I still had to read that the storyteller fantastic Stevenson, the Stevenson's nightmare. Also, I waited to read it in the translation that was made Armel Guerne (published in Phebus in 1994 and never reprinted since this winter).
An old catalog of this editor was constantly me put water in his mouth by speaking alternately mythic translation of unprecedented and text transfigured. And Guerne is for me a passport, it is also a royal way, it is the one who brought me into Moby Dick, he is the translator of Novalis, a tireless smuggler brief texts. He even published in book club, a translation of Thousand and One Nights. Phebus was therefore in his cartoons translation which at first excited me already. So here I am on vacation with my hands in mythical Doctor Jeckyll and Hyde Libretto in the collection with a preface by the translator soberly titled Stevenson fantastic.
Guerne explains in the preface that Stevenson wrote a first version of Jekyll and Hyde three days after a nightmare. Not being satisfied with the record, he destroyed his didn't text to be tempted to draw scenes in the old version, and rewritten. There is a strange process of maturation.
however, is the kind of reading should be approached with caution. Because
Jekyll / Hyde has become a mythical figure. The modern world, the collective unconscious (aided by film and TV) has made an image (necessarily simplified).
Because it is a novel that enters fully into the category of books that we can talk without having read it.
Because nothing in the text of Stevenson does not look like the image we had built (I would write that you fantasized) and remains more or less than the expression of the mythological figure that we lug around all the characters.
Read Dr. Jekyll and Mr. Hyde today asked to forget all the mythology, all the images that were a priori history, forgetting that you think you know what it will be.
Forget to better read
And entering an unknown world.
What is immediately striking is the assurance that can be detected in the construction, technical virtuosity of the narrative. We are dealing with a prodigious machine create fiction.
Obviously the player advance into the unknown, the characters take over the pages thick in proportion to the anxiety rises. While it was not until the very end to understand the links between the characters (and first Utterson the lawyer who is one with which we enter the story).
Stevenson chooses not to go to Jekyll until the very end of the novel, in a letter-witness of his adventure as a way to end the story, leaving no gray area, so the reader can drill Update the profound nature of the relationship between Jekyll to Hyde.
Hyde is not a monster, it is not an evil twin the good doctor, he has his own personality, it appears by the action of a chemical process, but in reality it is there from the beginning, within the good doctor Jekyll and if taken the right side of the personality, Hyde owes him just deadly impulses, he must live and most of all trying to survive alone in the dark side.
Indeed the novel reflects on the duality (one could even say monstrous twins) and whether or not Dr. Jekyll is double, and that he feels in his heart the dreadful presence of Hyde, the novel interrogates the most 'scientistic spirit of the time. This time the nineteenth century or science appears as the alpha and omega of knowledge of the world, and in return is scary.
The evocative power of the novel lies in the fact that Guerne calls "mechanical suggestive." The novel is constructed almost hollow, truncated evocations in accumulation of small puzzles that seem all independent from one another. Hyde himself is elusive and it is also never described. It is not the hunchback monster fingers hairy and shaggy hair slightly obscured by a top hat.
Stevenson does not advance a description of him that which is burned to know how it is: It is
It is something unsurpassable in productions Stevenson, like those of CNRADA in how to arrange a story, wear characters in their complexity psychological and able to wear them all the way to the bottom of the abyss. If not insurmountable anyway monumental.
An old catalog of this editor was constantly me put water in his mouth by speaking alternately mythic translation of unprecedented and text transfigured. And Guerne is for me a passport, it is also a royal way, it is the one who brought me into Moby Dick, he is the translator of Novalis, a tireless smuggler brief texts. He even published in book club, a translation of Thousand and One Nights. Phebus was therefore in his cartoons translation which at first excited me already. So here I am on vacation with my hands in mythical Doctor Jeckyll and Hyde Libretto in the collection with a preface by the translator soberly titled Stevenson fantastic.
Guerne explains in the preface that Stevenson wrote a first version of Jekyll and Hyde three days after a nightmare. Not being satisfied with the record, he destroyed his didn't text to be tempted to draw scenes in the old version, and rewritten. There is a strange process of maturation.
however, is the kind of reading should be approached with caution. Because
Jekyll / Hyde has become a mythical figure. The modern world, the collective unconscious (aided by film and TV) has made an image (necessarily simplified).
Because it is a novel that enters fully into the category of books that we can talk without having read it.
Because nothing in the text of Stevenson does not look like the image we had built (I would write that you fantasized) and remains more or less than the expression of the mythological figure that we lug around all the characters.
Read Dr. Jekyll and Mr. Hyde today asked to forget all the mythology, all the images that were a priori history, forgetting that you think you know what it will be.
Forget to better read
And entering an unknown world.
What is immediately striking is the assurance that can be detected in the construction, technical virtuosity of the narrative. We are dealing with a prodigious machine create fiction.
Obviously the player advance into the unknown, the characters take over the pages thick in proportion to the anxiety rises. While it was not until the very end to understand the links between the characters (and first Utterson the lawyer who is one with which we enter the story).
Stevenson chooses not to go to Jekyll until the very end of the novel, in a letter-witness of his adventure as a way to end the story, leaving no gray area, so the reader can drill Update the profound nature of the relationship between Jekyll to Hyde.
Hyde is not a monster, it is not an evil twin the good doctor, he has his own personality, it appears by the action of a chemical process, but in reality it is there from the beginning, within the good doctor Jekyll and if taken the right side of the personality, Hyde owes him just deadly impulses, he must live and most of all trying to survive alone in the dark side.
Indeed the novel reflects on the duality (one could even say monstrous twins) and whether or not Dr. Jekyll is double, and that he feels in his heart the dreadful presence of Hyde, the novel interrogates the most 'scientistic spirit of the time. This time the nineteenth century or science appears as the alpha and omega of knowledge of the world, and in return is scary.
The evocative power of the novel lies in the fact that Guerne calls "mechanical suggestive." The novel is constructed almost hollow, truncated evocations in accumulation of small puzzles that seem all independent from one another. Hyde himself is elusive and it is also never described. It is not the hunchback monster fingers hairy and shaggy hair slightly obscured by a top hat.
Stevenson does not advance a description of him that which is burned to know how it is: It is
not easy to describe. There is something wrong in the mine it; something unpleasant, really, something frankly obnoxious. I've never met anyone who has caused me such an antipathy, and yet I can not tell what it is. He must be deformed somewhere. This"He must be deformed somewhere" is a wonderful discovery. Is there actually any recessed in the folds but anti-description is mouche.o
It is something unsurpassable in productions Stevenson, like those of CNRADA in how to arrange a story, wear characters in their complexity psychological and able to wear them all the way to the bottom of the abyss. If not insurmountable anyway monumental.
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