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Caligula and Cross Purpose
CALIGULA : C'est une vérité toute simple et toute claire, un peu béte, mais difficile à découvrir et lourde à porter.
HÉLICON : Et qu'est-ce donc que cette vérité, Caïus ?
CALIGULA : Les hommes meurent et ils ne sont pas heureux.
HÉLICON : Allons, Caïus, c'est une vérité dont on s'arrange très bien. Regarde autour de toi. Ce n'est pas cela qui les empêche de déjeuner.
CALIGULA : Alors, c'est que tout, autour de moi, est mensonge, et moi, je veux qu'on vive dans la vérité !
HÉLICON : Et qu'est-ce donc que cette vérité, Caïus ?
CALIGULA : Les hommes meurent et ils ne sont pas heureux.
HÉLICON : Allons, Caïus, c'est une vérité dont on s'arrange très bien. Regarde autour de toi. Ce n'est pas cela qui les empêche de déjeuner.
CALIGULA : Alors, c'est que tout, autour de moi, est mensonge, et moi, je veux qu'on vive dans la vérité !
156 pages, Paperback
First published January 1, 1944
62 people are currently reading
1731 people want to read
About the author
Albert Camus
1,077 books37.7k followersWorks, such as the novels
The Stranger
(1942) and
The Plague
(1947), of Algerian-born French writer and philosopher Albert Camus concern the absurdity of the human condition; he won the Nobel Prize of 1957 for literature.
Origin and his experiences of this representative of non-metropolitan literature in the 1930s dominated influences in his thought and work.
He also adapted plays of Pedro Calderón de la Barca, Lope de Vega, Dino Buzzati, and Requiem for a Nun of William Faulkner. One may trace his enjoyment of the theater back to his membership in l'Equipe, an Algerian group, whose "collective creation" Révolte dans les Asturies (1934) was banned for political reasons.
Of semi-proletarian parents, early attached to intellectual circles of strongly revolutionary tendencies, with a deep interest, he came at the age of 25 years in 1938; only chance prevented him from pursuing a university career in that field. The man and the times met: Camus joined the resistance movement during the occupation and after the liberation served as a columnist for the newspaper Combat.
The essay Le Mythe de Sisyphe (The Myth of Sisyphus), 1942, expounds notion of acceptance of the absurd of Camus with "the total absence of hope, which has nothing to do with despair, a continual refusal, which must not be confused with renouncement - and a conscious dissatisfaction."
Meursault, central character of L'Étranger (The Stranger), 1942, illustrates much of this essay: man as the nauseated victim of the absurd orthodoxy of habit, later - when the young killer faces execution - tempted by despair, hope, and salvation.
Besides his fiction and essays, Camus very actively produced plays in the theater (e.g., Caligula, 1944).
The time demanded his response, chiefly in his activities, but in 1947, Camus retired from political journalism.
Doctor Rieux of La Peste (The Plague), 1947, who tirelessly attends the plague-stricken citizens of Oran, enacts the revolt against a world of the absurd and of injustice, and confirms words: "We refuse to despair of mankind. Without having the unreasonable ambition to save men, we still want to serve them."
People also well know La Chute (The Fall), work of Camus in 1956.
Camus authored L'Exil et le royaume (Exile and the Kingdom) in 1957. His austere search for moral order found its aesthetic correlative in the classicism of his art. He styled of great purity, intense concentration, and rationality.
Camus died at the age of 46 years in a car accident near Sens in le Grand Fossard in the small town of Villeblevin.
Chinese 阿尔贝·加缪
Origin and his experiences of this representative of non-metropolitan literature in the 1930s dominated influences in his thought and work.
He also adapted plays of Pedro Calderón de la Barca, Lope de Vega, Dino Buzzati, and Requiem for a Nun of William Faulkner. One may trace his enjoyment of the theater back to his membership in l'Equipe, an Algerian group, whose "collective creation" Révolte dans les Asturies (1934) was banned for political reasons.
Of semi-proletarian parents, early attached to intellectual circles of strongly revolutionary tendencies, with a deep interest, he came at the age of 25 years in 1938; only chance prevented him from pursuing a university career in that field. The man and the times met: Camus joined the resistance movement during the occupation and after the liberation served as a columnist for the newspaper Combat.
The essay Le Mythe de Sisyphe (The Myth of Sisyphus), 1942, expounds notion of acceptance of the absurd of Camus with "the total absence of hope, which has nothing to do with despair, a continual refusal, which must not be confused with renouncement - and a conscious dissatisfaction."
Meursault, central character of L'Étranger (The Stranger), 1942, illustrates much of this essay: man as the nauseated victim of the absurd orthodoxy of habit, later - when the young killer faces execution - tempted by despair, hope, and salvation.
Besides his fiction and essays, Camus very actively produced plays in the theater (e.g., Caligula, 1944).
The time demanded his response, chiefly in his activities, but in 1947, Camus retired from political journalism.
Doctor Rieux of La Peste (The Plague), 1947, who tirelessly attends the plague-stricken citizens of Oran, enacts the revolt against a world of the absurd and of injustice, and confirms words: "We refuse to despair of mankind. Without having the unreasonable ambition to save men, we still want to serve them."
People also well know La Chute (The Fall), work of Camus in 1956.
Camus authored L'Exil et le royaume (Exile and the Kingdom) in 1957. His austere search for moral order found its aesthetic correlative in the classicism of his art. He styled of great purity, intense concentration, and rationality.
Camus died at the age of 46 years in a car accident near Sens in le Grand Fossard in the small town of Villeblevin.
Chinese 阿尔贝·加缪
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Displaying 1 - 30 of 139 reviews
March 19, 2024
These two pieces feature a whole series of implacable characters, mad in their thirst for death, but who knows, in their way, how to touch us. I didn't know what to expect when I opened this book. My opinion of Albert Camus's works is variable (I have loved and hated others), but I am not disappointed. The style is always straightforward, which I appreciate, and the characters' psychology is outstanding. To be read.
November 23, 2023
ما یه استادی داریم که در مواجهه با هر سوالی که ازش میشه، یکی از این دو تا جواب رو میده: ۱) خب که چی؟ ۲) این حرفا که همهش زر مفته.
درباره نویسندهها هم نظر کلیش اینه که ایرانیها، یه بند انگشت بیشتر تریاک میکشن و خارجیها، دو پیک بیشتر میخورن که همچین خزعبلاتی رو تحویل ما میدن!
تنها فایدهای که این آقای محترم تا به اینجا برای من داشته، اینه که باعث شد من بالاخره برم سراغ این شاهکارِ آلبر کامو.
در وصف این نمایشنامه هیچی نمیگم جز اینکه هر چی تا حالا از کامو خوندید رو بذارید کنار و فقط «کالیگولا» رو بچسبید. یعنی هر چی که از یه نمایشنامه انتظار دارید، توی این هست و اگر «سوءتفاهم» نبود، بعد از مدتها پنجستارهی کامل رو تقدیم یه کتاب میکردم.
حجم زیادی از نمایشنامه دوم رو قبلاً با ترجمه جلال آل احمد خونده بودم - و از همون موقع هم شد که هر وقت اسم این آدم رو روی یه کتابی بعنوان مترجم میبینم، تمام اعصاب مغزم به هم میپیچن - و تازگی چندانی برام نداشت. ایدهی داستان جذابه بود اما عمرأ به پای «کالیگولا» نمیرسید.
درباره نویسندهها هم نظر کلیش اینه که ایرانیها، یه بند انگشت بیشتر تریاک میکشن و خارجیها، دو پیک بیشتر میخورن که همچین خزعبلاتی رو تحویل ما میدن!
تنها فایدهای که این آقای محترم تا به اینجا برای من داشته، اینه که باعث شد من بالاخره برم سراغ این شاهکارِ آلبر کامو.
در وصف این نمایشنامه هیچی نمیگم جز اینکه هر چی تا حالا از کامو خوندید رو بذارید کنار و فقط «کالیگولا» رو بچسبید. یعنی هر چی که از یه نمایشنامه انتظار دارید، توی این هست و اگر «سوءتفاهم» نبود، بعد از مدتها پنجستارهی کامل رو تقدیم یه کتاب میکردم.
حجم زیادی از نمایشنامه دوم رو قبلاً با ترجمه جلال آل احمد خونده بودم - و از همون موقع هم شد که هر وقت اسم این آدم رو روی یه کتابی بعنوان مترجم میبینم، تمام اعصاب مغزم به هم میپیچن - و تازگی چندانی برام نداشت. ایدهی داستان جذابه بود اما عمرأ به پای «کالیگولا» نمیرسید.
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December 13, 2023Camus era senhor de uma obra bastante desigual, ora perfeitamente legível ora demasiado obscura para agradar senão a um punhado de intelectuais ou fãs ferranhos do autor. E essa disparidade é muitíssimo evidente quando estamos perante as duas peças que compõe este livro. Ora, como eu não tenho obrigação de elogiar a obra do autor, nem me dei ao trabalho de concluir a segunda peça que figura neste volume - O Equívoco é uma obra relativamente pobre e demasiado artificial que não chamou nem um pouco por mim. Já Calígula é uma peça de caráter mítico de grande envergadura - embora não das mais acessíveis - que, precisamente por isso, merece uma ou outra reflexão.
CALÍGULA
(...)não tenho muitas maneiras de provar que sou livre. É-se sempre livre à custa de alguém. É aborrecido, mas é normal.
Os Césares, esses seres em cujas mãos o destino de homens e nações jazia, assumiam uma roupagem divina que os trazia próximos da loucura, da arbitrariedade e da tirania. Por isso, e por um certo sentimento de superioridade moral, hoje habituámo-nos a brindá-los com epítetos que se lhes colaram à pele - e as etiquetas com que assinalamos Calígula são das mais duras (e talvez das mais arbitrárias já que, na cultura literária clássica era frequente colar o rótulo de louco ou pérfido tão só a um mau governante). Certo é que a figura de Calígula alimenta as nossas fantasias desde sempre e nem Camus lhe resistiu. E, embora para mim a sua filosofia do absurdo resulte melhor (porque mais pacífica) com o seu estrangeiro Mersault, não posso deixar de concordar que está bem apanhado o princípio de absurdo na condição de um imperador endeusado e onipotente - aos nossos olhos, claro está.
CALÍGULA
(...) Até há pouco tempo, eu não sabia. Agora, sei. (...) Este mundo, tal como está feito, não é suportável. Tenho, portanto, necessidade da Lua. ou da felicidade, ou da imortalidade, de qualquer coisa de demente, talvez, mas que não seja deste mundo.
Em Calígula , a consciência trágica do pensamento absurdo está encapsulada na figura de um governante despótico que, também ele como o derradeiro estrangeiro de Camus, se sente forasteiro no meio dos seus patrícios. Um ser com uma sensibilidade particular para as limitações do homem enquanto criatura sensitiva, Calígula tenta ainda assim ser maior do que o mundo, a morte, ou o olvido, perfeitamente consciente do absurdo que é toda a vida terrena. Caligula é, para Camus, um homem para quem a apatia e a indiferença perante a vida (possível) habilitam de forma arbitrária a jogar da dor e do sofrimento numa tentativa de imprimir sentido à existência. E tudo isto, se fizer sentido para alguém, é a essência do absurdo.
Já eu aposto, onde quer que Camus esteja, que ele se farta de rir de nós sempre que tentamos chegar ao cerne da sua filosofia...
CALÍGULA
(...)Acreditava, como toda a gente, que estar desesperado era uma doença da alma. Estava enganado, o corpo é que sofre Doem-me, os membros, a pele, o peito. Tenho a cabeça vazia e o coração sobressaltado. Mas, o mais horrível é este gosto na boca. Não a sangue. nem a morte, nem a febre, e a tudo isso ao mesmo tempo. Basta que mexa a língua para que tudo se torne negro, para que os seres me repugnem. Como é duro, como é amargo a gente tornar-se um homem!
CALÍGULA
(...)não tenho muitas maneiras de provar que sou livre. É-se sempre livre à custa de alguém. É aborrecido, mas é normal.
Os Césares, esses seres em cujas mãos o destino de homens e nações jazia, assumiam uma roupagem divina que os trazia próximos da loucura, da arbitrariedade e da tirania. Por isso, e por um certo sentimento de superioridade moral, hoje habituámo-nos a brindá-los com epítetos que se lhes colaram à pele - e as etiquetas com que assinalamos Calígula são das mais duras (e talvez das mais arbitrárias já que, na cultura literária clássica era frequente colar o rótulo de louco ou pérfido tão só a um mau governante). Certo é que a figura de Calígula alimenta as nossas fantasias desde sempre e nem Camus lhe resistiu. E, embora para mim a sua filosofia do absurdo resulte melhor (porque mais pacífica) com o seu estrangeiro Mersault, não posso deixar de concordar que está bem apanhado o princípio de absurdo na condição de um imperador endeusado e onipotente - aos nossos olhos, claro está.
CALÍGULA
(...) Até há pouco tempo, eu não sabia. Agora, sei. (...) Este mundo, tal como está feito, não é suportável. Tenho, portanto, necessidade da Lua. ou da felicidade, ou da imortalidade, de qualquer coisa de demente, talvez, mas que não seja deste mundo.
Em Calígula , a consciência trágica do pensamento absurdo está encapsulada na figura de um governante despótico que, também ele como o derradeiro estrangeiro de Camus, se sente forasteiro no meio dos seus patrícios. Um ser com uma sensibilidade particular para as limitações do homem enquanto criatura sensitiva, Calígula tenta ainda assim ser maior do que o mundo, a morte, ou o olvido, perfeitamente consciente do absurdo que é toda a vida terrena. Caligula é, para Camus, um homem para quem a apatia e a indiferença perante a vida (possível) habilitam de forma arbitrária a jogar da dor e do sofrimento numa tentativa de imprimir sentido à existência. E tudo isto, se fizer sentido para alguém, é a essência do absurdo.
Já eu aposto, onde quer que Camus esteja, que ele se farta de rir de nós sempre que tentamos chegar ao cerne da sua filosofia...
CALÍGULA
(...)Acreditava, como toda a gente, que estar desesperado era uma doença da alma. Estava enganado, o corpo é que sofre Doem-me, os membros, a pele, o peito. Tenho a cabeça vazia e o coração sobressaltado. Mas, o mais horrível é este gosto na boca. Não a sangue. nem a morte, nem a febre, e a tudo isso ao mesmo tempo. Basta que mexa a língua para que tudo se torne negro, para que os seres me repugnem. Como é duro, como é amargo a gente tornar-se um homem!
April 9, 2025
Caligula and Le malentendu are absurd!
Both these brilliant plays were written to demonstrate Camus idea of the absurdity of human existence: Life according to Camus is a Sisyphean task. Human beings are rational creatures who are confronted with a pointless world. There’s no reason to go through with life and yet we all do. Suicide and hope are attempts to avoid this absurdity. The absurdity of life is that living it means giving up hope, yet we do keep searching for it.
When I gave this a thought I realised that this absurdity exists because people find what they are looking for even though it doesn’t exist or not to the full extent. This cognitive ’Confirmation bias’ explains this mechanism: Our brains are made for wishful thinking. In a certain way that’s absurd too.
I had to think of this ‘Confirmation bias’ when I read this book because just before I started reading it I was referring to it when I commented on a review my Goodreads friend Fionnuala wrote about a book called You Dreamed of Empires. If I’m not mistaken, while she read that book she was thinking of the Aristotelian unities of drama (the unities of action, time and place) and then she found that that book was written indeed according to these unities. This may explain why I was searching for these classical unities while I read Camus’ book too. And indeed, both these plays are modelled according to these unities! Just now, while writing this review, I’ve noticed another interesting link between the name of the book she read and this one: Isn’t ‘You Dreamed of Empires’ something someone could have said to Caligula? One finds what one searches for…
Before elaborating my thoughts of each one of these plays, I must say that these are the first plays by Camus I ever read. What a wonderful discovery! These two plays are totally different superb tragedies. Camus adapts well-known stories to show what he wants to show. Apparently he was extremely talented not only in constructing the plot, but in developing the dialogues just as well. The overwhelming dialogues Camus wrote make these plays extremely powerful.
Le malentendu
If you don’t mind, I prefer to write first about the second play in this book…
The crime scene (That’s what this play is about!) is a small countryside hotel, managed by 2 women, a mother and a daughter, assisted by an old servant. The arriving guest turns out to be the son who left the village long ago. His wife waits for him nearby. I’m not going to say anything more about the plot to avoid spoiling your pleasure of reading it. Let me just say that in a certain way it could have been a story by Agatha Christie just as well...
When I read the name of this play, ‘The Misunderstanding’, the first thing that came into my mind was O. Henry’s famous heartbreaking story The Gift of the Magi: Della and Jim, a young married couple who are terribly in love and terribly poor, want to buy each other a Christmas gift. To make the long story short: Della sells her beautiful long hair to buy a chain for Jim’s gold pocket watch while Jim sells his gold pocket watch to buy combs for Della’s hair… Bearing the ‘Confirmation bias’ in mind, I obviously searched for signs that ‘Le malentendu’ resembles ‘The Gift of the Magi’, not knowing if Camus ever heard of O. Henry’s story. This play is certainly about a tragic misunderstanding too. The characters presume things about each other while having their own secretes, expectations and wishes. Unlike ‘The Gift of the Magi’ the characters of this play do not get closer to each other...
A plot including a son coming home after many years of absence obviously made me think of the famous ‘Parable of the Prodigal Son’ too. Once again the ‘Confirmation bias’ helped me finding similarities, but just like the likeness with ‘The Gift of the Magi’, Camus pulls our leg: The son is not poor and they certainly don’t live happily ever after. There’s no happy end… A happy end is impossible, since our lives are absurd…
Quotes
Eduardo Pola’s drawing ‘Albert Camus’, 2007, via Wikimedia Commons
Caligula
The plot of the first play of this book is exactly what I expected it to be: The story of the rise and fall of Caligula, the famous cruel Roman emperor. The poinst is what Camus made of it: Caligula, grieving after the death of his sister and lover Drusilla, understands the absurdity of life. By means of the power he has he rejects violently all forms of human kindness. He forces logic to such an extent that it becomes absurd. Caligula understands that by destroying others, he’s destroying himself too. This is his form of suicide to avoid the absurdity of life. A genuine classic tragedy.
Camus wrote this play shortly before the Second World War started, published it during the war and it was premiered only after it. I find it impossible not to think Camus wrote about Caligula bearing Hitler in mind. Reading this play now, early 2025, I found it impossible to read this play not bearing in mind the leader who changes the world radically right at this moment, namely Donald Trump. The ‘Confirmation bias’ I mentioned proved to work once again. Some of the dialogues sounded as if they were taken from current CNN reports. Obviously, any resemblance between president Trump and Caligula is just the product of the ‘Confirmation bias’ of my own mind. I could have chosen Putin, Netanyahu, Orban or any other world leader just as well. I wonder whom would you think about when you read the quotes bellow and the play!
Is this play absurd, reality or both? I guess it will always stay eerie and relevant!
Quotes
President Donald Trump, right, watches the launch of a SpaceX Falcon 9 rocket, May 30th, 2020, via Wikimedia Commons
President Donald Trump signs an Executive Order on the Administration’s tariff plans, April 2nd, 2025, via Wikimedia Commons
President Trump and Vice President JD Vance clash with Ukrainian President Zelensky during meeting in Oval Office, February 28th, 2025, via Wikimedia Commons
Both these brilliant plays were written to demonstrate Camus idea of the absurdity of human existence: Life according to Camus is a Sisyphean task. Human beings are rational creatures who are confronted with a pointless world. There’s no reason to go through with life and yet we all do. Suicide and hope are attempts to avoid this absurdity. The absurdity of life is that living it means giving up hope, yet we do keep searching for it.
When I gave this a thought I realised that this absurdity exists because people find what they are looking for even though it doesn’t exist or not to the full extent. This cognitive ’Confirmation bias’ explains this mechanism: Our brains are made for wishful thinking. In a certain way that’s absurd too.
I had to think of this ‘Confirmation bias’ when I read this book because just before I started reading it I was referring to it when I commented on a review my Goodreads friend Fionnuala wrote about a book called You Dreamed of Empires. If I’m not mistaken, while she read that book she was thinking of the Aristotelian unities of drama (the unities of action, time and place) and then she found that that book was written indeed according to these unities. This may explain why I was searching for these classical unities while I read Camus’ book too. And indeed, both these plays are modelled according to these unities! Just now, while writing this review, I’ve noticed another interesting link between the name of the book she read and this one: Isn’t ‘You Dreamed of Empires’ something someone could have said to Caligula? One finds what one searches for…
Before elaborating my thoughts of each one of these plays, I must say that these are the first plays by Camus I ever read. What a wonderful discovery! These two plays are totally different superb tragedies. Camus adapts well-known stories to show what he wants to show. Apparently he was extremely talented not only in constructing the plot, but in developing the dialogues just as well. The overwhelming dialogues Camus wrote make these plays extremely powerful.
Le malentendu
If you don’t mind, I prefer to write first about the second play in this book…
The crime scene (That’s what this play is about!) is a small countryside hotel, managed by 2 women, a mother and a daughter, assisted by an old servant. The arriving guest turns out to be the son who left the village long ago. His wife waits for him nearby. I’m not going to say anything more about the plot to avoid spoiling your pleasure of reading it. Let me just say that in a certain way it could have been a story by Agatha Christie just as well...
When I read the name of this play, ‘The Misunderstanding’, the first thing that came into my mind was O. Henry’s famous heartbreaking story The Gift of the Magi: Della and Jim, a young married couple who are terribly in love and terribly poor, want to buy each other a Christmas gift. To make the long story short: Della sells her beautiful long hair to buy a chain for Jim’s gold pocket watch while Jim sells his gold pocket watch to buy combs for Della’s hair… Bearing the ‘Confirmation bias’ in mind, I obviously searched for signs that ‘Le malentendu’ resembles ‘The Gift of the Magi’, not knowing if Camus ever heard of O. Henry’s story. This play is certainly about a tragic misunderstanding too. The characters presume things about each other while having their own secretes, expectations and wishes. Unlike ‘The Gift of the Magi’ the characters of this play do not get closer to each other...
A plot including a son coming home after many years of absence obviously made me think of the famous ‘Parable of the Prodigal Son’ too. Once again the ‘Confirmation bias’ helped me finding similarities, but just like the likeness with ‘The Gift of the Magi’, Camus pulls our leg: The son is not poor and they certainly don’t live happily ever after. There’s no happy end… A happy end is impossible, since our lives are absurd…
Quotes
'LA MÈRE: ...Et il est vrai qu'apparemment la vie est plus cruelle que nous. C'est peut-être pour cela que j'ai du mal à me sentir coupable.' p.162-3
'MARTHA: Oui, j'en ai assez de porter toujours mon âme, j'ai hâte de trouver ce pays où le soleil tue les questions. Ma demeure n'est pas ici.' p.163-164
'MARIA: Tu sais bien que ce n'était pas difficile et qu'il suffisait de parler. Dans ces cas-là, on dit: C'est moi, et tout rentre dans l'ordre.' p.166
‘JAN, a prend au visage et sourit.:Cela est vrai, Maria. Mais quoi, regarde-moi, je ne suis pas si menacé. Je fais ce que je veux et j'ai le cœur en paix. Tu me confies pour une nuit à ma mère et à ma sœur, ce n'est pas si redoutable.' p.174
'MARTHA: Alors, je vous le jure, ce salut est entre nos mains. Mère, nous devons nous décider. Ce sera ce soir ou ce ne sera pas.' p.194
'JAN: il faut donc m'en réjouir. Mais sans doute comprendrez-vous que tout ici me paraisse singulier, le langage et les êtres. Cette maison est vraiment étrange.
MARTHA: Peut-être est-ce seulement que vous vous y conduisez de façon étrange.' p.206
'MARTHA: Mère... (Elle hésite, puis avec feu.) Suis-je encore belle?
LA MÈRE: Tu l'es, ce matin. Le crime est beau.' p.224
Eduardo Pola’s drawing ‘Albert Camus’, 2007, via Wikimedia Commons
Caligula
The plot of the first play of this book is exactly what I expected it to be: The story of the rise and fall of Caligula, the famous cruel Roman emperor. The poinst is what Camus made of it: Caligula, grieving after the death of his sister and lover Drusilla, understands the absurdity of life. By means of the power he has he rejects violently all forms of human kindness. He forces logic to such an extent that it becomes absurd. Caligula understands that by destroying others, he’s destroying himself too. This is his form of suicide to avoid the absurdity of life. A genuine classic tragedy.
Camus wrote this play shortly before the Second World War started, published it during the war and it was premiered only after it. I find it impossible not to think Camus wrote about Caligula bearing Hitler in mind. Reading this play now, early 2025, I found it impossible to read this play not bearing in mind the leader who changes the world radically right at this moment, namely Donald Trump. The ‘Confirmation bias’ I mentioned proved to work once again. Some of the dialogues sounded as if they were taken from current CNN reports. Obviously, any resemblance between president Trump and Caligula is just the product of the ‘Confirmation bias’ of my own mind. I could have chosen Putin, Netanyahu, Orban or any other world leader just as well. I wonder whom would you think about when you read the quotes bellow and the play!
Is this play absurd, reality or both? I guess it will always stay eerie and relevant!
Quotes
'CALIGULA: Oui, je voulais la lune.
HÉLICON: Ah!
Silence.
Hélicon se rapproche.
Pour quoi faire?
CALIGULA: Eh bien!... C'est une des choses que je n'ai pas.' p.24
President Donald Trump, right, watches the launch of a SpaceX Falcon 9 rocket, May 30th, 2020, via Wikimedia Commons
'CALIGULA: Tu penses que je suis fou.
HÉLICON: Tu sais bien que je ne pense jamais. Je suis bien trop intelligent pour ça.' p.25
'CALIGULA: ...Ce monde, tel qu'il est fait, n'est pas supportable. J'ai donc besoin de la lune, ou du bonheur, ou de l'immortalité, de quelque chose qui soit dément peut-être, mais qui ne soit pas de ce monde.' p.26
'CALIGULA: Écoute-moi bien, imbécile. Si le Trésor a de l'importance, alors la vie humaine n'en a pas.' p.34
President Donald Trump signs an Executive Order on the Administration’s tariff plans, April 2nd, 2025, via Wikimedia Commons
'CALIGULA: Justement! il s'agit de ce qui n'est pas possible, ou plutôt il s'agit de rendre possible ce qui ne l'est pas.' p.36
'CALIGULA: Pardonnez-moi, mais les affaires de l'État, elles aussi, sont pressantes. Intendant, tu feras fermer les greniers publics. Je viens de signer le décret. Tu le trouveras dans la chambre.
L'INTENDANT: Mais...
CALIGULA: Demain, il y aura famine.' p.65
'CALIGULA: Ne me remercie pas. C'est tout naturel. Tiens (Il lui tend une fiole et aimablement.) Bois ce poison.' p.72
President Trump and Vice President JD Vance clash with Ukrainian President Zelensky during meeting in Oval Office, February 28th, 2025, via Wikimedia Commons
CALIGULA: Si peu, Scipion, vraiment. Sais-tu combien de guerres j'ai refusées?
SCIPION: Non.
CALIGULA: Trois. Et sais-tu pourquoi je les ai refusées?
SCIPION: Parce que tu fais fi de la grandeur de Rome.
GALIGULA: Non, parce que je respecte la vie humaine.' p.95-96
'CHEREA, sans broncher.: Connaissez-vous le mot favori de Caligula?
LE VIEUX PATRICIEN, prêt aux larmes.: Oui. Il le dit au bourreau: "Tue-le lentement pour qu'il se sente mourir."
CHEREA: Non, c'est mieux. Après une exécution, il bâille et dit avec sérieux : "Ce que j'admire le plus, c'est mon insensibilité."' p.122-123
September 12, 2016
اولین تجربهی کتاب به زبان فرانسه خواندن من، چالشبرانگیز و لذتبخش بود. خالی از ملال هم نبود؛ ملال بررسیدن مدام کلمهها در واژهنامه و یأس از فهمیدن بعضی ساختها و جملهها، و اتکای بسیارم به متن ترجمه شده (به فارسی و انگلیسی).
درمورد ترجمهها لازم است بگویم که ترجمهی پری صابری از کالیگولا بسیار بد بود، پر از بدفهمی و حذف. جاهایی مشخص بود که بعضی ساختهای فرانسوی را نمیداند. ترجمهی زندهیاد نجفی اما بسیار خوب بود و لحن را هم درآورده بود. ترجمهی خشایار دیهیمی از سوءتفاهم اما به من نچسبید. مواردی از حذف جمله (که مشخصا به دلیل زبانندانی بود نه ممیزی و امثاله) که در ترجمهی بیگانه هم به چشمم خورده بود در کتاب یافتم. اما از آن آزاردهندهتر این بود که لحن را حفظ نکرده بود. کمترینش این که بسیاری جاها vous را "تو" ترجمه کرده بود که از تنش صحنه میکاست. ترجمهای نبود مناسب نثر کامو.
و اما خود نمایشنامهها. من مجذوب کامو هستم. مدام در ذهنم روایتهایش را بازآفرینی میکنم و برای تفسیرهایم فرامتن میآفرینم؛ تقریبا همین روند تفسیر من را به ادبیات غرب علاقهمند میکند. دلم میخواهد بیشتر از او و اندیشههایش بخوانم.
درمورد ترجمهها لازم است بگویم که ترجمهی پری صابری از کالیگولا بسیار بد بود، پر از بدفهمی و حذف. جاهایی مشخص بود که بعضی ساختهای فرانسوی را نمیداند. ترجمهی زندهیاد نجفی اما بسیار خوب بود و لحن را هم درآورده بود. ترجمهی خشایار دیهیمی از سوءتفاهم اما به من نچسبید. مواردی از حذف جمله (که مشخصا به دلیل زبانندانی بود نه ممیزی و امثاله) که در ترجمهی بیگانه هم به چشمم خورده بود در کتاب یافتم. اما از آن آزاردهندهتر این بود که لحن را حفظ نکرده بود. کمترینش این که بسیاری جاها vous را "تو" ترجمه کرده بود که از تنش صحنه میکاست. ترجمهای نبود مناسب نثر کامو.
و اما خود نمایشنامهها. من مجذوب کامو هستم. مدام در ذهنم روایتهایش را بازآفرینی میکنم و برای تفسیرهایم فرامتن میآفرینم؛ تقریبا همین روند تفسیر من را به ادبیات غرب علاقهمند میکند. دلم میخواهد بیشتر از او و اندیشههایش بخوانم.
October 27, 2015
Of the two plays in this book, I found Le malentendu (the misunderstood/the misunderstanding) to be the most gripping. Indeed, it ranks among the finest plays I have ever read. The feeling one gets while reading the play is the same one finds in the archetypal Greek tragedies, a sense of relentless descent into ruin that is incredibly powerful, and at the same time deeply unsettling, yet beautiful. The play is not without its surreal moments too; the character of the servant, who never speaks, would doubtless be more effective on stage, but remains a powerful presence even in print.
August 6, 2013
Du théâtre ? Ce n'est pas vraiment mon genre, mais comme ça vient du cher Camus, ça vaut le coup.
Comme toujours, de l'ironie, du sarcasme, de la critique, de l'absurdité et des nouvelles définitions pour la vie, la mort, l'amour, la douleur et le pouvoir.
Des citations à noter:
* "C'est parce qu'on ne le tient jamais jusqu'au bout que rien n'est obtenu."
* "Gouverner, c'est voler, tout le monde sait ça. Mais il y a la manière."
* "Tu es d'un autre monde. Tu es pur dans le bien, comme je suis pur dans le mal."
* "La solitude! Tu la connais, toi, la solitude? Celle des poètes et des impuissants. La solitude? Ah! Tu ne sais pas que seul, on ne l'est jamais! Et que partout le même poids d'avenir et de passé nous accompagne! "
* "Et quand on a perdu, il faut toujours payer."
* "Je voudrais seulement te voir guérir, toi qui es encore un enfant. Toute une vie devant toi! Et que demandes-tu donc qui soit plus grand que toute ma vie?"
* "Le bonheur est généreux. Il ne vit pas de destruction."
* "Il y a eu un temps où je croyais avoir atteint l'extrémité de la douleur. Et bien! non, on peut encore aller plus loin. Au bout de cette contrée, c'est un bonheur stérile et magnifique."
* "Cette nuit est lourde comme la douleur humaine."
Comme toujours, de l'ironie, du sarcasme, de la critique, de l'absurdité et des nouvelles définitions pour la vie, la mort, l'amour, la douleur et le pouvoir.
Des citations à noter:
* "C'est parce qu'on ne le tient jamais jusqu'au bout que rien n'est obtenu."
* "Gouverner, c'est voler, tout le monde sait ça. Mais il y a la manière."
* "Tu es d'un autre monde. Tu es pur dans le bien, comme je suis pur dans le mal."
* "La solitude! Tu la connais, toi, la solitude? Celle des poètes et des impuissants. La solitude? Ah! Tu ne sais pas que seul, on ne l'est jamais! Et que partout le même poids d'avenir et de passé nous accompagne! "
* "Et quand on a perdu, il faut toujours payer."
* "Je voudrais seulement te voir guérir, toi qui es encore un enfant. Toute une vie devant toi! Et que demandes-tu donc qui soit plus grand que toute ma vie?"
* "Le bonheur est généreux. Il ne vit pas de destruction."
* "Il y a eu un temps où je croyais avoir atteint l'extrémité de la douleur. Et bien! non, on peut encore aller plus loin. Au bout de cette contrée, c'est un bonheur stérile et magnifique."
* "Cette nuit est lourde comme la douleur humaine."
April 3, 2021
'Caligula' is an impressive play, both in terms of content and structure. As one could guess the theme of madness is pivotal; Camus is a bit in line of Pirandello here (Hendrik IV). But there's also the theme of power politics and its dubious relation to truth, a very postmodern twist.
The other play, 'Malentendu' (The Misunderstanding) is much weaker in content, and it has a bit of an artificial buildup.
The other play, 'Malentendu' (The Misunderstanding) is much weaker in content, and it has a bit of an artificial buildup.
January 9, 2018
Of the two plays, I enjoyed « Le malentendu » the most. How could I not love the final part? Probably one of my top favorite plays. So that’s why I’m giving it 5 stars.
October 2, 2022
CALIGULA:
Following the loss of a woman he loved (literally his sister, but okay-), Caligula undergoes a profound personality change. Aware of the lack of limits his power gives him, Caligula brings total terror to his people. He kills, humiliates, steals and despises everyone.
Everyone is terrified and bows to this tyrant. Moreover, Caligula adapts the tortures according to the anguish of the people (quite perverse).
However, two men resist this regime: Scipio, a poet, and Cherea ready to form a rebellion.
Totalitarian power is thus described; everyone, whether guilty or not, is at fault, like Mereia who will be executed after an indictment based on multiple sophisms.
Facing the tyrant, Cherea represents reason and lucid rebellion; he remains honest and faithful to his principles, until the final crime.
THE MISUNDERSTANDING:
Two women, mother and daughter, run an inn in a small town.
One day, a young man, Jan, arrives with his wife, Maria, in this small town. Jan, wanting to surprise his mother and sister Martha, decided to spend a night in his mother's inn discreetly and unaccompanied.
However, the mother and the daughter have the habit of killing the customer, taking his money and then getting rid of the corpse.
The next day, Maria, cannot find her husband so she goes to the inn and explains that the customer was their son and brother.
The two women thus committed quite the unforgivable.
Following the loss of a woman he loved (literally his sister, but okay-), Caligula undergoes a profound personality change. Aware of the lack of limits his power gives him, Caligula brings total terror to his people. He kills, humiliates, steals and despises everyone.
Everyone is terrified and bows to this tyrant. Moreover, Caligula adapts the tortures according to the anguish of the people (quite perverse).
However, two men resist this regime: Scipio, a poet, and Cherea ready to form a rebellion.
Totalitarian power is thus described; everyone, whether guilty or not, is at fault, like Mereia who will be executed after an indictment based on multiple sophisms.
Facing the tyrant, Cherea represents reason and lucid rebellion; he remains honest and faithful to his principles, until the final crime.
THE MISUNDERSTANDING:
Two women, mother and daughter, run an inn in a small town.
One day, a young man, Jan, arrives with his wife, Maria, in this small town. Jan, wanting to surprise his mother and sister Martha, decided to spend a night in his mother's inn discreetly and unaccompanied.
However, the mother and the daughter have the habit of killing the customer, taking his money and then getting rid of the corpse.
The next day, Maria, cannot find her husband so she goes to the inn and explains that the customer was their son and brother.
The two women thus committed quite the unforgivable.
August 18, 2025
Denk dat ik na Les Justes geen enkel toneel van Camus meer even beklijvend kan vinden, maar van beide genoten. Stel je voor dat je Casares als Martha kon zien in de jaren ‘40. Denk dat ik nog één Camus heb liggen (niets bijzonders) en mijn voorraad daarna is uitgeput
December 15, 2016
اين دنيا بدون اهميت است و هركس كه اين مسئله را دريابد، آزادى خود را بدست مى آورد.
بخصوص من براى اين از شما بيزارم كه آزاد نيستيد.
در تمام امپراتورى اين تنها من هستم كه آزادم. شادى كنيد؛ بالاخره براى شما امپراطورى آمد كه به شما آزادى را تعليم دهد
برويد "دوستى من را به خنده مى اندازد"
برويد به رُم خبر دهيد كه بالاخره آزادى آن، باو باز گردانده شد وبا آن آزمايش بزرگى آغاز شد.
.....
تو نميدانى كه انسان در تنهايى هرگز تنها نيست و اينكه همه جا همان سنگينى آينده و گذشته بهمراه ماست. موجوداتى كه كشته ايم با ما هستند و در مورد آنها بازهم آسان هستند. اما آنهايى كه دوست داشته ايد، آنهايى كه دوست نداشته ايد و شما را دوست داشته اند، شكايت، ميل ،تلخى، شيرينى، فواحش و اراذل خدايان
تنها؛ آه، اگر لااقل بجاى اين تنهايى كه من دارم و از حضور زهرآگين است، مى توانستم طعم تنهايى واقعى، سكوت و ارتعاش يك درخت را بچشم
تنهايى! اما نه، تنهايى من از سايش دندانها و طنين كامل جنجالها و فريادهاى گمشده پر از هياهو است.
بخصوص من براى اين از شما بيزارم كه آزاد نيستيد.
در تمام امپراتورى اين تنها من هستم كه آزادم. شادى كنيد؛ بالاخره براى شما امپراطورى آمد كه به شما آزادى را تعليم دهد
برويد "دوستى من را به خنده مى اندازد"
برويد به رُم خبر دهيد كه بالاخره آزادى آن، باو باز گردانده شد وبا آن آزمايش بزرگى آغاز شد.
.....
تو نميدانى كه انسان در تنهايى هرگز تنها نيست و اينكه همه جا همان سنگينى آينده و گذشته بهمراه ماست. موجوداتى كه كشته ايم با ما هستند و در مورد آنها بازهم آسان هستند. اما آنهايى كه دوست داشته ايد، آنهايى كه دوست نداشته ايد و شما را دوست داشته اند، شكايت، ميل ،تلخى، شيرينى، فواحش و اراذل خدايان
تنها؛ آه، اگر لااقل بجاى اين تنهايى كه من دارم و از حضور زهرآگين است، مى توانستم طعم تنهايى واقعى، سكوت و ارتعاش يك درخت را بچشم
تنهايى! اما نه، تنهايى من از سايش دندانها و طنين كامل جنجالها و فريادهاى گمشده پر از هياهو است.
April 26, 2024
sin mas. le malentendu geyo gustau zait. caligula doa erromako enperadore zoro ta tirano bati buruz nun iteun dena bere tristurakin justifikatzeun. ez daka ezerk zentzua. le malentendu doa hostel moduko baten jabe dian ama bat ta bere alabai buruz. alabak eztu nahi hor bizitzen jarraitu, ordun erabakitzeue beayen hostalea etortzean bakoitza hil ta dakan dirua hartzia hortik alde in ahal izateko. bukaera dexente epikua da. kontatzeitun gauza batzuk guapo daude, beste gauza batzuk ez hainbeste. sinmas klasiko bati tick itiatik irakurriet ta aber frantseseko c1 aprobatzeten. zorte on juni
May 27, 2025
Le malentendu juste exceptionnel j'ai pas les mots
"Et cette maison, en effet, n'est pas la sienne, mais c'est qu'elle n'est celle de personne. Et personne n'y trouvera jamais l'abandon ni la chaleur. S'il avait compris cela plus vite, il se serait épargné et nous aurait évité d'avoir à lui apprendre que cette chambre est faite pour qu'on y dorme et ce monde pour qu'on y meurt"
"Et cette maison, en effet, n'est pas la sienne, mais c'est qu'elle n'est celle de personne. Et personne n'y trouvera jamais l'abandon ni la chaleur. S'il avait compris cela plus vite, il se serait épargné et nous aurait évité d'avoir à lui apprendre que cette chambre est faite pour qu'on y dorme et ce monde pour qu'on y meurt"
July 2, 2017
Des pièces merveilleusement noir et captivantes, une lecture superbe!
January 11, 2014
Le Malentendu est une pièce assez médiocre. La fin se devine dès les premières scènes : tout repose donc sur l'évolution psychologique des personnages. Or aucun personnage n'a d'épaisseur psychologique. Que veut nous dire Camus ? Que la vie est absurde ? Ou bien veut-il seulement nous amuser avec une petite histoire d'humour noir ?
Caligula est d'une autre tenue et une pièce plus ambitieuse. Ce qu'elle dit de la cour, des politiques, de la veulerie des patriciens devant le monarque reste actuel. Le personnage de Caligula, ses motivations, sa quête d'absolu et ses conclusions effarantes retiennent l'attention.
Cherea est sans doute le caractère qui porte la pensée de Camus.
Mais le personnage le plus intéressant, à mon avis, est Hélicon. Il est aussi le plus attachant.
Cette pièce est profondément datée dans le contexte historique des années 30 et 40 . Caligula n'est en rien Hitler mais Hitler pose la question du pouvoir meurtrier et de la résistance.
Aujourd'hui nos problématiques politiques et sociétales sont autres. Nous avons touché cette lune qu'Helicon ne pouvait rapporter à Caligula, et le pouvoir n'est plus dans la main du souverain mais dans la conjonction de forces diverses.
Caligula est d'une autre tenue et une pièce plus ambitieuse. Ce qu'elle dit de la cour, des politiques, de la veulerie des patriciens devant le monarque reste actuel. Le personnage de Caligula, ses motivations, sa quête d'absolu et ses conclusions effarantes retiennent l'attention.
Cherea est sans doute le caractère qui porte la pensée de Camus.
Mais le personnage le plus intéressant, à mon avis, est Hélicon. Il est aussi le plus attachant.
Cette pièce est profondément datée dans le contexte historique des années 30 et 40 . Caligula n'est en rien Hitler mais Hitler pose la question du pouvoir meurtrier et de la résistance.
Aujourd'hui nos problématiques politiques et sociétales sont autres. Nous avons touché cette lune qu'Helicon ne pouvait rapporter à Caligula, et le pouvoir n'est plus dans la main du souverain mais dans la conjonction de forces diverses.
April 21, 2017
This was my first existentialist-absurdist read and I was very excited about it, but by the end of the work, I realised that I am a person who requires reason, meaning, something solid to grasp, while Caligula himself, as a character, as well as the king to his subjects, and the text, all evade that grasp for meaning and I don't think I can work with that.
The text, however, is quite good, the way Caligula deals with the absurd, questions everything around him and evades capture, his use of reason and double binds, all these things fascinated me.
But his obsession with the moon, and achieving the impossible wasn't something I could understand. And I realised that that is where this stops working for me.
Also, since the text evades analysis or a fixture of meaning, my friends suggested that texts such as these should not be taught and prescribed for literature students to analyse as it defeats the whole purpose of the existence of the text itself, and I quite agree.
However, I'd like if people gave this a try and saw how comfortable they are with this genre or not.
The text, however, is quite good, the way Caligula deals with the absurd, questions everything around him and evades capture, his use of reason and double binds, all these things fascinated me.
But his obsession with the moon, and achieving the impossible wasn't something I could understand. And I realised that that is where this stops working for me.
Also, since the text evades analysis or a fixture of meaning, my friends suggested that texts such as these should not be taught and prescribed for literature students to analyse as it defeats the whole purpose of the existence of the text itself, and I quite agree.
However, I'd like if people gave this a try and saw how comfortable they are with this genre or not.
July 27, 2020
Caligula est passionant, difficile de ne pas continuer sa lecture d'une traite. ce livre raconte la folie de l'empereur cruel Caligula. Albert Camus en profite surtout pour aborder à travers des tirades incroyables et mémorable, le sujet de sa reflexion, l'absurdité de la vie et ses conséquences. Bref, je recommande beaucoup !
Je suis moins rentré dans Le Malentendu, plus "classique", cette pièce essaye aussi d'aborder le sujet de l'absurdité de la vie. Mais sa structure en trois actes, très proche de la dramartugie de la Grèce Antique, dessert son impact sur le lecteur.
Je suis moins rentré dans Le Malentendu, plus "classique", cette pièce essaye aussi d'aborder le sujet de l'absurdité de la vie. Mais sa structure en trois actes, très proche de la dramartugie de la Grèce Antique, dessert son impact sur le lecteur.
February 13, 2022
"Sans doute, ce n'est pas la première fois que, chez nous, un homme dispose d'un pouvoir sans limites, mais c'est la première fois qu'il s'en sert sans limites, jusqu'à nier l'homme et le monde. Voilà ce qui m'effraie en lui et que je veux combattre. Perdre la vie est peu de chose et j'aurai ce courage quand il faudra. Mais voir se dissiper le sens de cette vie, disparaître notre raison d'exister, voilà ce qui est insupportable. On ne peut vivre sans raison."
July 9, 2022
4 for Caligula, 2 for Le Malentendu
June 5, 2022
"HÉLICON - Te voilà bien fier, hein ? Oui, je sers un fou. Mais toi, qui sers-tu ? La vertu ? je vais te dire ce que j’en pense. Je suis né esclave. Alors, l’air de la vertu, honnête homme, je l’ai d’abord dansé sous le fouet. Caïus, lui, ne m’a pas fait de discours. Il m’a affranchi et pris dans son palais. C’est ainsi que j’ai pu vous regarder, vous les vertueux. Et j’ai vu que vous aviez sale mine et pauvre odeur, l’odeur fade de ceux qui n’ont jamais rien souffert ni risqué. J’ai vu les drapés nobles, mais l’usure au cœur, le visage avare, la main fuyante. Vous, des juges ? Vous qui tenez boutique de vertu, qui rêvez de sécurité comme la jeune fille rêve d’amour, qui allez pourtant mourir dans l’effroi sans même savoir que vous avez menti toute votre vie, vous vous mêleriez de juger celui qui a souffert sans compter, et qui saigne tous les jours de mille nouvelles blessures ?"
Caligula *****
Le Malentendu ***
Caligula *****
Le Malentendu ***
November 9, 2023
La fin du cycle de l’absurde, et déjà les prémices d’un cycle sur l’amour qui n’arrivera jamais.
Caligula devient tyran parce qu’il pleure la mort de sa bien-aimée. Jan provoque le pire des malentendus parce qu’il veut retrouver du fond de son cœur sa mère et sa sœur. Amour d’une femme, amour d’une famille. (« La société a besoin des gens qui pleurent à l’enterrement de leur mère ; ou bien on n’est jamais condamné pour le crime qu’on croit », Carnets IV). Amour dont on préviendra Caligula qu’il ne parviendra pas à s’en échapper. « Tu ne pourras pas nier l’amour ».
Et bien que le remède à l’absurde soit pour Camus la révolte, ici, aucune fin ne l’aperçoit encore sauf peut-être Maria priant le Seigneur dans une imploration finale qui lui est d'ailleurs refusée par le "Non !" sec et inattendu du majordome spectateur. Alors la mort. Mais pas le suicide, certes « problème philosophique le plus sérieux », mais dénouement impossible. Sauf pour les meurtriers, les mauvais.
Les prémices de l’amour et les prémices de la révolte.
Caligula devient tyran parce qu’il pleure la mort de sa bien-aimée. Jan provoque le pire des malentendus parce qu’il veut retrouver du fond de son cœur sa mère et sa sœur. Amour d’une femme, amour d’une famille. (« La société a besoin des gens qui pleurent à l’enterrement de leur mère ; ou bien on n’est jamais condamné pour le crime qu’on croit », Carnets IV). Amour dont on préviendra Caligula qu’il ne parviendra pas à s’en échapper. « Tu ne pourras pas nier l’amour ».
Et bien que le remède à l’absurde soit pour Camus la révolte, ici, aucune fin ne l’aperçoit encore sauf peut-être Maria priant le Seigneur dans une imploration finale qui lui est d'ailleurs refusée par le "Non !" sec et inattendu du majordome spectateur. Alors la mort. Mais pas le suicide, certes « problème philosophique le plus sérieux », mais dénouement impossible. Sauf pour les meurtriers, les mauvais.
Les prémices de l’amour et les prémices de la révolte.
March 4, 2021
Caligula : 3.5 stars
Le Malentendu : 4 stars
Le Malentendu : 4 stars
July 5, 2023
Les pièces de Camus, c'est des masterclass trop sous-côtées.
March 21, 2024
ça m'a donné envie de lire plus de théâtre, le Malentendu était très surprenant mais positivement
October 16, 2024
4,5 sterren
Read
October 19, 2025le malentendu, o un Edipo inverso
March 30, 2024
Camus my beloved
May 3, 2024
La légende dit qu'Hélicon cherche toujours la Lune
July 4, 2019
وبعدين ؟
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