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Liefde (1878)

door Émile Zola

Andere auteurs: Zie de sectie andere auteurs.

Reeksen: De Rougons-Macquarts (8)

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376967,403 (3.61)50
'Everything revolved around their love. They were constantly bathed in a passion that they carried with them, around them, as though it were the only air they could breathe.'Helene Grandjean, an attractive young widow, lives a secluded life in Paris with her only child, Jeanne. Jeanne is a delicate and nervous girl who jealously guards her mother's affections. When Jeanne falls ill, she is attended by Dr Deberle, whose growing admiration for Helene gradually turns intomutual passion. Deberle's wife Juliette, meanwhile, flirts with a shallow admirer, and Helene, intent on preventing her adultery, precipitates a crisis whose consequences are far-reaching. Jeanne realizes she has a rival for Helene's devotion in the doctor, and begins to exercise a tyrannous holdover her mother.The eighth novel in Zola's celebrated Rougon-Macquart series, A Love Story is an intense psychological and nuanced portrayal of love's different guises. Zola's study extends most notably to the city of Paris itself, whose shifting moods reflect Helene's emotional turmoil in passages of extraordinarylyrical description.… (meer)
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Engels (6)  Spaans (1)  Catalaans (1)  Frans (1)  Alle talen (9)
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"Hélène cast her eyes slowly round the drawing room. In this worthy company, amongst this bourgeoisie which seemed so respectable, were there then only guilty women?"

After the sensational success of his grimy 1877 novel [b:L'Assommoir|92967|L'Assommoir|Émile Zola|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1309282204l/92967._SY75_.jpg|741363], Zola threw his audience for a loop with the eighth in his Rougon-Macquart cycle. From the broken streets of Paris, we find ourselves in Passy, at the time an independent commune overlooking the capital, in the life of Hélène Grandjean, distant cousin to L'Assommoir's tortured Gervaise. And what a difference a gene makes. Hélène is a quietly independent widow, living with her daughter Jeanne in a house overlooking the city of Paris. Hers is a quiet life, interrupted only by her maid's modest love affair and a regular Tuesday dinner with her priest and his brother. (Hélène's life is so insular, we don't even leave her street until halfway through the novel!)

What unravels Hélène's existence is falling in love with the rather handsome, and rather married, doctor next door. It's a flirtation that may never be consummated, and exists almost entirely in knowing looks and outwardly polite conversations. Building over many months, the platonic affair between Hélène and Henri comes to an emotional climax when two fuses are lit: one, the temptations of Henri's socialite wife, and the other, the poor health of young Jeanne.

A Love Story (perhaps more accurately A Page of Love) was one of Zola's favourite titles, both for its irony (can darting looks across a picnic be considered "love"?) and for its many applications in the story. There is young love, unrequited love, maternal love, and so on. And it feels in many ways out of sync with the previous books in its series. They have for the most part been fierce, angry studies of class and society. The closest analogue has been The Sin of Abbe Mouret which was a similarly focused psychological study, although that one lent itself to fantasy, whereas A Love Story is constantly naturalistic - except in its key setpieces, as below. Although this book has been translated and adapted, it feels like one of the least known in the series, and I think that's understandable. Very little happens here. The author is almost testing himself, to see if he can create a study centering entirely around one person's mind, and the complexities of a relationship that barely even warrants a kiss until the novel's climax. And, in this sense, it feels out of step in a series that is ostensibly telling "the history of the French Second Empire" - until we recall that Zola also (perhaps primarily) wanted to tell the story of a single family, and the way that their genes and emotions (largely pseudoscience now) were passed on, and transmuted between generations.

While I wouldn't include A Love Story on my top recommendations to a new Zola reader, I think it is a delicately-woven, beautifully told story. It's probably an example of a book that would have worked better originally when it was being serialised, then as a novel to be read in one sitting, but there's a lot to love here. As always, Zola imbues every character with nuance and sharp descriptive insight. He intimately tracks Hélène's psychological journey in ways that make her feel a completely lived personage, even if she is neither as ambitious as Eugène Rougon, driven as Florent Quenu, self-deceiving as Gervaise Macquart, or zealous as Marthe Rougon.

Most famously, of course, are Zola's luminous descriptions of Paris. Each of the novel's five parts closes with a languid description of the city as seen from the Grandjeans' windows, recounting perhaps the Impressionist paintings that Zola's contemporaries, including his boyhood friend and fellow artistic revolutionary Cezanne, were creating during his lifetime. The descriptions are glorious for their historical detail, for the showcasing of Zola's ability to create entire worlds out of one setting, and vary his descriptive powers many times over, like the individual shades and tinges created from a painter's palette. They're also the only moments where the novel flirts with non-naturalism, as it becomes clear that the different views of Paris (during a storm, darkened at night, glistening with the blood-red gold of sunset) draw us into the emotional turmoil of our central character and, later, her daughter.

A sad little lesson. I wonder if we will meet Hélène again on our journey, and what others will make of her. For now, she can return to the familial tapestry the author has created, to be found again at - we hope - some more fortuitous moment in life. ( )
  therebelprince | Oct 24, 2023 |
Hélène Grandjean vive en París, con su hija Jeanne. Su esposo murió poco después de su llegada a la capital. Hélène es una mujer muy guapa que suscita la admiración de los hombres pero a ella lo único que le importa es su hija, una niña de frágil salud. Una noche en que Jeanne enferma Hélène pide ayuda a su vecino, el doctor Deberle quien salvará posiblemente a la chica de esta noche de angustia, pero se llevará en su corazón la imagen de Hélène. París va a ser el testigo de este amor imposible… Es una novela «menor» en el ciclo de Rougon, un paréntesis después de La Taberna (un gran escándalo) y antes de Nana. Aquí, el protagonista es París. La novela está compuesta por cinco partes que finalizan con una descripción de la gran ciudad, que devuelve al personaje que lo mira su propio estado de ánimo.
  Natt90 | Nov 15, 2022 |
"Bir Aşk Sayfası", evli bir doktorla, kiracısı olan dul bir kadının yasak aşkını konu edinir.
Her şey dul kadının kızının rahatsızlanmasıyla başlar. Doktor- hasta ilişkisinin içine gönül bağı da girince işlin rengi birden değişiverir. Başlangıçta güzel olarak başlayan tutkulu aşk, zamanla muhataplarına acı sürprizler de hazırlayacaklardır.
"Bir Aşk Sayfası", annelikle kadınlık içgüdüsünün acımasız bir savaşı olarak zihinlerde kalacaktır.
Eserde, bazı güdülerin evrensel olduğu, bilinç altına itilemeyeceği, eninde sonunda kendini göstereceği çok net olarak görülmekte. Yine Paris sosyetesinin dünyası, dönen oyunlar, entrikalar ve yalanlar dolanlar...
Aşkın soluksuzca yaşandığı, tutkuların yıkımlara davetiye çıkardığı "Bir Aşk Sayfası"nı kolay kolay unutamayacaksınız...
  Cagatay | Dec 14, 2021 |
NBB-7
  Murtra | May 19, 2021 |
After giving us the epic survival struggle of the Paris proletariat in L'assommoir, Zola obviously wanted to prove to his readers that he could still do a claustrophobic bourgeois novel on the regulation two inches of ivory (well, OK, a little bit of ink might have slopped over the edges here and there...). But, even though it involves a physician, this isn't Zola's Madame Bovary. And it's not even a love-story in the conventional sense at all.

Hélène, who is from the Marseille branch of the diseased Rougon-Macquart family tree, has been living in Paris with her 11-year-old daughter Jeanne since the death of her husband. She has a small legacy to live on, and her friend the Abbé Jouve has found them an apartment in Passy and a country girl to be their servant. When the sickly Jeanne needs urgent medical attention late one night, it's their neighbour, the dishy doctor Deberle, who is called in. Significant Glances are exchanged. But, unfortunately, Deberle turns out to be married...

Zola subverts the adultery plot we're trained to expect from almost every conceivable angle: he pushes Hélène into intimacy with Mme Deberle and her friends, he prevents Hélène and the doctor from stealing more than the occasional moment together, he deploys an unpleasant old crone to foreground the disagreeable nature of what their instincts are pushing them towards, and above all he encourages Jeanne's selfish possessiveness of her mother. Jeanne is superficially the angelic, vulnerable Victorian child, but we soon realise that she is a little monster, an emotional blackmailer every bit as ruthless as the professional beggar Mère Fétu.

Of course you can't keep Zola locked up in 60 square metres in Passy, even if that's what he's doing to his human characters, so the biggest character in this story, commenting on events with magnificently ironic detachment, is the ever-changing view of the city of Paris as seen out of Hélène's windows. In Technicolor and wide-screen, and don't spare the adjectives.

Zola seems to want us to bear in mind what we've been reading in L'assommoir and use it to put the tribulations of bourgeois life into some kind of perspective: the biggest set-piece scene of this book is Mme Deberle's Children's Ball, a supremely extravagant and wasteful entertainment that clearly has everything to do with the pleasure the mothers get from competing to put their children in the most adorable costumes, and little or nothing to do with the kids themselves having any fun. Positively heartbreaking when we put it alongside the parties in L'assommoir, where the participants are constantly aware how much this is costing them and what sacrifices they have committed themselves to by blowing their savings on this essential bit of relaxation. And Zola clearly now has the same kind of trouble taking seriously the erotic difficulties imagined for themselves by middle-class ladies.

(This is the book where Zola first published his famous drawing of the family tree - he'd intended to keep it for the last book in the sequence, he tells us, but he's including it now after multiple requests from readers and to prove to us that he has a plan and isn't just making it up as he goes along.) ( )
1 stem thorold | May 2, 2019 |
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» Andere auteurs toevoegen (24 mogelijk)

AuteursnaamRolType auteurWerk?Status
Émile Zolaprimaire auteuralle editiesberekend
Constantine, HelenVertalerSecundaire auteursommige editiesbevestigd
Nelson, BrianIntroductieSecundaire auteursommige editiesbevestigd

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La veilleuse, dans un cornet bleuâtre, brûlait sur la cheminée, derrière un livre, dont l'ombre noyait toute une moitié de la chambre.
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'For a night of love' is a short story and shouldn't be confused with 'Un Page d'Amour' (A love affair) book 8 in the Rougon-Macquat series.
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'Everything revolved around their love. They were constantly bathed in a passion that they carried with them, around them, as though it were the only air they could breathe.'Helene Grandjean, an attractive young widow, lives a secluded life in Paris with her only child, Jeanne. Jeanne is a delicate and nervous girl who jealously guards her mother's affections. When Jeanne falls ill, she is attended by Dr Deberle, whose growing admiration for Helene gradually turns intomutual passion. Deberle's wife Juliette, meanwhile, flirts with a shallow admirer, and Helene, intent on preventing her adultery, precipitates a crisis whose consequences are far-reaching. Jeanne realizes she has a rival for Helene's devotion in the doctor, and begins to exercise a tyrannous holdover her mother.The eighth novel in Zola's celebrated Rougon-Macquart series, A Love Story is an intense psychological and nuanced portrayal of love's different guises. Zola's study extends most notably to the city of Paris itself, whose shifting moods reflect Helene's emotional turmoil in passages of extraordinarylyrical description.

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