April 7, 2010
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| - | [[Choderlos de Laclos]] was the [[Gallic]] [[Richardson]] of the XVIIIth Century; and he might more justly than Stendhal be called the father of [[French realism]]. --[[Ernest Dowson]] or [[Andre Gide]] | + | [[Choderlos de Laclos]] was the [[Gallic]] [[Richardson]] of the XVIIIth Century; and he might more justly than [[Stendhal]] be called the father of [[French realism]]. --[[Ernest Dowson]] or [[Andre Gide]] |
| DOWSON'S translation (1898) was used in the [[Nonesuch Press]] edition of 1940. Illustrated by [[Chas Laborde]], this edition contains a preface by [[Andre Gide]]. | DOWSON'S translation (1898) was used in the [[Nonesuch Press]] edition of 1940. Illustrated by [[Chas Laborde]], this edition contains a preface by [[Andre Gide]]. | ||
| - | Charles (Chas) Laborde (1886-1941), student of [[Henri Royer (peintre)]] | ||
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| - | The most notorious scene in [[Les Liaisons dangereuses]] is the writing of [[letter 48]][http://fr.wikisource.org/wiki/Les_Liaisons_dangereuses/Lettre_48] which takes place on the [[backside]] of Émilie, a "[[trollop]]", used to great effect as a [[writing desk]], a scene described in [[letter 47]][http://fr.wikisource.org/wiki/Les_Liaisons_dangereuses/Lettre_47]. | ||
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| - | ==From Letter 47== | ||
| - | :Cette complaisance de ma part ... [Émilie] de me servir de pupitre pour écrire à ma belle dévote [Tourvel], à qui j’ai trouvé plaisant d’envoyer une lettre écrite du lit & presque dans les bras d’une fille, interrompue même pour une infidélité complète, & dans laquelle je lui rendis un compte exact de ma situation & de ma conduite. Émilie, qui a lu l’épître, en a ri comme une folle, & j’espère que vous en rirez aussi. | ||
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| - | :"This complacency on my part ... [Émilie] be my desk to write to my beautiful princess [Tourvel], who I thought it funny to send a letter from the bed and almost into the arms of a girl, interrupted even by a complete infidelity, and during which I gave her an exact account of my situation and my conduct. Emilie, who read the letter, laughed like crazy, and I hope you will laugh too." | ||
| - | ==From Letter 48== | ||
| - | :"la [[table]] même sur laquelle je vous écris, consacrée pour la première fois à cet usage, devient pour moi l’autel sacré de l’amour ; combien elle va s’embellir à mes yeux ! j’aurai tracé sur elle le serment de vous aimer toujours ! Pardonnez, je vous en supplie, le délire que j’éprouve. Je devrais peut-être m’abandonner moins à des transports que vous ne partagez pas : il faut vous quitter un moment pour dissiper une ivresse qui s’augmente à chaque instant, & qui devient plus forte que moi."[http://fr.wikisource.org/wiki/Les_Liaisons_dangereuses/Lettre_48] | ||
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| - | :"The very table on which I write, for the first time devoted to that use, becomes to me the sacred altar of love, how its beauty will enhance to my eyes. I will have traced on it the oath of loving you always! Pardon, I beseech you, I feel delirious. I probably should give myself less to these feelings you do not share: I must leave you a moment to dispel this intoxication which increases every moment, and which becomes stronger than me. " | ||
| - | Picture: [[John Malkovich]] | ||
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| - | <hr> | ||
| - | [[List of Aesop's fables]] | ||
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| - | These leaves are from [[The Fables of Aesop]] by [[John Ogilby]], and illustrated by [[Wenceslaus Hollar]]. They are printed in London, 1673-75. | ||
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| - | Depicted is the fable [[The Belly and the Members]] | ||
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| - | See [[headless]] | ||
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| - | <hr> | ||
| - | :"la [[table]] même sur laquelle je vous écris, consacrée pour la première fois à cet usage, devient pour moi l’autel sacré de l’amour ; combien elle va s’embellir à mes yeux ! j’aurai tracé sur elle le serment de vous aimer toujours ! Pardonnez, je vous en supplie, le délire que j’éprouve. Je devrais peut-être m’abandonner moins à des transports que vous ne partagez pas : il faut vous quitter un moment pour dissiper une ivresse qui s’augmente à chaque instant, & qui devient plus forte que moi."[http://fr.wikisource.org/wiki/Les_Liaisons_dangereuses/Lettre_48] | ||
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| - | http://fr.wikisource.org/wiki/Les_Liaisons_dangereuses | ||
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| - | Valmont's transfer of passion from Tourvel to Emilie has the effect ..... visual echo to the terms “pupitre” and “table” in Letters XLVII[http://fr.wikisource.org/wiki/Les_Liaisons_dangereuses/Lettre_47] and XLVIII[http://fr.wikisource.org/wiki/Les_Liaisons_dangereuses/Lettre_48]. ... particularly her backside, juxtaposed with the clothed, powerful presence of ... | ||
| - | <hr> | ||
| - | :''[[mémoires (French)]]'' | ||
| <hr> | <hr> | ||
| :a passionate [[love letter]] to [[Madame de Tourvel]], read aloud in [[Valmont]]’s voice, is accompanied by shots showing the situation in which it was written: Valmont drafting it upon a makeshift table – which is, in fact, the naked [[back]] of a giggling [[courtesan]] – revealing the letter to be partially inspired by fresh sexual experiences. Alternately, while the letter is being read aloud, there are shots of the addressee reading, shots which show the agonising impression the letter makes upon her. In this way, in ''[[Dangerous Liaisons]]'', not only are some of the masterfully composed letters made part of the script, but their inventive insertion into the story also adds dynamism to the film narrative by combining time levels in an unusual way. --[[Patricia Rackova]] | :a passionate [[love letter]] to [[Madame de Tourvel]], read aloud in [[Valmont]]’s voice, is accompanied by shots showing the situation in which it was written: Valmont drafting it upon a makeshift table – which is, in fact, the naked [[back]] of a giggling [[courtesan]] – revealing the letter to be partially inspired by fresh sexual experiences. Alternately, while the letter is being read aloud, there are shots of the addressee reading, shots which show the agonising impression the letter makes upon her. In this way, in ''[[Dangerous Liaisons]]'', not only are some of the masterfully composed letters made part of the script, but their inventive insertion into the story also adds dynamism to the film narrative by combining time levels in an unusual way. --[[Patricia Rackova]] | ||
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Choderlos de Laclos was the Gallic Richardson of the XVIIIth Century; and he might more justly than Stendhal be called the father of French realism. --Ernest Dowson or Andre Gide
DOWSON'S translation (1898) was used in the Nonesuch Press edition of 1940. Illustrated by Chas Laborde, this edition contains a preface by Andre Gide.
- a passionate love letter to Madame de Tourvel, read aloud in Valmont’s voice, is accompanied by shots showing the situation in which it was written: Valmont drafting it upon a makeshift table – which is, in fact, the naked back of a giggling courtesan – revealing the letter to be partially inspired by fresh sexual experiences. Alternately, while the letter is being read aloud, there are shots of the addressee reading, shots which show the agonising impression the letter makes upon her. In this way, in Dangerous Liaisons, not only are some of the masterfully composed letters made part of the script, but their inventive insertion into the story also adds dynamism to the film narrative by combining time levels in an unusual way. --Patricia Rackova
William Hogarth, The reward of cruelty[1], 1697-1764
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![[1]](http://1.bp.blogspot.com/_h_5gN4TY-EQ/S7oceho6KXI/AAAAAAAAFMg/ftYYKhRrAtQ/s1600/%E2%80%98the+reward+of+cuelty%E2%80%99+by+william+hogarth,+william,+1697-1764.jpg){kind=link}