LE POUVOIR DOIT CHANGER DE CAMP JESUS CHRIST DOIT REIGNER VOL.3 (French Edition)

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CE n'est pas seulement dans le royaume des cieux que les premiers seront les derniers. Peu importe qu'on les ignore ou qu'on en fasse l'histoire scrupuleuse. C'est du temps perdu. Le sujet de M. Et pourtant vingt biographes que M. Car elle est prodigieusement pittoresque. C'est un aventurier un peu fou et il n'est pas mauvais d'avoir des exemples authentiques d'aventures et de folies.

C'est pourquoi l'excellent livre de M. Il nous serait fort utile de savoir si elle est ou non exceptionnelle. D'autres ont-ils fait comme lui, comme Marmontel fils d'un tout petit tailleur rural? C'est ce que Mlle Olah ne me semble pas avoir compris. Fort bien, mais l'opinion de Mlle Olah est que ces oeuvres ne valent rien. Mais ces. Les vues sont-elles originales, ou relativement neuves? C'est ce tableau philosophique que Mlle Johnston n'a fait qu'esquisser. Mais l'interdiction se justifie intellectuellement autant que pratiquement.

Il vaut mieux avoir pour soi le recul du temps. S'yMe, etc. MOST of the Spanish translations of the etder Dumas' plays, so popular in Spain in the eighteen-thirties, are fairly accessible. Among them is Don Juan de Marana o la caida de un dngel, which was shown in Madrid in There had been, however, a previous adaptation of this play which has attracted very little attention.

As a work of art this adaptation merits little attention, but one's curiosity is aroused with regard to the changes which the adapter felt impelled to make. The French play is not merely changed, it is denatured.

Don Juan is not saved by the pleading of Martha after her death and hiseyes do not "open upon eternity" Dumas, Act V, final scene on a background which shows "all the splendors of Heaven" and amid the chants of angels. In this adaptation, then, Don Juan loses most of his significance; he is nothing more than a vigorous libertine and a courageous criminal who meets a rather commonplace end.

It may readily be admitted that Dumas' Don Juan is in most regards puerile and absurd, but Dumas at least preserved the idea that Don Juan was a significant human type, important enough to interest the heavenly powers in his career and final destiny. To this extent Dumas is faithful to the spirit of El Burlador de Sevilla. The apotheosis of Don Juan at the hands of Dumas and other Romanticists calls for no comment here. There is no reason whatever for assuming it. Zorrilla was indebte d despite his strange statement to the contrary, to the Don Juan de Marana-in its unexpurgated form.

Some time ago the writer came across an interesting item not mentioned by any of the students or bibliographers of Quevedo.


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M of the South. Originally in Spanish. London, AcopyofthisrarebookisfoundintheBrItishMuseum M3i5. Another copy is preserved in the Newberry Library of Chicago, catalogued under Joseph Hall,' although formerly it was also listed under Quevedo. The reason for this change will be explained later.

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Preceding the above title there are two wood-cuts by F. Carpenter representing the landing of a discoverer at the Island of Intemperance, which is the scene of most of the story. The book begins with an address to the reader by a certain R. By this means 1 had the opportumty and success to redeem from the teeth of time and very pow of destruction, this so admirable and pleasing a tract, originally in Spanish; whose beauty appeared to me in tattered robes, to be the very emblem of eternity, it having neither beginning nor end; and therefore the more justly 1 call it a piece of Antiquity.

And from hence 1 concluded, it must be either Quevedo or Quixot; but that it was rather the former 1 offer this reason. And further to 1 Obras completas de Don Francisco de Quevedo, published with additions and notes by M. Sevitla, ,I, See also L. He was Bishop of Exeter and Norwich. It goes on to say that the characters of the manuscript were rough and uneven "as if written by a cloven hoof. Although this work purports to be a translation of a Spanish novel, presumably written by Quevedo, it is nothing more than an adaptation of Mundus Alter et Idem, attributed to Bishop Joseph Hall, and the relation between them has already been pointed out by students of English literature.

Hall in the Newberry Library instead of under Quevedo as it was formerly. Nevertheless, this listing is still faulty, as we are dealing only with an anonymous imitation of a work ascribed to Hall. The imitation is a very close one. The book is divided into four parts, which correspond in contents and order of the material to the four books in Mundus Alteret Idem. Here are described in a grotesque humorous way the gourmands of the phantastic land. The excesses most often ridiculed are those of eating and drinking.

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Petherick, Gentleman's Magazine, July, , p. Esdaile suggests that the Travels of Quevedo is simply another edition of the Discovery of the New World, , by John Healey, which was in itseif an adaptation of Mundus Alter et Idem. How Quevedo was used by gossip-Ingoesses," p. This caption must have been added to the adaptation, as it is not found in the Latin mode!. Crapulia, Yvronia; II. Viraginia; III. Moronia; IV. Book 1 is divided into two parts containing twelve and seven chapters respectively. In our work the satire falls flat as compared with the witty and sharp sallies of Quevedo, and its humor in the grotesque descriptions is dull after the coarse and forceful language of Rabelais.

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Our purpose in bringing to the attention of the reader this curious and rare bibliographical item is to give an additional note on Quevedo's popularity among the English satirists of the seventeenth century. In the Galatea, Timbrio, because of a quarrel with a powerful gentleman, must flee the country. His bosom friend, Silerio, is compelled to remain behind, sick in bed. A few days later Silerio, having set out to rejoin his friend, arrives in Cadiz where he boards a galley about to sail for Italy.

He steps back ashore, and the ship casts off without him.

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Silerio then decides to return to Barcelona the next day. Early the following morning, he hears a turmoil in the street and rushes out just in time to see Timbrio being led to execution as a bandit. Silerio gets access to him and, with the aid of the officiating priests, contrives his escape to a church; he himself is taken by the police and in turn condemned to what had been prepared for his friend. Fate intervening in the form of a timely raid by the Moors on Cadiz, Silerio is free again.

Such is the plot of the first half of Cervantes' novela. Gisippo, in Athens, takes Tito to see his betrothed. Falling in love with Gisippo's bride-to-be, Tito is melancholy. Pressed by Gisippo to expose the cause of his trouble, he frankly confesses that he is in love with Sofronia.

So great is Gisippo's manly love that he has Tito impersonate him and trick Sofronia into marriage.


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The bride and groom leave presently for Rome where they prosper. In the course of time Gisippo, involved in a quarrel, is exiled from Athens. Poor and disillusioned, he remembers his friend Tito, and sets out for Rome. In Rome he sees Tito on the street but is not recognized.

Gisippo leaves the eity in indignation, determined to end his days. So bent, he comes upon a robber's cave just in time to see one robber kill the other over dividing their spoils. Gisippo tarries here too long and is taken by the police as a robber and murderer. Wishing to die, he "confesses" the murder and is condemned to be crucified.

By mere chance Tito comes upon the condemned man and recognizes him as Gisippo. Thereupon Tito petitions that Gisippo be freed on the ground that he, Tito, had slain the robber. Becorning interested in the conflicting confessions, the judge makes an investigation that causes the real murderer, moved by such constancy between friends, to come forward, own his guilt and bring freedom to the innocent. The first half of Cervantes' novela shows marked similarity to the latter part of the novella of Tito and Gisippo, although important details are so altered as to change the complexion of the whole.

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Evidently reversing the order of Boccaccio's story, Cervantes has the two friends meet in Naples some time after the trials of Cadiz, before he introduces the episode of one losing his heart to the other's beloved. In Naples, Silerio learns that Timbrio, infatuated with Nisidia, is wasting away. So he disguises himself as a jester and makes Timbrio's love known to Nisidia only to lose his own heart for his pains.