What do you think?
Rate this book
I duellanti
Rispetto al film che Ridley Scott ne ha tratto, interpreti Harvey Keitel e Keith Carradine, il racconto di Conrad ha una dimensione di affresco storico che sorprende in un racconto di non più di cento pagine. L’epopea napoleonica è raccontata attraverso le storie degli uomini che l’hanno fatta, in quell’irripetibile coacervo di idealismi, arrivismi, senso dell’onore, ambizioni, coraggio e disperazione che caratterizzano gli ufficiali della Grande Armée. In un’epoca di tali sentimenti ed eccessi, Conrad ambienta la vicenda straordinaria di due uomini che si odiano e s’inseguono attraverso l’Europa, intrecciando un inquietante rapporto fatto di rancore, invidia, paura, ma anche di rispetto e di lealtà.
112 pages, Kindle Edition
First published January 1, 1908
91 people are currently reading
1422 people want to read
About the author
Joseph Conrad
3,088 books4,850 followersJoseph Conrad was a Polish-British novelist and story writer. He is regarded as one of the greatest writers in the English language and, although he did not speak English fluently until his twenties, he became a master prose stylist who brought a non-English sensibility into English literature. He wrote novels and stories, many in nautical settings, that depict crises of human individuality in the midst of what he saw as an indifferent, inscrutable, and amoral world.
Conrad is considered a literary impressionist by some and an early modernist by others, though his works also contain elements of 19th-century realism. His narrative style and anti-heroic characters, as in Lord Jim, for example, have influenced numerous authors. Many dramatic films have been adapted from and inspired by his works. Numerous writers and critics have commented that his fictional works, written largely in the first two decades of the 20th century, seem to have anticipated later world events.
Writing near the peak of the British Empire, Conrad drew on the national experiences of his native Poland—during nearly all his life, parceled out among three occupying empires—and on his own experiences in the French and British merchant navies, to create short stories and novels that reflect aspects of a European-dominated world—including imperialism and colonialism—and that profoundly explore the human psyche.
Conrad is considered a literary impressionist by some and an early modernist by others, though his works also contain elements of 19th-century realism. His narrative style and anti-heroic characters, as in Lord Jim, for example, have influenced numerous authors. Many dramatic films have been adapted from and inspired by his works. Numerous writers and critics have commented that his fictional works, written largely in the first two decades of the 20th century, seem to have anticipated later world events.
Writing near the peak of the British Empire, Conrad drew on the national experiences of his native Poland—during nearly all his life, parceled out among three occupying empires—and on his own experiences in the French and British merchant navies, to create short stories and novels that reflect aspects of a European-dominated world—including imperialism and colonialism—and that profoundly explore the human psyche.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 228 reviews
July 17, 2020
Brilliant novella written by a true master story teller. Two officers in the Napoleon wars are extremely focused on the duels they fight with each other. D'Hubert, aristocratic, moderate, a strategist who doesn't love Napoleon. Feraud, a hot blooded Gascogne on the other hand, loves Napoleon. He is obsessed with getting the series of duels on. The original reason for the fight of honor is trivial. Both are promoted through the ranks, both are generals at the end. Napoleon is over, the wars too, but the fighting between those men goes on. How will it end? What solution is D'Hubert thinking over? Well plotted, masterly written philosophical novella. A classic. I can highly recommending this interesting and profound story!
April 9, 2024
"Un duelo, ya se mire como una ceremonia de culto al honor, ya reducido en su esencia moral a una forma de deporte masculino, exige una absoluta entrega, un sentimiento de homicida austeridad."
Ricardo Piglia afirmaba que esta corta y entretenida novela del enorme Joseph Conrad era una absurda historia kafkiana y yo concuerdo plenamente con él.
El hecho de que dos hombres, que formaban parte del ejército de Napoleón llevaran adelante su disputa personal a través de los años por sobre la guerra en la que peleaban conjuntamente, excede toda normalidad de actitud y pensamiento, ya que más allá del honor puesto en juego es, repito, una historia absurda que lleva a un extremo una obsesión compartida, sin retorno ni concesiones.
Es, indefectiblemente, una cuestión honor disparada por un hecho que el lector nunca llega a conocer.
Ese motivo está vedado, pero a partir de ese acto se desarrolla toda la historia entre estos dos soldados napoleónicos llamados Armand D'Hubert y Gabriel Florian Feraud.
Al parecer es Feraud quien desencadena la disputa de este duelo eterno cuando ambos personajes son jóvenes húsares veinteañeros.
Con el correr de los años cada uno de ellos es ascendido de húsar a teniente, de teniente a coronel y de coronel a general y cuando llegan a la madurez en sus vidas, con más de cuarenta años de existencia y quince años de enconados duelos, deciden poner punto final en un enfrentamiento para decidir quién es el que debe quedar vivo y quién morir como un hombre, a manos de las pistolas del adversario.
Joseph Conrad mantiene el suspenso de lo que sucede entre estos duelistas con mano firme, como sus personajes y a la par va adentrándose en la psiquis de ellos, tan distintos en sus formas de pensar y actual, pero tan similares a la hora de empuñar un arma.
Una excelente novela de Conrad que demuestra sus inalterables dotes para regalarnos unas cuántas páginas de esa acción a la que nos tiene acostumbrados.
Ricardo Piglia afirmaba que esta corta y entretenida novela del enorme Joseph Conrad era una absurda historia kafkiana y yo concuerdo plenamente con él.
El hecho de que dos hombres, que formaban parte del ejército de Napoleón llevaran adelante su disputa personal a través de los años por sobre la guerra en la que peleaban conjuntamente, excede toda normalidad de actitud y pensamiento, ya que más allá del honor puesto en juego es, repito, una historia absurda que lleva a un extremo una obsesión compartida, sin retorno ni concesiones.
Es, indefectiblemente, una cuestión honor disparada por un hecho que el lector nunca llega a conocer.
Ese motivo está vedado, pero a partir de ese acto se desarrolla toda la historia entre estos dos soldados napoleónicos llamados Armand D'Hubert y Gabriel Florian Feraud.
Al parecer es Feraud quien desencadena la disputa de este duelo eterno cuando ambos personajes son jóvenes húsares veinteañeros.
Con el correr de los años cada uno de ellos es ascendido de húsar a teniente, de teniente a coronel y de coronel a general y cuando llegan a la madurez en sus vidas, con más de cuarenta años de existencia y quince años de enconados duelos, deciden poner punto final en un enfrentamiento para decidir quién es el que debe quedar vivo y quién morir como un hombre, a manos de las pistolas del adversario.
Joseph Conrad mantiene el suspenso de lo que sucede entre estos duelistas con mano firme, como sus personajes y a la par va adentrándose en la psiquis de ellos, tan distintos en sus formas de pensar y actual, pero tan similares a la hora de empuñar un arma.
Una excelente novela de Conrad que demuestra sus inalterables dotes para regalarnos unas cuántas páginas de esa acción a la que nos tiene acostumbrados.
July 13, 2022
The Point of Honor was a 'peculiar' yet quite enjoyable story. I don't know if peculiar might be the best way to describe such a novella though, probably just different, even absurd at times, or at least that was my impression when I read it. Perhaps it is not a surprise since the author is constantly using "absurd" or "absurdity" in order to describe some scenes or, more specifically, one scene that concerns both protagonists of the book: a minor quarrel or argument that started way back when they were younger, and has turned into a constant, bitter fight over the years. Speaking of this quarrel, it is so well depicted that so far this has been the best short story I have read where a duel* takes place, or at least my favorite one.
This short novel, set during the Napoleonic Wars, is about two generals—D'Hubert and Feraud—who have had some differences between them for years. At the very beginning we don't know exactly what this is about, for instance, the origin of the quarrel in the past or why this situation is still happening, neither the rest of the characters, who are constantly making assumptions about it; fortunately, the style of writing is so impressive and straightforward (finally a straightforward book by Conrad) that somehow you can't help but keep reading in order to know the whole truth about this argument and whether or not both D'Hubert and Feraud can settle their differences in the end.
Speaking of Conrad's prose, it seems to be more readable and straight-to-the-point in this book than other works, as I can tell based on my own experience reading a couple of them before, such as Youth and The Shadow-Line, which were also good readings, despite their prose being a little bit confusing or dense at times.
In addition, the historical context is another element that is rather vivid and has its own importance inside the novel – those short yet beautifully written descriptions really make you feel a part of the story, which is, by the way, a common characteristic in Conrad's books. Lastly, I found the ending absolutely fascinating and almost exactly how I thought it would be, even it gave me a The-Aspern-Papers-ending vibe—one of my favorite Henry James short novels—whose similar characteristics, nonetheless, I would prefer not to mention.
In short, a great reading experience that makes me want to pick up more novels by Conrad in the near future, especially those ones that have nothing to do with the sea, since I believe I can also find beautiful gems there. Of course, I'd highly recommend this short story, even if you have not read any of his works before.
No man succeeds in everything he undertakes. In that sense we are all failures. The great point is not to fail in ordering and sustaining the effort of our life. In this matter vanity is what leads us astray. It is our vanity which hurries us into situations from which we must come out damaged. Whereas pride is our safeguard by the reserve it imposes on the choice of our endeavour, as much as by the virtue of its sustaining power.
----
* It is kind of funny, but I read this book under the title The Point of Honor, while I have seen there are other editions where the book is called The Duel – I don't know if the author eventually decided to change the book title, or it wasn't written in English and therefore there are more than one translation(?); I'm not sure and I couldn't find further information about it.
This short novel, set during the Napoleonic Wars, is about two generals—D'Hubert and Feraud—who have had some differences between them for years. At the very beginning we don't know exactly what this is about, for instance, the origin of the quarrel in the past or why this situation is still happening, neither the rest of the characters, who are constantly making assumptions about it; fortunately, the style of writing is so impressive and straightforward (finally a straightforward book by Conrad) that somehow you can't help but keep reading in order to know the whole truth about this argument and whether or not both D'Hubert and Feraud can settle their differences in the end.
Speaking of Conrad's prose, it seems to be more readable and straight-to-the-point in this book than other works, as I can tell based on my own experience reading a couple of them before, such as Youth and The Shadow-Line, which were also good readings, despite their prose being a little bit confusing or dense at times.
In addition, the historical context is another element that is rather vivid and has its own importance inside the novel – those short yet beautifully written descriptions really make you feel a part of the story, which is, by the way, a common characteristic in Conrad's books. Lastly, I found the ending absolutely fascinating and almost exactly how I thought it would be, even it gave me a The-Aspern-Papers-ending vibe—one of my favorite Henry James short novels—whose similar characteristics, nonetheless, I would prefer not to mention.
In short, a great reading experience that makes me want to pick up more novels by Conrad in the near future, especially those ones that have nothing to do with the sea, since I believe I can also find beautiful gems there. Of course, I'd highly recommend this short story, even if you have not read any of his works before.
No man succeeds in everything he undertakes. In that sense we are all failures. The great point is not to fail in ordering and sustaining the effort of our life. In this matter vanity is what leads us astray. It is our vanity which hurries us into situations from which we must come out damaged. Whereas pride is our safeguard by the reserve it imposes on the choice of our endeavour, as much as by the virtue of its sustaining power.
----
* It is kind of funny, but I read this book under the title The Point of Honor, while I have seen there are other editions where the book is called The Duel – I don't know if the author eventually decided to change the book title, or it wasn't written in English and therefore there are more than one translation(?); I'm not sure and I couldn't find further information about it.
September 1, 2025
I first heard a review of this Novella while I was in college many years ago.
It was a short story by Joseph Conrad. It is related to the audience by Conrad as a third party.
It concerns two Hussar's serving during the Napoleonic Wars between 1803-1815.
Lieutenant Gabriel Feraud of the 7th. Hussar Regiment and Lieutenant Armand d'Hubert of the 3rd.Hussar Regiment.
Gabriel is of fiery temperament. He is from a more middle-class family. Armand, the more moderate personality, is reasonable of an upperclass family.
Through a series of events, Gabriel imagines a slight to his honor and dignity by Armand.
Gabriel continually challenges Armand to duels throughout Napoleons' campaigns.
They both rise in rank. The duels become famous among the Hussars of 7th and 3rd regiments.
The novella is based on the real-life dueling rivalry between two French Hussar officers, Dupont and Fournier-Sarlovèze.
The young man who read his essay on "The Duel"in my literature class was of French descent. He made it sound as if he were there watching the duels.
He interjected interesting facts on the various types of swords, the horses trained to fight, and the uniforms.
Years later, in 1977, I did see a movie based on the story called the duellists.
It was directed by the brilliant director Ridley Scott.
Both the Novella and the movie are fascinating.
It was a short story by Joseph Conrad. It is related to the audience by Conrad as a third party.
It concerns two Hussar's serving during the Napoleonic Wars between 1803-1815.
Lieutenant Gabriel Feraud of the 7th. Hussar Regiment and Lieutenant Armand d'Hubert of the 3rd.Hussar Regiment.
Gabriel is of fiery temperament. He is from a more middle-class family. Armand, the more moderate personality, is reasonable of an upperclass family.
Through a series of events, Gabriel imagines a slight to his honor and dignity by Armand.
Gabriel continually challenges Armand to duels throughout Napoleons' campaigns.
They both rise in rank. The duels become famous among the Hussars of 7th and 3rd regiments.
The novella is based on the real-life dueling rivalry between two French Hussar officers, Dupont and Fournier-Sarlovèze.
The young man who read his essay on "The Duel"in my literature class was of French descent. He made it sound as if he were there watching the duels.
He interjected interesting facts on the various types of swords, the horses trained to fight, and the uniforms.
Years later, in 1977, I did see a movie based on the story called the duellists.
It was directed by the brilliant director Ridley Scott.
Both the Novella and the movie are fascinating.
December 10, 2025
Il primo racconto che ho letto di Joseph Conrad: fui conquistato subito dalla scrittura limpida, dalla conoscenza del periodo napoleonico, dalla trama ricca di sfumature psicologiche, dallo splendido contenuto narrativo avventuroso degno dell'epoca in cui è ambientato.
August 27, 2015
Years ago, watching TV, flipping through the channels, one lame program after another, I came across a Napoleonic film midway through and stopped for a moment because I recognized Keith Carradine. Then I saw Harvey Keitel. Intrigued, I continued to watch and was quickly enthralled. The film was, I would later learn, The Duelists, Ridley Scott’s brilliant 1978 film. At the time, I did not even know the title of the show that I enjoyed so much, but later learned and saw the film again. Recently I learned that the film was based upon a short story by Joseph Conrad and I knew I had to read the novella. As I read, I could not help visualizing the scenes (renewed applause for the casting director) with Carradine as D’Hubert and Keitel as Feraud.
Conrad’s work, titled The Point of Honor and published in 1908, equally good as Scott’s film, is unusual for the Polish writer as it is neither a nautical tale nor one told from the perspective of the late 1800s. As much of a fan of Conrad’s as I am, I must concede that many of his works are brooding and introspective, and move slowly, especially while he lays the foundations for his setting and characterizations. This one, also somewhat unusual for Conrad, moves fast and is filled with action. Set in Napoleon’s army, it chronicles an ongoing vendetta between two Hussar officers and over a period of several years. Begun as an indolent, misunderstood duel, the two war against each other amidst the backdrop of Napoleon’s truculent reign.
One point that Conrad makes, and it stands clear throughout the narrative, is that the duel actually benefitted the two. The martial contest made each work and strive a little harder, made the will to survive and prevail in their personal contest as earnest as the will to live through the bloody Napoleonic war years. Both officers in Napoleon’s army, and both “military to the bottom of the soul” the duel invigorated both and revived them when their fortunes were down. Similarly, the two experienced an odd intimacy. They were not friends, but Conrad showed how, between two warriors, the adversary may be as close, or even closer, than family.
Conrad’s work, titled The Point of Honor and published in 1908, equally good as Scott’s film, is unusual for the Polish writer as it is neither a nautical tale nor one told from the perspective of the late 1800s. As much of a fan of Conrad’s as I am, I must concede that many of his works are brooding and introspective, and move slowly, especially while he lays the foundations for his setting and characterizations. This one, also somewhat unusual for Conrad, moves fast and is filled with action. Set in Napoleon’s army, it chronicles an ongoing vendetta between two Hussar officers and over a period of several years. Begun as an indolent, misunderstood duel, the two war against each other amidst the backdrop of Napoleon’s truculent reign.
One point that Conrad makes, and it stands clear throughout the narrative, is that the duel actually benefitted the two. The martial contest made each work and strive a little harder, made the will to survive and prevail in their personal contest as earnest as the will to live through the bloody Napoleonic war years. Both officers in Napoleon’s army, and both “military to the bottom of the soul” the duel invigorated both and revived them when their fortunes were down. Similarly, the two experienced an odd intimacy. They were not friends, but Conrad showed how, between two warriors, the adversary may be as close, or even closer, than family.
November 18, 2025
Por momentos irónica; por momentos absurda; por momentos trágica; por momentos moralizante. Muchas lecturas e interpretaciones tiene esta breve novela a medida que se va avanzando y descubres las intenciones del autor. Como siempre el maestro Conrad, nos lleva y nos trae por donde quiere con ese estilo adictivo que siempre usa en sus tramas y narradores: aquí el tema es el duelo a muerte, ya denostados en su época allá a comienzos del S.XX. Usa esa temática como excusa para dar diagnósticos certeros en cuanto al conocimiento más íntimo que tiene de las personas; diría que conoce a la perfección el alma miserable de las personas (véase Lord Jim o El corazón de las tinieblas).
“El capitán D'Hubert miró el pálido sol, observó la desolación de los campos, y la estupidez de la lucha inminente lo llenó de tristeza. Desde un rincón apartado del prado, una voz estentórea gritó las órdenes a intervalos regulares: Au pas... Au trot...Charrrgez!... No sin motivos experimenta el hombre presentimientos de muerte, pensaba D'Hubert en el preciso momento en que espoleaba su cabalgadura.”
De inicio pudiera parecer una comedia de enredo; tratada con ironía y sentido del humor, que se convierte en dramático con esa ridícula tradición del duelo por el honor perdido. Luego va asentándose en los cánones tradicionales de la novela finales del S. XIX.
Por momentos me recordaba a Los Miserables, en concreto la figura de ese fanático teniente Feraud, lo asimilaba al mítico Javert y esa persecución irracional a Jean Valjean. Esas persecuciones viscerales alejadas de toda razón y centradas en una cuestión personal. O el mismísimo capitán Ahab en su acoso a Mobydick.
También me dio por pensar algo que nos quiere transmitir el autor y que siempre había tenido en mente de forma clara: las personas que te quieren te pueden perdonar casi todo, o dicho de otra forma todo lo que tú hagas les parecerá bien; por el contrario, las personas que te odian, cualquier cosa que hagas les parecerá inadecuada u odiosa: si les regalas un millón de euros les parecerás condescendiente, o les resultará insuficiente “porque no me regala dos millones…”; es una forma de hablar, pero es así. En esta historia ocurre algo así. Los intentos de D´Hubert por congraciarse y favorecer a Feraud, chocan irremediablemente contra la indisposición enfermiza de este frente a aquel.
No sé exactamente en que momento histórico salvar el honor por medio de los duelos comenzó a convertirse en una tradición ridícula (tal vez a mediados del siglo XIX); uno de los últimos libros leídos de M. Banffy, tratan de legislar en el parlamento húngaro ya a comienzos de siglo XX, sobre lo absurdo de esta ridiculez en que siempre gana un duelo quien tiene un mayor entrenamiento con la pistola o el sable, por muy pillo y sinvergüenza que sea, frente a aquel a quien le pudiera asistir la razón y la ley, o el tan mentado “honor”.
Aquí no se anda con bromas el amigo Joseph Conrad y hace una ridiculización completa de la figura del duelo, con un argumento verdaderamente enrevesado pero brillantísimo: el duelo como solución para todo. Impecable.
“El capitán D'Hubert miró el pálido sol, observó la desolación de los campos, y la estupidez de la lucha inminente lo llenó de tristeza. Desde un rincón apartado del prado, una voz estentórea gritó las órdenes a intervalos regulares: Au pas... Au trot...Charrrgez!... No sin motivos experimenta el hombre presentimientos de muerte, pensaba D'Hubert en el preciso momento en que espoleaba su cabalgadura.”
De inicio pudiera parecer una comedia de enredo; tratada con ironía y sentido del humor, que se convierte en dramático con esa ridícula tradición del duelo por el honor perdido. Luego va asentándose en los cánones tradicionales de la novela finales del S. XIX.
Por momentos me recordaba a Los Miserables, en concreto la figura de ese fanático teniente Feraud, lo asimilaba al mítico Javert y esa persecución irracional a Jean Valjean. Esas persecuciones viscerales alejadas de toda razón y centradas en una cuestión personal. O el mismísimo capitán Ahab en su acoso a Mobydick.
También me dio por pensar algo que nos quiere transmitir el autor y que siempre había tenido en mente de forma clara: las personas que te quieren te pueden perdonar casi todo, o dicho de otra forma todo lo que tú hagas les parecerá bien; por el contrario, las personas que te odian, cualquier cosa que hagas les parecerá inadecuada u odiosa: si les regalas un millón de euros les parecerás condescendiente, o les resultará insuficiente “porque no me regala dos millones…”; es una forma de hablar, pero es así. En esta historia ocurre algo así. Los intentos de D´Hubert por congraciarse y favorecer a Feraud, chocan irremediablemente contra la indisposición enfermiza de este frente a aquel.
No sé exactamente en que momento histórico salvar el honor por medio de los duelos comenzó a convertirse en una tradición ridícula (tal vez a mediados del siglo XIX); uno de los últimos libros leídos de M. Banffy, tratan de legislar en el parlamento húngaro ya a comienzos de siglo XX, sobre lo absurdo de esta ridiculez en que siempre gana un duelo quien tiene un mayor entrenamiento con la pistola o el sable, por muy pillo y sinvergüenza que sea, frente a aquel a quien le pudiera asistir la razón y la ley, o el tan mentado “honor”.
Aquí no se anda con bromas el amigo Joseph Conrad y hace una ridiculización completa de la figura del duelo, con un argumento verdaderamente enrevesado pero brillantísimo: el duelo como solución para todo. Impecable.
May 16, 2013
Traveller was kind enough to point me to this tale of a pair of French duelists who meet several times regarding their “point of honor". Though I felt the beginning was rather long and seemed to drag on a bit, the story itself elicited more emotion out of me than I had expected. I’ve often wondered what thoughts went through a man’s head when he knew he was going to die in a duel, and Conrad does a great job of portraying just how one might feel, given those circumstances. Like any work of its time, there is more than a little melodrama when we peek into the characters’ thoughts, but Conrad also shows surprising restraint, as well, in that his characters don’t seem like they’re overacting too much when presenting dialogue. There is a movie version of this story, directed by Ridley Scott (so it has to be pretty good, right?), that I will now have to see.
As some might know, I fence, when I have the time (very rare nowadays), so I take particular interest in works about swords and swordsmanship. I’ve written a story or two myself about the same. Most works are rather cursory in their accounts of the combat itself, and The Point of Honor is no exception. I suppose that Conrad might have learned how to wield a saber while in the Merchant Navy, though I’m not sure of this.
In any case, what stands out is not the descriptions of the fighting, but what the men are feeling (or not feeling) before, during, and after the fight. Of course, the duel itself is merely the reinforcement of cultural norms expressed through the use of arms. If I were smarter by half, I could go on about this, but suffice it to say that the duel, social expectations of French society at the time (read Balzac, if you want more on this), and the intensity of emotions felt by the characters throughout are all part of a self-perpetuating cycle. These two men are truly “caught up" in events that lay beyond their control. But this sword, as they say, has two edges. By participating in the forbidden duel itself, the men kick against authority (all discreetly, of course) while, at the same time, reinforcing the social walls that forced them into this long, slow game of cat and mouse in the first place.
Despite the seeming inevitability of the duelists’ ongoing encounters, the end is a bit of a surprise and is quite satisfactory. Though there are other books about dueling that are much more thorough, none of them delve so deeply into what it means to be a human duelist.
As some might know, I fence, when I have the time (very rare nowadays), so I take particular interest in works about swords and swordsmanship. I’ve written a story or two myself about the same. Most works are rather cursory in their accounts of the combat itself, and The Point of Honor is no exception. I suppose that Conrad might have learned how to wield a saber while in the Merchant Navy, though I’m not sure of this.
In any case, what stands out is not the descriptions of the fighting, but what the men are feeling (or not feeling) before, during, and after the fight. Of course, the duel itself is merely the reinforcement of cultural norms expressed through the use of arms. If I were smarter by half, I could go on about this, but suffice it to say that the duel, social expectations of French society at the time (read Balzac, if you want more on this), and the intensity of emotions felt by the characters throughout are all part of a self-perpetuating cycle. These two men are truly “caught up" in events that lay beyond their control. But this sword, as they say, has two edges. By participating in the forbidden duel itself, the men kick against authority (all discreetly, of course) while, at the same time, reinforcing the social walls that forced them into this long, slow game of cat and mouse in the first place.
Despite the seeming inevitability of the duelists’ ongoing encounters, the end is a bit of a surprise and is quite satisfactory. Though there are other books about dueling that are much more thorough, none of them delve so deeply into what it means to be a human duelist.
June 3, 2025
One of those rare cases where I hoped the book would live up to the film adaptation. And of course it did. The Duellists was a great flick and it stuck close to the story. But even if you’ve seen it, the book is worth reading. It’s short, full of action, and it’s grimly funny to watch these two men risk death in a spiral of obsessive one-upmanship.
If it seems far-fetched that anyone would go to these lengths to nurse a grudge—this was inspired by two French officers who fought each other in over 30 duels. You might also think of Pushkin or Lermontov, who wrote about duels and died in them. That wasn’t Conrad’s fate, but he kept the tradition of the great duel story alive.
If it seems far-fetched that anyone would go to these lengths to nurse a grudge—this was inspired by two French officers who fought each other in over 30 duels. You might also think of Pushkin or Lermontov, who wrote about duels and died in them. That wasn’t Conrad’s fate, but he kept the tradition of the great duel story alive.
April 4, 2014
"A perfect singleness of intention, a homicidal austerity of mood"
Se ben ricordo, nella sua biografia (Il mondo di ieri) Stefan Zweig scrive che Napoleone Bonaparte, dimostrando nei fatti le possibilità offerte dai tempi nuovi a un giovane coraggioso e ambizioso, per quanto di modeste origini, aveva causato una rivoluzione persino maggiore di quella di Robespierre, scatenando l’entusiasmo di una o più generazioni, fino ad allora represse dalle costrizioni di una rigida struttura sociale.
Due ragazzi ambiziosi di quei tempi sono i protagonisti del racconto, due giovani tenenti della Grande Armée, Gabriel Feraud, collerico guascone figlio di un fabbro del sud, e Armand d’Hubert, riflessivo borghese del nord, un po’ incline alla malinconia.
Iniziata da Feraud per un pretesto, la loro rivalità diventa leggendaria in tutto l’esercito e terminerà solo molto tempo dopo, dopo i Cento Giorni, la restaurazione e l’esilio del Piccolo Caporale a S. Elena. Di mezzo, le tante campagne napoleoniche, dal trionfo di Austerlitz alla disastrosa ritirata dalla Russia. Un grande massacro che interrompe di tanto in tanto il massacro privato dei due Ussari.
La fine della guerra non è la fine della loro guerra, l’irriducibile Feraud non accetta il confino impostogli come bonapartista e D’Hubert, che ha accettato il nuovo-vecchio regime, si troverà chiamato a un’ultima, sorprendente resa dei conti.
Ho pensato per un po’ a cosa scrivere del racconto, che certo potrebbe essere letto come un’allegoria della guerra in senso stretto, o della guerra tra istinto (Feraud) e ragione (D’Hubert). Ripensando alla prefazione di Conrad al libro “A set of six” in cui è raccolto, filosofeggiando mi sembrerebbe di fare torto all’ironia e al “self-restraint” dell’autore, quindi mi limito a riportare due frasi che non potrei comunque eguagliare per efficacia.
Per Conrad, il racconto infatti sarebbe “nulla più che un serio, e persino (sic!) onesto, tentativo di realizzare un esempio di racconto storico” (“The truth is that in my mind the story is nothing but a serious and even earnest attempt at a bit of historical fiction”).
In realtà è molto di più, un raffinatissimo, elegante, avvincente, spiazzante viaggio nel tempo, alla ricerca dello “Spirito dell’Epoca, mai semplicemente militarista pur nel lungo scontro armato, piena di gioventù, quasi infantile nella sua esaltazione del sentimento, genuinamente eroica nella sua fede” (“the Spirit of the Epoch--never purely militarist in the long clash of arms, youthful, almost childlike in its exaltation of sentiment--naively heroic in its faith”).
Angolo multimediale: queste sono le illustrazioni originali della prima edizione del racconto, pubblicato come opera a sé stante con il titolo "The point of honor".
http://www.pinterest.com/rosenkavalie...
Angolo cineforum: non penso sia necessario ricordare la splendida riduzione cinematografica di Ridley Scott, il duello a cavallo, Harvey Keitel per un attimo trasfigurato dal tramonto nell’esiliato di S. Elena.
http://www.youtube.com/watch?v=t3ksvH...
Se ben ricordo, nella sua biografia (Il mondo di ieri) Stefan Zweig scrive che Napoleone Bonaparte, dimostrando nei fatti le possibilità offerte dai tempi nuovi a un giovane coraggioso e ambizioso, per quanto di modeste origini, aveva causato una rivoluzione persino maggiore di quella di Robespierre, scatenando l’entusiasmo di una o più generazioni, fino ad allora represse dalle costrizioni di una rigida struttura sociale.
Due ragazzi ambiziosi di quei tempi sono i protagonisti del racconto, due giovani tenenti della Grande Armée, Gabriel Feraud, collerico guascone figlio di un fabbro del sud, e Armand d’Hubert, riflessivo borghese del nord, un po’ incline alla malinconia.
Iniziata da Feraud per un pretesto, la loro rivalità diventa leggendaria in tutto l’esercito e terminerà solo molto tempo dopo, dopo i Cento Giorni, la restaurazione e l’esilio del Piccolo Caporale a S. Elena. Di mezzo, le tante campagne napoleoniche, dal trionfo di Austerlitz alla disastrosa ritirata dalla Russia. Un grande massacro che interrompe di tanto in tanto il massacro privato dei due Ussari.
La fine della guerra non è la fine della loro guerra, l’irriducibile Feraud non accetta il confino impostogli come bonapartista e D’Hubert, che ha accettato il nuovo-vecchio regime, si troverà chiamato a un’ultima, sorprendente resa dei conti.
Ho pensato per un po’ a cosa scrivere del racconto, che certo potrebbe essere letto come un’allegoria della guerra in senso stretto, o della guerra tra istinto (Feraud) e ragione (D’Hubert). Ripensando alla prefazione di Conrad al libro “A set of six” in cui è raccolto, filosofeggiando mi sembrerebbe di fare torto all’ironia e al “self-restraint” dell’autore, quindi mi limito a riportare due frasi che non potrei comunque eguagliare per efficacia.
Per Conrad, il racconto infatti sarebbe “nulla più che un serio, e persino (sic!) onesto, tentativo di realizzare un esempio di racconto storico” (“The truth is that in my mind the story is nothing but a serious and even earnest attempt at a bit of historical fiction”).
In realtà è molto di più, un raffinatissimo, elegante, avvincente, spiazzante viaggio nel tempo, alla ricerca dello “Spirito dell’Epoca, mai semplicemente militarista pur nel lungo scontro armato, piena di gioventù, quasi infantile nella sua esaltazione del sentimento, genuinamente eroica nella sua fede” (“the Spirit of the Epoch--never purely militarist in the long clash of arms, youthful, almost childlike in its exaltation of sentiment--naively heroic in its faith”).
Angolo multimediale: queste sono le illustrazioni originali della prima edizione del racconto, pubblicato come opera a sé stante con il titolo "The point of honor".
http://www.pinterest.com/rosenkavalie...
Angolo cineforum: non penso sia necessario ricordare la splendida riduzione cinematografica di Ridley Scott, il duello a cavallo, Harvey Keitel per un attimo trasfigurato dal tramonto nell’esiliato di S. Elena.
http://www.youtube.com/watch?v=t3ksvH...
August 6, 2018
-El momento histórico y las personalidades se forjan entre ellos.-
Género. Novela (mucho más histórica de lo que son algunas que dicen ser novela histórica, pero esa no fue su intención cuando se escribió).
Lo que nos cuenta. En el libro Los duelistas (publicación original: The Point of Honor. A Military Tale, 1908) conoceremos al teniente de húsares Armand D´Hubert que debe comunicar al también teniente de húsares pero de otro destacamento, Gabriel Florian Feraud, que por orden del general al mando del regimiento debe considerarse bajo arresto en sus aposentos debido a que había tenido un duelo, algo prohibido por el emperador Napoleón. Las curiosas (y contrapuestas) personalidades de ambos tenientes hacen que ellos mismos terminen por batirse en duelo, un enfrentamiento que se prolongará en el tiempo porque nunca finaliza del todo (por más que llegue a brotar sangre) y que despertará curiosidad, admiración y enfado entre sus compañeros de armas y superiores. Libro también conocido como Una cuestión de honor (más ajustado al original) o como El duelo.
¿Quiere saber más de este libro, sin spoilers? Visite:
https://librosdeolethros.blogspot.com...
Género. Novela (mucho más histórica de lo que son algunas que dicen ser novela histórica, pero esa no fue su intención cuando se escribió).
Lo que nos cuenta. En el libro Los duelistas (publicación original: The Point of Honor. A Military Tale, 1908) conoceremos al teniente de húsares Armand D´Hubert que debe comunicar al también teniente de húsares pero de otro destacamento, Gabriel Florian Feraud, que por orden del general al mando del regimiento debe considerarse bajo arresto en sus aposentos debido a que había tenido un duelo, algo prohibido por el emperador Napoleón. Las curiosas (y contrapuestas) personalidades de ambos tenientes hacen que ellos mismos terminen por batirse en duelo, un enfrentamiento que se prolongará en el tiempo porque nunca finaliza del todo (por más que llegue a brotar sangre) y que despertará curiosidad, admiración y enfado entre sus compañeros de armas y superiores. Libro también conocido como Una cuestión de honor (más ajustado al original) o como El duelo.
¿Quiere saber más de este libro, sin spoilers? Visite:
https://librosdeolethros.blogspot.com...
December 7, 2023
نوشته شده با جوهر غرور و حسادت و شرافت پوشالی. پولانسکی اقتباس خوبی میتونست ازش دربیاره
January 10, 2020
"Thus to this man, sobered by the victorious issue
of a duel, life appeared robbed of its charm, simply because it was no
longer menaced."
- Joseph Conrad, The Duel (aka The Point of Honor)
Based loosely on the lives of two French calvary officers (Hussars: Dupont and Fournier-Sarlovèze) during the Napoleonic wars who over the course of 19 years fought 30 duels*, Conrad builds this novella into a manhood, honor, etc. It also shows a bit how ridiculous men, honor, and war often are. And god help us when they all get together.
The book was made in 1977 into a pretty good movie by Ridley Scott (his first). Recently my wife told me she remembers vividly being a young kid (maybe 5) and watching this movie with her dad (a calvary officer, oddly) and still remembers it having great uniforms and having the basic plot of duel + talking + duel + talking + duel + kissing + duel. Story checks out.
It wasn't my favorite Conrad, but a 3-star Conrad is a classic almost anywhere else.
* I know MANY people who haven't read 30 books in 19 years, so this seems almost absurd.
of a duel, life appeared robbed of its charm, simply because it was no
longer menaced."
- Joseph Conrad, The Duel (aka The Point of Honor)
Based loosely on the lives of two French calvary officers (Hussars: Dupont and Fournier-Sarlovèze) during the Napoleonic wars who over the course of 19 years fought 30 duels*, Conrad builds this novella into a manhood, honor, etc. It also shows a bit how ridiculous men, honor, and war often are. And god help us when they all get together.
The book was made in 1977 into a pretty good movie by Ridley Scott (his first). Recently my wife told me she remembers vividly being a young kid (maybe 5) and watching this movie with her dad (a calvary officer, oddly) and still remembers it having great uniforms and having the basic plot of duel + talking + duel + talking + duel + kissing + duel. Story checks out.
It wasn't my favorite Conrad, but a 3-star Conrad is a classic almost anywhere else.
* I know MANY people who haven't read 30 books in 19 years, so this seems almost absurd.
December 13, 2009
Like most people, my familiarity with Conrad began and ended with 'The Heart of Darkness', a famously dark, brooding, visceral dredging up of human flaws. While I certainly enjoyed the moral explorations and stylistic form of the work, I didn't feel the call I feel after reading some authors that leads me to seek out their other works. 'Heart of Darkness' had plunged fully into its themes, it touched the murky bottom of the human soul, and returned with a handful of black silt for the reader to bear with them through life. Not only was the book complete, but it was a rather emotionally overwhelming experience, providing a lifetime of retrospect. What is gained by taking the plunge again, under a new title?
Little enough, I thought. Other than his magnum opus, Conrad is rarely shown the light of day, having been grouped with other 'colonial' writers like Haggard and Kipling. Yet after watching Ridley Scott's film adaptation of this story, my imagination was piqued. It is extremely true to the original story, and though there are some grim glimpses of war, it is by and large a humorous (if somewhat sardonic) story of the Napoleonic wars.
His historical romp feels much like a simplified 'Three Musketeers', and shows off Conrad's excellent pacing and sense of place. Like Melville, he also gives us a rather unique and precise historical view, replete with details and mood. It still retains much of the realism and grit of 'Heart of Darkness', but while that presents a failed adventure that soon spirals out of control, 'The Duel' takes a more romantic tack.
It's surprising to see such a delicate and varied hand from Conrad, especially as he rarely gets credit for it in literary discussion. 'Heart of Darkness' is such a powerful and contentious book that it seems to have taken over Conrad's reputation. He is so often the touchpoint of post-colonial, post-feminist, multicultural debates that he becomes merely a symbol. It is unfortunate that he is not looked on more often as simply a writer, and not a bad one, at that.
Little enough, I thought. Other than his magnum opus, Conrad is rarely shown the light of day, having been grouped with other 'colonial' writers like Haggard and Kipling. Yet after watching Ridley Scott's film adaptation of this story, my imagination was piqued. It is extremely true to the original story, and though there are some grim glimpses of war, it is by and large a humorous (if somewhat sardonic) story of the Napoleonic wars.
His historical romp feels much like a simplified 'Three Musketeers', and shows off Conrad's excellent pacing and sense of place. Like Melville, he also gives us a rather unique and precise historical view, replete with details and mood. It still retains much of the realism and grit of 'Heart of Darkness', but while that presents a failed adventure that soon spirals out of control, 'The Duel' takes a more romantic tack.
It's surprising to see such a delicate and varied hand from Conrad, especially as he rarely gets credit for it in literary discussion. 'Heart of Darkness' is such a powerful and contentious book that it seems to have taken over Conrad's reputation. He is so often the touchpoint of post-colonial, post-feminist, multicultural debates that he becomes merely a symbol. It is unfortunate that he is not looked on more often as simply a writer, and not a bad one, at that.
February 15, 2019
Πέμπτο βιβλίο του Τζόζεφ Κόνραντ που διαβάζω, δεύτερο για φέτος. Δεν είχα σκοπό να πιάσω τόσο σύντομα στα χέρια μου άλλο βιβλίο του συγγραφέα, μετά από αυτό που διάβασα τον Ιανουάριο, έλα όμως που κυκλοφόρησε για πρώτη φορά στα ελληνικά, μόλις πριν λίγες μέρες, το "Η μονομαχία", που αποτελεί και τη βάση για την πρώτη ταινία του Ρίντλεϊ Σκοτ (την οποία θα δω λίαν συντόμως). Μπορούσα να συγκρατηθώ, σύμφωνα με αυτά τα δεδομένα; Όχι, βέβαια!
Πλοκή: Δυο αξιωματικοί της Μεγάλης Στρατιάς του Ναπολέοντα, ξεκινούν από μια εντελώς ασήμαντη και παράλογη αφορμή, μια σειρά μονομαχιών σε όλη τη διάρκεια των Ναπολεόντειων πολέμων. Για πάρα πολλά χρόνια, κάθε φορά που οι δυο στρατιωτικοί συναντιούνται εκτός των επίσημων πεδίων της μάχης, μονομαχούν, είτε πεζοί είτε έφιπποι, είτε με ξίφη είτε με πιστόλια.
Το βιβλίο αυ��ό διαφέρει αρκετά σε σχέση με τα άλλα βιβλία του συγγραφέα που έχω διαβάσει. Ούτε με τον κόσμο των ναυτικών έχει να κάνει, ούτε με την αποικιοκρατία. Πρόκειται για μια πανέξυπνη σάτιρα με ιδιαίτερα ειρωνική και σκωπτική διάθεση, απέναντι στον παραλογισμό του πολέμου, τη ματαιοδοξία των στρατιωτικών και το αίσθημα περί τιμής. Ο Κόνραντ, μέσω των τραγελαφικών καταστάσεων και της όλης αποτύπωσης της εποχής και της ιδιόρρυθμης σχέσης μεταξύ των δυο πρωταγωνιστών, καταφέρνει να περάσει κάποια σημαντικά μηνύματα. Η γραφή είναι πραγματικά πολύ καλή και ευχάριστη, με ωραία αίσθηση του χιούμορ και με κάποιες πολύ όμορφες περιγραφές. Εύκολα πέντε αστεράκια από μένα.
Πλοκή: Δυο αξιωματικοί της Μεγάλης Στρατιάς του Ναπολέοντα, ξεκινούν από μια εντελώς ασήμαντη και παράλογη αφορμή, μια σειρά μονομαχιών σε όλη τη διάρκεια των Ναπολεόντειων πολέμων. Για πάρα πολλά χρόνια, κάθε φορά που οι δυο στρατιωτικοί συναντιούνται εκτός των επίσημων πεδίων της μάχης, μονομαχούν, είτε πεζοί είτε έφιπποι, είτε με ξίφη είτε με πιστόλια.
Το βιβλίο αυ��ό διαφέρει αρκετά σε σχέση με τα άλλα βιβλία του συγγραφέα που έχω διαβάσει. Ούτε με τον κόσμο των ναυτικών έχει να κάνει, ούτε με την αποικιοκρατία. Πρόκειται για μια πανέξυπνη σάτιρα με ιδιαίτερα ειρωνική και σκωπτική διάθεση, απέναντι στον παραλογισμό του πολέμου, τη ματαιοδοξία των στρατιωτικών και το αίσθημα περί τιμής. Ο Κόνραντ, μέσω των τραγελαφικών καταστάσεων και της όλης αποτύπωσης της εποχής και της ιδιόρρυθμης σχέσης μεταξύ των δυο πρωταγωνιστών, καταφέρνει να περάσει κάποια σημαντικά μηνύματα. Η γραφή είναι πραγματικά πολύ καλή και ευχάριστη, με ωραία αίσθηση του χιούμορ και με κάποιες πολύ όμορφες περιγραφές. Εύκολα πέντε αστεράκια από μένα.
November 30, 2025
Apostaría mi colección entera de Jane Austen a que esta es una de las novelas cortas favoritas de Arturo Pérez Reverte.
December 9, 2025
کتاب، داستان گیر افتادن تصادفی منطق در یک دوئل است، دوئلی طولانی و بیفایده که هربار به نفع یکی از طرفین تمام میشود. دوئلی که برنده ندارد ولی جلوی رشد طرفین را گرفته، شروعش مبهم است، مبهم ادامه پیدا میکند و رازآلود به پایان میرسد. در نهایت، منطق برنده این نبرد است، ولی نه با قواعد دوئل بلکه با قواعد خود منطق. به نظرم این کلیدیترین حرف این کتاب بود
احساس میکنم که قصه داستان، استعارهای از جنگ ناپلئون با دنیا است، جنگی که حتی بعد از اتمامش هم ناپلئون نفهمید که در خیلی از موارد بدهکار دنیا بوده است، به خودش آسیب زده است و حتی جلوی رشد خودش را گرفته است
اما حواشی: کلا کنراد خیلی سخت مینویسد (اگر بیوگرافی کنراد را خوانده باشید علت این سبک نگارش را درک میکنید) اما ظاهرا مترجم کتاب هم حریف قدری برای کنراد است، ترجمه خیلی خوب روی متن اصلی سوار شده است، این دومین کتاب از کنراد با ترجمه سهیل سمی است که میخوانم. اما امان از طرح روی جلد، ای کاش طراحان محترم قبل از طراحی یک بار متن را بخوانند، هیچ تناسبی بین طرح و متن وجود ندارد. به احتمال بسیار زیاد، طرح روی جلد صرفا از روی اسم کتاب انجام شده است.
پینوشت: اول به کتاب سه ستاره داده بودم، شرح را که نوشتم نظرم عوض شد و تعداد ستارهها را چهار تا کردم. شاید تعداد ستارهها به تفسیر خواننده ارتباط داشته باشند و نه خود کتاب
احساس میکنم که قصه داستان، استعارهای از جنگ ناپلئون با دنیا است، جنگی که حتی بعد از اتمامش هم ناپلئون نفهمید که در خیلی از موارد بدهکار دنیا بوده است، به خودش آسیب زده است و حتی جلوی رشد خودش را گرفته است
اما حواشی: کلا کنراد خیلی سخت مینویسد (اگر بیوگرافی کنراد را خوانده باشید علت این سبک نگارش را درک میکنید) اما ظاهرا مترجم کتاب هم حریف قدری برای کنراد است، ترجمه خیلی خوب روی متن اصلی سوار شده است، این دومین کتاب از کنراد با ترجمه سهیل سمی است که میخوانم. اما امان از طرح روی جلد، ای کاش طراحان محترم قبل از طراحی یک بار متن را بخوانند، هیچ تناسبی بین طرح و متن وجود ندارد. به احتمال بسیار زیاد، طرح روی جلد صرفا از روی اسم کتاب انجام شده است.
پینوشت: اول به کتاب سه ستاره داده بودم، شرح را که نوشتم نظرم عوض شد و تعداد ستارهها را چهار تا کردم. شاید تعداد ستارهها به تفسیر خواننده ارتباط داشته باشند و نه خود کتاب
This entire review has been hidden because of spoilers.
September 8, 2019
“They were officers of cavalry, and their connection with the high-spirited but fanciful animal which carries men into battle seems particularly appropriate. It would be difficult to imagine for heroes of this legend two officers of infantry of the line, for example, whose fantasy is tamed by much walking exercise, and whose valour necessarily must be of a more plodding kind. As to gunners or engineers, whose heads are kept cool on a diet of mathematics, it is simply unthinkable.”
Conrad’s short story The Duel was first serialized in The Pall Mall Magazine in early 1908, and it shows that Conrad was not only a virtuoso spinner of seafaring yarn but also mastered landlubbers business. Of course, the best examples of this may be novels such as The Secret Agent or Under Western Eyes. As the above quotation shows, The Duel starts somewhat tongue-in-cheek as it describes the two antagonists D’Hubert and the Gascon Feraud, both lieutenants of the Imperial army, whose fates are going to be linked by what may be called an affair of honour that induces them to meet each other repeatedly in duels. Actually, the whole feud starts from a mere nothing, the fiery and aggressive Feraud taking umbrage at being formally placed under house detention by D’Hubert, on the general’s behest, for a duel in which he wounded a civilian. Since Feraud cannot challenge the general, he challenges D’Hubert, and the Gascon’s rash decision results in a comical-serious duel under the eyes of a deaf gardener and an hysteric housemaid. This, however, is just the beginning, and the feud between the two officers will continue during the whole of the Napoleonic wars, and even beyond. We mostly share D’Hubert’s perspective, who is definitely the more complex and reflective of the two men, but even D’Hubert, who privately winces at the inane cause of their enmity, knowing well that such an affair might seriously damage his career and give him the reputation of a quarrelsome man, cannot help playing by the rules forced upon him by Feraud – simply because the conventions of honour, as he perceives them, oblige him to.
Still, there seems to be more to it than just honour – maybe, D’Hubert does get a kick out of those on-and-off encounters with the rabid Gascon, and at the end the two men seemed to be manacled by fate in some inexplicable way. Conrad’s style becomes less and less ironic in the course of the tale, and he even manages to open to us the great vista of the catastrophic retreat of La Grande Armée against the backdrop of which the personal enmity between the two officers may appear ridiculous:
Is it a sign of human greatness or folly to keep up, amidst this void of ice-haunted misery, personal animosities?
Later on, the story will move towards a final, bitter encounter, when D’Hubert realizes that the only way he can get rid of his embittered foe is to kill him in the next duel. This final encounter reads like a fast-paced thriller, but the ending of the tale – what the author supposed to be a fine psychological twist – may fall flat to you, as it did to me.
Still, the story is well worth reading, and your reading experience should be rounded off with the gripping movie The Duellists (1977) by Ridey Scott, which is based on this tale.
Conrad’s short story The Duel was first serialized in The Pall Mall Magazine in early 1908, and it shows that Conrad was not only a virtuoso spinner of seafaring yarn but also mastered landlubbers business. Of course, the best examples of this may be novels such as The Secret Agent or Under Western Eyes. As the above quotation shows, The Duel starts somewhat tongue-in-cheek as it describes the two antagonists D’Hubert and the Gascon Feraud, both lieutenants of the Imperial army, whose fates are going to be linked by what may be called an affair of honour that induces them to meet each other repeatedly in duels. Actually, the whole feud starts from a mere nothing, the fiery and aggressive Feraud taking umbrage at being formally placed under house detention by D’Hubert, on the general’s behest, for a duel in which he wounded a civilian. Since Feraud cannot challenge the general, he challenges D’Hubert, and the Gascon’s rash decision results in a comical-serious duel under the eyes of a deaf gardener and an hysteric housemaid. This, however, is just the beginning, and the feud between the two officers will continue during the whole of the Napoleonic wars, and even beyond. We mostly share D’Hubert’s perspective, who is definitely the more complex and reflective of the two men, but even D’Hubert, who privately winces at the inane cause of their enmity, knowing well that such an affair might seriously damage his career and give him the reputation of a quarrelsome man, cannot help playing by the rules forced upon him by Feraud – simply because the conventions of honour, as he perceives them, oblige him to.
Still, there seems to be more to it than just honour – maybe, D’Hubert does get a kick out of those on-and-off encounters with the rabid Gascon, and at the end the two men seemed to be manacled by fate in some inexplicable way. Conrad’s style becomes less and less ironic in the course of the tale, and he even manages to open to us the great vista of the catastrophic retreat of La Grande Armée against the backdrop of which the personal enmity between the two officers may appear ridiculous:
”They plodded on, and their passage did not disturb the mortal silence of the plains, shining with the livid light of snows under a sky the colour of ashes. Whirlwinds ran along the fields, broke against the dark column, enveloped it in a turmoil of flying icicles, and subsided, disclosing it creeping on its tragic way without the swing and rhythm of the military pace. It struggled onwards, the men exchanging neither words nor looks; whole ranks marched touching elbow, day after day and never raising their eyes from the ground, as if lost in despairing reflections. In the dumb, black forests of pines the cracking of overloaded branches was the only sound they heard. Often from daybreak to dusk no one spoke in the whole column. It was like a macabre march of struggling corpses towards a distant grave.”
Is it a sign of human greatness or folly to keep up, amidst this void of ice-haunted misery, personal animosities?
Later on, the story will move towards a final, bitter encounter, when D’Hubert realizes that the only way he can get rid of his embittered foe is to kill him in the next duel. This final encounter reads like a fast-paced thriller, but the ending of the tale – what the author supposed to be a fine psychological twist – may fall flat to you, as it did to me.
Still, the story is well worth reading, and your reading experience should be rounded off with the gripping movie The Duellists (1977) by Ridey Scott, which is based on this tale.
October 23, 2020
A veces en unas pocas páginas se pueden condensar todas las pasiones humanas. Esta historia es una de ellas. La rivalidad entre los dos húsares que en lugar de disminuir con el tiempo, se acrecienta y encuentra nuevos motivos. Espectacular.
August 11, 2025
اولش رو خیلی سخت خوندم اما واقعا قند عسل بود.
March 2, 2019
Questo è uno di quei romanzi che tiene incollato il lettore dalla prima all'ultima pagina, col fiato in sospeso per capire quale sarà il destino dei due ussari, il pacato e riflessivo D'Hubert e l'irascibile e fumantino Feraud. Un banale screzio diventa una questione d'onore che supera il tempo e le distanze, portandoli ad un duello dopo l'altro ogni volta che le condizioni lo rendono possibile.
Se il personaggio di D'Hubert è ben tratteggiato, con i suoi chiaroscuri, i suoi dubbi e le sue impazienze, la caratterizzazione di Feraud è forse più superficiale, legata allo stereotipo del guascone spaccone e sanguigno e dall'aspetto vagamente luciferino (naso adunco, capelli neri e scarmigliati).
Nonostante questo, è un signor romanzo che mostra al di là di ogni dubbio la qualità della scrittura di Conrad.
Se il personaggio di D'Hubert è ben tratteggiato, con i suoi chiaroscuri, i suoi dubbi e le sue impazienze, la caratterizzazione di Feraud è forse più superficiale, legata allo stereotipo del guascone spaccone e sanguigno e dall'aspetto vagamente luciferino (naso adunco, capelli neri e scarmigliati).
Nonostante questo, è un signor romanzo che mostra al di là di ogni dubbio la qualità della scrittura di Conrad.
January 19, 2020
Ennesimo esempio di buon racconto tratto da una canzone degli Iron Maiden. Chiunque sostenga il contrario riceverà notizie dai secondi del generale Harris.
https://youtu.be/zMuFcsl1a2Y
(mezzo voto in meno, per esser precisi)
https://youtu.be/zMuFcsl1a2Y
(mezzo voto in meno, per esser precisi)
June 21, 2023
دوئلی که شانزده سال بهطول انجامید.
دوئل، روایت دو افسر ارتش ناپلئون (دوبرو و فرو) را روایت میکند که بر سر بهانهای مضحک از طرف فرو، دوئلی بین این دو آغاز میشود. این دو، در طول سالها و در هر موقعیتی که شانس ملاقات یکدیگر را پیدا میکنند، باهم میجنگند. و سرانجام بعد از شانزده سال، به همان مضحکی شروعش، پایان مییابد. داستانی که میتوان آن را در ابعاد وسیعتر، به بیهوده و پوچ بودن جنگ میان کشورها پرداخت.
از دو سه اشتباه ویراستاری که بگذریم، ترجمهی سهیل سمی با عبارات توصیفی جذاب و منحصر بهفردش برایم بسیار دلنشین بود.
دوئل، روایت دو افسر ارتش ناپلئون (دوبرو و فرو) را روایت میکند که بر سر بهانهای مضحک از طرف فرو، دوئلی بین این دو آغاز میشود. این دو، در طول سالها و در هر موقعیتی که شانس ملاقات یکدیگر را پیدا میکنند، باهم میجنگند. و سرانجام بعد از شانزده سال، به همان مضحکی شروعش، پایان مییابد. داستانی که میتوان آن را در ابعاد وسیعتر، به بیهوده و پوچ بودن جنگ میان کشورها پرداخت.
از دو سه اشتباه ویراستاری که بگذریم، ترجمهی سهیل سمی با عبارات توصیفی جذاب و منحصر بهفردش برایم بسیار دلنشین بود.
December 19, 2015
Lieutenant Feraud nearly kills a civilian in a duel so Lieutenant D'Hubert is sent to confine him to house arrest. The two duel and, from then on, at each promotion they fight a duel. This novella was nice and it does give you a portrait of military life during and after Napoleon Bonaparte, but I just didn't care for either character.
September 27, 2024
میخوایم راجع به «دوئل» از «جوزف کنراد» صحبت کنیم. کتابی که به شخصه بیشتر از 70 صفحهش رو نتونستم تحمل کنم.
این داستان کوتاه مصداق این مسئلهست : وقتی نویسنده دغدغه داره ولی فرم مشخصی برای نوشتن نداره و نمیتونه دغدغهش رو به فرم تبدیل کنه.
چقدر من همیشه فریاد میزنم که نویسندهای که فرم مشخصی برای نوشتن نداشته باشه نویسنده نیست.
اینجا «کنراد» نویسنده بدی هم نیست ؛ چون اصلا نویسندن نیست.
طرح داستانی مغشوشه ، تکلیفش خیلی با خودش روشن نیست.
درست جایی که ما باید تحولات درونی و تحولات فکری رو ببینیم ، هیچی نمیبینیم.
شخصیت ها هیچکدوم به شخصیت تبدیل نمیشن چون :
اولا در ذهن تخیلی نویسنده ساخته شدن و از دنیای واقعی گرفته نشدن.
دوما ما نه تفکری از این شخصیت ها میبینیم ، نه رفتاری ، ��ه دیالوگ مهمی. صرفا تیپ هستن و در حد تیپ هم باقی میمونن.
کاملا طبیعیه که وقتی شخصیتی نداریم ، فضا هم نخواهیم داشت.
در مجموع داستان کوتاه «دوئل» از «جوزف کنراد» یک داستان بی فرم و در نتیجه بی محتوا ؛ اما دغدغهمند هست.
امیدوارم که در آینده آثار بهتری رو از این نویسنده بخونم.
این داستان کوتاه مصداق این مسئلهست : وقتی نویسنده دغدغه داره ولی فرم مشخصی برای نوشتن نداره و نمیتونه دغدغهش رو به فرم تبدیل کنه.
چقدر من همیشه فریاد میزنم که نویسندهای که فرم مشخصی برای نوشتن نداشته باشه نویسنده نیست.
اینجا «کنراد» نویسنده بدی هم نیست ؛ چون اصلا نویسندن نیست.
طرح داستانی مغشوشه ، تکلیفش خیلی با خودش روشن نیست.
درست جایی که ما باید تحولات درونی و تحولات فکری رو ببینیم ، هیچی نمیبینیم.
شخصیت ها هیچکدوم به شخصیت تبدیل نمیشن چون :
اولا در ذهن تخیلی نویسنده ساخته شدن و از دنیای واقعی گرفته نشدن.
دوما ما نه تفکری از این شخصیت ها میبینیم ، نه رفتاری ، ��ه دیالوگ مهمی. صرفا تیپ هستن و در حد تیپ هم باقی میمونن.
کاملا طبیعیه که وقتی شخصیتی نداریم ، فضا هم نخواهیم داشت.
در مجموع داستان کوتاه «دوئل» از «جوزف کنراد» یک داستان بی فرم و در نتیجه بی محتوا ؛ اما دغدغهمند هست.
امیدوارم که در آینده آثار بهتری رو از این نویسنده بخونم.
February 26, 2023
Conrad különleges író, lengyel és angol egyszerre-ez így hülyén hangzik, no persze, hiszen angol író lett belőle-de én az egész személyére, stílusára is értettem ezt.
Szétszabdalt hazájából már egészen fiatalon tengerre vágyott, kifejezetten angol hajós akart lenni, ahogy az első itteni írásában ezt kifejti. A kötet ezzel indul, "Emlékeim" címmel, memoár és életrajz is egyben. Visszatekint küzdelmeire, szülőhazájára, családjára. Nem pontos időrendben idézi fel élete állomásait, de érdekes volt olvasni, amiatt is, hogy egy lassú utazást említ Afrikában, ahol betegen hajózott a Kongó folyón-lásd A sötétség mélyén c. regényét.
Igaz, angol tengerész és író lett, de szerintem közép-európai szemmel is látott.
A kötet további írásai rövidebb-hosszabb novellák, legérdekesebb és legjobb A párbaj. Meg kell említenem a kitűnő, szép fordítást, pontos lábjegyzeteket.
Van még egy válogatás kötetem a szerzőtől, hamarosan az következik.
Szétszabdalt hazájából már egészen fiatalon tengerre vágyott, kifejezetten angol hajós akart lenni, ahogy az első itteni írásában ezt kifejti. A kötet ezzel indul, "Emlékeim" címmel, memoár és életrajz is egyben. Visszatekint küzdelmeire, szülőhazájára, családjára. Nem pontos időrendben idézi fel élete állomásait, de érdekes volt olvasni, amiatt is, hogy egy lassú utazást említ Afrikában, ahol betegen hajózott a Kongó folyón-lásd A sötétség mélyén c. regényét.
Igaz, angol tengerész és író lett, de szerintem közép-európai szemmel is látott.
A kötet további írásai rövidebb-hosszabb novellák, legérdekesebb és legjobb A párbaj. Meg kell említenem a kitűnő, szép fordítást, pontos lábjegyzeteket.
Van még egy válogatás kötetem a szerzőtől, hamarosan az következik.
April 18, 2022
“Dunque a quell'uomo, acquietato dall'esito vittorioso del duello, la vita appariva spogliata del suo fascino, semplicemente perché non era più in pericolo.”
Il centro de “I duellanti” è concentrato in queste righe. Conrad “in un raro momento di serenità e di felicità creativa” alle prese con lo spirito dell’epoca napoleonica. Un esercizio di stile che per indecisione o per confondere le carte, fa pubblicare con due titoli diversi nel giro di pochi mesi "The Duel: A Military Tale" e “The Point of Honor: A Military Tale”. Ma l’onore non c’entra. E' piuttosto una ossessione che si trascina per vent'anni dentro e fuori dai campi di battaglia, o come suggerisce JC, la ricerca del pericolo senza il quale la vita perde fascino e senso. E sullo sfondo la lotta di classe. Nella sua follia Feraud sa chi è, e perché lo fa.
Il centro de “I duellanti” è concentrato in queste righe. Conrad “in un raro momento di serenità e di felicità creativa” alle prese con lo spirito dell’epoca napoleonica. Un esercizio di stile che per indecisione o per confondere le carte, fa pubblicare con due titoli diversi nel giro di pochi mesi "The Duel: A Military Tale" e “The Point of Honor: A Military Tale”. Ma l’onore non c’entra. E' piuttosto una ossessione che si trascina per vent'anni dentro e fuori dai campi di battaglia, o come suggerisce JC, la ricerca del pericolo senza il quale la vita perde fascino e senso. E sullo sfondo la lotta di classe. Nella sua follia Feraud sa chi è, e perché lo fa.
June 11, 2018
I recently saw director Ridley Scott's film debut, The Duelists, which was an adaptation of a Joseph Conrad story, The Duel (1906). I very much enjoyed the film and was delighted to see that the film adaptation was very faithful to Conrad's written version about a duel between two Napoleonic soldiers over a number of years. The focus on honor between the two men calls to mind the idea of bushido, "the way of the warrior"in samurai culture. I think this would make a great Japanese period film as an adaptation since many of the ideas of dueling and honor are consistent with historic samurai culture as well. It was an entertaining tale based, supposedly, on a true life story recounted to Conrad.
May 4, 2024
Due ufficiali dell’esercito napoleonico, Gabriel Florian Feraud e Armand d’Hubert, danno vita, per un futile motivo ”acceso in un passato dimenticato” e che resterà avvolto nel mistero, a un duello che ”corre lungo l’epopea delle guerre imperiali.”; Feraud è un bonapartista convinto, ha un temperamento sanguigno, iroso ed è persuaso che d’Hubert non ami Napoleone. D’Hubert è più riflessivo, non idealizza Bonaparte e, alla fine, serve lealmente sia lui che la successiva Restaurazione.
A provocare il duello è Feraud, ma lo scontro che segue le regole cavalleresche vede prevalere i due contendenti a fasi alterne: feriti, ma mai mortalmente, ogni volta si rimettono in sesto. Le diverse fasi del duello sono distanziate anche di anni, ogni volta accese da qualche particolare motivo e nel frattempo i due ufficiali sono impegnati nel campo di battaglia: da Strasburgo, dopo il passaggio de Reno, ad Austerlitz, la Slesia, Lubecca e la disastrosa campagna di Russia, la cui rotta è racchiusa in belle pagine che raccontano la disfatta delle campagne napoleoniche e l’insensatezza della guerra, quanto, in fondo, è insensato il duello: i due ufficiali ”inseguirono una contesa privata lungo tutti quegli anni di carneficina universale”.
Con il ritorno a Parigi e caduto Bonaparte, Feraud è estromesso dall’esercito assieme ai fedelissimi bonapartisti, mentre d’Hubert è riassorbito nelle fila del ”nuovo” regime.
Il punto di vista della narrazione è quello di d’Hubert, ma anche Feraud è ben rappresentato, anche se inizialmente il suo carattere lo può rendere poco simpatico.
L’intersecarsi tra le fasi del duello e le guerre napoleoniche risulta avvincente e Conrad pare essere meno cupo del solito; la risoluzione del duello sembra riportare d’Hubert all’interno delle dinamiche dell’ancient régime, vicende amorose comprese.
A provocare il duello è Feraud, ma lo scontro che segue le regole cavalleresche vede prevalere i due contendenti a fasi alterne: feriti, ma mai mortalmente, ogni volta si rimettono in sesto. Le diverse fasi del duello sono distanziate anche di anni, ogni volta accese da qualche particolare motivo e nel frattempo i due ufficiali sono impegnati nel campo di battaglia: da Strasburgo, dopo il passaggio de Reno, ad Austerlitz, la Slesia, Lubecca e la disastrosa campagna di Russia, la cui rotta è racchiusa in belle pagine che raccontano la disfatta delle campagne napoleoniche e l’insensatezza della guerra, quanto, in fondo, è insensato il duello: i due ufficiali ”inseguirono una contesa privata lungo tutti quegli anni di carneficina universale”.
Con il ritorno a Parigi e caduto Bonaparte, Feraud è estromesso dall’esercito assieme ai fedelissimi bonapartisti, mentre d’Hubert è riassorbito nelle fila del ”nuovo” regime.
Il punto di vista della narrazione è quello di d’Hubert, ma anche Feraud è ben rappresentato, anche se inizialmente il suo carattere lo può rendere poco simpatico.
L’intersecarsi tra le fasi del duello e le guerre napoleoniche risulta avvincente e Conrad pare essere meno cupo del solito; la risoluzione del duello sembra riportare d’Hubert all’interno delle dinamiche dell’ancient régime, vicende amorose comprese.
March 18, 2024
Over the past couple of years, I have read a number of works by Joseph Conrad. I’m taking this opportunity to rank The Duel in a list with the others I’ve read. This is as much for my own reference as anything else. No doubt other readers will have very different rankings of their own, but this is how I rate them:
1. Heart of Darkness
2. An Outpost of Progress
3. Youth
4. The Secret Sharer
5. Victory
6. The Duel
7. The Secret Agent
8. Narcissus
9. The Lagoon
10. Karain
11. Typhoon
12. Nostromo
13. The Idiots
14. The Return
Even the works towards the bottom of this list are still very much worth reading. I am now a big Joseph Conrad fan! At number 6, The Duel is of course highly recommended…
"No man succeeds in everything he undertakes. In that sense we are all failures. The great point is not to fail in ordering and sustaining the effort of our life."
1. Heart of Darkness
2. An Outpost of Progress
3. Youth
4. The Secret Sharer
5. Victory
6. The Duel
7. The Secret Agent
8. Narcissus
9. The Lagoon
10. Karain
11. Typhoon
12. Nostromo
13. The Idiots
14. The Return
Even the works towards the bottom of this list are still very much worth reading. I am now a big Joseph Conrad fan! At number 6, The Duel is of course highly recommended…
"No man succeeds in everything he undertakes. In that sense we are all failures. The great point is not to fail in ordering and sustaining the effort of our life."
Displaying 1 - 30 of 228 reviews