up from publication in America for many years because the publishers felt it was too close to pornographic---all because she lived with a man she didn't marry. When I read it in the 1970s, the word 'pornographic' certainly never came to mind ! The Victorian prudery of British and American literature in the 1860s and `70s (not to mention later) is well known. So the frankly sexual imagery and situations found in Zola's work, hardly remarkable now, must have been extremely titillating and exciting to young people in those days. Zola would have been guaranteed a large audience.One very interesting thing emerged. The book is based on the idea that a woman's first sexual experience leaves an indelible imprint. So, if she does not marry her first lover, it is futile for her to try to have a normal life outside that first relationship. (p.164) "If her heart no longer loved Jacques, the fatal memory of her flesh was unchanged." And even more amazing, readers of the time apparently could swallow the idea that thinking of a former lover during the sex act could make the resulting child look like the non-present lover ! This, intones Zola, by a psychological process still unknown. If this sort of stuff is your bread and butter, you are going to love MADELEINE FERAT. Otherwise, give it a miss.
3 of 3 people found the following review helpful. A free spirit undone by the ghost from her past By A Customer Shame is not an emotion one usually associates with a Zola character, especially when that character is driven to commit suicide because of it. We are a long way from the "life on any terms" message of the later works. Otherwise, this second novel by Zola contains many of the themes that were to come to fruition in his great masterpieces and is a big improvement on his first as far as character portrayal is concerned. "Madeleine Férat" is a proper book, rather than a movie script. As a purely naturalist work it is a step backwards, because the characters are not really playthings of their environment in the way that those in the first novel are - not to mention the creatures in the Rougon-Macquart cycle. Nowadays, the story's ending must seem far-fetched and dated, though it may well have seemed very moving up to the end of, say, the 1950s. The shame felt by the heroine at marrying her first lover's best friend is understandable up to a point, but despite Zola's efforts it is too inconsistent with the strong-mindedness he has given her in the earlier chapters. It would be interesting, too, to hear what modern feminists think of his theory that a woman bears the indelible psychological and pathological imprint of her first lover. However, this book is a rewarding read because it shows Zola still seeking an artistic direction for his literary career, and for this reason alone it deserves to be better known than it is. Worse stories than this have found their way on to the screen, and in his own writings Zola was to get worse before getting better and finding the niche that brought him lasting fame.
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