The Bells of Bruges

by Georges Rodenbach, Mike Mitchell (Translator)

There are three loves in the life of Joris Borluut, the town carillonneur of Bruges. He marries the fiery Barbe, whose dark beauty is a reminder of Belgium's Spanish heritage. Repelled by her harshness and violence, he starts an affair with her sister, the gentle, soulful, fair-haired Godelieve. When her sister discovers their affair, Godelieve enters a Beguine convent and Joris devotes himself to his first love, the old city of Bruges. His opposition to a proposal to sacrifice part of the old town to economic advance loses him his position as town architect, and he withdraws to the belfry and his beloved carillon that, for him, expresses the soul of Bruges.

Genres: Fiction, Classics, Belgium, Belgian, French Literature

243 pages, Paperback

First published January 1, 1897

About the author

Georges Rodenbach was born in Tournai to a French mother and a German father from the Rhineland (Andernach). He went to school in Ghent at the prestigious Sint-Barbaracollege, where he became friends with the poet Emile Verhaeren. Rodenbach worked as a lawyer and journalist. He spent the last ten years of his life in Paris as the correspondent of the Journal de Bruxelles, and was an intimate of Edmond de Goncourt. He published eight collections of verse and four novels, as well as short stories, stage works and criticism. He produced some Parisian and purely imitative work; but a major part of his production is the outcome of a passionate idealism of the quiet Flemish towns in which he had passed his childhood and early youth. In his best known work, Bruges-la-Morte (1892), he explains that his aim is to evoke the town as a living being, associated with the moods of the spirit, counselling, dissuading from and prompting action. Bruges-la-Morte was used by the composer Erich Wolfgang Korngold as the basis for his opera Die Tote Stadt. Albrecht Rodenbach, his cousin, was a poet and novelist as well, and a leader in the revival of Flemish literature of the 19th century.

Reviews

[Shawn · Rating 4 out of 5]

Finishing off my Rodenbach readings with this marvelous novel.

FIRST TIER - A profoundly sad and moving narrative of how all of a man's dreams are dashed, one after the other. A somber tribute to the melancholy charms of the city of Bruges as well, as much as Bruges-La-Morte, certainly, as well as a rumination on ambition, love and aesthetic appreciation. A book for grey November afternoons.

SECOND TIER - A solid example of a satisfying Symbolist novel, Rodenbach presents to us the rise and fall of a flawed man. But perhaps Joris Borluut's fatal flaw is not so apparent as the usual crop, and in truth he seems as much a victim of bad timing, the trends of history, and the melancholy spell of static morbidity that typifies Brugues, as well as his love of that very quality. Not a rousing knee slapper, by any means, but neither is it intellectually impenetrable and, in truth, I found it almost painfully heartfelt.

THIRD TIER - Joris Borluut wins the public competition to take on the role of Bruges' new carillonneur - that is to say, performer of the bells in the town's ancient bell tower. And this is in keeping with Borluut's character - he loves the old Flemish town, specifically its aesthetic qualities of grey history, solemn melancholy and somber stasis. He works to solidify this quality in his role of Town Architect, restoring and preserving (neither eliminating or refurbishing too much) the ancient and aging balustrades, colonnades, brickwork, friezes and general aging patina of Bruge's facades - embalming the place, as it were. As well, he gathers with a small group of like-minded individuals who wish to restore the town to its ancient greatness (although through different, and eventually contradictory, means). And now he can celebrate the beauty of the city with music, decorating the mummified remains with sound!

But his life slowly begins to fall out of synch with his dreams. An impulsive marriage (based on physical attraction) to Barbara van Hulle saddles him with a manic depressive wife fit to bursts of violence and suicidal depression - whereas her more contemplative, calm sister Godelieve had harbored a life-long love for Joris. And an affair ends badly for all. His opposition to the Town Council's plans to revivify Bruges' status as a seaport (disappeared as the harbor silted in over the decades), which involves heavy construction and the loss of many famous buildings, puts him at odds with the powerful, costing him friendships and work. And, as he grasps at straws, the refuge of the tower continues to call...

This is a very sad book, as melancholy and morose as Rodenbach's vision of Bruges. It's status as a Symbolist novel does not give us an impenetrable series of images to decipher, just some central ones: the town of Bruges as "museum of death", the bell-tower. And these symbols have enough contradictory depth and complexity that the reader gains much in their contemplation. The aesthetic *idea* of Bruges holds some weight - the desire to preserve beauty and history in the face of endless, crass, economic "progress" - and both the hopelessness of that noble cause, and the danger (as one is essentially embracing stasis and death). The scene in which Borluut faces off against the town council's "Monster Meeting" only to find a small, unenthusiastic crowd and plans already set in place (that is to say, the meeting is a formality of a fait accompli, while he saw it as a chance to rally troops to his cause) - is heartbreaking and feels very "of the moment" even today. And the idea is reflected on the personal level, in old van Hulle's obsession with collecting clocks, and his need for them all to keep exact time (the idea that this plants in Boreluut's head, the conception that "dreams are anticipated reality, achieved on the deathbed," is similarly both melancholy and morbid).

Likewise, Borluut's impetuous choice of Barbara, and subsequent loss of the lovely and loving soul-mate Godelieve, has some nice symbolic resonance in the tower's "Bell Of Lust" which captives him with its carnal qualities. And the slow, delicate growth of his impossible love for the fairer sister is painful to read. In fact, the bell-tower and the carillon are interesting and complicated central symbols themselves. The place/role is a refuge, a nuisance, a seduction, an aesthetic escape, an energizing outlet, an enervating task, and finally a terminus for Borluut, with shifting resonances in the worlds of creativity, beauty, philosophy and religion as the story moves on. Borluut finds himself disorientated on returning to ground level at first, after being "high above the world", and yet this situation reverses itself, and then reverses again. Rodenbach's treatment of religion is equally as interesting - while not overly critical of Catholicism, he weaves in a number of subtle observations of how the character's psychologies are influenced, or not, by Bruges' strong Catholic history. A late in the novel visit to the Procession of the Penitents in Veurne, contrasting the high religious imagery with the earthy motivations of the visit, is a strong sequence as well. Joris Borluut's fatal flaw is hard to pin down - it seems almost a lack of singular vision or dedication, a desire to jump from one thing to another, instead of applying himself to the basic things that matter ("Once again, he realized too late that he had not seen clearly enough") whereas Bartholmeus - his friend and devoted artist - succeeds and triumphs over the adversity of the town council.

All in all, this was a very powerful novel and I'm glad I read it. It has that pervasive sense of melancholic gloom that Rodenbach also conjures in Bruges-La-Morte, but with more traditional, less psychologically damaged characters. Finishing it, I find myself feeling as if I've surfaced after a long swim under murky, icy waters - intense but refreshing. It made me want to re-watch the odd crime comedy IN BRUGES, and consider visiting the city itself.

[Czarny Pies · Rating 3 out of 5]

It is very important to understand that the Bells of Bruges is a symbolist work; that is to say it is a work in which people, actions and objects are not intended to reflect real things from the natural world but rather "are created to represent their esoteric affinities with the primordial Ideals". (Jean Moreas, Symbolist Manifesto). Symbolist novels then constitute a distinct genre like detective or western novels. If they reader does not set out determined to accept the conventions of "symbolism", her or she will find the "Bells of Bruges" to be a highly irritating work. On the other hand, the reader willing to play the game will find much pleasure in this work. Fans of J.K. Huysmans will be particularly delighted.
Begin by either scanning Google for Images of Bruges or go to Youtube to listen to an example of the carrillon of the Belfy of Bruges playing.
Joris Borluut, the protagonist, is the architect of Bruges, (known as the "city of the dead" due to its remarkably funereal atmosphere) and the carilloneur (bell-ringer) of the Belfy of Bruges (a Unesco World Heritage Building). Borluut perceives that his mission in life is to be the "embalmer" of Bruges. Thus as city architect his task is to ensure that all renovations and repairs are performed in the strict Renaissance or Gothic style of the originals. As a bell-ringer, he feels that his duty is to play only the most traditional compositions in the most traditional style. The bell-ringing which he performs high in the Belfry, gives him the additional pleasure of allowing him to believe that he is above common men.
The novel tells of Borluut's inevitable downfall . He is at the start a bachelor totally committed to perserving Bruges in its "dead" state. However, he allows himself to be affected be the "bell of lust" in the carillon set which has erotic images. His social circle is comprised solely of individuals dedicated to the preservation of Bruge's unique architectural treasures, Flemish painting and the Flemish language. Of particular concern is a major project being envisioned to build a new harbour for Bruges which will threaten the city's buildings and the unique mortuary charm of the city.
One of Borluut's friends in the circle of heritage promoterss, Van Hulle has two daughters: Barbe (who represents the Spanish, Catholic aspect of Bruges) and Godelieve (who represents the purely Flemish, mystic aspect of Bruges.) The malediction of the Bell of Lust sets to work. Borluut first makes Godelieve fall in love with him and then marries Barbe. Inevitably he begins an affair with Godelieve. Barbe his wife being Spanish and Catholic is unable to forgive his infidelity. Godelieve being Flemish and mystical repents of her actions and flees to a convent.
While Borluut is having marital difficulties, the proponents of the harbour project obtain the necessary approvals from the city to proceed. Borluut is dismissed from his post as city architect and the citizens of Bruges ostracize him. Borluut reflects that he brought his defeat upon himself for having allowed physical love to divert his attention from his divine task to preserve Bruges in its dead state. In order to ensure that a soul will inhabit his beloved carillon in the centuries ahead, he hangs himself from the "Bell of Lust" to end the novel.
While the "Belles of Bruges" is creepy and somewhat odious, it is still a fine example of symbolist writing. Anyone who enjoyed d'Annunzio's "Flame" or J.K. Huysman's "Cathedral" should love this novel.

[Angie Reisetter · Rating 5 out of 5]

The language in this book is so poetic that is actually lives in its metaphors, merging with them until the metaphors are the reality. When Joris wins the competition at the beginning and is handed the keys to the tower, he feels he is being handed the keys to his tomb. And he is. Literally. And figuratively.

Joris is a member of an informal group of men who are trying to decide how to revive the city they love. Bruges has fallen on hard time. Joris does architectural restoration that preserves the historical look of the city. Others want to update, modernize, tear down the old and build up the new. He often ponders that it is the deadness, the stillness of the city that is beautiful. His goal is to preserve that deadness and let the rest of the world come and admire its beauty. His love for a beautiful woman, the second of 2 women he loves, isn't really all that different. She is still, unchanging, unflappable. He withdraws to his tower so that he can look down on the town, feel removed from it, get away from the action, above the world. She belongs there, too.

The woman he first loves, the one he marries, is all fire and action, emotional response. He lusts for her but can't really seem to love her. She has a bell, too. It's ancient and has lewd scenes carved on it. He ends up concluding that neither she nor the bell belongs in his deadness dream. But his dream, of course, is unattainable and, to those of us outside his obsession, not even attractive.

A beautiful, brief read that resonated with me. Pun intended.

[Guada · Rating 3 out of 5]

*3.75 I guess. Really liked the writing/the atmosphere but that's it, no thoughts or feelings about anything else regarding the book really.
Also fun fact I didn't read this intentionally and still have no explanation for how I ended up reading it, as the book I intended to read (and thought I was reading until I got to the end and saw a publisher's note) was Bruges-La Morte, that was the name of the file I downloaded, that is the name on the cover that shows up in my Books app, so I don't understand why the content of the book is not Bruges-La Morte but rather this book... I guess I will read the book I actually wanted to read while in Bruges soon enough, but from a distance, as I'm now back in Barcelona.

[Missberet · Rating 5 out of 5]

Joris Borluut, the new Carillonneur behind the bells of Bruge has a love affair with the city and it's romantic air. He restores the historic buildings rather then tear them down for modern squaller. Ultimately two women, sisters, are his attention. He married one while still carrying a flame for the other and even more so because he simply married the wrong one, then finds out that the woman he loved initially loves him back. Everything comes full circle to restore his initial love affair with Bruge as described becomes the more infinity breathtaking.

[Tetiana · Rating 5 out of 5]

Тепер я хочу відвідати Брюгге. І дуже цікаво було познайомитися із професією карильйоніста.

[Purple Booklover · Rating 5 out of 5]

5/5

[Ernest Mathijs · Rating 5 out of 5]

Put this next to 'In Bruges' and you have a perfect pair. Loved the passage on Dante.

[Gisela · Rating 4 out of 5]

The Bells of Bruges é mais uma excelente obra de Georges Rodenbach que, tal como em Bruges-la-Morte, consegue fazer da cidade de Bruges uma das personagem do livro.
Tal como Audrey Niffenegger faz com o Cemitério de High Gate em Her Fearful Symmetry, ou David Soares com a cidade de Lisboa nos seus romances (A Conspiração dos Antepassados, Lisboa Triunfante, O Evangelho do Enforcado), Georges Rodenbach recria a cidade de Bruges enquanto personagem do livro, cuja presença influencia e é influenciada pelo estado de espírito das personagens ao longo da obra.
A Bruges de Rodenbach é uma cidade cinzenta, morta, cheia de casas antigas em ruínas e canais de turvas águas estagnadas. Torres recheadas de sinos elevam-se sobre os telhados e iluminam com o seu som as vielas e pequenos caminhos.
Depois de terminar The Bells of Bruges consegui perceber que, de certa forma, Rodenbach voltou a contar-me a mesma história: um homem solitário e sonhador, dividido entre duas mulheres que representam a luxúria e o amor.
Nesta obra a personagem principal casa por luxúria, mas não pode viver sem o seu amor e comete adultério, que acaba por o destruir. Em Bruges, La Morte a personagem principal vive apaixonada pela sua falecida esposa, mas acaba por se envolver com uma actriz na qual reconhece algumas semelhanças físicas com a sua amada; também neste caso a cedência à luxúria não traz um final feliz.
Rodenbach pinta Bruges em tons pardacentos, pincelando-a de Morte q.b.; como já comentei num dos meus updates durante a leitura, é fascinante ver como a Morte e os seus adereços são tão bem utilizados pelo autor como ferramentas para a descrição da cidade e do seu espírito.
Recordo, à laia de ilustração, a forma como autor compara a recuperação de antigos edifícios com a arte da taxidermia, considerando que é o papel do arquitecto manter a beleza da cidade morta, e não dar-lhe uma nova vida.

Esta é uma obra fascinante e melancólica, cheia de alusões à Morte e à morbidez de se tentar viver numa cidade que está morta.

[Jeff Clay · Rating 4 out of 5]

A remorselessly melancholy study of a man and his obsessions. This is not a book for those who are only interested of the world of the modern. Though depicting events, views, and fashions contemporaneous with the era the book was published (1897), the mood evoked often feels older, medieval even. But a book should be viewed with an eye to when it was written, not read. With this perspective Rodenbach has brilliantly and beautifully conveyed the sense and sensibilities of an old, tired and grey Bruges on the threshold of something different. The protagonist though, dwells in the faded dream world of what was and what is still in his mind. Reality and this, of course, struggle to be reconciled. A journey to modern Bruges, as beautiful as it is today, will only allow short, narrow glimpses of Rodenbach's world.

Much of the book reads as a tone poem of sorts with long passages of internal discourse and little of external dialog. The main characters -- and even the minor ones -- are propelled by extremes and obsessions. And though paths cross and even merge for a time, stable middle ground is impossible to maintain. Some books depict a frightening beautiful slow motion train wreck. You know it's not going to end well but the Sam Peckinpah choreography keeps you hooked to the end. The Bells of Bruges instead feels of a slow carriage ride through an old city's deserted, cobble-stoned streets that eventually lets out into the foggy grey countryside. Where the carriage is headed -- to a cold fire in a ramshackle farmhouse or off a cliff -- is unknown. Either way, it can only be sad.

[Aleksandra · Rating 5 out of 5]

Перед вами классический представитель литературного произведения, где город является главным героем, а не просто местом или дополнением для основной истории. Брюгге - очень атмосферный город с красивыми улицами, каналами, церквями, соборами и колокольнями, а также домами, которые внесены ЮНЕСКО в список объектов Всемирного наследия. Все эти составляющие города будут важны для истории и повествования: колокола будут разговаривать с вами, лебеди в каналах расскажут историю о том, как они стали символом Брюгге. Дома, улицы и каналы будут разговаривать с главным героем, разделять его настроение. Погода и жители направят историю по заданному руслу.

История начинается с повествования о недавно овдовевшем мужчине, который решает переехать в Брюгге, чтобы пережить боль утраты. Город ему кажется подходящим для меланхолического настроения, он не будет угнетать радостным и бурлящим духом, когда просто хочется страдать.

В книге очень ярко описаны переживания человека с утратой, его боль и поведение, кажущееся обычному человеку странным. Также важной частью произведения является религиозность Брюгге в те времена: католицизм со строгими взглядами на отношения, ритуалы, веру в Бога и чистоту. Автор, используя подобную смесь меланхолического настроения и строгого религиозного взгляда, погружает нас в историю любви, одержимости, и трагической истории.

Читайте это произведение у камина, в тоскливые осенние дни.

[Barbara Switzer · Rating 3 out of 5]

I loved the setting of Bruges in this book. When Carol and I went to Belgium, Bruges was a favorite city for me. The plot was interesting and played into the reality of what happened to Bruges when they lost their seaport. The protagonist was the town architect and his dream for the town was very different. However in the actual reality his dream for Bruges did come true in a way that he could never have envisioned.

[Dave · Rating 3 out of 5]

I really enjoyed the first half of this book (which focuses on Bruges) and would rate the first half as 4+ stars. However, the second half was much less interesting to me, resulting in an average rating of about 3.5. The author has a beautifully eloquent style of writing that is rare in present books.

[Marc · Rating 4 out of 5]

http://bibliotheca.skynetblogs.be/arc...

[!Tæmbuŝu]

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