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La Comédie Humaine #21
Gobseck
Gobseck began as a cabin boy and worked his way up while traveling around the world. He became rich and a miser. His philosophy of never helping anyone because "adversity is the greatest of all teachers" was well known. He also believed that all the peoples of the world were really very much alike because money was the greatest common denominator.
52 pages, Paperback
First published January 1, 1830
About the author
Honoré de Balzac
9,012 books4,055 followersFrench writer Honoré de Balzac (born Honoré Balzac), a founder of the realist school of fiction, portrayed the panorama of society in a body of works, known collectively as
La comédie humaine
.
Honoré de Balzac authored 19th-century novels and plays. After the fall of Napoléon I Bonaparte in 1815, his magnum opus, a sequence of almost a hundred novels and plays, entitled, presents life in the years.
Due to keen observation of fine detail and unfiltered representation, European literature regards Balzac. He features renowned multifaceted, even complex, morally ambiguous, full lesser characters. Character well imbues inanimate objects; the city of Paris, a backdrop, takes on many qualities. He influenced many famous authors, including the novelists Marcel Proust, Émile Zola, Charles John Huffam Dickens, Gustave Flaubert, Henry James, and Jack Kerouac as well as important philosophers, such as Friedrich Engels. Many works of Balzac, made into films, continue to inspire.
An enthusiastic reader and independent thinker as a child, Balzac adapted with trouble to the teaching style of his grammar. His willful nature caused trouble throughout his life and frustrated his ambitions to succeed in the world of business. Balzac finished, and people then apprenticed him as a legal clerk, but after wearying of banal routine, he turned his back on law. He attempted a publisher, printer, businessman, critic, and politician before and during his career. He failed in these efforts. From his own experience, he reflects life difficulties and includes scenes.
Possibly due to his intense schedule and from health problems, Balzac suffered throughout his life. Financial and personal drama often strained his relationship with his family, and he lost more than one friend over critical reviews. In 1850, he married Ewelina Hańska, his longtime paramour; five months later, he passed away.
Honoré de Balzac authored 19th-century novels and plays. After the fall of Napoléon I Bonaparte in 1815, his magnum opus, a sequence of almost a hundred novels and plays, entitled, presents life in the years.
Due to keen observation of fine detail and unfiltered representation, European literature regards Balzac. He features renowned multifaceted, even complex, morally ambiguous, full lesser characters. Character well imbues inanimate objects; the city of Paris, a backdrop, takes on many qualities. He influenced many famous authors, including the novelists Marcel Proust, Émile Zola, Charles John Huffam Dickens, Gustave Flaubert, Henry James, and Jack Kerouac as well as important philosophers, such as Friedrich Engels. Many works of Balzac, made into films, continue to inspire.
An enthusiastic reader and independent thinker as a child, Balzac adapted with trouble to the teaching style of his grammar. His willful nature caused trouble throughout his life and frustrated his ambitions to succeed in the world of business. Balzac finished, and people then apprenticed him as a legal clerk, but after wearying of banal routine, he turned his back on law. He attempted a publisher, printer, businessman, critic, and politician before and during his career. He failed in these efforts. From his own experience, he reflects life difficulties and includes scenes.
Possibly due to his intense schedule and from health problems, Balzac suffered throughout his life. Financial and personal drama often strained his relationship with his family, and he lost more than one friend over critical reviews. In 1850, he married Ewelina Hańska, his longtime paramour; five months later, he passed away.
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November 15, 2023
گوبسک :« شما جوان هستید و افکار مناسب سن و سالتان را دارید، در هیمه نیم‌سوخته بخاریتان، جز چهره زنان را نمی‌بینید، اما من در آنها فقط زغال می‌بینم».
احتمالا بزرگترین ضربه‌هایی که میخوریم و رنج‌هایی که می‌کشیم به این ارجاع دارد که ما عمدتا در تناقضات اخلاقی روانی، منطقمان را با اخلاق تطبیق می‌دهیم.
مثلا وقتی محبت زیادی به کسی می‌کنیم یا بی‌اندازه به او عشق می‌ورزیم، غالباً پس زده میشویم. و این را عملی غیراخلاقی و خارج از انسانیت تعبیر می‌کنیم. چرا که هر اندازه که بیشتر محبت می‌کنیم، انتظار همان برخورد را داریم. در صورتی که هر کسی ظرفیت‌های روانی خاص خود را دارد و هرگونه تزریق احساس، چه بد چه خوب، اگر خارج ظرفیت او باشد نتیجه مطلوبی نخواهد داشت.
البته مقصود بسنده کردن روان آدمی به همین یک پاراگراف کوچک نیست و البته که جای بسط و مناقشه دارد. منظور اصلی از بیان آن، این بود که ما احساس را ارج می‌نهیم اما همین احساسات گاهی با قواعد زیست موفق منافات دارد. یا به بیان دیگر همان دیالوگ فیلم خوب بد زشت که می‌گفت :« تو این وادی بخوای از قلبت مایه بذاری باختی ».
البته که چنین جمله‌ای ناعدلانه و غیر انسانی می‌نماید ولی وقتی عوام قواعد اجتماعی خود را بر پایه بددلی و بی‌اعتمادی میگذارند چاره‌ای نیست.
کاراکتر ماندگار بالزاک، که اثر او بر روی غول افسانه‌ای ادبیات، داستایفسکی، به طرز غیر قابل انکاری مشهود است، کسی است که می‌تواند بین قلب و عقلش تعادل برقرار کند. البته در ابتدا بسیار سنگدل، خودخواه، قدرت‌طلب و به طرز کشنده‌ای واقع‌بین جلوه میکند. که البته درست هم هست. منتها با شکل‌گیری بیشتر داستان، متوجه میشویم که قلبی هم زیر آن لباس کهنه اما تمیزش می‌تپد.
اواخر پاییز و زمستان، برای من فصل شعر و بازگشت که کلاسیک‌ها است. سال گذشته، این رسم شخصی را به بدترین شکل ممکن برگزار کردم. احتمالا بخاطر همین نکاتی که بیان شد. اما امسال قصد دارم تا جایی که امکان دارد تلافی کنم. گوبسک رباخوار بنظرم شروع خوبی بود. از خیلی جهات. و در ضمن معارفه‌ی اولیه‌ی گوبسک یعنی تا سی صفحه او�� کتاب را بسیار بسیار دوست داشتم. و ادامه و پایان‌بندی آن هم معقول و بی‌حرف اضافه بود. به نظرم به عنوان یک نوولا، پیشنهاد خوشخوان و تاثیرگذاری است.
احتمالا بزرگترین ضربه‌هایی که میخوریم و رنج‌هایی که می‌کشیم به این ارجاع دارد که ما عمدتا در تناقضات اخلاقی روانی، منطقمان را با اخلاق تطبیق می‌دهیم.
مثلا وقتی محبت زیادی به کسی می‌کنیم یا بی‌اندازه به او عشق می‌ورزیم، غالباً پس زده میشویم. و این را عملی غیراخلاقی و خارج از انسانیت تعبیر می‌کنیم. چرا که هر اندازه که بیشتر محبت می‌کنیم، انتظار همان برخورد را داریم. در صورتی که هر کسی ظرفیت‌های روانی خاص خود را دارد و هرگونه تزریق احساس، چه بد چه خوب، اگر خارج ظرفیت او باشد نتیجه مطلوبی نخواهد داشت.
البته مقصود بسنده کردن روان آدمی به همین یک پاراگراف کوچک نیست و البته که جای بسط و مناقشه دارد. منظور اصلی از بیان آن، این بود که ما احساس را ارج می‌نهیم اما همین احساسات گاهی با قواعد زیست موفق منافات دارد. یا به بیان دیگر همان دیالوگ فیلم خوب بد زشت که می‌گفت :« تو این وادی بخوای از قلبت مایه بذاری باختی ».
البته که چنین جمله‌ای ناعدلانه و غیر انسانی می‌نماید ولی وقتی عوام قواعد اجتماعی خود را بر پایه بددلی و بی‌اعتمادی میگذارند چاره‌ای نیست.
کاراکتر ماندگار بالزاک، که اثر او بر روی غول افسانه‌ای ادبیات، داستایفسکی، به طرز غیر قابل انکاری مشهود است، کسی است که می‌تواند بین قلب و عقلش تعادل برقرار کند. البته در ابتدا بسیار سنگدل، خودخواه، قدرت‌طلب و به طرز کشنده‌ای واقع‌بین جلوه میکند. که البته درست هم هست. منتها با شکل‌گیری بیشتر داستان، متوجه میشویم که قلبی هم زیر آن لباس کهنه اما تمیزش می‌تپد.
اواخر پاییز و زمستان، برای من فصل شعر و بازگشت که کلاسیک‌ها است. سال گذشته، این رسم شخصی را به بدترین شکل ممکن برگزار کردم. احتمالا بخاطر همین نکاتی که بیان شد. اما امسال قصد دارم تا جایی که امکان دارد تلافی کنم. گوبسک رباخوار بنظرم شروع خوبی بود. از خیلی جهات. و در ضمن معارفه‌ی اولیه‌ی گوبسک یعنی تا سی صفحه او�� کتاب را بسیار بسیار دوست داشتم. و ادامه و پایان‌بندی آن هم معقول و بی‌حرف اضافه بود. به نظرم به عنوان یک نوولا، پیشنهاد خوشخوان و تاثیرگذاری است.
November 9, 2017
Στα 1816 ο δεκαεπτάχρονος Balzac μπήκε ως μαθητευόμενος στο δικηγορικό γραφείο του κυρίου Guyonnet de Merville, που υπήρξε ένας τίμιος και ακέραιος άνθρωπος και που, χωρίς να το επιδιώξει, αποτέλεσε πηγή εμπνευσης τόσο για τον θεατρικό συγγραφέα Eugène Scribe, (τον εβαλε να πρωταγωνιστεί στο έργο του Τα ενδοτερα του δικηγορικού γραφείου ή Ο ανακριτής και ο δικηγόρος με το όνομα Derville) όσο και για τον ίδιο τον Balzac, οποίος διατήρησε το ίδιο επινοημένο όνομα. 'Ετσι εδώ, σε ετούτη τη νουβέλα, με τίτλο Gobseck, είναι ο δικηγόρος Derville που αφηγείται την ιστορία του ιδιόρρυθμου, μισανθρώπου τοκογλύφου που δίνει το όνομα του στον τίτλο.
Μέσα από διαδοχικές επεξεργασίες, το έργο, δημοσιεύτηκε αρχικά με τον τίτλο L'Usurier στο περιοδικο La Mode στα 1830 μετα στην συλλογή Scènes de la vie privée. Tome 1 par M. de Balzac στα 1832 με τον τίτλο Les Dangers de l'inconduite κι αργότερα, στα 1835 ο τίτλος μεταλλάχθηκε σε Papa Gobseck και τελικά πήρε την τελική του μορφή, Gobseck, στα 1842.
Ανάμεσα στην έκδοση του 1832 και την τελική, όπου μπόρεσα να συγκρίνω, υπάρχουν μεγάλες διαφορές. Η κόμισσα de Grandlieu και η κόρη της, η Camille, καθώς και ο Ernest de Restaud και φυσικά ο ίδιος Gobseck παραμένουν ως έχουν, ωστόσο ο Derville παρουσιάζεται απλώς ως ο L'avoué (ο δικηγόρος), η κόμισσα Anastasie de Restaud (κόρη του Goriot και ερωμένη του Maxime de Trailles) αναφέρεται ως Emilie και ο εραστής της παραμένει ανώνυμος, και δεν υπάρχει καμία αναφορά στην la Torpille η οποία στο μεταγενέστερο κείμενο θα παρουσιαστεί ως κόρη της ανιψιάς του Gobseck. Η τελευταία σκηνή στο δωμάτιο του ήρωα παραλείπεται (και είναι μία σκηνή μεγαλειώδης μέσα στην ολοκληρωτική φρίκη της) και αρχικά το έργο κλείνει με μια αινιγματική φράση του γέρου τοκογλύφου, που εκφράζει τον κυνισμό του.
Όπως και να έχει ο κεντρικός χαρακτήρας του τοκογλύφου κατάφερε να ασκήσει επάνω μου μια νοσηρή γοητεία. Ο Jean-Esther van Gobseck ή papa Gobseck, όπως τον φωνάζουν όλοι, διαθέτει μια ιδιόρρυθμη και αξιοπερίεργη προσωπικότητα. Λίγα πράγματα είναι γνωστά από το σκοτεινό παρελθόν του. Αλλά κυρίως είναι η κοσμοθεωρία του που συμβάλλει στην ιδιαιτερότητα του χαρακτήρα του. Γεννημένος στα 1740 είναι ήδη 76 ετών όταν γνωρίζεται με τον νεαρό δικηγόρο:
"Το πρόσωπό του έμοιαζε με θαμπό ασήμι. Είχε γκρίζα μαλλιά, στιλπνά και καλοχτενισμένα. Τα χαρακτηριστικά του έμοιαζαν με μπρούντζινο εκμαγείο. Ακόμα κι ίδιος ο Ταλεϋράνδος έδειχνε λιγότερο απαθής από αυτόν εδώ τον δανειστή. Ένα ζευγάρι κίτρινα μάτια, κίτρινα σαν της νυφίτσας, χωρίς βλεφαρίδες, πρόβαλλαν μέσα από μια παλιομοδίτικη, φθαρμένη σκούφια, σαν να φοβούνταν το φως. Είχε τα λεπτά χείλη που βλέπει κάποιος στους πίνακες του Rembrandt και του Metsu, όποτε εκείνοι ζωγράφιζαν αλχημιστές ή ηλικιωμένους άνδρες, και μια μύτη τόσο σουβλερή που θύμιζε τρυπάνι. Η φωνή του ήταν εξαιρετικά χαμηλή. Πάντα μιλούσε με γλυκύτητα. Ποτέ δεν ανέβαζε τους τόνους. Η ηλικία του ήταν ένα μυστήριο. Κανείς δεν μπορούσε να πει αν είχε γεράσει πριν την ώρα του ή, κάνοντας οικονομία στη νιότη, είχε αρκετή για να του φτάσει για μια ολάκερη ζωή".
Νόθο παιδί ενός Ολλανδού και μιας Εβραίας από τις Κάτω Χώρες μπάρκαρε ως καμαρότος σε ένα εμπορικό πλοίο για τις Ανατολικές Ινδίες, κι εκεί έζησε για περίπου είκοσι χρόνια. Ασχολήθηκε ανάμεσα σε άλλα με την πειρατεία, κατέληξε ως χρυσοθήρας στην Νότια Αμερική και αναμείχθηκε ως κατάσκοπος στον Πόλεμο της Αμερικάνικης Ανεξαρτησίας. Καταλήγει ως τοκογλύφος στο Παρίσι. Ζει μια ζωή μέσα σε μια φαινομενική στέρηση, ωστόσο όταν γνωρίζει αρκετά καλά τον νεαρό δικηγόρο ώστε να τον εμπιστευτεί (με το αζημίωτο) του αποκαλύπτει:
"Τίποτα δεν μένει κρυμμένο από εμένα. Κανένας δεν αρνείται το παραμικρό σε εκείνον που κατέχει τα σχοινιά του πουγκιού και μπορεί να τα ανοίγει ή να τα σφίγγει κατά το κέφι του. Είμαι τόσο πλούσιος που μπορώ να εξαγοράσω τις συνειδήσεις των υπουργών, χρησιμοποιώντας τους υπαλλήλους ή τις ερωμένες τους. Δεν είναι λοιπόν αυτό από μόνο του Εξουσία; Μπορώ να έχω τις ωραιότερες γυναίκες, να δεχτώ τα απαλότερα χάδια. Δεν είναι αυτό Ηδονή; Και μήπως ολάκερη η κοινωνική οικονομία της εποχής μας δεν στηρίζεται επάνω σε αυτές ακριβώς τις δύο αξίες της Εξουσίας και της Ηδ��νής;
Υπάρχουν συνολικά δέκα άνθρωποι στο Παρίσι μαζί με εμένα, σιωπηλοί και άγνωστοι βασιλιάδες που ορίζουμε τα πεπρωμένα σας. Τί είναι η ζωή πέρα από μια μηχανή που κινείται με τη δύναμη του χρήματος; Να το θυμάσαι καλά αυτό, μην συγχέεις τα μέσα με τα αποτελέσματα. Η ψυχή δεν μπορεί να διαχωριστεί από τις αισθήσεις και το πνεύμα από την ύλη. Ο Χρυσός είναι η πνευματική βάση της σημερινής κοινωνίας. Εμάς τους δέκα μας ενώνει το κοινό συμφέρον".
Η ανατροπή και το ενδιαφέρον σε αυτήν την υπόθεση είναι πως ενώ κάποιος, μέσα από όλα αυτά, θα υπέθετε πως ο Gobseck είναι ο κακός της υπόθεσης, στην πραγματικότητα δεν είναι. Καθώς ο νεαρός δικηγόρος δένεται ολοένα και περισσότερο μαζί του, φτάνει να δει μέσα στη ψυχή του κάποιες ποιότητες που δεν διακρίνονται εκ πρώτης όψεως, κάποια χαρακτηριστικά που μένουν καλά κρυμμένα κάτω από το απαθές προσωπείο. Είναι μισάνθρωπος αλλά πάνω από όλα είναι ένας φιλόσοφος. Ένας φιλοσοφος της ανθρώπινης ύπαρξης που εξασκεί τα δόγματά του επάνω στους άλλους. Δεν τρέφεται από τις ανθρώπινες αδυναμίες αλλά τις διαχειρίζεται για το όφελός του, επειδή γνωρίζει τον τρόπο.
Στην ουσία όσοι έρχονται σε αυτόν χωρίζονται σε δύο κατηγορίες. Σε αυτούς που είναι ήδη από χέρι χαμένοι, οπότε η παρέμβασή του δεν συμβάλλει περισσότερο στην ήδη προδιαγεγραμμένη καταστροφική τους πορεία, και σε αυτούς που έχουν ταλέντα και όρεξη για δουλειά αλλά τους λείπει το κεφάλαιο. Αυτοί οι δεύτεροι... δεν κινδυνεύουν από τον Gobseck. Δεν θα τους χαρίσει τίποτα. Θα πάρει πίσω ό,τι του αναλογεί με τόκο. Αλλά δεν θα τους καταπιεί. Για τους δεύτερους λειτουργεί απλώς ως ανεπίσημος τραπεζίτης και επενδύει στην εργατικότητα και στις ικανότητές τους.
Οπότε όλοι βγαίνουν κερδισμένοι;
Ένα υπέροχο έργο και ειδικά εκείνη η τελευταία σκηνή με στοίχειωσε. Η αμύθητη περιουσία του γέρου τοκογλύφου, η μανία του να συσσωρεύει, να κατέχει, είναι από μόνη της μια μορφή τρέλας η οποία ωστόσο έχει τη δική της λογική. Όλα τα αγαθά που μαζεύει δεν τα απολαμβάνει σε επίπεδο υλικό, δεν καταναλώνει, τα αποθηκεύει και τα διακινεί με σκοπό πάντα το κέρδος. Απώτερος σκόπος η εξουσία, να ελέγχει τις ζωές των άλλων, να τιμωρεί και να δικαιώνει σαν μικρός θεός.
Να λοιπόν πώς ο Balzac κάνει το πορτραίτο των θεών της σύχρονης εποχής: Οι κεφαλαιούχοι, οι καπιταλιστές. Ακόμα κι όταν κανένας δεν τους γνωρίζει, δεν παύει να είναι αυτοί που ελέγχουν την καθημερινότητα του βίου μας.
Όλοι κρεμόμαστε από τα σχοινιά του πουγκιού του Gobseck.
Γι' αυτό μου αρέσει και απολαμβάνω να διαβάζω ρεαλιστική λογοτεχνία. Ακόμα κι αν ήταν δυνατό να αλλάξουμε αυτόν τον κόσμο, αυτό δεν θα μπορούσε να πραγματοποιηθεί, εαν πρώτα δεν προβαίναμε στην κατανόησή του. Και είναι φοβερός ο τρόπος που οι ρεαλιστές λογοτέχνες φωτίζουν ακόμα και τις πιο σκιώδεις και άγνωστες πλευρές της ανθρώπινης πραγματικότητας.
Μέσα από διαδοχικές επεξεργασίες, το έργο, δημοσιεύτηκε αρχικά με τον τίτλο L'Usurier στο περιοδικο La Mode στα 1830 μετα στην συλλογή Scènes de la vie privée. Tome 1 par M. de Balzac στα 1832 με τον τίτλο Les Dangers de l'inconduite κι αργότερα, στα 1835 ο τίτλος μεταλλάχθηκε σε Papa Gobseck και τελικά πήρε την τελική του μορφή, Gobseck, στα 1842.
Ανάμεσα στην έκδοση του 1832 και την τελική, όπου μπόρεσα να συγκρίνω, υπάρχουν μεγάλες διαφορές. Η κόμισσα de Grandlieu και η κόρη της, η Camille, καθώς και ο Ernest de Restaud και φυσικά ο ίδιος Gobseck παραμένουν ως έχουν, ωστόσο ο Derville παρουσιάζεται απλώς ως ο L'avoué (ο δικηγόρος), η κόμισσα Anastasie de Restaud (κόρη του Goriot και ερωμένη του Maxime de Trailles) αναφέρεται ως Emilie και ο εραστής της παραμένει ανώνυμος, και δεν υπάρχει καμία αναφορά στην la Torpille η οποία στο μεταγενέστερο κείμενο θα παρουσιαστεί ως κόρη της ανιψιάς του Gobseck. Η τελευταία σκηνή στο δωμάτιο του ήρωα παραλείπεται (και είναι μία σκηνή μεγαλειώδης μέσα στην ολοκληρωτική φρίκη της) και αρχικά το έργο κλείνει με μια αινιγματική φράση του γέρου τοκογλύφου, που εκφράζει τον κυνισμό του.
Όπως και να έχει ο κεντρικός χαρακτήρας του τοκογλύφου κατάφερε να ασκήσει επάνω μου μια νοσηρή γοητεία. Ο Jean-Esther van Gobseck ή papa Gobseck, όπως τον φωνάζουν όλοι, διαθέτει μια ιδιόρρυθμη και αξιοπερίεργη προσωπικότητα. Λίγα πράγματα είναι γνωστά από το σκοτεινό παρελθόν του. Αλλά κυρίως είναι η κοσμοθεωρία του που συμβάλλει στην ιδιαιτερότητα του χαρακτήρα του. Γεννημένος στα 1740 είναι ήδη 76 ετών όταν γνωρίζεται με τον νεαρό δικηγόρο:
"Το πρόσωπό του έμοιαζε με θαμπό ασήμι. Είχε γκρίζα μαλλιά, στιλπνά και καλοχτενισμένα. Τα χαρακτηριστικά του έμοιαζαν με μπρούντζινο εκμαγείο. Ακόμα κι ίδιος ο Ταλεϋράνδος έδειχνε λιγότερο απαθής από αυτόν εδώ τον δανειστή. Ένα ζευγάρι κίτρινα μάτια, κίτρινα σαν της νυφίτσας, χωρίς βλεφαρίδες, πρόβαλλαν μέσα από μια παλιομοδίτικη, φθαρμένη σκούφια, σαν να φοβούνταν το φως. Είχε τα λεπτά χείλη που βλέπει κάποιος στους πίνακες του Rembrandt και του Metsu, όποτε εκείνοι ζωγράφιζαν αλχημιστές ή ηλικιωμένους άνδρες, και μια μύτη τόσο σουβλερή που θύμιζε τρυπάνι. Η φωνή του ήταν εξαιρετικά χαμηλή. Πάντα μιλούσε με γλυκύτητα. Ποτέ δεν ανέβαζε τους τόνους. Η ηλικία του ήταν ένα μυστήριο. Κανείς δεν μπορούσε να πει αν είχε γεράσει πριν την ώρα του ή, κάνοντας οικονομία στη νιότη, είχε αρκετή για να του φτάσει για μια ολάκερη ζωή".
Νόθο παιδί ενός Ολλανδού και μιας Εβραίας από τις Κάτω Χώρες μπάρκαρε ως καμαρότος σε ένα εμπορικό πλοίο για τις Ανατολικές Ινδίες, κι εκεί έζησε για περίπου είκοσι χρόνια. Ασχολήθηκε ανάμεσα σε άλλα με την πειρατεία, κατέληξε ως χρυσοθήρας στην Νότια Αμερική και αναμείχθηκε ως κατάσκοπος στον Πόλεμο της Αμερικάνικης Ανεξαρτησίας. Καταλήγει ως τοκογλύφος στο Παρίσι. Ζει μια ζωή μέσα σε μια φαινομενική στέρηση, ωστόσο όταν γνωρίζει αρκετά καλά τον νεαρό δικηγόρο ώστε να τον εμπιστευτεί (με το αζημίωτο) του αποκαλύπτει:
"Τίποτα δεν μένει κρυμμένο από εμένα. Κανένας δεν αρνείται το παραμικρό σε εκείνον που κατέχει τα σχοινιά του πουγκιού και μπορεί να τα ανοίγει ή να τα σφίγγει κατά το κέφι του. Είμαι τόσο πλούσιος που μπορώ να εξαγοράσω τις συνειδήσεις των υπουργών, χρησιμοποιώντας τους υπαλλήλους ή τις ερωμένες τους. Δεν είναι λοιπόν αυτό από μόνο του Εξουσία; Μπορώ να έχω τις ωραιότερες γυναίκες, να δεχτώ τα απαλότερα χάδια. Δεν είναι αυτό Ηδονή; Και μήπως ολάκερη η κοινωνική οικονομία της εποχής μας δεν στηρίζεται επάνω σε αυτές ακριβώς τις δύο αξίες της Εξουσίας και της Ηδ��νής;
Υπάρχουν συνολικά δέκα άνθρωποι στο Παρίσι μαζί με εμένα, σιωπηλοί και άγνωστοι βασιλιάδες που ορίζουμε τα πεπρωμένα σας. Τί είναι η ζωή πέρα από μια μηχανή που κινείται με τη δύναμη του χρήματος; Να το θυμάσαι καλά αυτό, μην συγχέεις τα μέσα με τα αποτελέσματα. Η ψυχή δεν μπορεί να διαχωριστεί από τις αισθήσεις και το πνεύμα από την ύλη. Ο Χρυσός είναι η πνευματική βάση της σημερινής κοινωνίας. Εμάς τους δέκα μας ενώνει το κοινό συμφέρον".
Η ανατροπή και το ενδιαφέρον σε αυτήν την υπόθεση είναι πως ενώ κάποιος, μέσα από όλα αυτά, θα υπέθετε πως ο Gobseck είναι ο κακός της υπόθεσης, στην πραγματικότητα δεν είναι. Καθώς ο νεαρός δικηγόρος δένεται ολοένα και περισσότερο μαζί του, φτάνει να δει μέσα στη ψυχή του κάποιες ποιότητες που δεν διακρίνονται εκ πρώτης όψεως, κάποια χαρακτηριστικά που μένουν καλά κρυμμένα κάτω από το απαθές προσωπείο. Είναι μισάνθρωπος αλλά πάνω από όλα είναι ένας φιλόσοφος. Ένας φιλοσοφος της ανθρώπινης ύπαρξης που εξασκεί τα δόγματά του επάνω στους άλλους. Δεν τρέφεται από τις ανθρώπινες αδυναμίες αλλά τις διαχειρίζεται για το όφελός του, επειδή γνωρίζει τον τρόπο.
Στην ουσία όσοι έρχονται σε αυτόν χωρίζονται σε δύο κατηγορίες. Σε αυτούς που είναι ήδη από χέρι χαμένοι, οπότε η παρέμβασή του δεν συμβάλλει περισσότερο στην ήδη προδιαγεγραμμένη καταστροφική τους πορεία, και σε αυτούς που έχουν ταλέντα και όρεξη για δουλειά αλλά τους λείπει το κεφάλαιο. Αυτοί οι δεύτεροι... δεν κινδυνεύουν από τον Gobseck. Δεν θα τους χαρίσει τίποτα. Θα πάρει πίσω ό,τι του αναλογεί με τόκο. Αλλά δεν θα τους καταπιεί. Για τους δεύτερους λειτουργεί απλώς ως ανεπίσημος τραπεζίτης και επενδύει στην εργατικότητα και στις ικανότητές τους.
Οπότε όλοι βγαίνουν κερδισμένοι;
Ένα υπέροχο έργο και ειδικά εκείνη η τελευταία σκηνή με στοίχειωσε. Η αμύθητη περιουσία του γέρου τοκογλύφου, η μανία του να συσσωρεύει, να κατέχει, είναι από μόνη της μια μορφή τρέλας η οποία ωστόσο έχει τη δική της λογική. Όλα τα αγαθά που μαζεύει δεν τα απολαμβάνει σε επίπεδο υλικό, δεν καταναλώνει, τα αποθηκεύει και τα διακινεί με σκοπό πάντα το κέρδος. Απώτερος σκόπος η εξουσία, να ελέγχει τις ζωές των άλλων, να τιμωρεί και να δικαιώνει σαν μικρός θεός.
Να λοιπόν πώς ο Balzac κάνει το πορτραίτο των θεών της σύχρονης εποχής: Οι κεφαλαιούχοι, οι καπιταλιστές. Ακόμα κι όταν κανένας δεν τους γνωρίζει, δεν παύει να είναι αυτοί που ελέγχουν την καθημερινότητα του βίου μας.
Όλοι κρεμόμαστε από τα σχοινιά του πουγκιού του Gobseck.
Γι' αυτό μου αρέσει και απολαμβάνω να διαβάζω ρεαλιστική λογοτεχνία. Ακόμα κι αν ήταν δυνατό να αλλάξουμε αυτόν τον κόσμο, αυτό δεν θα μπορούσε να πραγματοποιηθεί, εαν πρώτα δεν προβαίναμε στην κατανόησή του. Και είναι φοβερός ο τρόπος που οι ρεαλιστές λογοτέχνες φωτίζουν ακόμα και τις πιο σκιώδεις και άγνωστες πλευρές της ανθρώπινης πραγματικότητας.
October 29, 2023
[3.1.2019: leggendo di Ralph Nickleby mi torna in mente questo]
Non è una delle opere più famose di Balzac, questo lungo racconto che presenta un avvincente ritratto di un classico tipo umano, l'avaro usuraio (il titolo della prima edizione su rivista, nel 1830, era appunto L’Usurier), eppure si rivela essere un nodo fondamentale della Comédie humaine.
Il ritratto dell’usuraio di origine olandese, “che sarebbe degno del pennello di Rembrandt”, è dipinto da un importante narratore interno, l'avvocato Derville, che vediamo avvinto – tra orrore e fascino – da questo personaggio estremo: abilissimo negli affari, privo di ogni cedimento sentimentale, avaro fin quasi all’inverosimile, ma anche fedele a una sua onestà e portatore di una vera e propria visione del mondo. «Il existe deux hommes en lui: il est avare et philosophe, petit et grand.»
Ma fino a che punto possiamo fidarci di Derville? Di Gobseck non veniamo a sapere nulla al di fuori di quanto dice questo narratore che è coinvolto direttamente, non tanto perché genericamente attivo all’interno del proprio racconto, ma perché deve proprio all’usuraio l’occasione per imporsi nella sua professione. E a pensarci bene, non può trattarsi di una mediazione neutra, visto che Derville è l’avvocato che si è fatto un nome rendendo possibile, dopo la Restaurazione, il recupero da parte della nobiltà di enormi ricchezze e privilegi. Insomma, il narratore interno, sempre presentato come integerrimo e relativamente disinteressato, non è certo un paladino della giustizia sociale; ma è anche lui un “filosofo”, capace di comprendere e di compatire le sventure di chi si rovina con le proprie mani, cedendo a vizi e passioni.
Quel che è certo è che il ritratto di Gobseck permette di esplorare la dialettica spietata che connette poli opposti che necessariamente si implicano a vicenda: lusso e parsimonia, dissipazione e accumulazione. Le vite dei dissipatori e delle donne di lusso si intreccia con le sordide stanze di chi la ricchezza la gode tutta solo nella sua potenzialità, senza mai spenderla. Il necessario contraltare dell’usuraio è allora il dandy, che prende a prestito per spendere sempre di più, incurante della distruzione che provoca intorno a sé. Ossia, qui, il conte Maxime de Trailles, «la fleur du dandysme de ce temps là, jouissant d’une immense réputation», che viene così descritto da una delle rare voci che per un istante si inserisce nel racconto dell’avvocato: «un être singulier, bon à tout et propre à rien, craint et méprisé, sachant et ignorant tout, aussi capable de commettre un bienfait que de résoudre un crime, tantôt lâche et tantôt noble, plutôt couvert de boue que taché de sang, ayant plus de soucis que de remords, plus occupé de bien digérer que de penser, feignant des passions et ne ressentant rien.»
Non stupisce allora che il racconto sia a volte difficile da seguire nei tecnicismi di prestiti, interessi, pegni, lettere e controlettere di credito, ma soprattutto che sia anche un grande repertorio di interni, abiti, oggetti e beni di lusso, come dimostra in modo memorabile e terribile la grandiosa scena finale.
E comunque non è piccolo il piacere che deriva dall’esaminare come il tassello si inserisce nel mosaico. Vale per tutti i testi di Balzac, ma qui in modo particolarmente concentrato: la narrazione è del tutto autosufficiente, il ritratto non lascia vaste zone d’ombra, non richiede aggiunte per essere compreso, però vengono richiamati personaggi, ambienti e soprattutto connessioni di prima importanza per l’insieme della Comédie, dalla figlia di Papà Goriot a madame de Grandlieu.
Non è una delle opere più famose di Balzac, questo lungo racconto che presenta un avvincente ritratto di un classico tipo umano, l'avaro usuraio (il titolo della prima edizione su rivista, nel 1830, era appunto L’Usurier), eppure si rivela essere un nodo fondamentale della Comédie humaine.
Il ritratto dell’usuraio di origine olandese, “che sarebbe degno del pennello di Rembrandt”, è dipinto da un importante narratore interno, l'avvocato Derville, che vediamo avvinto – tra orrore e fascino – da questo personaggio estremo: abilissimo negli affari, privo di ogni cedimento sentimentale, avaro fin quasi all’inverosimile, ma anche fedele a una sua onestà e portatore di una vera e propria visione del mondo. «Il existe deux hommes en lui: il est avare et philosophe, petit et grand.»
Ma fino a che punto possiamo fidarci di Derville? Di Gobseck non veniamo a sapere nulla al di fuori di quanto dice questo narratore che è coinvolto direttamente, non tanto perché genericamente attivo all’interno del proprio racconto, ma perché deve proprio all’usuraio l’occasione per imporsi nella sua professione. E a pensarci bene, non può trattarsi di una mediazione neutra, visto che Derville è l’avvocato che si è fatto un nome rendendo possibile, dopo la Restaurazione, il recupero da parte della nobiltà di enormi ricchezze e privilegi. Insomma, il narratore interno, sempre presentato come integerrimo e relativamente disinteressato, non è certo un paladino della giustizia sociale; ma è anche lui un “filosofo”, capace di comprendere e di compatire le sventure di chi si rovina con le proprie mani, cedendo a vizi e passioni.
Quel che è certo è che il ritratto di Gobseck permette di esplorare la dialettica spietata che connette poli opposti che necessariamente si implicano a vicenda: lusso e parsimonia, dissipazione e accumulazione. Le vite dei dissipatori e delle donne di lusso si intreccia con le sordide stanze di chi la ricchezza la gode tutta solo nella sua potenzialità, senza mai spenderla. Il necessario contraltare dell’usuraio è allora il dandy, che prende a prestito per spendere sempre di più, incurante della distruzione che provoca intorno a sé. Ossia, qui, il conte Maxime de Trailles, «la fleur du dandysme de ce temps là, jouissant d’une immense réputation», che viene così descritto da una delle rare voci che per un istante si inserisce nel racconto dell’avvocato: «un être singulier, bon à tout et propre à rien, craint et méprisé, sachant et ignorant tout, aussi capable de commettre un bienfait que de résoudre un crime, tantôt lâche et tantôt noble, plutôt couvert de boue que taché de sang, ayant plus de soucis que de remords, plus occupé de bien digérer que de penser, feignant des passions et ne ressentant rien.»
Non stupisce allora che il racconto sia a volte difficile da seguire nei tecnicismi di prestiti, interessi, pegni, lettere e controlettere di credito, ma soprattutto che sia anche un grande repertorio di interni, abiti, oggetti e beni di lusso, come dimostra in modo memorabile e terribile la grandiosa scena finale.
E comunque non è piccolo il piacere che deriva dall’esaminare come il tassello si inserisce nel mosaico. Vale per tutti i testi di Balzac, ma qui in modo particolarmente concentrato: la narrazione è del tutto autosufficiente, il ritratto non lascia vaste zone d’ombra, non richiede aggiunte per essere compreso, però vengono richiamati personaggi, ambienti e soprattutto connessioni di prima importanza per l’insieme della Comédie, dalla figlia di Papà Goriot a madame de Grandlieu.
March 18, 2022
Из всех произведений Бальзака, эта повесть - с наибольшим психологическим анализом. Главный герой, голландец Гобсек, умен, циничен, наблюдателен, безэмоционален, со своей жизненной философией и принципами. Он большой знаток человеческих душ, как и все ростовщики, он видел жизнь, и у него весьма своеобразное чувство справедливости. Кому то может даже показаться, что Гобсек - образец здравого смысла. «Я спросил у него, какие соображения заставили его брать с меня огромные проценты и почему он, желая помочь мне, своему другу, не позволил себе оказать это благодеяние совершенно бескорыстно. «Сын мой, я избавил тебя от признательности, я дал тебе право считать, что ты мне ничем не обязан. И поэтому мы с тобой лучшие в мире друзья». Но когда Вы дойдете до описания комнат, с грудами зловонных и заплесневелых деликатесов и продуктов, всевозможных вещей и товаров, запыленных и сгруженных в кучи, когда читатель видит, что нет ни единой души, кому Гобсек хотел бы завещать богатство, становится понятно, что это – болезнь стяжательства, скопидомства, приводящая к полному одиночеству. Анастази еще один персонаж, вызывающая отвращение, это шлюшка, продающая свою красоту богатому папику, в законном браке разумеется. И Гобсеков, и Анастази можно встретить и сейчас, может даже чаще, чем во времена Гобсека.
April 26, 2022
de Balzac you devil 😈 I had been waiting for the Jewish to be represented in a negative, or at least typical, might. Why is all through the centuries it’s like Jewish men had one jog. Jewish man you had one job! Now get out of our country oh and you can’t really go to England either. So try america but wait too puritanical. Ok stay in France then Shylock.
I swear if you’re looking for a peoples that’s been persecuted for all eternity I do not blame them one bit for becoming some of the toughest peoples on the plant.
I swear if you’re looking for a peoples that’s been persecuted for all eternity I do not blame them one bit for becoming some of the toughest peoples on the plant.
Read
May 27, 2024- Mr. Balzac, I have several opinions about your book, but they all start with " too ". Does it bother you ?
- Pas du tout, mon cher, je sais que t'es un de mes grands fans. D'ailleurs, " trop " est l'un de mes mots préférés, si nous parlons d'argent...
- Well...not quite.. Mon " trop " a d'autres chats à fouetter..
So ,
Too short - and that took me by surprise and left me with irreparable sequelae. You didn't get the money you want, or Ewelina had not appeared yet, who usually dictates the number of page of your books ? Anyway, it's unfair.
Too depressing. All the characters are miserable, greedy or dishonest, as always. Why don't you try a world where, you know, you only see friends, shaking hands, and everybody see la vie en rose ?
Too realistic. You always portray the society of your time with such accuracy and detail that it made me uncomfortable.
Too moralistic. You want to teach me a lesson about the dangers of avarice and the virtues of honesty. C'mon, I don't really need lessons from the one who was himself in debt and had 4789 affairs.
Too predictable. I knew from the beginning that Gobseck would die alone and that Ernest will inherit his fortune. It was like watching Bruce Willis for I don't know how many times. Everybody knows that he die hard.
And finally, too Balzacian. Try to surprise me, nom de dieu ! Cato used to surprise inspector Clouseau every night ! That always keep your attention erect.
- Très bien, mon cher. Puis-je dire quelque chose ?
- Too late, Mr. Balzac.
- Pas du tout, mon cher, je sais que t'es un de mes grands fans. D'ailleurs, " trop " est l'un de mes mots préférés, si nous parlons d'argent...
- Well...not quite.. Mon " trop " a d'autres chats à fouetter..
So ,
Too short - and that took me by surprise and left me with irreparable sequelae. You didn't get the money you want, or Ewelina had not appeared yet, who usually dictates the number of page of your books ? Anyway, it's unfair.
Too depressing. All the characters are miserable, greedy or dishonest, as always. Why don't you try a world where, you know, you only see friends, shaking hands, and everybody see la vie en rose ?
Too realistic. You always portray the society of your time with such accuracy and detail that it made me uncomfortable.
Too moralistic. You want to teach me a lesson about the dangers of avarice and the virtues of honesty. C'mon, I don't really need lessons from the one who was himself in debt and had 4789 affairs.
Too predictable. I knew from the beginning that Gobseck would die alone and that Ernest will inherit his fortune. It was like watching Bruce Willis for I don't know how many times. Everybody knows that he die hard.
And finally, too Balzacian. Try to surprise me, nom de dieu ! Cato used to surprise inspector Clouseau every night ! That always keep your attention erect.
- Très bien, mon cher. Puis-je dire quelque chose ?
- Too late, Mr. Balzac.
June 29, 2022
"Gobsekas" – apysaka – vienas geriausių Balzako kūrinių. Ne kartą taisytas, kol dabar skaitome šią paskutinę autoriaus redakciją. Ryškūs charakteriai (ne veltui autorius savo mokytoju laikė Moljerą), o pagrindinis (neigiamas!) veikėjas palūkanininkas, tapęs baronu, niekinantis žmones, bedvasis skeptikas nutapytas labai sodriai, nesureikšminant blogųjų jo savybių, bet siekiant objektyvumo, nes jis turi savo filosofiją (nelaimė – geriausias mokytojas), jo skepticizmas ir panieka turtuoliams grįsti didžiule gyvenimiška patirtimi, o žmonių nesėkmės (jo nuomone) – tai pamokos – juk nelaimėse jie daug ko išmoksta, sužino pinigų kainą, žmonių vertę. Bet ar jis blogesnis už tuos aukštuomenės atstovus, kurie švaisto pinigus savo ir meilužių užgaidoms tenkinti? – klausia autorius ir tiesmukiškai nesmerkdamas savo herojaus, vis dėlto pavaizduoja kaip jo turtai po mirties niekam neatneša laimės.
Balzakui šis jo sukurtas veikėjas buvo labai svarbus, nes jis bent trumpam pasirodo ir kituose jo romanuose.
Iš kitų šioje knygoje publikuojamų didžiojo meistro kūrinių noriu išskirti filosofinį etiudą „Nežinomas šedevras“, kuriame daug įdomių minčių apie kūrybą, o ir pats siužetas gan įdomus – gyvenimo ir meninio vaizdo tikroviškumo konfliktas. Autorius, naudodamas simbolius ir metaforas, bando filosofiškai apibendrinti realaus gyvenimo reiškinius.
„Iš pirmo žvilgsnio ji atrodo nuostabi; bet, antrąkart žvilgtelėjęs, matai, kad ji priaugusi prie drobės ir jos aplinkui neapeisi. Tarp šios va rankos ir paveikslo fono aš nejaučiu oro; trūksta erdvės ir gylio. Po šita dramblio kaulo baltumo oda neteka kraujas; po šiuo vaiskiu smilkinių ir krūtinės gintaru venomis ir raizgiu kapiliarų tinklu neplūsta purpurinė gyvybės rasa. Ko gi čia trūksta? Niekniekio, bet šitas niekniekis – viskas! Jūs gebate atvaizduoti gyvenimo išorę, bet neišreiškiate pro kraštus besiveržiančio jo vidaus, to kažko, kas galbūt yra siela“ – toks žymaus dailininko Frenhoferio žvilgsnis į kolegos paveikslą. Keli jo brūkštelėjimai teptuku, uždedant lengvą melsvą skaidrių dažų sluoksnį, ir sujudėjo oras apie nutapytos moters galvą, suplevėsavo drabužių klostės, atgijo oda – meistras virtuoziškai įliejo šilumos į paveikslą. Rodės, kad moteris iš paveikslo gali atsistoti ir prieiti prie dailininkų.
Frenhoferio bėda – būdamas įstabus tapytojas jis turėjo nelaimės gimti turtuoliu ir taip pražudė savo talentą. Dešimt metų jis piešia savo neprilygstamą portretą, moteris jame – daugiau nei žmona, dailininkas patiki, kad ji myli jį, todėl taip pavyduliauja, kad slepia paveikslą ne tik nuo žmonių akių, bet ir nuo savęs – po dažų sluoksniu. „Tai ne drobė, tai moteris! Moteris su kuria verkiu, juokiuosi, kalbuosi ir mąstau. Ši moteris ne nutapyta, o sutverta. Aš daugiau meilužis negu tapytojas.“ Ir kai jaunas dailininkas sutinka leisti savo mylimajai Žiletei pozuoti Frenhoveriui, šis iš anksto džiaugiasi savo sukurtos grožybės pergale prieš gyvą merginą. Deja...
Įdomus šiame kūrinyje Žiletės paveikslas – ji kilnios ir taurios sielos, be galo tikinti jaunuoju dailininku, kenčianti kartu su juo nepriteklius, tenkinanti visus jo įgeidžius.
Be abejo, šioje knygoje skaitytojo dėmesio verti ir kiti Balzako kūriniai, ypač, trumpasis romanas "Pulkininkas Šaberas".
Balzakui šis jo sukurtas veikėjas buvo labai svarbus, nes jis bent trumpam pasirodo ir kituose jo romanuose.
Iš kitų šioje knygoje publikuojamų didžiojo meistro kūrinių noriu išskirti filosofinį etiudą „Nežinomas šedevras“, kuriame daug įdomių minčių apie kūrybą, o ir pats siužetas gan įdomus – gyvenimo ir meninio vaizdo tikroviškumo konfliktas. Autorius, naudodamas simbolius ir metaforas, bando filosofiškai apibendrinti realaus gyvenimo reiškinius.
„Iš pirmo žvilgsnio ji atrodo nuostabi; bet, antrąkart žvilgtelėjęs, matai, kad ji priaugusi prie drobės ir jos aplinkui neapeisi. Tarp šios va rankos ir paveikslo fono aš nejaučiu oro; trūksta erdvės ir gylio. Po šita dramblio kaulo baltumo oda neteka kraujas; po šiuo vaiskiu smilkinių ir krūtinės gintaru venomis ir raizgiu kapiliarų tinklu neplūsta purpurinė gyvybės rasa. Ko gi čia trūksta? Niekniekio, bet šitas niekniekis – viskas! Jūs gebate atvaizduoti gyvenimo išorę, bet neišreiškiate pro kraštus besiveržiančio jo vidaus, to kažko, kas galbūt yra siela“ – toks žymaus dailininko Frenhoferio žvilgsnis į kolegos paveikslą. Keli jo brūkštelėjimai teptuku, uždedant lengvą melsvą skaidrių dažų sluoksnį, ir sujudėjo oras apie nutapytos moters galvą, suplevėsavo drabužių klostės, atgijo oda – meistras virtuoziškai įliejo šilumos į paveikslą. Rodės, kad moteris iš paveikslo gali atsistoti ir prieiti prie dailininkų.
Frenhoferio bėda – būdamas įstabus tapytojas jis turėjo nelaimės gimti turtuoliu ir taip pražudė savo talentą. Dešimt metų jis piešia savo neprilygstamą portretą, moteris jame – daugiau nei žmona, dailininkas patiki, kad ji myli jį, todėl taip pavyduliauja, kad slepia paveikslą ne tik nuo žmonių akių, bet ir nuo savęs – po dažų sluoksniu. „Tai ne drobė, tai moteris! Moteris su kuria verkiu, juokiuosi, kalbuosi ir mąstau. Ši moteris ne nutapyta, o sutverta. Aš daugiau meilužis negu tapytojas.“ Ir kai jaunas dailininkas sutinka leisti savo mylimajai Žiletei pozuoti Frenhoveriui, šis iš anksto džiaugiasi savo sukurtos grožybės pergale prieš gyvą merginą. Deja...
Įdomus šiame kūrinyje Žiletės paveikslas – ji kilnios ir taurios sielos, be galo tikinti jaunuoju dailininku, kenčianti kartu su juo nepriteklius, tenkinanti visus jo įgeidžius.
Be abejo, šioje knygoje skaitytojo dėmesio verti ir kiti Balzako kūriniai, ypač, trumpasis romanas "Pulkininkas Šaberas".
November 12, 2023
داستان درباره یه پیرمرد رباخواره که دارایی یه کنت جوان بنا به دلایلی دست اونه و از زبون یکی از مشتریاش که دوستشم شده و وکیلشم هست گفته میشه
صحبت های خود گوبسک با وکیل خیلی واسم جالب بود،
من دوستش داشتم و بعد از خوندنش ترغیب شدم که بقیه کتاب های بالزاک هم بخونم ،اینکه متوجه شدم توی کتاب های مختلفش از شخصیت های یکسان استفاده کرده و انگار باید همه کتاب هارو خوند تا شخصیت پردازی کامل بشه و سرنوشتشون و روابطشون باهم مشخص بشه خیلی واسم جالب بود❣️🤌🏻
صحبت های خود گوبسک با وکیل خیلی واسم جالب بود،
من دوستش داشتم و بعد از خوندنش ترغیب شدم که بقیه کتاب های بالزاک هم بخونم ،اینکه متوجه شدم توی کتاب های مختلفش از شخصیت های یکسان استفاده کرده و انگار باید همه کتاب هارو خوند تا شخصیت پردازی کامل بشه و سرنوشتشون و روابطشون باهم مشخص بشه خیلی واسم جالب بود❣️🤌🏻
March 4, 2020
Gobseck hat wohl den abschreckendsten Titel innerhalb der gesamten Comédie Humaine, im Gegensatz dazu handelt es sich um eine der packendsten Geschichten, nicht nur als Fortsetzung zu Pére Goriot mit den weiteren Verbrechen von dessen schlimmerer Tochter Anastasie, die in ihrer Hörigkeit gegenüber dem Spieler Maxime De Trailles keine Grenzen kennt. Hauptheld neben der Titelfigur, die zur Ahnengalerie von Scrooge gehören könnte, ist der omnipräsente Anwalt Derville, dessen Karriere von Gobseck eine Anschubfinanzierung zwecks Übernahme einer Kanzlei erhielt. Derville spielt neben Pére Goriot auch in Oberst Chabert https://www.goodreads.com/review/show... bzw. an zentraler Stelle von Glanz und Elend bei der Aufdeckung eines Schwindels eine große Rolle spielt.
Ich will hier nicht zu viel spoilern, die Szenen sprechen für sich und gebe Maitre Derville das letzte Wort, auch wenn das Zitat aus Oberst Chabert stammt: Ich sah einen Vater in einem elenden Loch zugrunde gehen, ohne Geld noch Gut, verlassen von seinen Töchtern, denen er vierzigtausend Franken Rente geschenkt hatte. Ich sah Testamente verbrannt. Ich sah Mütter ihre eigenen Kinder berauben, Gatten ihre Frauen bestehlen, Weiber die ihre Männer töteten, unter die Erde brachten, indem sie sich der Liebe als Mittel bedienten, sie irrsinnig zu machen oder zur Verblödung zu bringen. Und alles, um mit dem Herzensfreund in Frieden leben zu können. Ich habe gesehen, wie Frauen den Kindern der ersten Ehe Gewohnheiten böser Art beibrachten, an denen sie sterben sollten, damit die Kinder der Herzensehe reich würden. Ich kann nicht alles sagen, was ich sah, denn es gibt Verbrechen, gegen die jedes Gesetz ohnmächtig ist. Alle schrecklichkeiten, die ein Dichter erfinden könnten, sind nichts gegen die Wahrheit. (...) Ich will aufs Land, dort will ich mit meiner Frau leben. Paris ist ein Ort des Schreckens.
Etliches, was der amtsmüde Anwalt nach der finalen Begegnung mit Oberst Chabert andeutet, findet sich in Gobseck.
Ich will hier nicht zu viel spoilern, die Szenen sprechen für sich und gebe Maitre Derville das letzte Wort, auch wenn das Zitat aus Oberst Chabert stammt: Ich sah einen Vater in einem elenden Loch zugrunde gehen, ohne Geld noch Gut, verlassen von seinen Töchtern, denen er vierzigtausend Franken Rente geschenkt hatte. Ich sah Testamente verbrannt. Ich sah Mütter ihre eigenen Kinder berauben, Gatten ihre Frauen bestehlen, Weiber die ihre Männer töteten, unter die Erde brachten, indem sie sich der Liebe als Mittel bedienten, sie irrsinnig zu machen oder zur Verblödung zu bringen. Und alles, um mit dem Herzensfreund in Frieden leben zu können. Ich habe gesehen, wie Frauen den Kindern der ersten Ehe Gewohnheiten böser Art beibrachten, an denen sie sterben sollten, damit die Kinder der Herzensehe reich würden. Ich kann nicht alles sagen, was ich sah, denn es gibt Verbrechen, gegen die jedes Gesetz ohnmächtig ist. Alle schrecklichkeiten, die ein Dichter erfinden könnten, sind nichts gegen die Wahrheit. (...) Ich will aufs Land, dort will ich mit meiner Frau leben. Paris ist ein Ort des Schreckens.
Etliches, was der amtsmüde Anwalt nach der finalen Begegnung mit Oberst Chabert andeutet, findet sich in Gobseck.
December 11, 2018
זה בוודאי לא בלזאק אלא כנראה אני שלא התחברתי לסיפור המרכזי בקובץ, המתאר את שקיעת האצולה הצרפתית ואת האופן שבו מלווה בריבית, גובסק, מנצל את מצוקותיהם כך שבסוף הסיפור, בשל תככיה של האישה, המשפחה נותרת בלי רכושה.
גם לסיפור השני, "אל ורדוגו" לא התחברתי וגם לא לסיפור השלישי "שיקוי חיי הנצח".
כנראה זה הזמן שלא מתאים לקריאת בלזאק שיורד לנבכי התעתוע של הנפש האנושית.
גם לסיפור השני, "אל ורדוגו" לא התחברתי וגם לא לסיפור השלישי "שיקוי חיי הנצח".
כנראה זה הזמן שלא מתאים לקריאת בלזאק שיורד לנבכי התעתוע של הנפש האנושית.
January 10, 2023
Me gusta que Balzac mencione a personajes de otras historias. Es como saber que pasa antes o después en la vida de los mismos.
September 24, 2024
This is one of Honoré de Balzac's best novelettes. Gobseck is a usurer who is described by the lawyer Derville to the Vicomtesse de Grandlieu, whose daughter has fallen in love with a young man whose mother is a notorious spendthrift. The financial tergiversations described by the author may be pure bunk, but their effect on the reader is incredibly powerful, as we see the usurer like a spider at the center of a web that is the City of Paris.
May 14, 2023
گبسک رباخوار/بالزاک/ مسروب بالایان/چاپ زربافی/رشت
May 5, 2024
În mod aparent straniu, nuvela lui Balzac publicată în 1830 este un fel de continuare a celebrului roman Le Père Goriot publicat în 1835, dar acest lucru nu este neapărat o surpriză dată fiind abilitatea extraordinară a scriitorului francez de a imagina un univers literar extrem de complex în care există o rețea aproape nelimitată de conexiuni între eroii care populează această lume imaginară. Așadar, nu trebuie să ne mire că Balzac face referire atât la Moș Goriot, cât și la cele două fiice ale acestuia cu patru sau cinci ani înainte ca el să scrie drama dedicată bietului Goriot.
De altfel, contesa Anastasie de Restaud, fiica cea mare a lui Jean-Joachim Goriot, este unul dintre personajele principale ale acestei nuvele și, mai mult decât atât, principalul erou negativ, ceea ce ne arată că, deși au trecut mai bine de zece ani de la evenimentele ce vor fi narate în Le Père Goriot (1819), totuși caracterul contesei nu s-a schimbat deloc în sens pozitiv. Iată ce-i spune soțul ei aflat pe patul de moarte: "Ai fost o fiică rea, ai fost o soţie rea, vei fi o mamă rea".
Cămătarul Gobseck este, fără doar și poate, un ins destul de interesant. Pentru a-l descrie, Balzac recurge la o dublă strategie: mai întâi, prin intermediul avocatului Derville, unul dintre foarte puținii oameni, dacă nu chiar singurul, care a reușit să devină prietenul bătrânului a cărui vârstă este o adevărată enigmă ("Dacă iubirea de oameni, dacă sociabilitatea ar fi religie, Gobseck ar putea trece drept un ateu"), iar, pe de altă parte, îi dă libertatea acestuia de a-și expune singur propria filosofie cinică asupra vieții: "Nimic nu este statornic pe pământ, nu există decât convenţii care se schimbă după climat. Pentru cel ce au fost nevoiţi să se adapteze la toate tiparele sociale, convingerile şi concepţiile morale nu sunt decât vorbe fără preţ...nu există decât un singur lucru, a cărui valoare e destul de sigură pentru a merita ca omul să se ocupe de el. Acest lucru este… AURUL. Aurul e întruchiparea tuturor forţelor omului...Privirea mea este la fel ca aceea a lui Dumnezeu, eu citesc în inimi. Nimic nu-mi poate fi tăinuit. Nu poţi refuza nimic celui care leagă şi dezleagă baierele pungii. Sunt destul de bogat pentru a cumpăra conştiinţele celor care-i manevrează pe miniştri, începând cu curierii şi sfârşind cu amantele: nu înseamnă oare asta să deţii Puterea? Aş putea avea femeile cele mai frumoase şi mângâierile lor cele mai fierbinţi. Nu înseamnă asta oare Plăcere? Iar orânduirea voastră socială nu se rezumă oare la Putere şi la Plăcere? În tot Parisul, sunt vreo zece ca mine, regi tăcuţi şi anonimi, arbitri ai destinelor voastre. Nu este oare viaţa o maşină pusă în mişcare de bani? Află de la mine că mijloacele se confundă întotdeauna cu rezultatele: nu vei reuşi niciodată să desparţi sufletul de simţuri, spiritul de materie. Aurul este idealul societăţii noastre contemporane". Este o filosofie de viață care nu are însă cum să ducă decât la o fundătură, la o acumulare absurdă de bani și de bunuri ce și-au pierdut de mult timp orice sens, iar finalul vieții lui Gobseck este cea mai bună mărturie în acest sens.
În final o ultimă observație: la un moment dat, într-o discuție cu Gobseck, Derville îi spune acestuia: "În afaceri se procedează ca în afaceri şi nu ca în romane, cu sentimentalism". Într-un fel putem spune că nu numai lumea afacerilor este complet lipsită de orice urmă de sentimentalism, ci și romanele și nuvelele lui Balzac. Lectură plăcută!
De altfel, contesa Anastasie de Restaud, fiica cea mare a lui Jean-Joachim Goriot, este unul dintre personajele principale ale acestei nuvele și, mai mult decât atât, principalul erou negativ, ceea ce ne arată că, deși au trecut mai bine de zece ani de la evenimentele ce vor fi narate în Le Père Goriot (1819), totuși caracterul contesei nu s-a schimbat deloc în sens pozitiv. Iată ce-i spune soțul ei aflat pe patul de moarte: "Ai fost o fiică rea, ai fost o soţie rea, vei fi o mamă rea".
Cămătarul Gobseck este, fără doar și poate, un ins destul de interesant. Pentru a-l descrie, Balzac recurge la o dublă strategie: mai întâi, prin intermediul avocatului Derville, unul dintre foarte puținii oameni, dacă nu chiar singurul, care a reușit să devină prietenul bătrânului a cărui vârstă este o adevărată enigmă ("Dacă iubirea de oameni, dacă sociabilitatea ar fi religie, Gobseck ar putea trece drept un ateu"), iar, pe de altă parte, îi dă libertatea acestuia de a-și expune singur propria filosofie cinică asupra vieții: "Nimic nu este statornic pe pământ, nu există decât convenţii care se schimbă după climat. Pentru cel ce au fost nevoiţi să se adapteze la toate tiparele sociale, convingerile şi concepţiile morale nu sunt decât vorbe fără preţ...nu există decât un singur lucru, a cărui valoare e destul de sigură pentru a merita ca omul să se ocupe de el. Acest lucru este… AURUL. Aurul e întruchiparea tuturor forţelor omului...Privirea mea este la fel ca aceea a lui Dumnezeu, eu citesc în inimi. Nimic nu-mi poate fi tăinuit. Nu poţi refuza nimic celui care leagă şi dezleagă baierele pungii. Sunt destul de bogat pentru a cumpăra conştiinţele celor care-i manevrează pe miniştri, începând cu curierii şi sfârşind cu amantele: nu înseamnă oare asta să deţii Puterea? Aş putea avea femeile cele mai frumoase şi mângâierile lor cele mai fierbinţi. Nu înseamnă asta oare Plăcere? Iar orânduirea voastră socială nu se rezumă oare la Putere şi la Plăcere? În tot Parisul, sunt vreo zece ca mine, regi tăcuţi şi anonimi, arbitri ai destinelor voastre. Nu este oare viaţa o maşină pusă în mişcare de bani? Află de la mine că mijloacele se confundă întotdeauna cu rezultatele: nu vei reuşi niciodată să desparţi sufletul de simţuri, spiritul de materie. Aurul este idealul societăţii noastre contemporane". Este o filosofie de viață care nu are însă cum să ducă decât la o fundătură, la o acumulare absurdă de bani și de bunuri ce și-au pierdut de mult timp orice sens, iar finalul vieții lui Gobseck este cea mai bună mărturie în acest sens.
În final o ultimă observație: la un moment dat, într-o discuție cu Gobseck, Derville îi spune acestuia: "În afaceri se procedează ca în afaceri şi nu ca în romane, cu sentimentalism". Într-un fel putem spune că nu numai lumea afacerilor este complet lipsită de orice urmă de sentimentalism, ci și romanele și nuvelele lui Balzac. Lectură plăcută!
June 4, 2022
"Yaşam, öğrenmek sıkıntısına değen bir iştir, bir meslektir."
"...siz gençsiniz, yaşınız gereği her şeye inanırsınız, bense hiçbir şeye inanmam.
İster yolculuk yapmış olun, ister evinizin bir köşesinde karınızın yanıbaşında kalmış olun, öyle bir yaş gelir ki, artık hayat, beğenilen bir yerde, yerine getirilen bir töreden başka bir şey olmaz."
"Hastaların çocuklar gibi ne istediklerini bilmedikleri söylenir ama belki de çocuklar gibi ne istediklerini çok iyi biliyorlardır."
"Büyük yetenekler, şahlanmış tutkularının zorlu ateşinde yana yana hiç bozulmayan bir dürüstlük kazanır ve avutulan isteklerini bastırıp engelledikleri düzenli bir çalışmayla dehayı bekleyen savaşlara alışırlar.
Horace, namus ve onur konularında duraksamak elinden gelmeyen, fazla söze gerek görmeden olayı ele alan, dostları için paltosunu rehine koymaya ve yine onlara zamanını ve uykusunu vermeye hazır, dürüst, verdiklerine karşı ne alacaklarını düşünmeyen bir insandı.
Arkadaşlarının çoğu ona karşı, gösterişsiz bir erdemin yol açtığı derin bir saygı beslerlerdi. Birçokları da onun eleştirisinden korkardı; bir öneride bulunurken ileri geri konuşur, fakat bu kimseye ağır gelmezdi, zira iyi bir arkadaştı, babacan ve içtendi, yaşamında saklayacak hiçbir şeyi olmayan iyi yürekli bir insan gibi neşeli düşüncelerle alnı açık yaşardı.
Yürekliliğin belki de en önemli öğelerinden biri olan neşeyle yoksulluğuna katlanıyor ve hiçbir şeyi olmayan bütün insanlar gibi çok az borca giriyordu; bir deve gibi yetingen, düşünce ve davranışlarında tutarlıydı."
"Paris'te insanlar, ayağınızı üzengiye atmaya
olduğunuzu gördüler mi, kimisi eteğinizden çeker, kimisi düşüp kafanızı patlatasınız diye kolanı gevşetir, biri gelir atın nallarını söker, öteki kamçıyı alıp götürür.
Sıradan adamların, üstün insanlara karşı açmış oldukları korkunç ve aralıksız savaşı yakında anlayacaksınız. Bir akşam 25 Louis altını yitirirsiniz, ertesi gün adınız kumarbaza çıkar ve en iyi dostlarınız bile bir gün önce 25 bin frank yitirdiğinizi anlatıp dururlar. Başınız ağrımaya görsün, deli derler. Biraz atılgan ve çalışkan mısınız? Geçimsiz lafı hazırdır. Ve eğer bütün bu cüceler sürüsüne direnmek için kendinizde üstün güçler biriktirmeye kalkarsanız, en yakın dostlarınız bile, her şeyi yutmak isteyen, yönetmek, ezmek isteyen hırslı bir kişi olduğunuzu bar bar bağırarak ilan ederler. Sözün kısası nitelikleriniz eksiklik, eksiklikleriniz günah, erdemleriniz de suç olur. Bir kez sendelediniz mi? Tamam, düşersiniz.
Tanrıya inanmıyorum ama insana da hiç inanmıyorum."
"...siz gençsiniz, yaşınız gereği her şeye inanırsınız, bense hiçbir şeye inanmam.
İster yolculuk yapmış olun, ister evinizin bir köşesinde karınızın yanıbaşında kalmış olun, öyle bir yaş gelir ki, artık hayat, beğenilen bir yerde, yerine getirilen bir töreden başka bir şey olmaz."
"Hastaların çocuklar gibi ne istediklerini bilmedikleri söylenir ama belki de çocuklar gibi ne istediklerini çok iyi biliyorlardır."
"Büyük yetenekler, şahlanmış tutkularının zorlu ateşinde yana yana hiç bozulmayan bir dürüstlük kazanır ve avutulan isteklerini bastırıp engelledikleri düzenli bir çalışmayla dehayı bekleyen savaşlara alışırlar.
Horace, namus ve onur konularında duraksamak elinden gelmeyen, fazla söze gerek görmeden olayı ele alan, dostları için paltosunu rehine koymaya ve yine onlara zamanını ve uykusunu vermeye hazır, dürüst, verdiklerine karşı ne alacaklarını düşünmeyen bir insandı.
Arkadaşlarının çoğu ona karşı, gösterişsiz bir erdemin yol açtığı derin bir saygı beslerlerdi. Birçokları da onun eleştirisinden korkardı; bir öneride bulunurken ileri geri konuşur, fakat bu kimseye ağır gelmezdi, zira iyi bir arkadaştı, babacan ve içtendi, yaşamında saklayacak hiçbir şeyi olmayan iyi yürekli bir insan gibi neşeli düşüncelerle alnı açık yaşardı.
Yürekliliğin belki de en önemli öğelerinden biri olan neşeyle yoksulluğuna katlanıyor ve hiçbir şeyi olmayan bütün insanlar gibi çok az borca giriyordu; bir deve gibi yetingen, düşünce ve davranışlarında tutarlıydı."
"Paris'te insanlar, ayağınızı üzengiye atmaya
olduğunuzu gördüler mi, kimisi eteğinizden çeker, kimisi düşüp kafanızı patlatasınız diye kolanı gevşetir, biri gelir atın nallarını söker, öteki kamçıyı alıp götürür.
Sıradan adamların, üstün insanlara karşı açmış oldukları korkunç ve aralıksız savaşı yakında anlayacaksınız. Bir akşam 25 Louis altını yitirirsiniz, ertesi gün adınız kumarbaza çıkar ve en iyi dostlarınız bile bir gün önce 25 bin frank yitirdiğinizi anlatıp dururlar. Başınız ağrımaya görsün, deli derler. Biraz atılgan ve çalışkan mısınız? Geçimsiz lafı hazırdır. Ve eğer bütün bu cüceler sürüsüne direnmek için kendinizde üstün güçler biriktirmeye kalkarsanız, en yakın dostlarınız bile, her şeyi yutmak isteyen, yönetmek, ezmek isteyen hırslı bir kişi olduğunuzu bar bar bağırarak ilan ederler. Sözün kısası nitelikleriniz eksiklik, eksiklikleriniz günah, erdemleriniz de suç olur. Bir kez sendelediniz mi? Tamam, düşersiniz.
Tanrıya inanmıyorum ama insana da hiç inanmıyorum."
September 28, 2013
Данная повесть Бальзака очень занимательная. История о Гобсеке удивляет как и его профессиональными способностями так и своеобразной философией героя. Чего только стоит его слова «Миром правит — золото, золотом правит — ростовщик».
Гобсек, этот ловко орудующий делец на пороках людей, типичных прожигателей жизни. Присоединяюсь к преобладающей негативной критике в сторону этого ростовщика, но нужно также и заметить, что он выполняет своего рода роль волка, который осознанно или не осознано является санитаром социального общества. Также из уст Гобсека автор приводит не мало умных мыслей.
Чтобы кроме удовольствия от прочтения повести взять на заметку ещё и умные вещи нужно очень тщательно отделять зерна от плевел.
Гобсек, этот ловко орудующий делец на пороках людей, типичных прожигателей жизни. Присоединяюсь к преобладающей негативной критике в сторону этого ростовщика, но нужно также и заметить, что он выполняет своего рода роль волка, который осознанно или не осознано является санитаром социального общества. Также из уст Гобсека автор приводит не мало умных мыслей.
Чтобы кроме удовольствия от прочтения повести взять на заметку ещё и умные вещи нужно очень тщательно отделять зерна от плевел.
February 17, 2024
Read for uni. Finally a banger. Balzac created such a fascinating character, I found myself hating him and liking him in equal measure at times.
April 29, 2024
Дивовижна повість, від якої було важко відірватись. Хоч вона й коротка, проте всі персонажі описані детально й узгоджено. Текст наповнений безліччю маленьких, але настільки проникливих спостережень, що важко стримати себе від їх нотування. Стиль опису мене також зачарував, нудотного реалізму тут немає, багато уваги приділено емоціям і деталям, які допомагають зрозуміти мотиви й характери персонажів. Наприклад, по короткому зауваженню Гобсека про рідкість зустрічей з Дервілем можна побачити, наскільки самотнім насправді є лихвар. Один з кращих коротких творів, які я читав.
«Немає нікого нуднішого за щасливу людину»
«Немає нікого нуднішого за щасливу людину»
August 7, 2016
Free download available at Project Gutenberg.
The original French text at La Bibliothèque électronique du Québec.
Opening lines:
À une heure du matin, pendant l'hiver de 1829 à 1830, il se trouvait encore dans le salon de la vicomtesse de Grandlieu deux personnes étrangères à sa famille.
3* La maison du Chat-qui-pelote (1830)
3* Le bal de Sceaux (1830)
3* La Bourse (1830)
4* La Vendetta (1830)
3* Madame Firmiani (1832)
3* Une Double Famille (1830)
4* La paix du ménage (1830)
3* La Fausse Maîtresse (1842)
3* Étude de femme (1830)
4* Albert Savarus (1842)
4* Mémoires de Deux Jeunes Mariées (1841)
3* Le Colonel Chabert (1844, first published as La transaction, 1832)
4* Une fille d'Eve (1839)
3* La Femme Abandonee (1833)
4* La Grenadière (1832)
3* Le Message (1833)
3* Gobeseck (1830)
The original French text at La Bibliothèque électronique du Québec.
Opening lines:
À une heure du matin, pendant l'hiver de 1829 à 1830, il se trouvait encore dans le salon de la vicomtesse de Grandlieu deux personnes étrangères à sa famille.
3* La maison du Chat-qui-pelote (1830)
3* Le bal de Sceaux (1830)
3* La Bourse (1830)
4* La Vendetta (1830)
3* Madame Firmiani (1832)
3* Une Double Famille (1830)
4* La paix du ménage (1830)
3* La Fausse Maîtresse (1842)
3* Étude de femme (1830)
4* Albert Savarus (1842)
4* Mémoires de Deux Jeunes Mariées (1841)
3* Le Colonel Chabert (1844, first published as La transaction, 1832)
4* Une fille d'Eve (1839)
3* La Femme Abandonee (1833)
4* La Grenadière (1832)
3* Le Message (1833)
3* Gobeseck (1830)
January 26, 2022
Un style parfait figures bien maitrisées qui mettent à la lumière le bas et le haut le riche et le pauvre; l'innocent et le pervers se cotoyant et se coudoyant au meme niveau de l'usage usure, roman écrit en 1830avec la monarchie de Juillet
Des descriptions sans ambages qui montrent un monde où rien ne vaut que l'apparence où Esther femme de mauvaise vie ne vaut pas la peine d'aller etre recherchée au fond des quartiers de lupanars que le fils de la comtesse de Restaud celle qui se comportait comme mauvaise fille mauvaise femme et mère Roman nouvelle ,écrit où toute l'action passe par la voie orale dans les salon au sein d'une intimité des invités, roman de qu'en dit-on
Des descriptions sans ambages qui montrent un monde où rien ne vaut que l'apparence où Esther femme de mauvaise vie ne vaut pas la peine d'aller etre recherchée au fond des quartiers de lupanars que le fils de la comtesse de Restaud celle qui se comportait comme mauvaise fille mauvaise femme et mère Roman nouvelle ,écrit où toute l'action passe par la voie orale dans les salon au sein d'une intimité des invités, roman de qu'en dit-on
September 10, 2022
شاهکاری کوچک از نویسنده ای بزرگ. کتابی پر مفهوم که مشود ساعت ها درباره اش حرف زد. شخصیت گوبسک هم شخصیت عجیبی بود. مردی دنیا دیده و پخته، بی رحم در معاملات و گرفتن طلبهایش ولیکن در عین حال در حق برخی از افراد که احتمالا به درونشان پی برده است، خوبی میکند.
July 4, 2021
Honroe de Balzac's Gobseck brings the reader closer to the life of the money lender so often talked about for their services needed but rarely under the microscope themselves in classic novels. The ruined gentleman or lady pleading their cases for extensions and leniency. Balzac shows the greed of so called "Daddy Gosbeck" but goes beyond and shows another side which is not all gold and of a miser but of reason and a kind of caring which may not be evident but it is there nonetheless.
Balzac's stories shows humanity all it views and though Gosbeck looks to be the villain to many, I see a worse villain in Comtesse de Restaud and one needs to see her vigilance and care before and after her husband's death to see greed in another light.
I did not read this edition but a Delphi collection of his work, which included the highlights below.
"This short novella first appeared in outline form in La Mode in March 1830 under the title L’Usurier and then later that year in the periodical Le Voleur. The novella then appeared in a volume published by Mame-Delaunay under the title Les Dangers de l’inconduite. The definitive title of Gobseck appeared later in 1842 in the Furne edition of La Comédie humaine. "
Synopsis below-
"The novella is set during the French Restoration and concerns Anastasie de Restaud, née Goriot, who is the daughter of a rich bourgeois that has married into the aristocracy, but is tired of her passionless marriage. Anastasie has an affair with Maxime de Trailles, spending her fortune on de Trailles. When she turns to the usurer Jean-Esther van Gobseck for financial assistance, things take a turn for the worse."
In "Beatrix" we see how Maxime de Trailles lives in wealthy debt and his ability to seduce.
Story in short- Attorney Derville tells a story, to Camille who desires to marry Ernest de Restaud but will his mother's throwing money away worries Camille's mother, that might alleviate her fears.
💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢 Spoiler Alert💢💢💢🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻
I felt sorry for Comte de Restaud and his wife's affairs which might ruin his son's chances in life. Gosbeck looks to be holding the money for personal use instead of giving the money to Ernest but the fears he will help his mother and is too young to understand. He needs to know that life is not easy, in the end he will receive all, after Gosbeck's death. Gosbeck greed in the things he kept which he could have helped others. Men have good in them though they may seem all bad, and vice versa.
Gobseck though greedy has a good side and in his not giving the money to Ernest until he is older makes sense, because he might give to his mother. I felt badly about the count de Restaud and his wife is so cruel and selfish. The younger children are not his. Her lover Maxime she found out his baseness. Camille de Grandlieu is looking to marry Ernest de Restaud but her mother is not happy with that because Comtesse de Restaud has gone through her fortune and her husband's estate. Attorney Derville hears about Camille's love and wants to tell a story. Derville is a family friend with helping Comtesse de Grandlieu in legal matters. He has risen to his height by hard work and friends. He tells of his youth and Papa Gobseck, the money lender and their friendship. Finally he tells how he first meet Comtese de Restaud in her seeing at Gobseck with her lover, Maxime who we meet in Beatrix seducing her. A deal is struck with selling of diamonds and a loan which they were for ever seeking because of their debts. After they left Comte de Restaud came to find out what business his wife had with Gobseck. Then soon after the count asked Dervillle since he was at the money lender's what he thinks about Gobseck and giving him his money after death for his wife not too take. He also wanted Derville to help out but his illness and his wife preventing the lawyer seeing her husband to her she is afraid because she does not know. He tries to give it to the son, Ernest but his mother tries to find out which causes the count to take the papers from the son and hide them. The count does not want to see anyone but Ernest because the younger children are not his. After he dies his wife ransacked his room and right before Derville comes she burns the paper that would have him in charge, so Gobseck takes charge and does not help the son because he should learn economy. Finally Gobseck dies and all his greed is apparent and after money goes to a niece(Esther, who actually is his grand daughter) the rest goes to Ernest.
Balzac's stories shows humanity all it views and though Gosbeck looks to be the villain to many, I see a worse villain in Comtesse de Restaud and one needs to see her vigilance and care before and after her husband's death to see greed in another light.
I did not read this edition but a Delphi collection of his work, which included the highlights below.
"This short novella first appeared in outline form in La Mode in March 1830 under the title L’Usurier and then later that year in the periodical Le Voleur. The novella then appeared in a volume published by Mame-Delaunay under the title Les Dangers de l’inconduite. The definitive title of Gobseck appeared later in 1842 in the Furne edition of La Comédie humaine. "
Synopsis below-
"The novella is set during the French Restoration and concerns Anastasie de Restaud, née Goriot, who is the daughter of a rich bourgeois that has married into the aristocracy, but is tired of her passionless marriage. Anastasie has an affair with Maxime de Trailles, spending her fortune on de Trailles. When she turns to the usurer Jean-Esther van Gobseck for financial assistance, things take a turn for the worse."
In "Beatrix" we see how Maxime de Trailles lives in wealthy debt and his ability to seduce.
Story in short- Attorney Derville tells a story, to Camille who desires to marry Ernest de Restaud but will his mother's throwing money away worries Camille's mother, that might alleviate her fears.
💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢 Spoiler Alert💢💢💢🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻
I felt sorry for Comte de Restaud and his wife's affairs which might ruin his son's chances in life. Gosbeck looks to be holding the money for personal use instead of giving the money to Ernest but the fears he will help his mother and is too young to understand. He needs to know that life is not easy, in the end he will receive all, after Gosbeck's death. Gosbeck greed in the things he kept which he could have helped others. Men have good in them though they may seem all bad, and vice versa.
Gobseck though greedy has a good side and in his not giving the money to Ernest until he is older makes sense, because he might give to his mother. I felt badly about the count de Restaud and his wife is so cruel and selfish. The younger children are not his. Her lover Maxime she found out his baseness. Camille de Grandlieu is looking to marry Ernest de Restaud but her mother is not happy with that because Comtesse de Restaud has gone through her fortune and her husband's estate. Attorney Derville hears about Camille's love and wants to tell a story. Derville is a family friend with helping Comtesse de Grandlieu in legal matters. He has risen to his height by hard work and friends. He tells of his youth and Papa Gobseck, the money lender and their friendship. Finally he tells how he first meet Comtese de Restaud in her seeing at Gobseck with her lover, Maxime who we meet in Beatrix seducing her. A deal is struck with selling of diamonds and a loan which they were for ever seeking because of their debts. After they left Comte de Restaud came to find out what business his wife had with Gobseck. Then soon after the count asked Dervillle since he was at the money lender's what he thinks about Gobseck and giving him his money after death for his wife not too take. He also wanted Derville to help out but his illness and his wife preventing the lawyer seeing her husband to her she is afraid because she does not know. He tries to give it to the son, Ernest but his mother tries to find out which causes the count to take the papers from the son and hide them. The count does not want to see anyone but Ernest because the younger children are not his. After he dies his wife ransacked his room and right before Derville comes she burns the paper that would have him in charge, so Gobseck takes charge and does not help the son because he should learn economy. Finally Gobseck dies and all his greed is apparent and after money goes to a niece(Esther, who actually is his grand daughter) the rest goes to Ernest.
August 10, 2023
بهتره بلافاصله بعد از بابا گوریو خونده بشه
January 28, 2020
3.5 stars. Gobseck is sort of a prequel to Father Goirot, featuring a grotesque title character who is both villainous for his greed but strangely attractive to the reader for his cynical proclamations and, at times, insight into the darker and more calculating aspects of human nature. Gobseck is a commentary on capitalism, greed, and colonialism, with Gobseck representing the necessary evil that must exist as a counterweight to those human activities. The slight sympathy that we feel for Gobseck comes not from our accepting or condoning his actions, but for our understanding that he is just as trapped in these systemic nets as the people with whom he deals (or cheats, to be more frank) -- a reality revealed by Balzac at the end, when we see the literal decay at the center of his life.
January 6, 2010
Гобсек гэж хуурайгаар нь залгих гэсэн үг гэнэ. /Гобо- залгих, сек- хуурай/ Уг нь бол хоол идэхдээ шингэн юм зэрэг уухыг буруу гэдэг. Тэгэхээр Гобсек зөв хооллодог болж таарах нь...
Насны эцэст харамч хахир зангаар солигдсоноос биш Гобсекийн сэргэлэн толгой, Парисийн мөнгө санхүүгийн төдийгүй, хөрөнгөтөн язгууртнуудын амьдралын нарийн ширийнийг мэдэх мэдлэг, хүний зан төлөвийг үнэлэх чадварыг үнэхээр үнэлүүштэй. Хэдийгээр хэмжээлшгүй хөрөнгийг олж эзэмшсэн боловч түүнийг яах гэж хэрхэн өөрө��сөө ч харамлан хадгалдгийг мөн үхэн хатан арвижуулсаар байсныг харин ойлгоход хэцүү. Ямартаа ч Гобсекийн философи надад нэг л ойлгомжгүй санагдна. Монголчууд хүн баяжхаараа улам харамч болдог гэдэг. Тэр нь болсон бололтой.
Орчуулга болон шивэлт нь их тааруу байсан. Найруулгын болон үг үсгийн алдаа их байлаа.
Насны эцэст харамч хахир зангаар солигдсоноос биш Гобсекийн сэргэлэн толгой, Парисийн мөнгө санхүүгийн төдийгүй, хөрөнгөтөн язгууртнуудын амьдралын нарийн ширийнийг мэдэх мэдлэг, хүний зан төлөвийг үнэлэх чадварыг үнэхээр үнэлүүштэй. Хэдийгээр хэмжээлшгүй хөрөнгийг олж эзэмшсэн боловч түүнийг яах гэж хэрхэн өөрө��сөө ч харамлан хадгалдгийг мөн үхэн хатан арвижуулсаар байсныг харин ойлгоход хэцүү. Ямартаа ч Гобсекийн философи надад нэг л ойлгомжгүй санагдна. Монголчууд хүн баяжхаараа улам харамч болдог гэдэг. Тэр нь болсон бололтой.
Орчуулга болон шивэлт нь их тааруу байсан. Найруулгын болон үг үсгийн алдаа их байлаа.
February 19, 2015
گوبسک رباخوار، ابتدا با نام (Usurer)، سپس با نام (Le Voleur )، و بعدتر با نام (les Dangers de l’inconduite)، و بالاخره با عنوان "پاپا گوبسک" منتشر شد. قصه در دوران بازسازی فرانسه (پس از ناپلئون) می گذرد. آناستازیا دو رستاو دختر ثروتمند بورژوایی که با اشراف وصلت کرده، زندگی کسالت بار و عاری از احساسی دارد. از همین رو معشوقه ی ماکسیم دو تری می شود، بخاطر ولخرجی، گرفتار گوبسک رباخوار می شود و موقعیت و ثروتش بر باد می رود. پاپا گوبسک (Gobseck)، اولین رمان بالزاک (۱۸۳۰) در مجموعه ی کمدی انسانی ست، که با نام "گوبسک رباخوار" توسط محمدجعفر پوینده به فارسی برگردانده شده (انتشارات فردا)
در مورد بالزاک؛
https://www.goodreads.com/author_blog...
در مورد بالزاک؛
https://www.goodreads.com/author_blog...
April 27, 2020
Interesante novela sobre un usurero avaro. En vez de quedarse en la caricatura típica de este tipo de personajes, vemos un personaje con unos principios muy suyos y con gran profundidad psicológica por quien al final no deja de sentirse cierta simpatía, pero no empatía. Una novela muy breve, pero muy completa. Un buen libro para iniciarse en Balzac y su gran Comedia humana.
September 9, 2019
Ένα εξαιρετικό βιβλίο όπου υπάρχει ένας τοκογλύφος ο Γκομπσεκ ο οποίος εκμεταλλεύεται ανθρώπους και γίνεται πανίσχυρος στο Παρίσι. Ένα βιβλίο που μας δείχνει την απόγνωση ατόμων που καταφεύγουν σε αυτή την λύση...και που ο Γκομπσεκ τους δανείζει με τόκους.ενα ευχάριστο ανάγνωσμα!!!!!!!!
October 27, 2021
i read this book for school and honestly it was far from being bad
i finally understood that i had to stop thinking “i’m doing it for school” while i’m reading and it changed my life lol, i now have way less trouble enjoying what i read, and just READING them when it felt like a burden before
i finally understood that i had to stop thinking “i’m doing it for school” while i’m reading and it changed my life lol, i now have way less trouble enjoying what i read, and just READING them when it felt like a burden before
June 9, 2019
A sequel to the more famous story, Pere Goriot, and a great example of what Balzac did so well. About the loaner/creditor Gobseck:
“His room, and everything in it, from the green baize of the bureau to the strip of carpet by the bed, was as clean and threadbare as the chilly sanctuary of some elderly spinster who spends her days in rubbing her furniture. In winter time, the live brands of the fire smouldered all day in a bank of ashes; there was never any flame in his grate. He went through his day, from his uprising to his evening coughing-fit, with the regularity of a pendulum, and in some sort was a clockwork man, wound up by a night’s slumber. Touch a wood-louse on an excursion across your sheet of paper, and the creature shams death; and in something the same way my acquaintance would stop short in the middle of a sentence, while a cart went by, to save the strain to his voice. Following the example of Fontenelle, he was thrifty of pulse-strokes, and concentrated all human sensibility in the innermost sanctuary of Self.
“His life flowed soundless as the sands of an hour-glass. His victims sometimes flew into a rage and made a great deal of noise, followed by a great silence; so is it in a kitchen after a fowl’s neck has been wrung....
“This was the neighbor Chance found for me in the house in the Rue de Gres, where I used to live when as yet I was only a second clerk finishing my third year’s studies. The house is damp and dark, and boasts no courtyard. All the windows look on the street; the whole dwelling, in claustral fashion, is divided into rooms or cells of equal size, all opening upon a long corridor dimly lit with borrowed lights. The place must have been part of an old convent once. So gloomy was it, that the gaiety of eldest sons forsook them on the stairs before they reached my neighbor’s door. He and his house were much alike; even so does the oyster resemble his native rock....
...If humanity and sociability are in some sort a religion, Gobseck might be ranked as an infidel; but though I set myself to study him, I must confess, to my shame, that his real nature was impenetrable up to the very last. I even felt doubts at times as to his sex. If all usurers are like this one, I maintain that they belong to the neuter gender.
“Did he adhere to his mother’s religion? Did he look on Gentiles as his legitimate prey? Had he turned Roman Catholic, Lutheran, Mahometan, Brahmin, or what not? I never knew anything whatsoever about his religious opinions, and so far as I could see, he was indifferent rather than incredulous."
[He said:]
“‘Do you imagine that the only poets in the world are those who print their verses?’ he asked, with a pitying look and shrug of the shoulders.
“‘Poetry in that head!’ thought I, for as yet I knew nothing of his life.
“‘What life could be as glorious as mine?’ he continued, and his eyes lighted up. ‘You are young, your mental visions are colored by youthful blood, you see women’s faces in the fire, while I see nothing but coals in mine. You have all sorts of beliefs, while I have no beliefs at all. Keep your illusions—if you can. Now I will show you life with the discount taken off. Go wherever you like, or stay at home by the fireside with your wife, there always comes a time when you settle down in a certain groove, the groove is your preference; and then happiness consists in the exercise of your faculties by applying them to realities. Anything more in the way of precept is false. My principles have been various, among various men; I had to change them with every change of latitude. Things that we admire in Europe are punishable in Asia, and a vice in Paris becomes a necessity when you have passed the Azores. There are no such things as hard-and-fast rules; there are only conventions adapted to the climate. Fling a man headlong into one social melting pot after another, and convictions and forms and moral systems become so many meaningless words to him. The one thing that always remains, the one sure instinct that nature has implanted in us, is the instinct of self-interest. If you had lived as long as I have, you would know that there is but one concrete reality invariable enough to be worth caring about, and that is—GOLD. Gold represents every form of human power. I have traveled. I found out that there were either hills or plains everywhere: the plains are monotonous, the hills a weariness; consequently, place may be left out of the question. As to manners; man is man all the world over. The same battle between the poor and the rich is going on everywhere; it is inevitable everywhere; consequently, it is better to exploit than to be exploited. Everywhere you find the man of thews and sinews who toils, and the lymphatic man who torments himself; and pleasures are everywhere the same, for when all sensations are exhausted, all that survives is Vanity—Vanity is the abiding substance of us, the I in us. Vanity is only to be satisfied by gold in floods. Our dreams need time and physical means and painstaking thought before they can be realized. Well, gold contains all things in embryo; gold realizes all things for us.
“‘None but fools and invalids can find pleasure in shuffling cards all evening long to find out whether they shall win a few pence at the end. None but driveling idiots could spend time in inquiring into all that is happening around them, whether Madame Such-as-One slept single on her couch or in company, whether she has more blood than lymph, more temperament than virtue. None but the dupes, who fondly imagine that they are useful to their like, can interest themselves in laying down rules for political guidance amid events which neither they nor any one else foresees, nor ever will foresee. None but simpletons can delight in talking about stage players and repeating their sayings; making the daily promenade of a caged animal over a rather larger area; dressing for others, eating for others, priding themselves on a horse or a carriage such as no neighbor can have until three days later. What is all this but Parisian life summed up in a few phrases? Let us find a higher outlook on life than theirs. Happiness consists either in strong emotions which drain our vitality, or in methodical occupation which makes existence like a bit of English machinery, working with the regularity of clockwork. A higher happiness than either consists in a curiosity, styled noble, a wish to learn Nature’s secrets, or to attempt by artificial means to imitate Nature to some extent. What is this in two words but Science and Art, or passion or calm?—Ah! well, every human passion wrought up to its highest pitch in the struggle for existence comes to parade itself before me—as I live in calm. As for your scientific curiosity, a kind of wrestling bout in which man is never uppermost, I replace it by an insight into all the springs of action in man and woman. To sum up, the world is mine without effort of mine, and the world has not the slightest hold on me. Listen to this,’ he went on, ‘I will tell you the history of my morning, and you will divine my pleasures....
"...'I have frequently had occasion to observe that when benevolence does no harm to him who gives it, it is the ruin of him who takes. When you came in I was thinking that Fanny Malvaut would make a nice little wife; I was thinking of the contrast between her pure, lonely life and the life of the Countess—she has sunk as low as a bill of exchange already, she will sink to the lowest depths of degradation before she has done!’—I scrutinized him during the deep silence that followed, but in a moment he spoke again. ‘Well,’ he said, ‘do you think that it is nothing to have this power of insight into the deepest recesses of the human heart, to embrace so many lives, to see the naked truth underlying it all? There are no two dramas alike: there are hideous sores, deadly chagrins, love scenes, misery that soon will lie under the ripples of the Seine, young men’s joys that lead to the scaffold, the laughter of despair, and sumptuous banquets. Yesterday it was a tragedy. A worthy soul of a father drowned himself because he could not support his family. To-morrow is a comedy; some youngster will try to rehearse the scene of M. Dimanche, brought up to date. You have heard the people extol the eloquence of our latter day preachers; now and again I have wasted my time by going to hear them; they produced a change in my opinions, but in my conduct (as somebody said, I can’t recollect his name), in my conduct—never!—Well, well; these good priests and your Mirabeaus and Vergniauds and the rest of them, are mere stammering beginners compared with these orators of mine.
“‘Often it is some girl in love, some gray-headed merchant on the verge of bankruptcy, some mother with a son’s wrong-doing to conceal, some starving artist, some great man whose influence is on the wane, and, for lack of money, is like to lose the fruit of all his labors—the power of their pleading has made me shudder. Sublime actors such as these play for me, for an audience of one, and they cannot deceive me. I can look into their inmost thoughts, and read them as God reads them. Nothing is hidden from me. Nothing is refused to the holder of the purse-strings to loose and to bind. I am rich enough to buy the consciences of those who control the action of ministers, from their office boys to their mistresses. Is not that power?—I can possess the fairest women, receive their softest caresses; is not that Pleasure? And is not your whole social economy summed up in terms of Power and Pleasure?
“‘There are ten of us in Paris, silent, unknown kings, the arbiters of your destinies. What is life but a machine set in motion by money? Know this for certain—methods are always confounded with results; you will never succeed in separating the soul from the senses, spirit from matter. Gold is the spiritual basis of existing society.—The ten of us are bound by the ties of common interest; we meet on certain days of the week at the Cafe Themis near the Pont Neuf, and there, in conclave, we reveal the mysteries of finance. No fortune can deceive us; we are in possession of family secrets in all directions. We keep a kind of Black Book, in which we note the most important bills issued, drafts on public credit, or on banks, or given and taken in the course of business. We are the Casuists of the Paris Bourse, a kind of Inquisition weighing and analyzing the most insignificant actions of every man of any fortune, and our forecasts are infallible. One of us looks out over the judicial world, one over the financial, another surveys the administrative, and yet another the business world. I myself keep an eye on eldest sons, artists, people in the great world, and gamblers—on the most sensational side of Paris. Every one who comes to us lets us into his neighbor’s secrets. Thwarted passion and mortified vanity are great babblers. Vice and disappointment and vindictiveness are the best of all detectives. My colleagues, like myself, have enjoyed all things, are sated with all things, and have reached the point when power and money are loved for their own sake.
“‘Here,’ he said, indicating his bare, chilly room, ‘here the most high-mettled gallant, who chafes at a word and draws swords for a syllable elsewhere will entreat with clasped hands. There is no city merchant so proud, no woman so vain of her beauty, no soldier of so bold a spirit, but that they entreat me here, one and all, with tears of rage or anguish in their eyes. Here they kneel—the famous artist, and the man of letters, whose name will go down to posterity. Here, in short’ (he lifted his hand to his forehead), ‘all the inheritances and all the concerns of all Paris are weighed in the balance. Are you still of the opinion that there are no delights behind the blank mask which so often has amazed you by its impassiveness?’ he asked, stretching out that livid face which reeked of money."
- translated Ellen Marriage
“His room, and everything in it, from the green baize of the bureau to the strip of carpet by the bed, was as clean and threadbare as the chilly sanctuary of some elderly spinster who spends her days in rubbing her furniture. In winter time, the live brands of the fire smouldered all day in a bank of ashes; there was never any flame in his grate. He went through his day, from his uprising to his evening coughing-fit, with the regularity of a pendulum, and in some sort was a clockwork man, wound up by a night’s slumber. Touch a wood-louse on an excursion across your sheet of paper, and the creature shams death; and in something the same way my acquaintance would stop short in the middle of a sentence, while a cart went by, to save the strain to his voice. Following the example of Fontenelle, he was thrifty of pulse-strokes, and concentrated all human sensibility in the innermost sanctuary of Self.
“His life flowed soundless as the sands of an hour-glass. His victims sometimes flew into a rage and made a great deal of noise, followed by a great silence; so is it in a kitchen after a fowl’s neck has been wrung....
“This was the neighbor Chance found for me in the house in the Rue de Gres, where I used to live when as yet I was only a second clerk finishing my third year’s studies. The house is damp and dark, and boasts no courtyard. All the windows look on the street; the whole dwelling, in claustral fashion, is divided into rooms or cells of equal size, all opening upon a long corridor dimly lit with borrowed lights. The place must have been part of an old convent once. So gloomy was it, that the gaiety of eldest sons forsook them on the stairs before they reached my neighbor’s door. He and his house were much alike; even so does the oyster resemble his native rock....
...If humanity and sociability are in some sort a religion, Gobseck might be ranked as an infidel; but though I set myself to study him, I must confess, to my shame, that his real nature was impenetrable up to the very last. I even felt doubts at times as to his sex. If all usurers are like this one, I maintain that they belong to the neuter gender.
“Did he adhere to his mother’s religion? Did he look on Gentiles as his legitimate prey? Had he turned Roman Catholic, Lutheran, Mahometan, Brahmin, or what not? I never knew anything whatsoever about his religious opinions, and so far as I could see, he was indifferent rather than incredulous."
[He said:]
“‘Do you imagine that the only poets in the world are those who print their verses?’ he asked, with a pitying look and shrug of the shoulders.
“‘Poetry in that head!’ thought I, for as yet I knew nothing of his life.
“‘What life could be as glorious as mine?’ he continued, and his eyes lighted up. ‘You are young, your mental visions are colored by youthful blood, you see women’s faces in the fire, while I see nothing but coals in mine. You have all sorts of beliefs, while I have no beliefs at all. Keep your illusions—if you can. Now I will show you life with the discount taken off. Go wherever you like, or stay at home by the fireside with your wife, there always comes a time when you settle down in a certain groove, the groove is your preference; and then happiness consists in the exercise of your faculties by applying them to realities. Anything more in the way of precept is false. My principles have been various, among various men; I had to change them with every change of latitude. Things that we admire in Europe are punishable in Asia, and a vice in Paris becomes a necessity when you have passed the Azores. There are no such things as hard-and-fast rules; there are only conventions adapted to the climate. Fling a man headlong into one social melting pot after another, and convictions and forms and moral systems become so many meaningless words to him. The one thing that always remains, the one sure instinct that nature has implanted in us, is the instinct of self-interest. If you had lived as long as I have, you would know that there is but one concrete reality invariable enough to be worth caring about, and that is—GOLD. Gold represents every form of human power. I have traveled. I found out that there were either hills or plains everywhere: the plains are monotonous, the hills a weariness; consequently, place may be left out of the question. As to manners; man is man all the world over. The same battle between the poor and the rich is going on everywhere; it is inevitable everywhere; consequently, it is better to exploit than to be exploited. Everywhere you find the man of thews and sinews who toils, and the lymphatic man who torments himself; and pleasures are everywhere the same, for when all sensations are exhausted, all that survives is Vanity—Vanity is the abiding substance of us, the I in us. Vanity is only to be satisfied by gold in floods. Our dreams need time and physical means and painstaking thought before they can be realized. Well, gold contains all things in embryo; gold realizes all things for us.
“‘None but fools and invalids can find pleasure in shuffling cards all evening long to find out whether they shall win a few pence at the end. None but driveling idiots could spend time in inquiring into all that is happening around them, whether Madame Such-as-One slept single on her couch or in company, whether she has more blood than lymph, more temperament than virtue. None but the dupes, who fondly imagine that they are useful to their like, can interest themselves in laying down rules for political guidance amid events which neither they nor any one else foresees, nor ever will foresee. None but simpletons can delight in talking about stage players and repeating their sayings; making the daily promenade of a caged animal over a rather larger area; dressing for others, eating for others, priding themselves on a horse or a carriage such as no neighbor can have until three days later. What is all this but Parisian life summed up in a few phrases? Let us find a higher outlook on life than theirs. Happiness consists either in strong emotions which drain our vitality, or in methodical occupation which makes existence like a bit of English machinery, working with the regularity of clockwork. A higher happiness than either consists in a curiosity, styled noble, a wish to learn Nature’s secrets, or to attempt by artificial means to imitate Nature to some extent. What is this in two words but Science and Art, or passion or calm?—Ah! well, every human passion wrought up to its highest pitch in the struggle for existence comes to parade itself before me—as I live in calm. As for your scientific curiosity, a kind of wrestling bout in which man is never uppermost, I replace it by an insight into all the springs of action in man and woman. To sum up, the world is mine without effort of mine, and the world has not the slightest hold on me. Listen to this,’ he went on, ‘I will tell you the history of my morning, and you will divine my pleasures....
"...'I have frequently had occasion to observe that when benevolence does no harm to him who gives it, it is the ruin of him who takes. When you came in I was thinking that Fanny Malvaut would make a nice little wife; I was thinking of the contrast between her pure, lonely life and the life of the Countess—she has sunk as low as a bill of exchange already, she will sink to the lowest depths of degradation before she has done!’—I scrutinized him during the deep silence that followed, but in a moment he spoke again. ‘Well,’ he said, ‘do you think that it is nothing to have this power of insight into the deepest recesses of the human heart, to embrace so many lives, to see the naked truth underlying it all? There are no two dramas alike: there are hideous sores, deadly chagrins, love scenes, misery that soon will lie under the ripples of the Seine, young men’s joys that lead to the scaffold, the laughter of despair, and sumptuous banquets. Yesterday it was a tragedy. A worthy soul of a father drowned himself because he could not support his family. To-morrow is a comedy; some youngster will try to rehearse the scene of M. Dimanche, brought up to date. You have heard the people extol the eloquence of our latter day preachers; now and again I have wasted my time by going to hear them; they produced a change in my opinions, but in my conduct (as somebody said, I can’t recollect his name), in my conduct—never!—Well, well; these good priests and your Mirabeaus and Vergniauds and the rest of them, are mere stammering beginners compared with these orators of mine.
“‘Often it is some girl in love, some gray-headed merchant on the verge of bankruptcy, some mother with a son’s wrong-doing to conceal, some starving artist, some great man whose influence is on the wane, and, for lack of money, is like to lose the fruit of all his labors—the power of their pleading has made me shudder. Sublime actors such as these play for me, for an audience of one, and they cannot deceive me. I can look into their inmost thoughts, and read them as God reads them. Nothing is hidden from me. Nothing is refused to the holder of the purse-strings to loose and to bind. I am rich enough to buy the consciences of those who control the action of ministers, from their office boys to their mistresses. Is not that power?—I can possess the fairest women, receive their softest caresses; is not that Pleasure? And is not your whole social economy summed up in terms of Power and Pleasure?
“‘There are ten of us in Paris, silent, unknown kings, the arbiters of your destinies. What is life but a machine set in motion by money? Know this for certain—methods are always confounded with results; you will never succeed in separating the soul from the senses, spirit from matter. Gold is the spiritual basis of existing society.—The ten of us are bound by the ties of common interest; we meet on certain days of the week at the Cafe Themis near the Pont Neuf, and there, in conclave, we reveal the mysteries of finance. No fortune can deceive us; we are in possession of family secrets in all directions. We keep a kind of Black Book, in which we note the most important bills issued, drafts on public credit, or on banks, or given and taken in the course of business. We are the Casuists of the Paris Bourse, a kind of Inquisition weighing and analyzing the most insignificant actions of every man of any fortune, and our forecasts are infallible. One of us looks out over the judicial world, one over the financial, another surveys the administrative, and yet another the business world. I myself keep an eye on eldest sons, artists, people in the great world, and gamblers—on the most sensational side of Paris. Every one who comes to us lets us into his neighbor’s secrets. Thwarted passion and mortified vanity are great babblers. Vice and disappointment and vindictiveness are the best of all detectives. My colleagues, like myself, have enjoyed all things, are sated with all things, and have reached the point when power and money are loved for their own sake.
“‘Here,’ he said, indicating his bare, chilly room, ‘here the most high-mettled gallant, who chafes at a word and draws swords for a syllable elsewhere will entreat with clasped hands. There is no city merchant so proud, no woman so vain of her beauty, no soldier of so bold a spirit, but that they entreat me here, one and all, with tears of rage or anguish in their eyes. Here they kneel—the famous artist, and the man of letters, whose name will go down to posterity. Here, in short’ (he lifted his hand to his forehead), ‘all the inheritances and all the concerns of all Paris are weighed in the balance. Are you still of the opinion that there are no delights behind the blank mask which so often has amazed you by its impassiveness?’ he asked, stretching out that livid face which reeked of money."
- translated Ellen Marriage
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