#Pierre-Ambroise-François Choderlos de Laclos

[a-chorus-of-storytellers]

[p1325]

My book collection so far

Jane Austen - Pride and Prejudice

Emily Bronte - Wuthering Heights

Louisa May Alcott - Little Women

Charlotte Bronte - Jane Eyre

Jane Austen - Sense and Sensibility

Edith Wharton - The Age Of Innocence

Jane Austen - Emma

Gustave Flaubert - Madame Bovary

Jane Austen - Northanger Abbey

Edith Wharton - The House of Mirth

Jane Austen - Persuasion

Louisa May Alcott - Good Wives

Nathaniel Hawthorne - The Scarlet Letter

Charlotte Bronte - The Professor

Leo Tolstoy - Anna Karenina (Part 1)

Leo Tolstoy - Anna Karenina (Part 2)

Jane Austen - Mansfield Park

Anne Bronte - Agnes Grey

Thomas Hardy - Far from The Madding Crowd

William Makepeace Thackeray - Vanity Fair (Part 1)

William Makepeace Thackeray - Vanity Fair (Part 2)

Pierre-Ambroise-François Choderlos de Laclos - Dangerous Liaisons

Alexandre Dumas fils - The Lady of the Camellias

Henry James - Washington Square

Louisa May Alcott - A Garland For Girls

Henry James - The Portrait of A Lady (Part 1)

Henry James - The Portrait of A Lady (Part 2)

Jane Austen - Lady Susan. The Watson. Sanditon

Anne Brontë - The Tenant of Wildfell Hall

Thomas Hardy - Tess of the D’Urbeville

Edith Wharton - The Mother’s Recompense

Daniel Defoe - Moll Flanders

Henry James - The Wings of the Dove

Edith Wharton - The Customs of the Country

Kate Chopin - The Awakening

Jane Austen - Juvenilia  

George Eliot - Middlemarch (Part 1)

George Eliot - Middlemarch (Part 2)  

George Sand - Nanon

Henry James - The Ambassadors

Elizabeth Gaskell - Cranford

Thomas Hardy - Under The Greenwood Tree

Edith Wharton - Summer

George Sand - Indiana

Henry James - The Bostonians

George Eliot - Silas Marner

Henry James - The Golden Bowl (Part 1)

Henry James - The Golden Bowl (Part 2)  

Edith Wharton - The Twilight Sleep

Emily Eden - The Semi-Attached Couple

Edith Wharton - The Glimpses of the Moon

Mary Elizabeth Braddon - Lady Audley’s Secret

George Eliot - The Mill on the Floss

Elizabeth Gaskell - Mary Barton 

Fanny Burney - Evelina 

George Sand - Little Fadette

Emily Eden - The Semi-detached House

Charlotte Brontë - Shirley I

Charlotte Brontë - Shirley II

Daniel Defoe - Lady Roxana

Theodor Fontane  - Effie Briest 

Edith Wharton - The Cliff

Thomas Hardy - Two on a Tower

Frances Hodgson Burnett - A Lady of Quality

Louisa May Alcott - Moods

Edith Nesbit - The Incomplete Amorist

Frances Trollope - The Widow Barnaby (Part 1)

[sukunasun]

I'm not the person who sent the sex scenes ask but your writing, altogether, fascinates me so as a lit buff I'll gladly get your recommendation/influences list, for smut and non-smut if you will. I'm soo curious

from one lit buff to another pls send me a list too. or just one book shall do. but make it a rly good one.

warning: keep in mind that these are my preferences so feel free to discuss, disagree, or discard my suggestions completely because 1) read whatever you like. 2) erotica isn't usually my genre of choice (says the person who writes about dick and fictional men) so i have yet to fully explore the plethora of great books waiting to be read.

3) some of the writers and works i've listed below touch upon strong /controversial sexual themes, deviant sexualities, and a tad bit of psychosexual analysis. they are not inherently smut or romance stories but i'm focusing on the writing and how said themes and subject matter are dealt with. they might also require some further reading to get some context, i find understanding and analysing a book makes the experience more worthwhile beyond any initial judgement/review.

4) these are less influences and more informants because i have nothing to pull from irl so i rely on writers to tell me what love and sex is like for them. i wouldn't ever dream of writing this well since my pool of experience is merely a puddle. the fact that my writing fascinates you is praise beyond what i actually bring to the table, so thank you anon, i hope to reach a point where i write about these themes as poetically and profoundly as these writers do.

Delta of Venus by Anais Nin (a great introductory erotic work)

"You do not know what you are missing by your microscopic examination of sexual activity to the exclusion of aspects which are the fuel that ignites it. Intellectual, imaginative, romantic, emotional. This is what gives sex its surprising textures, its subtle transformations, its aphrodisiac elements. You are shrinking your world of sensations. You are withering it, starving it, draining its blood. If you nourished your sexual life with all the excitements and adventures which love injects into sensuality, you would be the most potent man in the world. The source of sexual power is curiosity, passion. You are watching its little flame die of asphyxiation. Sex does not thrive on monotony. Without feeling, inventions, moods, no surprises in bed. Sex must be mixed with tears, laughter, words, promises, scenes, jealousy, envy, all the spices of fear, foreign travel, new faces, novels, stories, dreams, fantasies, music, dancing, opium, wine."

Lady Chatterly's Lover / Women in Love / Sons and Lovers by DH Lawrence (ah yes...the one and only)

"They threw off their clothes, and he gathered her to him, and found her, found the pure lambent reality of her forever invisible flesh (…) the body of mysterious night upon the body of mysterious night (…). She had her desire of him, she touched, she received the maximum of unspeakable communication in touch, dark, subtle, positively silent, a magnificent gift and give again, a perfect acceptance and yielding, a mystery (…)"

Les Liaisons dangereuses by Pierre Ambroise François Choderlos de Laclos (the revenge...the jealousy...the utter malice!)

"I shall possess this woman; I shall steal her from the husband who profanes her: I will even dare ravish her from the God whom she adores. What delight, to be in turns the object and the victor of her remorse! Far be it from me to destroy the prejudices which sway her mind! They will add to my happiness and my triumph. Let her believe in virtue, and sacrifice it to me; let the idea of falling terrify her, without preventing her fall; and may she, shaken by a thousand terrors, forget them, vanquish them only in my arms."

Fanny Hill by John Cleland (this is so old but its most known for its genitalia euphemisms, a.k.a. 'how else do i describe a cock without calling it a cock')

"...and now, disengag’d from the shirt, I saw, with wonder and surprise, what? not the play-thing of a boy, not the weapon of a man, but a maypole of so enormous a standard, that had proportions been observ’d, it must have belong’d to a young giant. Its prodigious size made me shrink again; yet I could not, without pleasure, behold, and even ventur’d to feel, such a length, such a breadth of animated ivory! perfectly well turn’d and fashion’d, the proud stiffness of which distended its skin, whose smooth polish and velvet softness might vie with that of the most delicate of our sex, and whose exquisite whiteness was not a little set off by a sprout of black curling hair round the root..."

Venus in Furs by Leopold von Sacher-Masoch (see also: Bad Behavior – Mary Gaitskill. includes 'Secretary')

“Oh, I am suffering frightfully.” “Poor friend!” she brushed my disordered hair back from my fore-head. “I hope it isn’t through any fault of mine.” “No—” I replied,—“and yet my love for you has become a sort of madness. The thought that I might lose you, perhaps actually lose you, torments me day and night.” (...) “I can no longer live without you, oh wonderful woman,” I said. “Believe me, believe only this once, that this time it is not a phrase, not a thing of dreams. I feel deep down in my innermost soul, that my life belongs inseparably with yours. If you leave me, I shall perish, go to pieces.”(...)“It shall never end,” I cried excitedly, almost violently. “Only death shall part us. If you cannot be mine, all mine and for always, then I want to be your slave, serve you, suffer everything from you, if only you won’t drive me away.”

The White Hotel by D.M. Thomas (a fictional fmc writes to a fictional freud and psychoanalysis ensues)

Emma by Jane Austen (my fav austen book and the prime example of the friends-to-lovers trope. matchless wit and charm. knightley still makes me swoon to this day)

James Joyce's letters to his wife (i picture nanami writing this while huffing and puffing in anxiety as his stuttering, fountain-pen gripped fingers spill ink alongside his guts onto paper)

"My darling Nora, I am panting with eagerness to get your replies to these filthy letters of mine. I write to you openly because I feel now that I can keep my word with you. Don’t be angry, dear, dear, Nora, my little wild-flower of the hedges. I love your body, long for it, dream of it. Speak to me, dear lips that I have kissed in tears. If this filth I have written insults you bring me to my senses again with the lash as you have done before. God help me!"

Lust, Caution / Half a Lifelong Romance / Love in a Fallen City by Eileen Chang (see also: Cosmopolitan Love by Sijia Yao as a further read in understanding the ideas of chinese love and western love)

The Kites by Romain Gary (i recco'd this a few months ago and i'm bringing it up again!)

"I really don't know where I had come up with the idea that love could constitute the whole of life's work and meaning. Probably I had inherited this total lack of ambition from my uncle. Perhaps, too, I had loved too early, too young, with all my being, and there was no room left over in me for anything else."

Crash by J.G. Ballard (i read this after watching the movie adaptation, it's definitely edgy but also violent so proceed with caution)

Tropic of Cancer by Henry Miller (gah. i had to power through this but he writes so viscerally. sex is life and also death)

"She rises up out of a sea of faces and embraces me, embraces me passionately--- a thousand eyes, noses, fingers, legs, bottles, windows, purses, saucers all glaring at us an we in each other's arm oblivious. I sit down beside her and she talks--- a flood of talk. Wild consumptive notes of hysteria, perversion, leprosy. I hear not a word because she is beautiful and I love her and now I am happy and willing to die."

Frenchman's Creek by Daphne du Maurier (my beach read pick about the constraints of women and the timeless fantasy of lusting after a pirate or what it ultimately symbolises—freedom)

"There was silence between them for moment, and she wondered if all women, when in love, were torn between two impulses, a longing to throw modesty and reserve to the winds and confess everything, and an equal determination to conceal the love forever, to be cool, aloof, utterly detached, to die rather than admit a thing so personal, so intimate."

THANKS FOR MAKING IT TO THE END. these are some that piqued my interest, there's a whole lot more i can't remember atm but i hope they're enough for now. do look them up before diving into them in the case of any triggering subjects. and check out other works by these authors too if you like them. thank you for sending in this ask and happy reading!

[vento-del-nord]

Il tempo porta sempre la verità. Peccato che non la porti sempre in tempo.

PIERRE AMBROISE FRANÇOIS CHODERLOS DE LACLOS

[theseimmortalcoils]

Glenn Close as Madame de Merteuil and Uma Thurman as Cécile Volanges in Stephen Frears' film Dangerous Liaisons (1988), which was based on a play written in the late 18th century by (deep breath) Pierre Ambroise François Choderlos de Laclos.

Costumes by James Acheson.

[una-lady-italiana]

Quando feci l'ingresso in società avevo quindici anni; e io già sapevo che il ruolo a cui ero condannata, vale a dire stare zitta ed obbedire ciecamente, mi dava l'opportunità ideale di ascoltare e di osservare. Non quello che mi dicevano, che non era di nessun interesse, ma tutto quello che la gente cercava di nascondere; ed ho esercitato il “distacco”. Imparai a sembrare allegra, mentre sotto la tavola mi piantavo una forchetta nel palmo della mano e finii per diventare una “virtuosa nell'inganno”. Non era il piacere che cercavo, era la conoscenza; e consultavo i più rigidi moralisti, per la scienza dell'apparire, i filosofi, per sapere cosa pensare, e i romanzieri, per capire come cavarmela; e alla fine io ho distillato il tutto, in un principio meravigliosamente semplice: “vincere o morire”.

(Tratto da "Le relazioni pericolose" di Pierre-Ambroise-François Choderlos de Laclos)

Nella foto Glenn Close nel ruolo della Marchesa Isabelle de Merteuil nel film ononimo diretto da Stephen Frears -1988)

[lamilanomagazine]

Bologna: "Le relazioni pericolose" di Carmelo Rifici al Teatro Arena del Sole

Bologna: "Le relazioni pericolose" di Carmelo Rifici al Teatro Arena del Sole. Al Teatro Arena del Sole di Bologna, sabato 1 e domenica 2 aprile, va in scena "Le relazioni pericolose" di Carmelo Rifici, direttore artistico del LAC Lugano Arte e Cultura, anche alla guida della Scuola di Teatro del Piccolo di Milano. Lo spettacolo è tratto dal celebre romanzo epistolare di Pierre-Ambroise-François Choderlos de Laclos (1782), riscritto insieme a Livia Rossi, già allieva di Rifici. Sul palcoscenico un cast di rilievo che vede Elena Ghiaurov, Monica Piseddu ed Edoardo Ribatto, accanto ai giovani Flavio Capuzzo Dolcetta, Federica Furlani e Livia Rossi. Considerata una delle opere epistolari più importanti della letteratura francese, Le relazioni pericolose (titolo originale Les liaisons dangereuses, ou lettres recueillies dans une Société, & publiées pour l’instruction de quelques autres) è stata oggetto di numerosi adattamenti, tra i quali la trasposizione cinematografica di Stephen Frears del 1988, basata su quella teatrale di Christopher Hampton, autore anche della sceneggiatura, e Quartett di Heiner Müller (1982). Ambientato in Francia alle soglie della Rivoluzione, Le relazioni pericolose sviluppa un raffinato gioco di vanità e potere orchestrato dalla nobile e libertina Marchesa de Merteuil che, abbandonata dall’amante Gercourt, decide di vendicarsi. Per attuare il suo piano, conquista la complicità del Visconte di Valmont, suo ex amante e noto seduttore senza scrupoli, che accetta la sfida e, dopo aver sedotto la casta e ritrosa Madame De Tourvel, seduce anche la giovane e ingenua Cécile de Volanges, promessa sposa di Gercourt, ma innamorata di Danceny. Il piano si sviluppa grazie ad uno scambio di 175 lettere che disegna la traccia della rete diabolica pensata da Valmont e dalla Marchesa de Merteuil. Mantenendo la struttura epistolare, nello spettacolo «il desiderio di Rifici è stato di far affiorare la violenza e il potenziale bellico di quelle lettere – commenta Livia Rossi – più che delle psicologie, quindi, ha voluto che fossero ideologie ad emergere. Mentre raccontava del progetto, non parlava di personaggi, ma di paradigmi. Aveva estratto da ognuno di essi l’essenza. A partire da questa sintesi, abbiamo iniziato a leggere e a studiare. Spesso erano filosofi dal pensiero estremo e rivoluzionario, come Nietzsche e Weil, a venirci incontro; o romanzieri, come Dostoevskij, in cui l’essere umano già porta su di sé il fardello di un’esistenza archetipica». Arricchita dunque di numerosi riferimenti letterari e filosofici tra i quali, oltre ai già citati, Pasolini, l’opera di Laclos funge da sorgente per il lavoro drammaturgico che conduce in «un viaggio nel doloroso campo di battaglia del pensiero». «Il romanzo epistolare mi aveva sempre affascinato per la sua lucidità e crudeltà – afferma il regista – ma solo alla luce del trattato di René Girard (portando Clausewitz all’estremo) finalmente ne coglievo la reale potenza. L’intuizione di Laclos, poi solo accennata nel romanzo, era sorprendente: i suoi personaggi, calati in un duello senza sconti e con effetti catastrofici, proponevano non tanto una trama di erotismo e morte, quanto una vera e propria teoria sul pensiero occidentale». Nello spettacolo il linguaggio si incontra e scontra con la parola all’interno di uno spazio scenico abitato soprattutto da microfoni e macchine foniche che «nella loro brutalità e violenza, sostituiscono la violenza della mano armata o della penna e dell’inchiostro, ma proprio a causa della loro brutalità diventano nuovi geroglifici, totem, simulacri sacri», commenta Rifici. Il lavoro è accompagnato dal progetto visivo di Daniele Spanò, il suono di Federica Furlani, la drammaturgia del corpo di Alessandro Sciarroni e il disegno luci Giulia Pastore. Carmelo Rifici Drammaturgo e regista, dopo la laurea in Lettere, si diploma alla Scuola dello Stabile di Torino e collabora come regista con Luca Ronconi in Progetto Domani, evento teatrale dei Giochi Olimpici Invernali di Torino 2006. Successivamente lo affianca nelle regie di Fahrenheit 451, Ulisse doppio ritorno, Turandot, Il mercante di Venezia. Napoli Teatro Festival gli commissiona la regia di Chie-Chan e io, dal romanzo di Banana Yoshimoto (2008). Per il Piccolo Teatro di Milano dirige I pretendenti di Jean-Luc Lagarce, Il gatto con gli stivali di Ludwig Tieck (2009) e Nathan il saggio di Ephraim Lessing (2011). Nel 2010 mette in scena Dettagli di Lars Norén al Piccolo e Fedra di Euripide a Siracusa. Firma la regia di Buio di Sonia Antinori per Teatro Due Parma, Medea di Luigi Cherubini per il Ponchielli di Cremona, I puritani di Vincenzo Bellini per il Circuito Lirico Lombardo, Giulio Cesare di William Shakespeare e Visita al padre di Roland Schimmelpfennig per il Piccolo di Milano. Dal 2014 è direttore artistico di LuganoInScena dove realizza Gabbiano di Anton Cechov, Ifigenia, liberata di Rifici-Dematté, Purgatorio di Ariel Dorfman, l’opera Il barbiere di Siviglia, Avevo un bel pallone rosso di Angela Dematté, I Cenci su musica e libretto di Giorgio Battistelli – che nel 2020 è nel cartellone di Biennale Musica di Venezia e del Festival Aperto di Reggio Emilia –, Macbeth, le cose nascoste di Rifici-Dematté. Del 2019 è Gianni Schicchi di Puccini e de L’heure espagnole di Ravel al Teatro Grande di Brescia. Nel 2020 diventa direttore artistico di LAC Lugano Arte e Cultura, centro culturale della Città di Lugano. Dal 2015 dirige la Scuola di Teatro “Luca Ronconi” del Piccolo Teatro di Milano. Nel 2005 vince il Premio della Critica come regista emergente, nel 2009 il Premio Eti Olimpici del Teatro come regista dell’anno, il Premio della Critica, il Golden Graal ed è nelle nomination per i Premi Ubu come regista dell’anno. Nel 2015 vince il Premio Enriquez per la stagione teatrale di LuganoInScena, nel 2017 lo vince nuovamente per la regia di Ifigenia, liberata. Nel 2019 vince il Premio I nr. Uno conferitogli dalla Camera di Commercio Italiana per la Svizzera (CCIS) per il suo lavoro al LAC. Nel luglio 2021 viene insignito del titolo di Maestro dal Premio Radicondoli per il teatro. Nell’autunno dello stesso anno riceve il Premio Hystrio Digital Stage e il Premio speciale Ubu per il progetto digitale Lingua Madre - Capsule per il futuro, ideato insieme a Paola Tripoli. Livia Rossi Drammaturga e attrice (Cécile de Volanges in Le relazioni pericolose), nasce a Milano nel 1993. Inizia a studiare teatro al liceo, frequentando i corsi della scuola Quelli di Grock. Nel 2013 è diretta da Gianni Amelio nel film L’intrepido. Lo stesso anno studia con Cristina Pezzoli allo Spazio Compost di Prato. Nel 2017 si diploma alla Scuola di Teatro “Luca Ronconi” del Piccolo Teatro di Milano, debuttando con Uomini e no per la regia di Carmelo Rifici; lo spettacolo viene ripreso anche la stagione successiva. Nel 2018 prende parte allo spettacolo di teatrodanza Choròs di Alessio Maria Romano, e come attrice figurante all’opera lirica Il Barbiere di Siviglia, direzione musicale di Diego Fasolis e regia di Carmelo Rifici, al LAC di Lugano. In quegli anni si avvicina alla scrittura; incontra il lavoro di Deflorian/Tagliarini e Lucia Calamaro. Nel 2020 frequenta il Corso di Perfezionamento attoriale – Manifesto/Manifesti: per una poetica dell’azione a ERT, condotto da Sergio Blanco e Gabriel Calderón. Nel 2021 partecipa come drammaturga a Bloom!, un periodo di residenza e di studio presso la Corte Ospitale, condotto da Leonardo Lidi. Al cinema è diretta nuovamente da Gianni Amelio in Hammamet (2020) e da Wilma Labate nel film La ragazza ha volato (2021). Teatro Arena del Sole, via Indipendenza 44 – Bologna Prezzi dei biglietti: da 7 € a 25 € esclusa prevendita Biglietteria: dal martedì al sabato dalle ore 11.00 alle 14.00 e dalle 16.30 alle 19.00 Tel. 051 2910910 - biglietteria@arenadelsole.it | http://bologna.emiliaromagnateatro.com... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[topaudiobooksit]

Le relazioni pericolose - Pierre-Ambroise-François Choderlos de Laclos https://ift.tt/92GJQFn

[cooledwardlamb]

1741 1803 Pierre-Ambroise-François Choderlos de Laclos

[anocturnalanimal]

“L'amore, l'odio, non avete che da scegliere, dormono tutti sotto lo stesso tetto; e sdoppiando la vostra vita, potete con una mano accarezzare e con l'altra colpire.”

— “Le relazioni pericolose”, Pierre-Ambroise-François Choderlos de Laclos

[p1325]

The 'Timeless Classics' series by RBA stands as a commendable collection of 85 literary masterpieces, predominantly drawn from English literature, with notable inclusions such as Madame Bovary and Anna Karenina from diverse cultural landscapes. This curated anthology transcends geographical boundaries, making its enriching content accessible not only in various European countries under the names of ''Storie Senza Tempo'', ''Romans Eternels'', and ''Novelas Eternas'' but also in South America. RBA's commitment to delivering these cultural gems on a global scale reflects a dedication to fostering a profound appreciation for literature across diverse audiences.

Here are all the titles of the following collection: Jane Austen - Pride and Prejudice

Emily Bronte - Wuthering Heights

Louisa May Alcott - Little Women

Charlotte Bronte - Jane Eyre

Jane Austen - Sense and Sensibility

Edith Wharton - The Age Of Innocence

Jane Austen - Emma

Gustave Flaubert - Madame Bovary

Jane Austen - Northanger Abbey

Edith Wharton - The House of Mirth

Jane Austen - Persuasion

Louisa May Alcott - Good Wives

Nathaniel Hawthorne - The Scarlet Letter

Charlotte Bronte - The Professor

Leo Tolstoy - Anna Karenina (Part 1)

Leo Tolstoy - Anna Karenina (Part 2)

Jane Austen - Mansfield Park

Anne Bronte - Agnes Grey

Thomas Hardy - Far from The Madding Crowd

William Makepeace Thackeray - Vanity Fair (Part 1)

William Makepeace Thackeray - Vanity Fair (Part 2)

Pierre-Ambroise-François Choderlos de Laclos - Dangerous Liaisons Alexandre Dumas fils - The Lady of the Camellias

Henry James - Washington Square

Louisa May Alcott - A Garland For Girls

Henry James - The Portrait of A Lady (Part 1)

Henry James - The Portrait of A Lady (Part 2)

Jane Austen - Lady Susan. The Watson. Sanditon

Anne Brontë - The Tenant of Wildfell Hall

Thomas Hardy - Tess of the D’Urbeville

Edith Wharton - The Mother’s Recompense

Daniel Defoe - Moll Flanders

Henry James - The Wings of the Dove

Edith Wharton - The Customs of the Country

Kate Chopin - The Awakening

Jane Austen - Juvenilia

George Eliot - Middlemarch (Part 1)

George Eliot - Middlemarch (Part 2)

George Sand - Nanon

Henry James - The Ambassadors

Elizabeth Gaskell - Cranford

Thomas Hardy - Under The Greenwood Tree

Edith Wharton - Summer

George Sand - Indiana

Henry James - The Bostonians

George Eliot - Silas Marner

Henry James - The Golden Bowl (Part 1)

Henry James - The Golden Bowl (Part 2)

Edith Wharton - The Twilight Sleep

Emily Eden - The Semi-Attached Couple

Edith Wharton - The Glimpses of the Moon

Mary Elizabeth Braddon - Lady Audley’s Secret

George Eliot - The Mill on the Floss

Elizabeth Gaskell - Mary Barton

Fanny Burney - Evelina

George Sand - Little Fadette

Emily Eden - The Semi-detached House

Charlotte Brontë - Shirley I

Charlotte Brontë - Shirley II

Daniel Defoe - Lady Roxana

Theodor Fontane - Effie Briest

Edith Wharton - The Cliff

Thomas Hardy - Two on a Tower

Frances Hodgson Burnett - A Lady of Quality

Louisa May Alcott - Moods

Lucy Maud Montgomery - The Story Girl

Elizabeth Gaskell - Ruth

Thomas Hardy - The Woodlanders

Elizabeth Gaskell - North and South

Matilde Serao - Fantasy

Thomas Hardy - A Pair of Blue Eyes

Emilia Pardo Bazán - Sunstroke

Ann Radcliffe - The Romance Of The Forest

Louisa May Alcott - A Long Fatal

Charlotte Bronte - Villette

Sybil G. Brinton - Old Friends and New Fancies

Edith Wharton - The Bunner

Sisters Virginia Woolf - The Voyage Out

Margaret Oliphant - The Chronicles of Carlingford

Edith Nesbit - The Incomplete Amorist

Virginia Woolf - Day and Night

Guy de Maupassant - Our Heart

Frances Trollope - The Widow Barnaby (Part 1)

Frances Trollope - The Widow Barnaby (Part 2)

Elizabeth Gaskell - Half a Lifetime Ago

[elosblog]

"Ich muss diese Frau haben, um nicht der Lächerlichkeit zu verfallen, verliebt zu sein. Verliebt– wohin führt uns nicht ein ungestilltes Verlangen!"

- Gefährliche Liebschaften (PIERRE AMBROISE FRANÇOIS CHODERLOS DE LACLOS)

[olympedupuget]

Gif Request Meme - A Musical of my Choice + a Villain:  Artois and Orléans

↳ Requested by @fallenidol-453

Philippe Égalité: The only legitimate son of the Duc d’Orléans, a prince du sang from birth, Philippe was a very unlikely revolutionary. And yet Philippe showed a strong level of compassion for the lives of the lower class, going down a coal shaft to see the conditions faced by miners, pulling a groom of his from a river with his own hands, and providing shelter for the poor during the bitter winter of 1788-89. 

He was noted for his extravagant lifestyle; a noted lover of racehorses, gambling, architecture, his various and assorted mistresses, and all things English. Despite being the richest man in France, with a truly astronomical income, he nonetheless found himself frequently in debt. That was the impetus for him to totally redesign the Palais Royal over the course of two and a half years, opening it up to shopkeepers and establishing it as a major area for counter revolutionary activity, with the police being banned from intervening. As such, an overwhelming feeling of liberty prevailed there, with people from all social classes gathering to observe the spectacles and walk along the gardens there. 

There was a certain amount of hostility to be expected between the two branches of the Bourbon family, going as far back as the first Duc’s tempestuous relationship with his brother, Louis XIV. Still, the relationship between Louis XVI and Philippe gradually deteriorated over time, despite several attempts to patch things up. Orléans blamed Louis for the loss of his naval career, with the controversial Battle of Ushant in 1778 being a major breaking point in their relationship. In 1788, he spoke up at a “Royal Sitting” where Louis tried to press the Parliament into obeying his will, saying “Sire, this appears to be illegal.” Louis responded, “It is legal, because I wish it to be so.” Orléans spent the next five months in a comfortable exile at his estate, and he returned more popular than ever. 

When the Estates General was called, Orléans sided with the Third Estate, taking his place with the other delegates rather than sitting with the Royal Family as his rank entitled him to. His name was consistently brought up alongside revolutionary activity, with his bust being paraded alongside Necker’s on July 12, 1789, when the rash charge of the Prince de Lambesc into the Tuilleries heightened the people’s fears over an armed crackdown of Paris. It would be in the Palais Royal where Camille Desmoulins would jump on a table and call the people to arms, and even though the exact impact of that statement’s been disputed, the fact that Palais Royal was a huge locus point for revolutionary activity never has been. 

Among the royalists, it was popularly thought that Orléans was behind the entire Revolution, masterminding the Storming of the Bastille, the Women’s March to Versailles, a famine, and various and assorted other disturbances, in lieu of believing that the common people themselves were discontent. However, the sources nearest and dearest to Philippe suggest that he had no intention of seizing power, and Philippe’s own action of going and staying in England at Lafayette’s suggestion between October 1789 and July 1790, when he had a strong chance of fighting back against the charges and seizing power for himself by riding off the highest point of his popularity, strongly indicates that he had no intention of seizing the throne for himself. Overall, while he was a man of undeniable courage, the popular consensus is that he was, by nature, too passive to do it on his own, generally being very diffident to those near him such as his former mistress and longtime friend, Madame de Genlis, as well as her rival for his attention, Pierre Ambroise François Choderlos de Laclos, and generally disinterested in long-form plans, preferring to throw himself into whims. It is far more likely that, if a plan existed to make Philippe king, it came from one of those brains, as opposed to anything Philippe himself considered in any detail. 

He did, however, become embittered over the increasingly chilly reception he received at Versailles, including one occasion where a courtier shouted “Do not let him touch the wine!” when he entered, with him then being spat on as he made his leave. 

In the latter half of 1792, Philippe faced a bevy of problems, both personal and political, as his long-suffering wife had filed for a separation, his daughter was put on a list of émigrés and was forced to leave the country very shortly after arriving (after Madame de Genlis, who he had instructed to take her back before her name could be added, lingered for too long, causing a final breakdown in their long relationship), his popularity was rapidly fading, and he had been called, as a Deputy of the National Convention, to sit at the trial of his cousin. According to one anecdote, found in William Cooke Taylor’s Memoirs of the House of Orléans, it was in that particular maelstrom that he changed his name, as a last ditch effort to save his daughter and prove his loyalty to the Revolution, to Philippe Égalité. Many options were considered for him to not sit the trial, and there is no reason to believe, despite the long-lasting enmity that the two of them had, that Philippe, when he went to sleep the night before the trial of Louis began on December 26, that he had any idea that when it came time to give the verdict on January 14-15, he would vote “yea,” a decision that shocked the entire room, not the least Louis himself. Perhaps it was a last ditch effort to save himself, perhaps he felt pressured to do it by everyone else in the room, perhaps in that moment he truly believed that Louis’ actions merited the death penalty. It’s impossible to truly know, but in the end that one decision, more than anything else, has defined his legacy. 

However, the Royalists would soon be able to find some comfort, as, on the 4th of April 1793, his son, Louis-Philippe, Duc de Chartres, defected along with General Dumouriez, and Philippe’s enemies had the ammunition they needed.

On 7 April, 1793, he was arrested and sent to Fort Saint-Jean in Marseilles, along with two of his sons. Throughout his imprisonment, Philippe kept up an optimistic front, constantly reassuring his sons, the Duc de Montpensier and the Comte de Beaujolais, on the rare occasions he was allowed to speak to them after they were separated, that everything would turn out well, even expressing optimism about his trial in Paris. Whether this was real or simply an attempt at keeping up morale will never be known, but on November 2, 1793, he was sent back to Paris, to be imprisoned in the Conciergerie. He was tried on the 6th and, at his own request not to prolong things any longer than necessary, he was executed on that same day. By all accounts, he met his death courageously, his composure only threatening to break when the cart he was in stopped in front of the Palais Royal, so that he could very clearly see the sign on it that said it was now national property. His last words were to stop the assistants at the guillotine from taking off his boots, saying “You are losing time, you can take them off at a greater leisure when I am dead.” 

Unlike his royal cousins, his body was never found, and to this day, he is generally considered as one of the great villains of the Revolution in media associated with it, though none of the serious charges against him (the October Days being prime) were ever proven.

Charles X- For most of his younger years, like his older cousin, Charles’ defining quality was his wild life, which was punctuated by multiple love affairs, copious gambling and alcohol, and even more copious debts, with his brother, Louis XVI, somewhat reluctantly paying the bills. He also had a close friendship with his brother’s wife, who he shared a love of high living with, the two of them often being seen together at the theatre and balls. This close friendship was much remarked upon, with Artois being a frequent subject of the pornographic pamphlets that circulated about the queen, along with Marie Antoinette’s favorite, Madame de Polignac. In the years preceding and following the Revolution, however, the two of them gradually cooled, with their later relationship being marked by political disagreements. Charles consistently pressured his brother into more conservative stances during the meeting of the Estates General, arguing against doubling the Third Estates’ representation and conspiring to get rid of Louis’ liberal finance minister, Jacques Necker. The dismissal of the Necker would end up being one of the leading causes for the Storming of the Bastille, with Charles’ temporary personal victory being quickly eclipsed by the blaze that the little spark of Revolution had turned into. In the days immediately following the Storming of the Bastille, Artois was ordered to emigrate by his brother, along with the rest of his family.

He wouldn’t see France again for decades, going from court to court in Europe asking for help and trailed by a small army of creditors (who would become some of his most frequent companions, the avid huntsman only being able to go out riding at his estate at Holyrood on Sundays, when his creditors would be unable to pursue him), but with very little materializing, even less of which was successful, with the Battle of Quiberon being particularly disastrous to any hope of a royalist win by military might. Instead, he set up his main residence in London, with his mistress, Louise de Polastron, sister-in-law of Madame de Polignac, upon whose death he swore a vow of celibacy, the former playboy becoming sober and religious in his later years. The family briefly returned to France in May 1814, with the exile of Napoleon to Elba, however his later escape and mustering of the troops led to them leaving the city in February 1815, only able to fully establish themselves back in the country shortly after Napoleon’s defeat at Waterloo. Upon his brother, the Comte de Provence’s ascension to the throne as Louis XVIII (the space between XVI and XVIII being taken up by Charles’ young nephew, Louis-Charles, who died in prison and therefore never ruled), Charles became known as a leading member of the Ultra Royalist faction, who were, as the name suggests, “More Royalist than the king.” His brother dying without a male heir, Charles took the throne in 1824, though his highly conservative policies following his more tolerant brother’s reign made him highly unpopular with the public. 

In 1830, he was forced to abdicate. His intent had been for the throne to go to his young grandson, however, it would go to Louis-Philippe, Duc d’Orléans, the son of Philippe Égalite (who would himself end up being deposed.) He spent the remainder of his life similarly to how he spent his exile, traveling from place to place, hounded by debtors.

 Eventually, he would die in Austria, on 6 November 1836, 43 years to the day of his revolutionary cousin’s execution. 

Sources: 

The Chevalier de Saint-Georges: Virtuoso of the Sword and the Bow: Gabriel Banat

A French King at Holyrood: Alexander John Mackenzie Stuart

The Journalists and the July Revolution in France: The Role of the Political Press in the Overthrow of the Bourbon Restoration 1827–1830: Daniel Rader

Memoirs of the House of Orléans: William Cooke Taylor

The Perilous Crown: France Between Revolutions, 1814-1848: Munro Price

Prince of the blood : being an account of the illustrious birth, the strange life and the horrible death of Louis-Philippe Joseph, fifth duke of Orleans, better remembered as Philippe Egalite: Evart Seelye Scudder

Revolutions in the Western World 1775–1825: Jeremy Black, ed.

[ilcontedivalmont-blog]

“Sono curiosa di sapere che cosa può scrivere una bigotta dopo certi momenti e quale velo stenda sulle sue parole, dopo non averne lasciato alcuno sul suo corpo.”

PIERRE AMBROISE FRANÇOIS CHODERLOS DE LACLOS

Lungi da me offendere le bigotte, la curiosità si ciba di entrambe i sessi e del sesso che loro concedono. Chi lo desidera può scrivere qui una storia vissuta, sognata, desiderata,anche in anonimo. Un essere curioso, questo sono. 

[ao3feed-dramione]

Pure Corruption

read it on the AO3 at https://ift.tt/2Lvuxor

by sydcreates

Based on the novel Les Liaisons dangereuses (Dangerous Liaisons) by Pierre Ambroise François Choderlos de Laclos and Cruel Intentions.

In a post war world purebloods are doing their part to help rebuild society. Surprisingly There are slytherin alums who have proven that there is not longer a strain in the way purebloods treat muggleborns. Malfoy Enterprises and. Parkinson’s Pride are two of the biggest donators to reconstruction after the war, the world believes Draco Malfoy and Pansy Parkinson have turned a new leaf.

Pansy is the poster child for pureblood orphans of the war, showing that there was devastation on all sides. She runs multiple business that donate to her fund for orphaned children of the war.

Draco dragged the Malfoy name out of the mud. With the many things he does to help bring order after forcing his father to change his stance towards the end of the war. He’s looked at as the bad boy who earned redemption and he stays out of trouble for the most part.

They’ve changed publicly but their inner turmoil has seethed out in ways that would surely change their Newley perceived goodness.

Unfortunately for her it looks like his newest target is Hermione Granger.

Words: 308, Chapters: 1/?, Language: English

Fandoms: Harry Potter - J. K. Rowling

Rating: Explicit

Warnings: Creator Chose Not To Use Archive Warnings

Categories: F/F, F/M, Gen, M/M

Characters: Hermione Granger, Draco Malfoy, Pansy Parkinson, Ron Weasley, Harry Potter, Theodore Nott, Blaise Zabini, Astoria Greengrass, Daphne Greengrass, Angelina Johnson, Mrs Greengrass (Harry Potter), Adrian Pucey, Andromeda Black Tonks

Relationships: Hermione Granger/Draco Malfoy

Additional Tags: Based on cruel intentions, based on dangerous liaisons, Loss of Virginity, Post-Hogwarts, AU, Obsessive Draco, sex addict draco, Drugs, Sex, Sex Games, bets and wadgers, Bets, Letters, dramione - Freeform, Angst, dramione ending, Manipulation, dysfunction, Humilation, Multiple Partners, Blackmail, Dubious Consent, Mildly Dubious Consent, Rape/Non-con Elements, explicity, esxplicit, Project, Fanfiction, First Fanfiction

read it on the AO3 at https://ift.tt/2Lvuxor

[fondazioneterradotranto]

Nuovo post su http://www.fondazioneterradotranto.it/2017/04/19/taranto-pierre-ambroise-francois-choderlos-de-laclos-damnatio-memoriae-riuscita-solo-meta/

Taranto e Pierre-Ambroise-François Choderlos de Laclos: una damnatio memoriae riuscita solo a metà

di Armando Polito

Sul fenomeno tutto umano cui la locuzione latina del titolo dà il nome ho avuto molteplici occasioni di esprimere la mia opinione e questa volta non segnalerò nemmeno un post al riguardo perché essa emergerà, mi auguro senza equivoci, dalla lettura di questo.

Oltre alla locuzione latina nel titolo spicca anche un onomastico chiaramente francese e non è difficile capire che è lui al centro della storia, di una storia risalente a poco più di due secoli fa. Ogni evento storico ha, come in un film, un protagonista, dei comprimari, un’ambientazione, chiedo scusa, volevo dire una location …

Siamo a Taranto nel 1803 e muore nel convento di S. Francesco d’Assisi per dissenteria e malaria  il generale d’artiglieria Pierre-Ambroise-François Choderlos de Laclos, al quale Napoleone in persona aveva affidato la conduzione della fortezza fatta erigere sull’isola di S. Paolo alla fine del XVIII secoloe  che ancora oggi reca il suo nome. Al suo interno viera stato sepolto avendo rifiutato i conforti religiosi. Molto probabilmente il generale quand’era in vita non avrebbe potuto immaginare posto migliore per i suoi resti, come un pilota automobilistico forse sognerebbe non tanto di morire in gara, cioé sul campo di battaglia, quanto di essere sepolto sigillato nell’abitacolo del bolide compagno più o meno affidabile di tante avventure …

Pierre-Ambroise-François Choderlos in un disegno attribuito a Maurice Quentin de La Tour (1704-1788), custodito nel Museo Nazionale dei castelli di Versailles e di Trianon

  Comunque stiano le cose attinenti alla sfera della morte, ammesso per assurdo che qualche forma di coscienza sopravviva, la immaginata soddisfazione del generale durò poco, perché alla caduta di Napoleone nel 1815 i tarantini per odio contro i francesi distrussero la sua tomba e non è difficile immaginare che i suoi resti, mai più ritrovati, siano stati gettati in mare.

Non sono riuscito a reperire rappresentazioni della fortezza risalenti a quell’epoca, ma posso fornire una documentazione del prima e del dopo.

Le immagini che seguono  riguardano un dettaglio di una mappa di Taranto conservata nella Biblioteca Universitaria Estense a Modena e datata al XV-XVI secolo. Io credo, invece, sulla scorta di osservazioni interne che farò quando a breve la presenterò integralmente su questo blog, che non possa essere anteriore al XVI secolo. Attraverso un progressivo ingrandimento giungo alla lettura della didascalia che mostra l’antica vocazione del sito per quanto riguarda quella che oggi si chiama destinazione d’uso.

Nell’immagine successiva (tratta da http://www.bebmuseo.it/app/webroot/wp/wp-content/uploads/2015/05/isole_cheradi.jpg) la vista aerea dello stato attuale del sito.

  La storia rigurgita di episodi in cui l’odio, più o meno comprensibile, si manifesta con la distruzione dei simboli di un potere (una statua, uno stemma, un intero fabbricato, etc.) o con la profanazione e successiva distruzione dei resti del nemico di turno. Tutto ciò per me è comprensibile ma non giustificabile, perché la progressiva ignoranza del passato, avanzante grazie pure alla distruzione delle sue memorie e all’affievolimento fino all’estinzione della loro valenza monitoria, non può che propiziare il ripetersi proprio di quegli eventi che si è pensato di rimuovere per sempre dalla coscienza mediante la semplice cancellazione di oggetti. E così cadiamo sempre nell’eterna contraddizione tra il dire e il fare, tra il concreto e l’astratto, facendo prevalere l’uno o l’altro seguendo l’impulso emotivo del momento.

Qualche volta, tuttavia, la damnatio memoriae (anche quella, come nel nostro caso, spicciola, in un certo senso popolare, cioé non programmata dalle istituzioni) si ritorce contro coloro che l’hanno attuata. Nel nostro caso non dipende da una riabilitazione politica del personaggio, ma dal suo spessore. Pierre-Ambroise-François, infatti, non fu solo un militare, fu un artista, appartenne, cioé, a quella privilegiata categoria in grado di mettere tutti d’accordo con i suoi più validi rappresentanti.  Il suo romanzo epistolare Les liaisons dangereuses (Le relazioni pericolose), uscito ad Amsterdam (manca il nome dell’editore) in due volumi, il primo (diviso in quattro parti) nel 1782, il secondo nel 1787, è considerato, e da tempo, come uno dei classici della letteratura non solo francese ma mondiale.

La carta 2 del manoscritto autografo, custodito nella Biblioteca Nazionale di Francia (dipartimento manoscritti francesi, n. 12845), con l’incipit del romanzo

  I frontespizi del primo e del secondo volume della prima edizione

  Al lettore non sarà sfuggita la presenza nei frontespizi dei puntini di sospensione (direi di vigliaccheria, e dopo spiegherò perché) che accompagnano il nome dell’autore C[hoderlos] de L[aclos] e risparmiano M. (abbreviazione di Monsieur=Signor), innocuo per la sua scontata genericità e la preposizione de, il cui valore compromettente è relativo, direi nullo …

Il fatto è che, al tempo in cui uscì, il romanzo venne considerato altamente immorale e fautore di corruzione e nello stesso tempo, per così dire, diffamatorio, anche se in realtà esso  offriva uno spaccato della classe nobiliare del XVIII secolo, insomma, costituiva più una denunzia che, a seconda dei punti di vista,  un’istigazione al peccato o una calunniosa offesa. L’ipocrisia della morale (quella formale …) di ogni tempo ispirò il poco coraggioso (specialmente per un generale …) espediente dei puntini, mentre nell’avvertimento iniziale l’editore (totalmente anonimo, lui …) si affanna più volte a sottolineare il carattere, a parer suo, fittizio delle lettere …

Bisognerà  attendere il 1869 per incontrare un’edizione senza le mutande messe al nome dell’autore, anche se potrebbe sussistere una finalità mimetizzante in Delaclos per De Laclos.

Il tempo è il migliore giustiziere e, come s’è detto, l’opera è da tempo considerata un classico.

Si definisce classico, si sa, qualsiasi prodotto che riesca a valicare i confini del suo tempo, in esso riconoscibilissimi, e sia destinato ad una perenne attualità; insomma una sorta di prodigio, come può essere tutto ciò che è del suo tempo e insieme di ogni tempo. E il romanzo del nostro non si sottrae a questa regola, tant’è che, al di là di un numero spaventoso di edizioni, è stato oggetto di numerosissimi adattamenti teatrali e di altrettanto numerose  trasposizioni cinematografiche, a partire da quella del 1959 che ebbe come regista Roger Vadim e come interpreti principali  Gerard Philipe, Jeanne Moreau ed Annette Stroyberg;  i miei coetanei alle prese con le prime tempeste ormonali la ricorderanno certamente, ma solo attraverso la locandina, essendo il film stravietato …

  Nel chiudere ritengo opportuno correggere il damnatio memoriae riuscita solo a metà del titolo con damnatio memoriae totalmente fallita. Il gesto dei profanatori è già stato dimenticato, forse, dalla storia, è qualcosa di morto, il nome del dannato, al contrario,è estremamente vivo e come tutto ciò che riguarda lo spirito, destinato a durare più di un oggetto, sia esso un sepolcro (quello del generale nel nostro caso) o, come mostrano le immagini di chiusura tratte da http://www.geheugenvannederland.nl/en, un poster sul tema, il primo del 1887, il secondo del 1990