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Khung cửa hẹp
Ai đẩy Thuý Kiều vào lầu xanh? Ai xô Alissa vào khung cửa hẹp? Định mệnh hay nghi ngẫu? Hoàn cảnh xã hội, tư tưởng tôn giáo, hay ý thức quyết tuyển tự do của con người, hay tâm thức của thiên tài sáng tác? Hay mọi thứ đó phối hợp?
Ta tạm nói theo lối hồ đồ: chính Nguyễn Du đã đẩy Kiều vào lầu xanh; chính Gide đã xô Alissa vào khung cửa hẹp. Để làm gì?
Vào phong trần, Thuý Kiều té sấp ngửa, mình mẩy đầy bụi, xiêm áo đảo điên, bị tước đoạt mọi quyền sống, chính khi đó Nguyễn Du lại đề huề đưa đức lý công thức ra khuyên giải; nhưng tại sao trong lời tương nhượng ôn tồn, bỗng dưng toàn thể vấn đề tư tưởng được đặt trở lại với xã hội Á Đông?
Bước vào khung cửa hẹp băng tuyết, nằm chết lạnh giữa niềm trinh bạch cóng giá chơi vơi, tiếng than dài của Alissa bỗng báo hiệu cho xã hội Tây Phương biết rằng họ đã sống dở chết dở, suốt hai nghìn năm. Nghĩa là kể từ ngày những tiếng nói dậy từ nguồn sống thiên thu bị nhân gian hiểu theo lối hẹp hòi công thức.
Đứng ở bình diện tư tưởng khác, chúng ta lại còn nghe ra ngôn ngữ hư vô bàng bạc. Gide cũng như Nguyễn Du đều suy tưởng lẽ hư vô đến tột vời, vàcònđixa hơn 1 hơn những thiên tài như Neitzsche, nhìn thấy chân trời phối hợp của hư vô và vĩnh thể, bắt gặp Lão Tử, Thích Ca, Perménide, Homère aède Hy-Lạp và người dân quê Việt Nam.
Gió đưa cơn buồn ngủ lên bờ
Nhà khung cửa hẹp có ai ngờ chi không?
Và lời tựa đến đây chưa có kết thúc. Tuy nhiên, cũng có thể kết thúc bằng lục bát thạch lựu mùa hè:
Lựu hoa đầu ngõ lập lòe
Dưới hoa quyên đã gọi hè thế ru
Trong hoa phát tiết sa mù
Mùa dâng nhị bội sương phù du tuôn.
Bùi Giáng
Ta tạm nói theo lối hồ đồ: chính Nguyễn Du đã đẩy Kiều vào lầu xanh; chính Gide đã xô Alissa vào khung cửa hẹp. Để làm gì?
Vào phong trần, Thuý Kiều té sấp ngửa, mình mẩy đầy bụi, xiêm áo đảo điên, bị tước đoạt mọi quyền sống, chính khi đó Nguyễn Du lại đề huề đưa đức lý công thức ra khuyên giải; nhưng tại sao trong lời tương nhượng ôn tồn, bỗng dưng toàn thể vấn đề tư tưởng được đặt trở lại với xã hội Á Đông?
Bước vào khung cửa hẹp băng tuyết, nằm chết lạnh giữa niềm trinh bạch cóng giá chơi vơi, tiếng than dài của Alissa bỗng báo hiệu cho xã hội Tây Phương biết rằng họ đã sống dở chết dở, suốt hai nghìn năm. Nghĩa là kể từ ngày những tiếng nói dậy từ nguồn sống thiên thu bị nhân gian hiểu theo lối hẹp hòi công thức.
Đứng ở bình diện tư tưởng khác, chúng ta lại còn nghe ra ngôn ngữ hư vô bàng bạc. Gide cũng như Nguyễn Du đều suy tưởng lẽ hư vô đến tột vời, vàcònđixa hơn 1 hơn những thiên tài như Neitzsche, nhìn thấy chân trời phối hợp của hư vô và vĩnh thể, bắt gặp Lão Tử, Thích Ca, Perménide, Homère aède Hy-Lạp và người dân quê Việt Nam.
Gió đưa cơn buồn ngủ lên bờ
Nhà khung cửa hẹp có ai ngờ chi không?
Và lời tựa đến đây chưa có kết thúc. Tuy nhiên, cũng có thể kết thúc bằng lục bát thạch lựu mùa hè:
Lựu hoa đầu ngõ lập lòe
Dưới hoa quyên đã gọi hè thế ru
Trong hoa phát tiết sa mù
Mùa dâng nhị bội sương phù du tuôn.
Bùi Giáng
190 pages, Paperback
First published January 1, 1909
205 people are currently reading
7362 people want to read
About the author
André Gide
905 books1,729 followersDiaries and novels, such as
The Immoralist
(1902) and
Lafcadio's Adventures
(1914), of noted French writer André Gide examine alienation and the drive for individuality in an often disapproving society; he won the Nobel Prize of 1947 for literature.
André Paul Guillaume Gide authored books. From beginnings in the symbolist movement, career of Gide ranged to anticolonialism between the two World Wars.
Known for his fiction as well as his autobiographical works, Gide exposes the conflict and eventual reconciliation to public view between the two sides of his personality; a straight-laced education and a narrow social moralism split apart these sides. One can see work of Gide as an investigation of freedom and empowerment in the face of moralistic and puritan constraints, and it gravitates around his continuous effort to achieve intellectual honesty. His self-exploratory texts reflect his search of full self, even to the point of owning sexual nature without betraying values at the same time. After his voyage of 1936 to the Union of Soviet Socialist Republics, the same ethos informs his political activity, as his repudiation of Communism suggests.
Chinese 安德烈·纪德
André Paul Guillaume Gide authored books. From beginnings in the symbolist movement, career of Gide ranged to anticolonialism between the two World Wars.
Known for his fiction as well as his autobiographical works, Gide exposes the conflict and eventual reconciliation to public view between the two sides of his personality; a straight-laced education and a narrow social moralism split apart these sides. One can see work of Gide as an investigation of freedom and empowerment in the face of moralistic and puritan constraints, and it gravitates around his continuous effort to achieve intellectual honesty. His self-exploratory texts reflect his search of full self, even to the point of owning sexual nature without betraying values at the same time. After his voyage of 1936 to the Union of Soviet Socialist Republics, the same ethos informs his political activity, as his repudiation of Communism suggests.
Chinese 安德烈·纪德
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Displaying 1 - 30 of 709 reviews
January 3, 2009
Gide said that he meant this book to be treated as one half of a pair, together with L'Immoraliste. I took him at his word and read them in rapid succession. By the way, I should say this was atypical - I'm a "when all else fails, read the instructions" kind of person, but I found both books together at a second-hand bookstore and it seemed silly not to do what he said.
Looking at other reviews, I seem to have a fairly different take on the book, and perhaps my reading route has something to do with it. So, here we have a guy who's in love with this charming girl, Alissa, and is hoping to marry her. Alissa, however, takes it into her head that God doesn't wants her to marry her nice fiancé, but rather to contract a form of anorexia, coupled with depression, which eventually kills her. On the way, she also manipulates her unfortunate sister into marrying someone she doesn't much like, trapping her permanently in a loveless marriage.
Well, if Alissa was someone I knew personally, I wouldn't be rhapsodizing about her moving closeness with the Divine. I'd be trying to get her into therapy as quickly as possible, and meanwhile reading up the literature on religious mania. When I did what Gide suggested, and compared her with the main character in L'Immoraliste, I decided that his take on her wasn't very different from what mine would be in a real situation. He thinks Alissa is falling into one of two possible errors with religion, allowing it to take such a large part in her life that it drives her mad, destroying her and also several people she supposedly cares about. The hero of L'Immoraliste falls into the opposite trap. He rejects religion entirely, living an utterly selfish life which ends up killing his beautiful and loving wife in a particularly horrible way.
So, to sum up both books, I'd say Gide was telling people not to abandon religion - but also not to overdo it, and not to forget to listen to their normal human feelings and their common sense. Pretty balanced advice, in fact.
Looking at other reviews, I seem to have a fairly different take on the book, and perhaps my reading route has something to do with it. So, here we have a guy who's in love with this charming girl, Alissa, and is hoping to marry her. Alissa, however, takes it into her head that God doesn't wants her to marry her nice fiancé, but rather to contract a form of anorexia, coupled with depression, which eventually kills her. On the way, she also manipulates her unfortunate sister into marrying someone she doesn't much like, trapping her permanently in a loveless marriage.
Well, if Alissa was someone I knew personally, I wouldn't be rhapsodizing about her moving closeness with the Divine. I'd be trying to get her into therapy as quickly as possible, and meanwhile reading up the literature on religious mania. When I did what Gide suggested, and compared her with the main character in L'Immoraliste, I decided that his take on her wasn't very different from what mine would be in a real situation. He thinks Alissa is falling into one of two possible errors with religion, allowing it to take such a large part in her life that it drives her mad, destroying her and also several people she supposedly cares about. The hero of L'Immoraliste falls into the opposite trap. He rejects religion entirely, living an utterly selfish life which ends up killing his beautiful and loving wife in a particularly horrible way.
So, to sum up both books, I'd say Gide was telling people not to abandon religion - but also not to overdo it, and not to forget to listen to their normal human feelings and their common sense. Pretty balanced advice, in fact.
January 13, 2022
This took me longer to read than I thought it would when I decided to "quickly zoom through one of those 100-page classics I have on my TBR".
It's not awful, just a little dull and mopey at times. I can't see the great romance some other readers have found in these pages. It is mostly about how religious fervour can be a kind of mental illness that destroys a person from within. Despite being in love with Jerome from childhood, Alissa rejects his marriage proposal and gradually withers away out of some misplaced piety. She sees romantic love as a threat to her relationship with god, and so shuns it.
Pretty dark and interesting concept. A little flowery and woe-is-me in execution.
It's not awful, just a little dull and mopey at times. I can't see the great romance some other readers have found in these pages. It is mostly about how religious fervour can be a kind of mental illness that destroys a person from within. Despite being in love with Jerome from childhood, Alissa rejects his marriage proposal and gradually withers away out of some misplaced piety. She sees romantic love as a threat to her relationship with god, and so shuns it.
Pretty dark and interesting concept. A little flowery and woe-is-me in execution.
March 20, 2022
"...the purest and gentlest words would still have seemed too brutal..."
he is a delicate flower, anxious and yearning, planted carefully in his rarified little garden box. the little flower loves his little world, the neat orderly rows and the carefully chosen colors and the long talks about poetry and scripture and love. the little flower dreams of an abiding love. the gardener has planted another flower alongside him, a girl flower. except this flower is not a real flower, it is but a thing, a lovingly crafted and dainty little creation, subtle and submissive, well-versed in poetry and scripture and so able to converse with ease with the boy flower. and yet she is not a real flower. she is not a real girl. her lack of reality confounds and irritates; even more confounding is the gardener's insistence that this creation of his is a creature that lives. this unliving object is but a toy for the gardener, one that he can make enact his own version of femininity, a puppet that moves from simpering, saintly tease to self-loathing religious mania. he can use this toy to torment the poor little boy flower. he can give it bizarre motives and turn it toxic, harmful to both boy and itself. he can make his toy die, and does, all the better to give the boy flower a broken heart. the poor little boy flower moons over his absent toy, that un-girl, as if he and she ever had a real relationship, as if she were ever even real, and not simply a project of the gardener. the poor little reader can only sigh and roll his eyes at such a sad display.
he is a delicate flower, anxious and yearning, planted carefully in his rarified little garden box. the little flower loves his little world, the neat orderly rows and the carefully chosen colors and the long talks about poetry and scripture and love. the little flower dreams of an abiding love. the gardener has planted another flower alongside him, a girl flower. except this flower is not a real flower, it is but a thing, a lovingly crafted and dainty little creation, subtle and submissive, well-versed in poetry and scripture and so able to converse with ease with the boy flower. and yet she is not a real flower. she is not a real girl. her lack of reality confounds and irritates; even more confounding is the gardener's insistence that this creation of his is a creature that lives. this unliving object is but a toy for the gardener, one that he can make enact his own version of femininity, a puppet that moves from simpering, saintly tease to self-loathing religious mania. he can use this toy to torment the poor little boy flower. he can give it bizarre motives and turn it toxic, harmful to both boy and itself. he can make his toy die, and does, all the better to give the boy flower a broken heart. the poor little boy flower moons over his absent toy, that un-girl, as if he and she ever had a real relationship, as if she were ever even real, and not simply a project of the gardener. the poor little reader can only sigh and roll his eyes at such a sad display.
February 6, 2023
Сентиментальная чушь. Благородная Алиса с глазами, полными невыразимой любви под разными предлогами оттягивает сватовство своего возлюбленного Жерома и отказывается от счастья. Дарит ему аметистовый крестик, чтобы он подарил его своей дочери, но после отказа она попросила похоронить ее с этим крестиком. Ее раздирают противоречия. Не страдая какой-нибудь определенной болезнью, она тихо угасала. Слезы и скорбь. Дневник Алисы так же возвышен – грусть, надуманные страдания по Жерому, размышления о своей «жертве» для счастья Жюльетты (вся жертва заключается в том, чтобы выйти замуж позже сестры). Многострочные излияния о добродетели и вере. Добродетель ей видится, как сопротивление любви, и она признается в софистичности ее утверждений. Едва она оказывается рядом с Жеромом, ее возвышенные желания меркнут и гаснут…
Она переусердствовала в добродетели.
Она переусердствовала в добродетели.
December 15, 2011
This book is been hailed as one of the most sensous and sublime love stories of the 19th century, as well as being one of Andre Gide's most vaunted publications. Me? I have no basis for comment or comparison at this time as this was my first tentative foray into the world of Andre Gide. I don't think it will be my last but I don't think I will be charging out the door to clasp all of his other publications lovingly to my bosom. It also seems a little ironic that a gay Frenchman produced one of the best received and highly praised (but devoutly and notably chaste) novels about the ritual trials and tribulations of heterosexual romance?
Gide was alive and kicking in Paris at a time when you could barely walk down the Avenue des Champs-Elysées without rubbing shoulders with a literary giant, artist or poet. The avant garde and the artistic were practicallly falling over each other and no doubt causing endless obstructions in the bars and backstreets of Paris as the sought out each other for drinking, philosophising, trysting, quaffing absinthe and howling at the moon beneath La Tour Eiffel. Ok, I'm not sure how much of that is true but it is infinitely more interesting to imagine it that way, non?
Ultimately I failed to see the great romance of this book and was more generally struck by how it portrays the unchecked spiral of a young girl who quite clearly has some fairly severe mental health problems. These may or may not have been brought on by all the general "ardent-ness" and love-struck mooning which took place around her. Yes, yes young Jerome is an admirable chap who really does love Alissa in his own naieve and youthfully love-struck way, but with all the too-ing and fro-ing and self sacrifice going on, no one actually turns around for long enough to spot the onset of severe depression with religiously zealous overtones which is clearly manifesting itself in Alissa. That, and I found it a little dull at times.
Nil point for joie de vivre.
Gide was alive and kicking in Paris at a time when you could barely walk down the Avenue des Champs-Elysées without rubbing shoulders with a literary giant, artist or poet. The avant garde and the artistic were practicallly falling over each other and no doubt causing endless obstructions in the bars and backstreets of Paris as the sought out each other for drinking, philosophising, trysting, quaffing absinthe and howling at the moon beneath La Tour Eiffel. Ok, I'm not sure how much of that is true but it is infinitely more interesting to imagine it that way, non?
Ultimately I failed to see the great romance of this book and was more generally struck by how it portrays the unchecked spiral of a young girl who quite clearly has some fairly severe mental health problems. These may or may not have been brought on by all the general "ardent-ness" and love-struck mooning which took place around her. Yes, yes young Jerome is an admirable chap who really does love Alissa in his own naieve and youthfully love-struck way, but with all the too-ing and fro-ing and self sacrifice going on, no one actually turns around for long enough to spot the onset of severe depression with religiously zealous overtones which is clearly manifesting itself in Alissa. That, and I found it a little dull at times.
Nil point for joie de vivre.
October 26, 2011
The worst kind of person is one who uses the love of another to hurt herself, someone (Alissa) who willfully provokes feelings in another (Jerome) then uses them in cheap furtherance of a self-glorifying martyrdom. Make no mistake: the about-face from self-indulgence to self-denial is itself an indulgence--and especially despicable when it makes casualties (Jerome, Juliette) of others. Morality is not algebraic; cessation doesn't undo; and neither human frailty nor youth nor the absence of ill intentions excuse. There are consequences for action and inaction. The narrow way and the strait gate are not attained by such monstrous irresponsibility and thoughtless sacrifice of others.
Pretty writing but enraging subject matter. Some have convincingly argued that there's a larger message to this novella--namely the ill effects of taking religious notions too far--but I don't see any awareness of that in the narrative itself. I guess I have little patience for cautionary tales. Forgive my righteous rant, but I feel as though my emotions have been preyed upon for no good reason, and I've wasted my sick day reading this, and that makes me gra-ha-um-py.
Pretty writing but enraging subject matter. Some have convincingly argued that there's a larger message to this novella--namely the ill effects of taking religious notions too far--but I don't see any awareness of that in the narrative itself. I guess I have little patience for cautionary tales. Forgive my righteous rant, but I feel as though my emotions have been preyed upon for no good reason, and I've wasted my sick day reading this, and that makes me gra-ha-um-py.
August 16, 2011
As with most all of Gide’s best novels, this one concerns the anxiety and yearning at the heart of human experience. A very young Jerome Palissier regularly spends holidays at the house of his aunt and uncle’s estate in Fongueusemare in rural Normandy. One day, he happens upon his cousin Alissa, who is distraught at her aloof, hypochondriacal mother. Both desperate to rescue her and drawn by a genuine affection, Jerome takes it upon himself to sweep in and rescue her like a good, Christian knight errant. The subtle imagery of Jerome as a kind of salvific hero is only a foreshadowing of the religious unease that drives this novel forward toward its foreordained conclusion. As Jerome portentously declares, quoting Baudelaire, “Bientot nous plongerons dons les froides tenebres.”
Jerome and Alissa spend irenic summers together reciting poetry, reading from books to one another in their splendid garden, and enjoying music. The appropriateness of Jerome’s name jumps out at you when he mentions another of their mutual literary interests: “We had procured the Gospels in the Vulgate and knew long passages of them by heart.” (It was Saint Jerome who made the first Latin translation of the Bible.) Jerome wishes to become engaged before moving off to the Ecole Normale, but Alissa refuses. He is understandably upset by her rejection, but is only more spurred on by his ecstatic vision (again, that religious imagery) of eventually marrying her. Eventually, we learn that Alissa has sacrificed Jerome so that her sister, Juliette, will be able to get married first, yet even after Juliette gets married - to a boorish, business-minded vintner - Alissa continues to push him away.
He visits her at Fongueusemare while finishing both his schooling and a military stint, but every time he mentions wanting to marry her, she rejects him and requests that he leave soon, that she cannot bear his presence. Eventually, she tells him that her love of God surpasses her love for him, even though she has always passionately loved Jerome. During their last meeting together, Alissa has grown thin and pale, presumably because of her anchorite-like existence; she has also removed the books of poetry and novels she and Jerome used to read together, and replaced them with works of cheap, vulgar piety. Even while there is room here to doubt Alissa’s love for Jerome, a chapter that includes her personal journals makes it perfectly clear that she loved Jerome just as much as he loved her, if not more so. Jerome has a final meeting with Juliette while she is enceinte with her fifth child by the vintner. Seeing him calls to mind both her sister’s Christ-like sacrifice and makes her reflect on her own uneventful, bourgeois life. As Flaubert said: “Madame Bovary, c’est moi.”
For maximum effect, as noted above, read this right next to Gide’s “The Immoralist” for a most effective couple of case studies. Considering the year of publication (1909) and the ideas considered – repression, sexuality, sublimation – it should be noted that Gide almost certainly had Freud in mind when he was writing this, though it yields wonderful insights into human psychology even without a Freudian reading.
When reading a novel, sometimes the most difficult obstacle to being able to truly and fully appreciate it is the historical change that has taken place between the time in which it was written and when you read it. Judging from some of the reviews I have seen, that seems to be the case with this novel, too. In both this and “The Immoralist,” Gide looks at the tension, confusion, and repression that can often come about when romantic love is pitted against, and forced to compete with, love for the divine. Since this novel was published, this antagonism has almost completely died, which may lead some readers to accuse Alissa of being frigid. Once we are able to bridge that historical gap, however, and realize that Alissa did not see her torment as self-imposed but rather something that was required of her, this novel proves itself to be a superior meditation on both romantic passion and, what was once thought to be its opposite, sacrifice.
Jerome and Alissa spend irenic summers together reciting poetry, reading from books to one another in their splendid garden, and enjoying music. The appropriateness of Jerome’s name jumps out at you when he mentions another of their mutual literary interests: “We had procured the Gospels in the Vulgate and knew long passages of them by heart.” (It was Saint Jerome who made the first Latin translation of the Bible.) Jerome wishes to become engaged before moving off to the Ecole Normale, but Alissa refuses. He is understandably upset by her rejection, but is only more spurred on by his ecstatic vision (again, that religious imagery) of eventually marrying her. Eventually, we learn that Alissa has sacrificed Jerome so that her sister, Juliette, will be able to get married first, yet even after Juliette gets married - to a boorish, business-minded vintner - Alissa continues to push him away.
He visits her at Fongueusemare while finishing both his schooling and a military stint, but every time he mentions wanting to marry her, she rejects him and requests that he leave soon, that she cannot bear his presence. Eventually, she tells him that her love of God surpasses her love for him, even though she has always passionately loved Jerome. During their last meeting together, Alissa has grown thin and pale, presumably because of her anchorite-like existence; she has also removed the books of poetry and novels she and Jerome used to read together, and replaced them with works of cheap, vulgar piety. Even while there is room here to doubt Alissa’s love for Jerome, a chapter that includes her personal journals makes it perfectly clear that she loved Jerome just as much as he loved her, if not more so. Jerome has a final meeting with Juliette while she is enceinte with her fifth child by the vintner. Seeing him calls to mind both her sister’s Christ-like sacrifice and makes her reflect on her own uneventful, bourgeois life. As Flaubert said: “Madame Bovary, c’est moi.”
For maximum effect, as noted above, read this right next to Gide’s “The Immoralist” for a most effective couple of case studies. Considering the year of publication (1909) and the ideas considered – repression, sexuality, sublimation – it should be noted that Gide almost certainly had Freud in mind when he was writing this, though it yields wonderful insights into human psychology even without a Freudian reading.
When reading a novel, sometimes the most difficult obstacle to being able to truly and fully appreciate it is the historical change that has taken place between the time in which it was written and when you read it. Judging from some of the reviews I have seen, that seems to be the case with this novel, too. In both this and “The Immoralist,” Gide looks at the tension, confusion, and repression that can often come about when romantic love is pitted against, and forced to compete with, love for the divine. Since this novel was published, this antagonism has almost completely died, which may lead some readers to accuse Alissa of being frigid. Once we are able to bridge that historical gap, however, and realize that Alissa did not see her torment as self-imposed but rather something that was required of her, this novel proves itself to be a superior meditation on both romantic passion and, what was once thought to be its opposite, sacrifice.
January 13, 2015
النسخة الفرنسية من الرافعي والمنفلوطي.. تقريبًا.
February 7, 2023
3.5
If only we could lean over the soul we love and see as in a mirror the image we cast there!- read in another as in ourselves, better than in ourselves!
The book examines human experiences, misconceptions, anxieties and the strains the youth go through when in love.
Le meilleur moment des amours
N'est pas quand on a dit : "Je t'aime".
(The best moment of love
Isn't when we said, "I love you.")
If only we could lean over the soul we love and see as in a mirror the image we cast there!- read in another as in ourselves, better than in ourselves!
The book examines human experiences, misconceptions, anxieties and the strains the youth go through when in love.
Le meilleur moment des amours
N'est pas quand on a dit : "Je t'aime".
(The best moment of love
Isn't when we said, "I love you.")
February 7, 2017
A haunting tale of doomed love.
Sad, powerful and deeply moving.
Stimulates the emotions with beautiful prose.
Such a sad ending!
Sad, powerful and deeply moving.
Stimulates the emotions with beautiful prose.
Such a sad ending!
December 15, 2022
Die enge Pforte ist eine Liebesgeschichte, wie sie heute wohl nicht mehr vorkommen könnte. Seit seiner Jugend liebt Jerome seine Cousine Alissa und sie eigentlich auch ihn. Doch die Predigt eines Priesters über das unzüchtige Leben von Alissas Mutter, veranlasst Alissa zu einem äußerst keuschen und puritanischen Lebenswandel. Jeromes Versuchen, sich mit ihr zu verloben, weicht sie immer wieder aus: einmal findet sie, sie seien zu jung, ein andermal findet sie sich zu alt für Jerome etc. p.p. Sie versucht sogar ihre Schwester Juliette, die ebenfalls in Jerome verliebt ist, mit diesem zu verkuppeln, um sie glücklich zu machen. Innerlich wird Alissa jedoch von ihrem Zwiespalt zwischen dem puritanischen Lebenswandel und ihrer Liebe zu Jerome zerfressen und stirbt schließlich eines frühen Todes.
Das klingt hier alles ein wenig lapidar, ist aber in Wirklichkeit eine sehr feinfühlig beschriebene Liebesgeschichte. Trotz der Kürze des Buches sind alle Charaktere sehr gut ausgearbeitet, die Dialoge wohl durchdacht. Manches muss man sich selbst erschließen. Am Ende gibt ein Auszug aus Alissas Tagebüchern Aufschluss über einige Lücken in der Geschichte.
André Gide ist ein Schriftsteller, den heute nicht mehr viele kennen. 1947 wurde er mit dem Literaturnobelpreis ausgezeichnet. Die enge Pforte ist ein guter, leicht zu lesender Einstieg in sein Werk.
Das klingt hier alles ein wenig lapidar, ist aber in Wirklichkeit eine sehr feinfühlig beschriebene Liebesgeschichte. Trotz der Kürze des Buches sind alle Charaktere sehr gut ausgearbeitet, die Dialoge wohl durchdacht. Manches muss man sich selbst erschließen. Am Ende gibt ein Auszug aus Alissas Tagebüchern Aufschluss über einige Lücken in der Geschichte.
André Gide ist ein Schriftsteller, den heute nicht mehr viele kennen. 1947 wurde er mit dem Literaturnobelpreis ausgezeichnet. Die enge Pforte ist ein guter, leicht zu lesender Einstieg in sein Werk.
August 26, 2024
Frankly I feel this novella is an excellent work, yet life is very sad for the two main characters, it so wastes away under one's fingers. They are all mad, all mad, but wonderfully decent. Well, I wish I have not found it so, I wish to think the good parts of it last and grow greater every day. Maybe it is so, if Jerome could see all manner of beautiful memories and kind thoughts when looking into Alissa's eyes, as when they were wide open, like a piece of her youth....
January 5, 2019
كثيرًا ما يبدو لي أن حبي هو خير ما في نفسي، وأن فضائلي كلها تتعلق به وتتغذى منه، وأنه يرفعني إلى أعلى من ذاتي فلولاه لسقطت إلى ضعة الأناس العاديين. ففي رجاء لقائك وحده يبدو لي الدرب الشاق أفضل الدروب."
في هذه الرواية يعرض أندريه جيد تعقيدات الشعور الإنساني من خلال حبيبين في علاقة معقدة من فرط تداخل المشاعر وطغيان شعور الذنب وعدم الثقة المستحوذة على أحد طرفي العلاقة فأدى هذا إلى التعقيد في العلاقة بالرغم من تساميها.. تقول هي أنها خشيت من أن تحيد علاقتهما عن كمالها بعد أن وصلت لمرحلة سامية من الحب فأصبحت تهرب منه من فرط حبها له.
هذا الشعور عندما يدخل في العلاقة يفسدها، الخوف يمنع من الحياة.
رواية جيدة وتعكس الشعور الإنساني وتعقيداته بشكل مميز.
في هذه الرواية يعرض أندريه جيد تعقيدات الشعور الإنساني من خلال حبيبين في علاقة معقدة من فرط تداخل المشاعر وطغيان شعور الذنب وعدم الثقة المستحوذة على أحد طرفي العلاقة فأدى هذا إلى التعقيد في العلاقة بالرغم من تساميها.. تقول هي أنها خشيت من أن تحيد علاقتهما عن كمالها بعد أن وصلت لمرحلة سامية من الحب فأصبحت تهرب منه من فرط حبها له.
هذا الشعور عندما يدخل في العلاقة يفسدها، الخوف يمنع من الحياة.
رواية جيدة وتعكس الشعور الإنساني وتعقيداته بشكل مميز.
November 3, 2016
Ahmet Hamdi Tanpınar'ın kitaplarından birinde adi geçen romandı Dar Kapı, bu vesileyle okuma listeme almıştım...
Girisgahtan bir alıntı ile baslayayım: "Fedakarlık nedir, insan aşk için nelerden vazgeçer, peki ya ilahi aşk? Saflık için, Tanrı'ya tertemiz geri dönmek için, erdem olarak kabul edilen değerleri korumak için insan bazen kendi hayatını verebilir mi?"
Kitapta başlarken çevirmenin yazdığı sunuştan yaptığım bu alıntı öyle değerli ki, eserin devamında bu soruların cevaplarına yazarın yaşamından kesitler kullanarak verdiği cevapları bulacaksınız.
Sade anlatimlı, çabucak biten, derin bir eser Dar Kapı.
Okumak hayamınıza farklı kapılar açacaktır.
Girisgahtan bir alıntı ile baslayayım: "Fedakarlık nedir, insan aşk için nelerden vazgeçer, peki ya ilahi aşk? Saflık için, Tanrı'ya tertemiz geri dönmek için, erdem olarak kabul edilen değerleri korumak için insan bazen kendi hayatını verebilir mi?"
Kitapta başlarken çevirmenin yazdığı sunuştan yaptığım bu alıntı öyle değerli ki, eserin devamında bu soruların cevaplarına yazarın yaşamından kesitler kullanarak verdiği cevapları bulacaksınız.
Sade anlatimlı, çabucak biten, derin bir eser Dar Kapı.
Okumak hayamınıza farklı kapılar açacaktır.
February 8, 2023
O título deste livro tem origem nesta passagem:
"Esforçai-vos por entrar pela porta estreita, pois a porta larga e o caminho espaçoso levam à perdição, e numerosos são os que por aqui passam; mas estreita é a porta e cerrado o caminho que conduzem à vida, e poucos são aqueles que os encontram." (Mateus 7:13,14)
Neste caso, a porta estreita não conduziu à vida, mas à infelicidade e à morte. Um relato de fanatismo religioso no seu melhor, numa excelente tradução de Valentim Garcia. Gostei bastante e fiquei fã do senhor Gide.
"Esforçai-vos por entrar pela porta estreita, pois a porta larga e o caminho espaçoso levam à perdição, e numerosos são os que por aqui passam; mas estreita é a porta e cerrado o caminho que conduzem à vida, e poucos são aqueles que os encontram." (Mateus 7:13,14)
Neste caso, a porta estreita não conduziu à vida, mas à infelicidade e à morte. Um relato de fanatismo religioso no seu melhor, numa excelente tradução de Valentim Garcia. Gostei bastante e fiquei fã do senhor Gide.
August 9, 2015
هل تعرف الإحساس الذي يراودك حين تقابل وجهك بعد عشرات السنين فتنظر للمرأة وتتذكر عمرك كله وهو يمر أمامك وكأنك تنظر من نافذة قطار سريع ؟
هذا الإحساس هو إحساس البطل في هذه الرواية التي
تتعبك معك في رومانسيتها وأخلاقها وضميرها المستيقظ دائماً
فلا الضمير ينام ولا البطل ينسي ولا المشوار ينتهي ..
وكيف ينتهي المشوار والبطل لا ينسي ؟ وحبيبته تضحي بنفسها ؟ وأختها تتعذب بحبها ؟
فالبطل يحب حبيبته
وحبيبته تحبه
وأختها تحب حبيب اختها وهو لا يحبها
وصديقه يحب اخت حبيبته وهي لا تحبه
!!!!!!!!!!!!!!!
فنحن هنا أمام رباعي معذب من بداية الرواية إلي نهايتها
وأنت تقرأ وتتعذب معهم
وربما تكون الفكرة مُستهلكة إلي حد ما ، وربما تكون قد قرأتها من قبل في أكثر من عمل ، أو شاهدتها في أكثر من فيلم ..
إلا أن الإحساس صادق للغاية ويلعب فيه الضمير الدور الأساسي
فالرواية لا تخلو إطلاقاً من النزعة الدينية .. والفضيلة والإثار يلعبان الدور الرئيس في الرواية !!
فكل واحد من هذا الرباعي فضل أن يكسر قلبه علي أن يكسر قلب الآخر
وفضل كل واحد منهم أن يحيا تعيسا حتي لا يُتعس الآخر ..
وكانت النتيجة أن كلهم ظلو تعساء حزناً علي بعضهم البعض
..
ومرت الأيام .. وكبروا .. وكبر الحزن معهم ..
وظلت الذكري .. ومات النسيان مع الفرحة ..
حسناً .. رواية حزينة ؟؟
نعم ..
مملة تماماً ؟؟
لا ..
فالرواية تستحق التفكير والصبر .. حتي لو فكرتها مستهلكة ..
/
فقدت معي نجمتين
نجمة للفكرة المُكررة والملل في بعض الفقرات ..
ونجمة أخري لكتابة الأحداث علي هيئة خطابات مُرسلة في بعض الأحيان وهذا ما لا أحبه
!
/
أما عن إسلوب أندرية جيد ..
فقد كانت القراءة الأولي له ،
وهو أديب فرنسي شهير للغاية
لابد أن تمر عليه إذا كنت مهتماً بالأدب الغربي ،
حتي ولو لم تُعجب بإسلوبه .. عليك أن تقرأ له .. ولو مرة واحدة
~~
October 24, 2014
Much about this novel could lead some current readers to brush it aside, maybe even with a sneer: overheated teenage romanticism, a struggle with a literalistic but now somewhat passee notion of what Protestant devotion should be, frequent Biblical references and quotations, a somewhat "old-fashioned" use of letters and diary entries to present several points of view, etc. But I confess this novel enthralled me precisely because I have seen in my own religious tradition so many of the same tendencies portrayed here, particularly the tendency to construct a relationship in such a religious-romantic way that only disappointment and frustration can follow. The narrator is a young man, Jerome who spends much of his youth with his female cousin, Alissa, reading poetry side-by-side in a lovely family garden (i.e., "Eden")--these are children of a hyper-educated, Protestant bourgeoisie. Alissa, for Jerome is obsessively enticing and entiringly maddening (the latter for me as well). She is determined not to fall into the sensuality of her "creole" mother, which so pained her father, and also to sacrifice her own life, in some Christ-like way, for the happiness of her rather mediocre sister. But let me say, without raising the necessity of a spoiler alert, that one must withhold judging her too harshly, as I had done, before reading the final bundle of diary entries, which conclude the novel. These add a layer of depth--or at maybe confusion--to Alissa's fascinating personality.
February 4, 2019
من انجيل " لوقا " يستمد الكاتب عنوانا لروايته ، وبتأثير كلمات خلال موعظة في كنيسة يستمع لها بطل الرواية تنطلق الأحداث ، و اما بطلة الرواية فما هي إلا ظمأ صوفي يمشي على قدمين او قُل هي صلاة لملاك على هيئة شخصية روائية ، فتأمل الأجواء المصاحبة لهذه الرائعة الروائية !!
علاقة الحب بالصوفية والفلسفة الالهية هو موضوع الرواية الرئيس ، وعليه يبني الكاتب أحداثها من خلال العلاقة الغرامية التي تجمع بطلي الرواية ( اليزا و جيروم ) .
في البداية تشعر ان لا شئ مميز في علاقة الحب هذه ، تسير الامور على طبيعتها وبمراحلها المعتادة في أية علاقة مماثلة ، و مع تقدم الأحداث تبدأ باكتشاف ما يريد الكاتب تصويره في هذه العلاقة و على اكثر من محور :
1-الحب كمتطلب عقلي ( اختلاط العقل بالعاطفة ) فالفكر لدى الحبيبان ما هو الا سبيل لاتحاد أدق و الطف فهو قناع العاطفة وتمويه الحب .
" الحب الذي في عقلي يفكر " .
" ان حبك لي حب عقلي قبل كل شئ ، وامعان ذهني حلو في الحنان والاخلاص "
ان في ضروب عقلنة الهوى والعاطفة التي ساقها الكاتب خلال هذه العلاقة لآية للسائلين ، فكل تطور تشهده العلاقة يخضع لكل أدوات العقل والمنطق وامعان الفكر من طرفيها فيأتي هذا التطور فاقدا لبريقه وخافتا في وهجه فيعلل المتحابان ذلك ويعلقانه على شماعة الفضيلة وهذا ما يقودنا الى المحور الثاني .
" فخير لحظات الحب هي ما سبقت قول أحبك " .
2-البحث عن الكمال الخيالي / الفضيلة
" وتكتب الي أليزا " أنت الذي لا تشكو أبدا ولا أستطيع تصورك خائر العزيمة " فكيف لا أذلل كل الصعاب تدليلا على مقالها ؟ !"
منذ بداية غرامهما دأب كل منهما على محاولة تنقية علاقتهما ونفسيهما من كل الشوائب الانسانية والتي لا يمكن ايجاد علاقة خالية منها بحكم الواقع ، ولا اظن الكاتب من المتوهمين باحتمالية تحقيق ذلك ولكنه سلط الضوء على هذا الجانب ( الظروف الخارجية ) على حساب الجانب الآخر ( الصراعات النفسية ) ، فتجده يختبئ خلف ضعف ذاكرة الراوي " جيروم " حينا ، وصعوبة تصوير المحنة التي تعتمر نفسه حينا آخر، او عدم ضرورتها للسياق في أحيان أخرى ولك بتلف صفحات من يوميات اليزا مثالا على ذلك .
قاد هذا البحث عن الكمال والفضيلة صاحبته الى حبها الأعظم والأجل ، وحيث ان هذا الطريق ضيق ولا يتسع لهما معا في الوقت نفسه كان قرارها الحاسم والذي شكل ذروة الرواية و عقدتها .
" يا صديقي ، اني أستشعر بقربك سعادة ما كنت أحسبها طوع يدي انسان ..... ولكن صدقني اننا لم نولد للسعادة "
* ترجمة الشعر الى أبيات لها صدر وعجز كما تُرجمت في هذه الرواية عمل اجرامي يجب ان يعاقب عليه القانون ، فاذا ما علمنا أن الشعر هو ما يضيع في الترجمة العادية التي يُعَتد بها ، فان ترجمة كهذه تصبح أقرب الى المهزلة ( أقصد أبيات الشعر المترجمة الى العربية وليس الترجمة الكاملة للرواية ) .
* مركب النقص لدى عميد الأدب العربي طه حسين ، كان واضحا جليا في الرسائل المتبادلة بينه وبين اندريه جيد والتي عدت من قبلهما في مقام المقدمة للترجمة العربية للرواية ، فلم يكن هناك أدنى داعي للرد الذي اتحفنا به طه حسين دفاعا عن الاسلام من هجوم لم يقع ، ولكنها عقدة النقص اذ تدفع صاحبها الى الخفة .
بالعودة الى بطلة روايتنا
" يا الهي ! تمنيت لو نُقبل كلانا عليك ، تدفع احدنا قوة الآخر ! يقول أولهما للثاني " استند الى ذراعي ، اذا تعبت " فيجيبه " حسبي أن اراك جانبي " ولكن لا ! اذ الطريق التي توصينا بها ، يا الهي ، طريق ضيقة حتى ما يستطيع سلوكها قرينين " !!!
انها الظمأ الصوفي اذ يمشي على قدمين ، فتصفق له ملائكة السماء !!
علاقة الحب بالصوفية والفلسفة الالهية هو موضوع الرواية الرئيس ، وعليه يبني الكاتب أحداثها من خلال العلاقة الغرامية التي تجمع بطلي الرواية ( اليزا و جيروم ) .
في البداية تشعر ان لا شئ مميز في علاقة الحب هذه ، تسير الامور على طبيعتها وبمراحلها المعتادة في أية علاقة مماثلة ، و مع تقدم الأحداث تبدأ باكتشاف ما يريد الكاتب تصويره في هذه العلاقة و على اكثر من محور :
1-الحب كمتطلب عقلي ( اختلاط العقل بالعاطفة ) فالفكر لدى الحبيبان ما هو الا سبيل لاتحاد أدق و الطف فهو قناع العاطفة وتمويه الحب .
" الحب الذي في عقلي يفكر " .
" ان حبك لي حب عقلي قبل كل شئ ، وامعان ذهني حلو في الحنان والاخلاص "
ان في ضروب عقلنة الهوى والعاطفة التي ساقها الكاتب خلال هذه العلاقة لآية للسائلين ، فكل تطور تشهده العلاقة يخضع لكل أدوات العقل والمنطق وامعان الفكر من طرفيها فيأتي هذا التطور فاقدا لبريقه وخافتا في وهجه فيعلل المتحابان ذلك ويعلقانه على شماعة الفضيلة وهذا ما يقودنا الى المحور الثاني .
" فخير لحظات الحب هي ما سبقت قول أحبك " .
2-البحث عن الكمال الخيالي / الفضيلة
" وتكتب الي أليزا " أنت الذي لا تشكو أبدا ولا أستطيع تصورك خائر العزيمة " فكيف لا أذلل كل الصعاب تدليلا على مقالها ؟ !"
منذ بداية غرامهما دأب كل منهما على محاولة تنقية علاقتهما ونفسيهما من كل الشوائب الانسانية والتي لا يمكن ايجاد علاقة خالية منها بحكم الواقع ، ولا اظن الكاتب من المتوهمين باحتمالية تحقيق ذلك ولكنه سلط الضوء على هذا الجانب ( الظروف الخارجية ) على حساب الجانب الآخر ( الصراعات النفسية ) ، فتجده يختبئ خلف ضعف ذاكرة الراوي " جيروم " حينا ، وصعوبة تصوير المحنة التي تعتمر نفسه حينا آخر، او عدم ضرورتها للسياق في أحيان أخرى ولك بتلف صفحات من يوميات اليزا مثالا على ذلك .
قاد هذا البحث عن الكمال والفضيلة صاحبته الى حبها الأعظم والأجل ، وحيث ان هذا الطريق ضيق ولا يتسع لهما معا في الوقت نفسه كان قرارها الحاسم والذي شكل ذروة الرواية و عقدتها .
" يا صديقي ، اني أستشعر بقربك سعادة ما كنت أحسبها طوع يدي انسان ..... ولكن صدقني اننا لم نولد للسعادة "
* ترجمة الشعر الى أبيات لها صدر وعجز كما تُرجمت في هذه الرواية عمل اجرامي يجب ان يعاقب عليه القانون ، فاذا ما علمنا أن الشعر هو ما يضيع في الترجمة العادية التي يُعَتد بها ، فان ترجمة كهذه تصبح أقرب الى المهزلة ( أقصد أبيات الشعر المترجمة الى العربية وليس الترجمة الكاملة للرواية ) .
* مركب النقص لدى عميد الأدب العربي طه حسين ، كان واضحا جليا في الرسائل المتبادلة بينه وبين اندريه جيد والتي عدت من قبلهما في مقام المقدمة للترجمة العربية للرواية ، فلم يكن هناك أدنى داعي للرد الذي اتحفنا به طه حسين دفاعا عن الاسلام من هجوم لم يقع ، ولكنها عقدة النقص اذ تدفع صاحبها الى الخفة .
بالعودة الى بطلة روايتنا
" يا الهي ! تمنيت لو نُقبل كلانا عليك ، تدفع احدنا قوة الآخر ! يقول أولهما للثاني " استند الى ذراعي ، اذا تعبت " فيجيبه " حسبي أن اراك جانبي " ولكن لا ! اذ الطريق التي توصينا بها ، يا الهي ، طريق ضيقة حتى ما يستطيع سلوكها قرينين " !!!
انها الظمأ الصوفي اذ يمشي على قدمين ، فتصفق له ملائكة السماء !!
January 8, 2025
Can’t relate to a single thing in this book.
Maybe it’s actually a cautionary tale against religious fervour that’s killing all the fun as well as any chances of love? Or a cautionary tale against self-manufactured sufferings in relationships in general?
Or is Alissa’s religious fervour/ rejection of love a symbol of Gide’s own repression of his sexuality?
Anyway, Alissa is such an infinitely frustrating character. I am also so confused about her death.
How does one just die without no apparent presence of illness like that?
Maybe it’s actually a cautionary tale against religious fervour that’s killing all the fun as well as any chances of love? Or a cautionary tale against self-manufactured sufferings in relationships in general?
Or is Alissa’s religious fervour/ rejection of love a symbol of Gide’s own repression of his sexuality?
Anyway, Alissa is such an infinitely frustrating character. I am also so confused about her death.
How does one just die without no apparent presence of illness like that?
August 23, 2020
کتاب احتمالا برای خیلی ها قشنگی بود. توصیفات جذابی داشت. قلم زیبایی داشت نویسنده. در حقیقت بنظرم از نظر تکنیک و حتی خود داستان (برای بعضی ها) هیییچ مشکلی نداشت.
اما من فقط ۳ ستاره میدم اونم چون این داستان و شخصیت هاش منو به شدت عصبانی کردن! واقعا میخواستم جفتشونو به قتل برسونم و بدبختانه اینکه داستان مثل اکویی بود از اخرین خاطره غم انگیز خودم....پس اگر خودخواهی بیش از حد یه ادم و بزغالگی و نفهمی بکی دیگه زیاد ازارتون نمیده قطعا از کتاب خوشتون خواهد اومد.
اما من فقط ۳ ستاره میدم اونم چون این داستان و شخصیت هاش منو به شدت عصبانی کردن! واقعا میخواستم جفتشونو به قتل برسونم و بدبختانه اینکه داستان مثل اکویی بود از اخرین خاطره غم انگیز خودم....پس اگر خودخواهی بیش از حد یه ادم و بزغالگی و نفهمی بکی دیگه زیاد ازارتون نمیده قطعا از کتاب خوشتون خواهد اومد.
September 12, 2024
This was a book about the deep oppression that religion (especially such as Catholicism) can be. It was awful to read. At some level, it sounded like way too much sentimentalism (innocent young people, first love, sacrifices, etc.). But, growing up in the Catholic culture, I knew such interpretations of life and religion too well. Going back to it, was almost too much for me.
I see, I subconsciously used already three times the word "too". But it shows the feeling this short story gave, how the oppressiveness and cruelty of religion take away from a human what is the most important in life. Even more, religion doesn't take away "personally", it is more depraved, it brainwashes so thoroughly that a person gives it.
Definitely, the book is not for everyone.
[3.5 stars]
I see, I subconsciously used already three times the word "too". But it shows the feeling this short story gave, how the oppressiveness and cruelty of religion take away from a human what is the most important in life. Even more, religion doesn't take away "personally", it is more depraved, it brainwashes so thoroughly that a person gives it.
Definitely, the book is not for everyone.
[3.5 stars]
February 25, 2016
"Esforçai-vos por entrar pela porta estreita, pois a porta larga e o caminho espaçoso levam à perdição, e numerosos são os que por aqui passam; mas estreita é a porta e cerrado o caminho que conduzem à vida, e poucos são aqueles que os encontram."
(Mateus 7:13,14)
Julieta ama Jerónimo.
Jerónimo ama Alissa.
Alissa ama Jerónimo.
Julieta casa com Eduardo.
Alissa e Jerónimo são infelizes para sempre...
(Mateus 7:13,14)
Julieta ama Jerónimo.
Jerónimo ama Alissa.
Alissa ama Jerónimo.
Julieta casa com Eduardo.
Alissa e Jerónimo são infelizes para sempre...
May 30, 2024
รักสามเส้า ระหว่างชายหนึ่ง หญิงหนึ่ง และพระเจ้า...
นิยายของฌีดรุ่มรวยไปด้วยความประณีตด้านวรรณศิลป์ นอกจากฝีไม้ลายมือของผู้เขียนแล้ว อีกท่านที่ต้องยกย่องชมเชยมาก ๆ ก็คือท่านผู้แปลนั่นเอง
ไม่ใช่นิยายอ่านเอาสนุกแต่อย่างใด ออกจะเครียดนิดหนึ่งด้วยซ้ำไป เล่มนี้มีการอ้างอิงถึงพระคัมภีร์หลายครา เนื่องจากตัวละครหญิงเป็นคนเคร่งศาสนามาก อาจจนถึงขั้นสุดโต่งก็ว่าได้ ขอบคุณหมายเหตุผู้แปลท้ายเล่ม ที่ช่วยอธิบายขยายความ รวมถึงตีความจากเนื้อหาในหนังสือเล่มนี้ ให้ได้รู้แจ้งแถลงไขในที่สุด ขอบคุณค้าบบบบ กราบบบบ
✝️―ประโยคที่ชอบ―📝
“โอ้ เล่ห์กลชวนหฤหรรษ์แห่งรัก รักอันเหลือเฟือด้วยซ้ำ
เจ้าพาเราเดินมาตามมรรคาปริศนาอันใดฤา จากเสียงหัวเราะจึงมาสู่ธารน้ำตา
และจากความชื่นมื่นอันสุดแสนไร้เดียงสา สู่ความเคร่งเครียดแห่งคุณธรรม”
“เพราะเธอ ความฝันของฉันจึงทะยานขึ้นสูง กระทั่งความพึงใจตามประสาปุถุชนใด ๆ จักทำให้ฝันนั้นตกต่ำ ฉันครุ่นคิดบ่อย ๆ ว่าชีวิตของเราอันมีกันและกันจะเป็นฉันใด หากเมื่อใดที่รักมิได้สมบูรณ์แบบอีกต่อไป ฉันคงทนรักนั้นมิได้อีกต่อไป”
“บางคราว ขณะฟังเขาพูด ฉันนึกไปว่ามองดูตัวเองกำลังคิดอยู่ เขาอรรถาธิบายตัวฉันและทำให้ฉันค้นพบตัวเอง ฉันจะมีตัวตนไหมหนอหากปราศจากเขา ฉันมีอยู่ก็เพราะมีเขาอยู่ด้วย...”
“...ฉันปราถนาว่าสิ่งใดที่เกี่ยวแก่รักก็ไม่ต้องพูดออกมา และรักเขาโดยไม่ต้องรู้ว่าฉันรักเขาอยู่ เหนืออื่นใดฉันก็อยากรักเขาโดยที่เขาก็ไม่ต้องรู้ว่าฉันรักเขา”
นิยายของฌีดรุ่มรวยไปด้วยความประณีตด้านวรรณศิลป์ นอกจากฝีไม้ลายมือของผู้เขียนแล้ว อีกท่านที่ต้องยกย่องชมเชยมาก ๆ ก็คือท่านผู้แปลนั่นเอง
ไม่ใช่นิยายอ่านเอาสนุกแต่อย่างใด ออกจะเครียดนิดหนึ่งด้วยซ้ำไป เล่มนี้มีการอ้างอิงถึงพระคัมภีร์หลายครา เนื่องจากตัวละครหญิงเป็นคนเคร่งศาสนามาก อาจจนถึงขั้นสุดโต่งก็ว่าได้ ขอบคุณหมายเหตุผู้แปลท้ายเล่ม ที่ช่วยอธิบายขยายความ รวมถึงตีความจากเนื้อหาในหนังสือเล่มนี้ ให้ได้รู้แจ้งแถลงไขในที่สุด ขอบคุณค้าบบบบ กราบบบบ
✝️―ประโยคที่ชอบ―📝
“โอ้ เล่ห์กลชวนหฤหรรษ์แห่งรัก รักอันเหลือเฟือด้วยซ้ำ
เจ้าพาเราเดินมาตามมรรคาปริศนาอันใดฤา จากเสียงหัวเราะจึงมาสู่ธารน้ำตา
และจากความชื่นมื่นอันสุดแสนไร้เดียงสา สู่ความเคร่งเครียดแห่งคุณธรรม”
“เพราะเธอ ความฝันของฉันจึงทะยานขึ้นสูง กระทั่งความพึงใจตามประสาปุถุชนใด ๆ จักทำให้ฝันนั้นตกต่ำ ฉันครุ่นคิดบ่อย ๆ ว่าชีวิตของเราอันมีกันและกันจะเป็นฉันใด หากเมื่อใดที่รักมิได้สมบูรณ์แบบอีกต่อไป ฉันคงทนรักนั้นมิได้อีกต่อไป”
“บางคราว ขณะฟังเขาพูด ฉันนึกไปว่ามองดูตัวเองกำลังคิดอยู่ เขาอรรถาธิบายตัวฉันและทำให้ฉันค้นพบตัวเอง ฉันจะมีตัวตนไหมหนอหากปราศจากเขา ฉันมีอยู่ก็เพราะมีเขาอยู่ด้วย...”
“...ฉันปราถนาว่าสิ่งใดที่เกี่ยวแก่รักก็ไม่ต้องพูดออกมา และรักเขาโดยไม่ต้องรู้ว่าฉันรักเขาอยู่ เหนืออื่นใดฉันก็อยากรักเขาโดยที่เขาก็ไม่ต้องรู้ว่าฉันรักเขา”
September 12, 2025
ինձ համար 2,5 էր էս գիրքը։ Շատ էի տեսել, որ կարդում էին, որոշեցի դրակամ կարծիքների հիման վրա ընթերցել, բայց չհավանեցի էդպես։ Ալիսայի ու Ժերոմի դրաման էր կասեի։ Ժիդը հոգևորականի ընտանիքում մեծացած լինելով շատ ա աստվածաբանական գրում, դա բավականի վանում ա։ Սյուժեն էլ եսիմ ինչ չէր, շատ կանխատեսելի, առօրւա ասես լիներ
June 16, 2024
Çok önceleri eseri okumama rağmen tekrarlamam iyi olmuş en azından bambaşka bir görüş açısıyla değerlendiyorum. Fransız edebiyatıda Rus edebiyatı gibi gençlik yıllarımın vazgeçilmezi olması hayatımı zenginleştiren bir çok bakımdan bana yön veren bu güzelim eserlerin bende bıraktığı etkiler sanırım değişse gelişse bile değerlerini korumaya devam edecek. Aşkı Erdemli olmayı, dinin eski kaba saba yobaz etkilerinin artık eskisi gibi olmadığı tanrıyı daha başka daha sevgiyle özümleyebilen ruhani bir bakışla anlama kapasitemizin artığı çağımızda tabiki okuduğumuz bu muhteşem eserleri daha değişik yorumlayabiliyor anlayabiliyoruz. Oldukça ince bir bir roman olan eseri tekrarlarken ''Werther'in Acıları" olsun Türk edebiyatında ki bazı yazarlarımızın ne kadar Andre Gide etkisi altında kaldıklarını gözlemeden edemedim. Okunmalı derim!
August 16, 2012
Is Andre Gide always pointing in the wrong direction? And does he ever have any fun? Can someone please tell him that the First World War's coming and that very soon we're all going to be living in a world of "if it's a bit warm, take off your jacket. You don't have to move your entire household 200 miles to the north"?
I think I'd probably have been kinder if the secret diary had been more fun. A book with a boring secret diary? That's just rubbish, isn't it?
November 21, 2012
كلاسيكى صرف ... عذاب الحب العذرى و البحث عن الفضيله المطلقة ... حيث يكون الله وحد فى قلب الانسان و لا مشاركه من اخرين
بدايتها كانت جميله ... لكن يعيبها الكأبة المفرطة , ايضا لم يكن واضحا اسباب التقلب المفاجئ فى حالات البطلة لكن النهاية كانت كافيه للتوضيح
واضح ان النص الاصلى صعب لغويا , حاول المترجم مجاراة المستوى لكن جاء النص متكلفا بعض الشئ
بدايتها كانت جميله ... لكن يعيبها الكأبة المفرطة , ايضا لم يكن واضحا اسباب التقلب المفاجئ فى حالات البطلة لكن النهاية كانت كافيه للتوضيح
واضح ان النص الاصلى صعب لغويا , حاول المترجم مجاراة المستوى لكن جاء النص متكلفا بعض الشئ
February 13, 2021
վախ, ինչ հավեսն էր
չէի կարծում, որ սենց կհավանեի։ շատ լավ սյուժե ունի ու անիմաստ ծանրացրած չի, յուրաքանչյուր գործողություն ճիշտ ու կանխատեսելի ա գնում, բացի վերջից
անվանումը ընդհանրապես կապ չունի գրքի հետ, վաբշե կարար ուրիշ բան էլ լիներ, օրինակ՝ Ալիսն ու Ժերոմը
մենակ թե էդ աստվածաբանական տողերն էին ազդում վրաս, սաղ չոտկի, սիրուն ու լավն էր բացի էդ աննպատակ ու ոչինչ չտվող տողերից ))))
չէի կարծում, որ սենց կհավանեի։ շատ լավ սյուժե ունի ու անիմաստ ծանրացրած չի, յուրաքանչյուր գործողություն ճիշտ ու կանխատեսելի ա գնում, բացի վերջից
անվանումը ընդհանրապես կապ չունի գրքի հետ, վաբշե կարար ուրիշ բան էլ լիներ, օրինակ՝ Ալիսն ու Ժերոմը
մենակ թե էդ աստվածաբանական տողերն էին ազդում վրաս, սաղ չոտկի, սիրուն ու լավն էր բացի էդ աննպատակ ու ոչինչ չտվող տողերից ))))
July 7, 2024
Δεν είναι η πρώτη φορά που διαβάζω τη "Στενή πύλη" του Ζιντ, μια δεκαετία πριν (και βάλε) που πήρα το C2 των γαλλικών διάβαζα φανατικά όποιο γαλλικό βιβλίο έπεφτε στα χέρια μου, για να εμπλουτιστεί το λεξιλόγιο μου, μιας και εξεταζόμασταν και στη λογοτεχνία. Τρία-τέσσερα από αυτά ήταν του Ζιντ με τον "Ανηθικολόγο" (L' immoraliste) να συγκαταλέγεται στα πλέον αγαπημένα μου.
Όταν έλαβα το "Η Στενή πύλη" στα ελληνικά που μόλις ξανακυκλοφόρησε από τις εκδόσεις Μεταίχμιο, παρότι με περιμένουν στοίβες και στοίβες αδιάβαστα στα οποία προστίθενται σε καθημερινή σχεδόν βάση καινούργια, δεν αντιστάθηκα στην παρόρμηση να το ξαναδιαβάσω. Άσε που πίστευα πως για ανάγνωσμα παραλίας, με το Αναστασάκι δίπλα να φτιάχνει καστράκια και ψαράκια στην άμμο, ένα βιβλίο που ήδη είχα διαβάσει δε θα απαιτούσε τόση πνευματική συγκέντρωση.
Προφανώς διαψεύστηκα. Και προφανώς απορροφήθηκα τόσο από την ανάγνωσή του που οι υπόλοιποι βούτηξαν στη θάλασσα κι εγώ νόμιζα πως είναι ακόμη δίπλα μου :-) Τουλάχιστον διάβασα τις 180 σελίδες του βιβλίου απνευστί! Για μένα ο Ζιντ είναι ένας από τους συγγραφείς που αξίζει και πρέπει να διαβάζεται ακόμη, παρότι αντιλαμβάνομαι πως για πολλούς νέους αναγνώστες οι θεματικές του μοιάζουν παρωχημένες. Όχι όμως και το τάλαντο της πένας του.
Στο βιβλιαράκι αυτό ο κορυφαίος Γάλλος συγγραφέας αφηγείται, σε πρώτο επίπεδο, την ιστορία ενός καταδικασμένου έρωτα, το Ζερόμ και της λίγο μεγαλύτερής ξαδέρφης του Αλίσα. Η μεγαλύτερη αδερφή μιας πενταμελούς οικογένειας, Αλίσα, υποφέρει από την πανέμορφη αλλά απόμακρη, υποχόνδρια και υποκρίτρια Κρεολή μητέρα της, η οποία και δεν αργεί να εγκαταλείψει τέκνα και σύζυγο για χάρη του εραστή της. Ο Ζερόμ που περνά πολύ συχνά τις διακοπές του στο σπίτι των θείων του, παρασυρμένος από την στοργή και τον θαυμασμό του για την Αλίσα αναλαμβάνει να τη σώσει σαν "καλός, Χριστιανός ιππότης". Οι δυο νέοι περνούν μαζί τα καλοκαίρια στον υπέροχο κήπο τους απαγγέλλοντας ποίηση, διαβάζοντας βιβλία ο ένας στον άλλο και απολαμβάνοντας μουσική. Αν και η Αλίσα ανταποκρίνεται στον έρωτα του Ζερόμ και τον αγαπά βαθιά αρνείται να αρραβωνιαστούν και αργότερα ο Ζερόμ μαθαίνει πως το έκανε γιατί ήθελε να δει πρώτα τη μικρότερη αδερφή της Ζυλιέτ ( η οποία είναι επίσης ερωτευμένη με τον Ζερόμ αλλά εκείνος το αγνοεί) αποκατεστημένη κι ευτυχισμένη. Ακόμη όμως κι όταν αυτό συμβαίνει, και η Ζυλιέτ, μετά την απόρριψή του έρωτά της από τον Ζερόμ, παντρεύεται έναν αμπελουργό και δημιουργούν μια όμορφη οικογένεια, και η θυσία της Αλίσα δεν είναι απαραίτητη, εκείνη συνεχίζει να τον απωθεί, παρότι στις επιστολές που ανταλλάσσουν δεν κρύβει την αγάπη της. Σιγά σιγά η κοπέλα μετατρέπεται σε αυτό που ο Ζερόμ περιφρονεί: μια θρησκόληπτη, πουριτανή Προτεστάντισσα με λάβαρό της την ηθική, που έχει απωλέσει κάθε πνευματική ενασχόληση με μοναδική εξαίρεση τις κατώτερου επιπέδου θρησκευτικές φυλλάδες με τις οποίες έχει αντικαταστήσει τα κοινά τους αναγνώσματα που κοσμούσαν την προσωπική της βιβλιοθήκη. Η αλλαγή αυτή στην αγαπημένη του σοκάρει τον Ζερόμ περισσότερο κι από την σκόπιμη αλλαγή στην εμφάνισή της προς το χειρότερο. Η μοίρα της κοπέλας θα είναι τραγική, ενώ χρόνια μετά, από τις σελίδες του ημερολογίου της ο Ζερόμ θα καταλάβει πόσο μεγάλη ήταν η άσβεστη αγάπη της.
Για ακόμη μια φορά ο Ζιντ στηλιτεύει την καταστολή της σεξουαλικότητας, την ηθικολογία, τον πουριτανισμό και όλα όσα στερούν εν τέλει από τον άνθρωπο κάθε προσδοκία ευτυχίας. Ξέρω, το διάβασα και σε σχόλια άλλων, πως η Αλίσα για τους σύγχρονους αναγνώστες δεν φορά το πέπλο του ρομαντισμού και δεν αντιμετωπίζεται ως τραγική ηρωίδα αλλά ως θρησκόληπτη και βαρύ οικογενειακό παρελθόν κοπέλα "που τα είχε τα (ψυχολογικα) θεματάκια της και πήρε στο λαιμό της και τον Ζερόμ". Δεν έχουν άδικο. Προσωπικά χαίρομαι που ζούμε σε μια εποχή ορθολογισμού που δεν ρομαντικοποιούμε αυτοκτονίες ή απόπειρες αυτοχειρίας, δήθεν καταραμένους/ες, ασθένειες, ψυχικές και μη, τόσο στη λογοτεχνία όσο και στην καθημερινή, αληθινή μας ζωή. Δε μπορούμε να κρυβόμαστε όμως πίσω από το δάχτυλό μας και να μην αναγνωρίζουμε πως άνθρωποι σαν την Αλίσα ασφαλώς και συνεχίζουν να υπάρχουν, να υποφέρουν και κυρίως να κάνουν τους γύρω τους να υποφέρουν. Στην εποχή που έγραψε ο Ζιντ όμως οι αντιλήψεις ήταν πολύ διαφορετικές και η εκούσια θυσία του έρωτα στα θρησκευτικά πιστεύω δεν ήταν κάτι ασυνήθιστο. Γι' αυτό και το έμμεσο αυτό "κατηγορώ" του έχει πολύ μεγάλη αξία.
Όταν έλαβα το "Η Στενή πύλη" στα ελληνικά που μόλις ξανακυκλοφόρησε από τις εκδόσεις Μεταίχμιο, παρότι με περιμένουν στοίβες και στοίβες αδιάβαστα στα οποία προστίθενται σε καθημερινή σχεδόν βάση καινούργια, δεν αντιστάθηκα στην παρόρμηση να το ξαναδιαβάσω. Άσε που πίστευα πως για ανάγνωσμα παραλίας, με το Αναστασάκι δίπλα να φτιάχνει καστράκια και ψαράκια στην άμμο, ένα βιβλίο που ήδη είχα διαβάσει δε θα απαιτούσε τόση πνευματική συγκέντρωση.
Προφανώς διαψεύστηκα. Και προφανώς απορροφήθηκα τόσο από την ανάγνωσή του που οι υπόλοιποι βούτηξαν στη θάλασσα κι εγώ νόμιζα πως είναι ακόμη δίπλα μου :-) Τουλάχιστον διάβασα τις 180 σελίδες του βιβλίου απνευστί! Για μένα ο Ζιντ είναι ένας από τους συγγραφείς που αξίζει και πρέπει να διαβάζεται ακόμη, παρότι αντιλαμβάνομαι πως για πολλούς νέους αναγνώστες οι θεματικές του μοιάζουν παρωχημένες. Όχι όμως και το τάλαντο της πένας του.
Στο βιβλιαράκι αυτό ο κορυφαίος Γάλλος συγγραφέας αφηγείται, σε πρώτο επίπεδο, την ιστορία ενός καταδικασμένου έρωτα, το Ζερόμ και της λίγο μεγαλύτερής ξαδέρφης του Αλίσα. Η μεγαλύτερη αδερφή μιας πενταμελούς οικογένειας, Αλίσα, υποφέρει από την πανέμορφη αλλά απόμακρη, υποχόνδρια και υποκρίτρια Κρεολή μητέρα της, η οποία και δεν αργεί να εγκαταλείψει τέκνα και σύζυγο για χάρη του εραστή της. Ο Ζερόμ που περνά πολύ συχνά τις διακοπές του στο σπίτι των θείων του, παρασυρμένος από την στοργή και τον θαυμασμό του για την Αλίσα αναλαμβάνει να τη σώσει σαν "καλός, Χριστιανός ιππότης". Οι δυο νέοι περνούν μαζί τα καλοκαίρια στον υπέροχο κήπο τους απαγγέλλοντας ποίηση, διαβάζοντας βιβλία ο ένας στον άλλο και απολαμβάνοντας μουσική. Αν και η Αλίσα ανταποκρίνεται στον έρωτα του Ζερόμ και τον αγαπά βαθιά αρνείται να αρραβωνιαστούν και αργότερα ο Ζερόμ μαθαίνει πως το έκανε γιατί ήθελε να δει πρώτα τη μικρότερη αδερφή της Ζυλιέτ ( η οποία είναι επίσης ερωτευμένη με τον Ζερόμ αλλά εκείνος το αγνοεί) αποκατεστημένη κι ευτυχισμένη. Ακόμη όμως κι όταν αυτό συμβαίνει, και η Ζυλιέτ, μετά την απόρριψή του έρωτά της από τον Ζερόμ, παντρεύεται έναν αμπελουργό και δημιουργούν μια όμορφη οικογένεια, και η θυσία της Αλίσα δεν είναι απαραίτητη, εκείνη συνεχίζει να τον απωθεί, παρότι στις επιστολές που ανταλλάσσουν δεν κρύβει την αγάπη της. Σιγά σιγά η κοπέλα μετατρέπεται σε αυτό που ο Ζερόμ περιφρονεί: μια θρησκόληπτη, πουριτανή Προτεστάντισσα με λάβαρό της την ηθική, που έχει απωλέσει κάθε πνευματική ενασχόληση με μοναδική εξαίρεση τις κατώτερου επιπέδου θρησκευτικές φυλλάδες με τις οποίες έχει αντικαταστήσει τα κοινά τους αναγνώσματα που κοσμούσαν την προσωπική της βιβλιοθήκη. Η αλλαγή αυτή στην αγαπημένη του σοκάρει τον Ζερόμ περισσότερο κι από την σκόπιμη αλλαγή στην εμφάνισή της προς το χειρότερο. Η μοίρα της κοπέλας θα είναι τραγική, ενώ χρόνια μετά, από τις σελίδες του ημερολογίου της ο Ζερόμ θα καταλάβει πόσο μεγάλη ήταν η άσβεστη αγάπη της.
Για ακόμη μια φορά ο Ζιντ στηλιτεύει την καταστολή της σεξουαλικότητας, την ηθικολογία, τον πουριτανισμό και όλα όσα στερούν εν τέλει από τον άνθρωπο κάθε προσδοκία ευτυχίας. Ξέρω, το διάβασα και σε σχόλια άλλων, πως η Αλίσα για τους σύγχρονους αναγνώστες δεν φορά το πέπλο του ρομαντισμού και δεν αντιμετωπίζεται ως τραγική ηρωίδα αλλά ως θρησκόληπτη και βαρύ οικογενειακό παρελθόν κοπέλα "που τα είχε τα (ψυχολογικα) θεματάκια της και πήρε στο λαιμό της και τον Ζερόμ". Δεν έχουν άδικο. Προσωπικά χαίρομαι που ζούμε σε μια εποχή ορθολογισμού που δεν ρομαντικοποιούμε αυτοκτονίες ή απόπειρες αυτοχειρίας, δήθεν καταραμένους/ες, ασθένειες, ψυχικές και μη, τόσο στη λογοτεχνία όσο και στην καθημερινή, αληθινή μας ζωή. Δε μπορούμε να κρυβόμαστε όμως πίσω από το δάχτυλό μας και να μην αναγνωρίζουμε πως άνθρωποι σαν την Αλίσα ασφαλώς και συνεχίζουν να υπάρχουν, να υποφέρουν και κυρίως να κάνουν τους γύρω τους να υποφέρουν. Στην εποχή που έγραψε ο Ζιντ όμως οι αντιλήψεις ήταν πολύ διαφορετικές και η εκούσια θυσία του έρωτα στα θρησκευτικά πιστεύω δεν ήταν κάτι ασυνήθιστο. Γι' αυτό και το έμμεσο αυτό "κατηγορώ" του έχει πολύ μεγάλη αξία.
November 11, 2018
0,4 estrellas
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