By Honoré de Balzac
« Un lac est plein d’amour ! » s’écrie Rosalie en ouvrant sa fenêtre sur « los angeles belle nappe d’eau » des Rouxey. « Ils se sont aimés devant des lacs ! » Ils, c’est le couple d’amants que forment Albert, jeune avocat parisien exilé à Besançon, et Francesca, une belle duchesse italienne. Rosalie s’est juré de les désunir. Albert Savarus est une histoire d’amour et de fureur, mais comme toujours chez Balzac, l. a. ardour s’inscrit dans le réel : le mariage bute sur l. a. différence de classe et de fortune, les belles promesses ne résistent pas à l’épreuve du temps, le romantisme se fracasse sur l. a. politique. Cruelle désillusion pour qui voulait posséder l’absolu ! N’est-ce pas ce que Balzac pressent pour lui-même en 1842, un des moments les plus amers de sa vie ? En créant l’émouvant personnage d’Albert, son double, miné par l’attente et l’usure du désir, il espère exorciser un destin redouté. Préface, notes et file de Jacqueline Milhit.
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Sample text
Yet the real news out of Washington was that the fissure in the country was becoming unbridgeable, and that the last efforts of the great survivors from the early republic—Clay, Calhoun, and Webster—would ultimately prove unavailing. The nation would go on intact for a few more years, until the Kansas-Nebraska Act and the Dred Scott decision set the stage for civil war; but to astute observers it was already clear in 1850 that the dispute could be brokered no more. Among them was Melville. Moby-Dick can be seen as a sustained meditation on the sectional crisis, and as such some readers have tried to assign specific political correspondences to its cast of characters: Ahab as the unrelenting Calhoun; Starbuck as New England prudence; Stubb as the eager Westerner; Flask, whom the “noble negro” Daggoo carries “on his broad back…[like] a snow-flake,” as exemplar of the slave South; even Moby Dick itself as the principle of whiteness in whose very pursuit the nation insured its doom.
I had expected to be bored to death, but Ishmael sounded like the best friend I had always hoped to find. In the first paragraph he admits to a state of almost clinical depression—“a damp, drizzly November in my soul”—to which any adolescent can relate. But not to worry, Ishmael reassures us, he has found a solution to this condition. Instead of doing damage to himself or to others, he seeks solace in the sea. ” Needless to say, this was a scene that spoke to me with a direct, almost overwhelming power.
Baltimore: John Hopkins UP, 1996, 2002. Parker, Hershel, and Harrison Hayford, eds. Moby-Dick as Doubloon (1970). Philbrick, Nathaniel. In the Heart of the Sea: The Tragedy of the Whaleship Essex. New York: Viking, 2000. Rogin, Michael. Subversive Genealogy: The Politics and Art of Herman Melville. Berkeley: University of California Press, 1985. Rosenberry, Edward. Melville and the Comic Spirit (1955). Seelye, John. Melville: The Ironic Diagram (1970). Smith, Henry Nash. “The Madness of Ahab,” in Democracy and the Novel (1978).
