(*) Un personaje histórico se convierte en literario por obra y gracia de un gran escritor. Chateaubriand extirpa a Mirabeau de la Historia con una incisión profunda en su genio y contradicciones. Como hombre público, lo califica de “tribuno de la aristocracia, diputado de la democracia” y encuentra en él, por el origen florentino family, the extraordinary man who meets "the republican spirit of the Middle Ages in Italy and the feudal spirit of the French Middle Ages." Two historical periods and greatness whose ills are manifested in the Revolution of 1789 through the action of the speaker of the people: "In the midst of the awful mess of a session [in the Assembly], I've seen in the gallery, dark, ugly and still, remembering the chaos of Milton, impassive and amorphous in the midst of confusion "(Memoirs of grave , Book V, Chapter 12).
(Mirabeau, by Joseph Boze )
Change the character of literary historical genre Mirabeau continued with the description of its features: "[his] ugliness, the marks left by smallpox in the face of the speaker, (...) the nature seemed to have molded his head to the control or the gallows, cut his arms tightly by a nation or to kidnap a woman. " Of his character notes that "drew its power from its vices." Chateaubriand coincides with Mirabeau at a banquet hosted by the granddaughter of Voltaire, the Marquise de Villette, and continues his paradoxical description - lion-headed chimera - a tale of the character's egotism: "This lions son, himself a lion-headed chimera, this man so positive in fact, it was all fictional, all poetry, all the imagination and enthusiasm for the language. " Of their conduct at the time that the French court tempted their heads after the storming of the Bastille, but before the Terror, said: "the murder was not a sublime act of intelligence did not feel any admiration for slaughterhouses and mudd ".
's glory was short-lived Mirabeau, as fame tends to be now, but accompanied by the honor that distinguishes the two. Instead, the abduction of gender is a constant throughout history. The seen in major art is paralleled by a leap of smaller caliber but of the same nature in the translation from one language to another. For both rules it never dominates the genre enough foreign or foreign language so that the transfer would be punished. You have to steal and invent to make it credible and do not miss anything substantial on the trip. The translation has over stolen wedding between author and translator of treason. When translated dies, the widower inherits. Baudelaire gives his best translating Poe and try to be "his heir in all." That devotion shows in their meticulous translations of the extraordinary stories or Adventures of Arthur Gordon Pym , which are popular Poe in France (and, incidentally, they would in Spain ). Baudelaire's fascination with Poe begins in 1847, two years before his death, and lasts until 1865, when it completes the translation of serious grotesque stories and, of course, also two years before his death. Symmetry certainly not loved by two spirits messy. The common tendency of both to melancholy, a taste for the supernatural or the occult attraction are bridges to smuggle the tale of gender between Poe and the poetry of Baudelaire
end here, leaving open this occurrence to other examples or challenge Generally, if applicable. And for listening to Montaigne, who is ahead by more than four centuries of our era: "They should have coercive power laws against writers inept and useless, as they have against vagrancy. (...) The graphomania has become a symptom of a century out of hand. "
(Mirabeau, by Joseph Boze )
Change the character of literary historical genre Mirabeau continued with the description of its features: "[his] ugliness, the marks left by smallpox in the face of the speaker, (...) the nature seemed to have molded his head to the control or the gallows, cut his arms tightly by a nation or to kidnap a woman. " Of his character notes that "drew its power from its vices." Chateaubriand coincides with Mirabeau at a banquet hosted by the granddaughter of Voltaire, the Marquise de Villette, and continues his paradoxical description - lion-headed chimera - a tale of the character's egotism: "This lions son, himself a lion-headed chimera, this man so positive in fact, it was all fictional, all poetry, all the imagination and enthusiasm for the language. " Of their conduct at the time that the French court tempted their heads after the storming of the Bastille, but before the Terror, said: "the murder was not a sublime act of intelligence did not feel any admiration for slaughterhouses and mudd ". 's glory was short-lived Mirabeau, as fame tends to be now, but accompanied by the honor that distinguishes the two. Instead, the abduction of gender is a constant throughout history. The seen in major art is paralleled by a leap of smaller caliber but of the same nature in the translation from one language to another. For both rules it never dominates the genre enough foreign or foreign language so that the transfer would be punished. You have to steal and invent to make it credible and do not miss anything substantial on the trip. The translation has over stolen wedding between author and translator of treason. When translated dies, the widower inherits. Baudelaire gives his best translating Poe and try to be "his heir in all." That devotion shows in their meticulous translations of the extraordinary stories or Adventures of Arthur Gordon Pym , which are popular Poe in France (and, incidentally, they would in Spain ). Baudelaire's fascination with Poe begins in 1847, two years before his death, and lasts until 1865, when it completes the translation of serious grotesque stories and, of course, also two years before his death. Symmetry certainly not loved by two spirits messy. The common tendency of both to melancholy, a taste for the supernatural or the occult attraction are bridges to smuggle the tale of gender between Poe and the poetry of Baudelaire
end here, leaving open this occurrence to other examples or challenge Generally, if applicable. And for listening to Montaigne, who is ahead by more than four centuries of our era: "They should have coercive power laws against writers inept and useless, as they have against vagrancy. (...) The graphomania has become a symptom of a century out of hand. "
(* Published in Nickjournal on 11 February 2010).
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