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Salambo (Classic Reprint) by Gustave. Flaubert (2015, Trade Paperback)
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Forgotten Books USA (4929)
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About this product
Product Identifiers
PublisherForgotten Books
ISBN-101332192645
ISBN-139781332192649
eBay Product ID (ePID)221590196
Product Key Features
Book TitleSalambo (Classic Reprint)
Number of Pages326 Pages
LanguageEnglish
Publication Year2015
TopicFantasy / General
IllustratorYes
GenreFiction
AuthorGustave. Flaubert
FormatTrade Paperback
Dimensions
Item Height0.7 in
Item Weight15.4 Oz
Item Length9 in
Item Width6 in
Additional Product Features
Intended AudienceTrade
SynopsisExcerpt from Salambo The present version is important in more ways than one. It makes available to English readers the book which is held by competent judges to be Flaubert's supreme contribution to the art of the novel, and it restores to circulation a very remarkable example of translation which can hold its own in that long sequence of renderings which stretches from Florio to Scott Moncriefi'. Only those who have tried to translate from Flaubert know what difficulties have to be encountered. The work of theconscious Stylist always presents a problem of great intricacy to those who would make an acceptable version of its completeness for foreign readers. But that problem is not wholly insoluble. Proust developed a highly conscious Style, but it has been found not impossible to convey something of its quality to an English public. It is not Flaubert's insistence on the mot juste that most tests the translator's ingenuity. Even for mots justes there should be equivalents. It is those elements in his writing for which nothing Similar can be found in English that bring despair. Proust, in a long and acute essay on Flaubert's style, pointed to certain peculiarities in his use of the imperfect tense. He employed it in a highly personal way, and found it rich in possibilities for the presentation of extended narrative. The imperfect, with its implications of unresolved continuity, could give effects obtainable in no other way. But there is nothing comparable in English, where the use of the imperfect has become less and less idiomatic. That Mr. Powys Mathers managed to produce so fine and faithful a translation without having to his hand a grammatical form upon which Flaubert set such store, is remarkable. Mr. Mathers is, alas, dead. This publication is of his, as of Flaubert's, Salambo. Both men are honoured and commemorated in the monument. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works., Excerpt from Salambo To those who like to impose upon life and the achievements of the human spirit the arbitrary pattern of a private logic, it must always seem strange that Madame Bovary should have preceded Salambo in the chronology of Flaubert's authorship. Surely, in the name of neatness, of psychology, their relative positions should have been reversed? Emma tried to escape from reality into romance and was brought to destruction. It would have been satisfying to know that Flaubert, profiting by his heroines example, had turned from the romantic to the actual, from Carthage to Normandy. But this is not what happened. Madame Bovary was published in 1857, Salambo in 1862. As the result of an enforced and prolonged intercourse with the spiritual squalor of the provincial middle-class (and a hatred of the middle-class of France was always a strong determining factor in his development as an artist) Flaubert turned to seek relief in the distant, the fantastic, the romantic. But unlike Emma's, his weakness for romance("Madame Bovary, c'est moi") was balanced by a passion for truth, by a craving for the accurately actual. For her, romance meant a smoothing away of sharp edges, a blurring of clear vision. Its charm, for him, lay in distance and difference. By saturating himself in the atmosphere of Carthage between the first and second Punic Wars, he could forget the French of Louis Philippe and Napoleon III, but he would have nothing to do with sentimental glosses. Distance, so far as he was concerned, lent not enchantment but remoteness to the view, and he set himself the task of giving to his imagined scene the highest degree of actuality with which research could furnish him. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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