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El judío errante
Eugène Sue inmortaliza la leyenda del judío errante con una larga novela, convertida en un relato folletinesco y publicado por entregas en un periódico de su época, en la que deja entrever una denuncia tanto de la cruda realidad de la incipiente clase obrera parisina como de la Iglesia y, en concreto, de la Compañía de Jesús.
1472 pages, Kindle Edition
First published January 1, 1844
57 people are currently reading
1113 people want to read
About the author
Eugène Sue
2,193 books62 followersFrom Wikipedia:
Joseph Marie Eugène Sue (20 January 1804 – 3 August 1857) was a French novelist.
He was born in Paris, the son of a distinguished surgeon in Napoleon's army, and is said to have had the Empress Joséphine for godmother. Sue himself acted as surgeon both in the Spanish campaign undertaken by France in 1823 and at the Battle of Navarino (1828). In 1829 his father's death put him in possession of a considerable fortune, and he settled in Paris.
A street in Paris is named for Eugene Sue, in the 18th Arrondissement: Rue Eugene Sue is located near the Poissonnière Metro station, and is not far from Montmartre and the Basilica of the Sacré Coeur.
Joseph Marie Eugène Sue (20 January 1804 – 3 August 1857) was a French novelist.
He was born in Paris, the son of a distinguished surgeon in Napoleon's army, and is said to have had the Empress Joséphine for godmother. Sue himself acted as surgeon both in the Spanish campaign undertaken by France in 1823 and at the Battle of Navarino (1828). In 1829 his father's death put him in possession of a considerable fortune, and he settled in Paris.
A street in Paris is named for Eugene Sue, in the 18th Arrondissement: Rue Eugene Sue is located near the Poissonnière Metro station, and is not far from Montmartre and the Basilica of the Sacré Coeur.
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Displaying 1 - 22 of 22 reviews
August 12, 2017
The Wandering Jew combines the sprightly, soapy élan of the best 19th Century penny dreadfuls with the gothic philosophy-book-masquerading-as-a-novel framework of Melmoth the Wanderer. It is utterly rife with dei ex machina, remorseless villains whose very physiognomy is as gnarled as their motives, heroes and heroines of angelic countenance and simplicity, and similar on-the-nose conceits and elements. It is also written by a great humanist, whose characters never lost their verisimilitude because they were the concoctions of a man who clearly was a great lover of people. His digressions into social discourse, personal observations, and philosophies, are giddy and righteous, despite the fact that Sue was lambasted by Marx and Engels for not wielding a sharp enough knife when dealing with the disbandment of the medieval status quo which still held Europe in its thrall at the time of writing. It seems to me that the greatest failing of the Left, where I shall ever be entrenched in spite of its flaws, is that hubris consistently leads them to attack others in their own camp, for not having as much derring-do as they, or for the odd statement or line they find distasteful, rather than concerting into one formidable force against their true enemies. Anyway, what I mean to say with all this is that The Wandering Jew is without doubt a soap opera, but one whose ham-handedness is inextricably interlaced with its subtleties and strengths. Perhaps one might call it the Gothic Lit equivalent of a Douglas Sirk, Seijun Suzuki or Samuel Fuller movie- a work whose majestic execution transcends any shortcomings inherent in the medium from which it hails.
I usually read reviews, not for elongated descriptions of the plot, but to see how the work refracted through the reviewer, so I'll confine my description of the plot to the briefest contraction: a man, knowing his time is up, bestows to the survivors of his bloodline a century or two hence an immense sum; a gaggle of Jesuitical supervillains hear tell of this windfall, and contrive to do anything they can to make it their own, and so expand the power and influence of their perfidious branch of the Catholic church. Just like with Melmoth, much of these 1000+ pages read very much like a parabolic theological diatribe against Catholicism, and any opponents of the reformation. Sue really sticks it to 'em throughout. In the character of Rodin, he creates one of the most nefarious, guileful villains in all of 19th Century literature, and a human embodiment of his distaste for the scrabbling, atavistic proponents and protectors of the old church. In appearance Rodin is scrawny, ragged and wretched, befitting his humble post of secretary to a Jesuit minister, but beneath that visage lies the pre-emptive, tactically unmatchable mind of a general. In the other corner are all the various heirs to the fortune. In the 150 years or so since their ancestor died, they have branched out far and wide. There are the delightfully simple and naive twins, raised in Siberia and now venturing back to Paris under the aegis of the wiry old soldier, Dagobert; there is a half-Indian prince with the heart of an Arthurian knight; there's a priest- the good kind this time, almost Franciscan- once almost crucified by the Indians of the New World whilst on a missionary expedition; there's a pleasure-seeking gadfly with an ultimately kind heart when he's not drunk; there is the rich feminist countess, an ardent admirer of all aesthetic beauty, who scorns any suggestion that she should pass up her liberty by marrying any man; and there are many more strands of this blighted family. As you follow each of their paths, you get to really love some of these characters, but as this is a true Good VS Evil story, the Evil must really put the Good through hell before they get their comeuppance. It really is torture having to see such outright irredeemable, manipulative swine come out on top for so many pages, even if you always know that catharsis and victory lie in wait for the more patient of readers. Also, as with any story following multiple characters disseminated far and wide, there are some whose fate you're more interested in than others, though it is always heart-warming to see their paths crossed, as they all start the story as complete strangers, and as the story progresses slowly become a real family.
Now, as to the eponymous element which attracted me to this book to begin with, all the aspects of the Wandering Jew mythos feature here in parts, though really he and his equally benighted sister are background characters at best, and at worst a hack writer's all-powerful best friends: the perfect vehicle for extracting Sue from any corner in which he may have written himself. They have a vested interest in the fate of the heirs, and so, in spite of being damned to never stay in one place for any length of time, do their best to help them fight back against Rodin and his schemes. Nevertheless, they do add a slightly mournful, magical tinge to the story. I've always appreciated a touch of the eldritch and a sprinkling of otherness in my literature, even if it only has a glancing connection to the main kernel of the plot. Perhaps that may be what attracts me to Gothic Literature to begin with. That, and the fantastic, loquacious writing. I'm told that the original French of The Wandering Jew is especially elegant, but as with the contemporaneous translations of most of Théophile Gautier's works, the translator did a particularly fantastic job of using the full breadth of the English language to make a masterpiece of prose. Just reading a few chapters makes you feel like you've necked down an eloquence potion by sheer osmosis. (I read the complete, one-volume gutenberg edition in case you were wondering http://www.gutenberg.org/ebooks/3350).
If you can get past the plot-stretching devices and the b-lit tropes of the serial form which even Dickens fell prey to, a compulsively readable, and for some reason utterly neglected classic of Gothic Literature awaits you. This, along with another lengthy Sue serial novel, The Mysteries of Paris, used to be amongst the most popular books of its day. Like with so many works of its time, every single page is dripping with meaningful asides and cast-off sentences which seem to be more substantial than some entire novels written since. It can be frustrating at times, but unless you're a bitter old meanie like Rodin, you'll enjoy yourself in that edifying way only 18th and 19th Century literature can provide.
I usually read reviews, not for elongated descriptions of the plot, but to see how the work refracted through the reviewer, so I'll confine my description of the plot to the briefest contraction: a man, knowing his time is up, bestows to the survivors of his bloodline a century or two hence an immense sum; a gaggle of Jesuitical supervillains hear tell of this windfall, and contrive to do anything they can to make it their own, and so expand the power and influence of their perfidious branch of the Catholic church. Just like with Melmoth, much of these 1000+ pages read very much like a parabolic theological diatribe against Catholicism, and any opponents of the reformation. Sue really sticks it to 'em throughout. In the character of Rodin, he creates one of the most nefarious, guileful villains in all of 19th Century literature, and a human embodiment of his distaste for the scrabbling, atavistic proponents and protectors of the old church. In appearance Rodin is scrawny, ragged and wretched, befitting his humble post of secretary to a Jesuit minister, but beneath that visage lies the pre-emptive, tactically unmatchable mind of a general. In the other corner are all the various heirs to the fortune. In the 150 years or so since their ancestor died, they have branched out far and wide. There are the delightfully simple and naive twins, raised in Siberia and now venturing back to Paris under the aegis of the wiry old soldier, Dagobert; there is a half-Indian prince with the heart of an Arthurian knight; there's a priest- the good kind this time, almost Franciscan- once almost crucified by the Indians of the New World whilst on a missionary expedition; there's a pleasure-seeking gadfly with an ultimately kind heart when he's not drunk; there is the rich feminist countess, an ardent admirer of all aesthetic beauty, who scorns any suggestion that she should pass up her liberty by marrying any man; and there are many more strands of this blighted family. As you follow each of their paths, you get to really love some of these characters, but as this is a true Good VS Evil story, the Evil must really put the Good through hell before they get their comeuppance. It really is torture having to see such outright irredeemable, manipulative swine come out on top for so many pages, even if you always know that catharsis and victory lie in wait for the more patient of readers. Also, as with any story following multiple characters disseminated far and wide, there are some whose fate you're more interested in than others, though it is always heart-warming to see their paths crossed, as they all start the story as complete strangers, and as the story progresses slowly become a real family.
Now, as to the eponymous element which attracted me to this book to begin with, all the aspects of the Wandering Jew mythos feature here in parts, though really he and his equally benighted sister are background characters at best, and at worst a hack writer's all-powerful best friends: the perfect vehicle for extracting Sue from any corner in which he may have written himself. They have a vested interest in the fate of the heirs, and so, in spite of being damned to never stay in one place for any length of time, do their best to help them fight back against Rodin and his schemes. Nevertheless, they do add a slightly mournful, magical tinge to the story. I've always appreciated a touch of the eldritch and a sprinkling of otherness in my literature, even if it only has a glancing connection to the main kernel of the plot. Perhaps that may be what attracts me to Gothic Literature to begin with. That, and the fantastic, loquacious writing. I'm told that the original French of The Wandering Jew is especially elegant, but as with the contemporaneous translations of most of Théophile Gautier's works, the translator did a particularly fantastic job of using the full breadth of the English language to make a masterpiece of prose. Just reading a few chapters makes you feel like you've necked down an eloquence potion by sheer osmosis. (I read the complete, one-volume gutenberg edition in case you were wondering http://www.gutenberg.org/ebooks/3350).
If you can get past the plot-stretching devices and the b-lit tropes of the serial form which even Dickens fell prey to, a compulsively readable, and for some reason utterly neglected classic of Gothic Literature awaits you. This, along with another lengthy Sue serial novel, The Mysteries of Paris, used to be amongst the most popular books of its day. Like with so many works of its time, every single page is dripping with meaningful asides and cast-off sentences which seem to be more substantial than some entire novels written since. It can be frustrating at times, but unless you're a bitter old meanie like Rodin, you'll enjoy yourself in that edifying way only 18th and 19th Century literature can provide.
Want to read
March 6, 2014
Opening: The Arctic Ocean encircles with a belt of eternal ice the desert confines of Siberia and North America—the uttermost limits of the Old and New worlds, separated by the narrow, channel, known as Behring's Straits.
The last days of September have arrived.
The equinox has brought with it darkness and Northern storms, and night will quickly close the short and dismal polar day. The sky of a dull and leaden blue is faintly lighted by a sun without warmth, whose white disk, scarcely seen above the horizon, pales before the dazzling, brilliancy of the snow that covers, as far as the eyes can reach, the boundless steppes.
To the North, this desert is bounded by a ragged coast, bristling with huge black rocks.
At the base of this Titanic mass lied enchained the petrified ocean, whose spell-bound waves appear fired as vast ranges of ice mountains, their blue peaks fading away in the far-off frost smoke, or snow vapor.
Between the twin-peaks of Cape East, the termination of Siberia, the sullen sea is seen to drive tall icebergs across a streak of dead green. There lies Behring's Straits.
Opposite, and towering over the channel, rise the granite masses of Cape Prince of Wales, the headland of North America.
These lonely latitudes do not belong to the habitable world; for the piercing cold shivers the stones, splits the trees, and causes the earth to burst asunder, which, throwing forth showers of icy spangles seems capable of enduring this solitude of frost and tempest, of famine and death.
Mentioned in The Prague Cemetary
November 2, 2020
3.5 stars = very good
The Wandering Jew came to my attention while reading Walter Benjamin's The Arcades Project. Eugene Sue's socialist leanings probably caught Benjamin's eye, and Benjamin's caught mine. Sue's humanitarian concerns are evident throughout The Wandering Jew, which can wax didactic at points. With that said, the writing is that of a man who cares genuinely for the People (capital P)—a man seeking social reform through the means available to him. Look no further than the common dwelling-place of factory-owner M. Hardy for the book's clearest utopian vision: Men sharing much in common; living modestly, but comfortably; and earning fair wages. Sue cleverly demonstrates how this is in the interest of both the laborer and the employer, using as his instructional medium a somewhat unbelievable Q&A session between one of the laborers and his love interest.
"Unbelievable" is, admittedly, a word that flitted through my mind on more than one occasion reading The Wandering Jew. However, this is a high romance from 1845; suspension of disbelief is a prerequisite for reading this type of fiction. Incredible coincidences abound, people die of broken hearts, and women carry the idea/appearance of virtue to extremes—all par for the course in a French high romance. At times, I was reminded of Dickens's work, rife with the kind of fortuitous events that just don't happen in real life, but that undeniably make for engaging fiction.
While the events and characters of this mega-novel often stretch the reader's plausibility to the breaking point, The Wandering Jew remains compelling throughout its 1,500 pages (500,000 words, if you're curious). This long-winded, circuitous feuilleton strays from repeating itself ad nauseam, as big books are wont to do. It contains one of the most despicable antagonists known to 19th-century literature, the indefatigable and pecuniarily-minded Rodin. His machinations are the linchpin of the narrative, driving the plot relentlessly. As I mentioned in one of my reading updates, this is a book to read for the plot, not the writing. While head and shoulders above modern pop-fiction—most of which I avoid like the plague—The Wandering Jew is pop-fiction, make no mistake. The readers of 200 years ago simply had longer attention spans and less truncated vocabularies.
The Wandering Jew came to my attention while reading Walter Benjamin's The Arcades Project. Eugene Sue's socialist leanings probably caught Benjamin's eye, and Benjamin's caught mine. Sue's humanitarian concerns are evident throughout The Wandering Jew, which can wax didactic at points. With that said, the writing is that of a man who cares genuinely for the People (capital P)—a man seeking social reform through the means available to him. Look no further than the common dwelling-place of factory-owner M. Hardy for the book's clearest utopian vision: Men sharing much in common; living modestly, but comfortably; and earning fair wages. Sue cleverly demonstrates how this is in the interest of both the laborer and the employer, using as his instructional medium a somewhat unbelievable Q&A session between one of the laborers and his love interest.
"Unbelievable" is, admittedly, a word that flitted through my mind on more than one occasion reading The Wandering Jew. However, this is a high romance from 1845; suspension of disbelief is a prerequisite for reading this type of fiction. Incredible coincidences abound, people die of broken hearts, and women carry the idea/appearance of virtue to extremes—all par for the course in a French high romance. At times, I was reminded of Dickens's work, rife with the kind of fortuitous events that just don't happen in real life, but that undeniably make for engaging fiction.
While the events and characters of this mega-novel often stretch the reader's plausibility to the breaking point, The Wandering Jew remains compelling throughout its 1,500 pages (500,000 words, if you're curious). This long-winded, circuitous feuilleton strays from repeating itself ad nauseam, as big books are wont to do. It contains one of the most despicable antagonists known to 19th-century literature, the indefatigable and pecuniarily-minded Rodin. His machinations are the linchpin of the narrative, driving the plot relentlessly. As I mentioned in one of my reading updates, this is a book to read for the plot, not the writing. While head and shoulders above modern pop-fiction—most of which I avoid like the plague—The Wandering Jew is pop-fiction, make no mistake. The readers of 200 years ago simply had longer attention spans and less truncated vocabularies.
October 6, 2013
I read this first in English, and later in French. It was one of the most popular novels in French of the 19th century, and the story is rewarding if you stick with it.
As a rather violently anti-Catholic work, it was proscribed by the church, something that apparently made it even more popular.
The Jew in question is one who struck Jesus while on his way to crucifixion, then said "get going". Jesus then replied, "I am going, but do you remain until I return." The Jew is then condemned to march continually around the globe, and as an additional curse bring cholera epidemics with his passing.
His opposite number is Salome, likewise condemned for the beheading of John the Baptist. She circles the globe east to west, the opposite direction from the Jew. As the novel opens, they meet at the Bering Strait.
In reality, neither of them figure as major characters. Rather than plot concentrates on the efforts of a group of Catholic priests and their adherents to get hold of an enormous treasure that the Jew has amassed during his wanderings and which is guarded by an elderly Jewish caretaker.
As a rather violently anti-Catholic work, it was proscribed by the church, something that apparently made it even more popular.
The Jew in question is one who struck Jesus while on his way to crucifixion, then said "get going". Jesus then replied, "I am going, but do you remain until I return." The Jew is then condemned to march continually around the globe, and as an additional curse bring cholera epidemics with his passing.
His opposite number is Salome, likewise condemned for the beheading of John the Baptist. She circles the globe east to west, the opposite direction from the Jew. As the novel opens, they meet at the Bering Strait.
In reality, neither of them figure as major characters. Rather than plot concentrates on the efforts of a group of Catholic priests and their adherents to get hold of an enormous treasure that the Jew has amassed during his wanderings and which is guarded by an elderly Jewish caretaker.
May 22, 2019
Such an interesting read; full of intrigue. Highly recommended
January 27, 2023
کتابی کاملا خسته کننده و کشدار و حوصله سر بر. هر چی تلاش کردم نتونستم بیشتر از نصفی از کتاب رو بخونم . همونقدر هم به خاطر گروهی خواندن بود که پیش رفتم.
October 27, 2019
Too much description of characters’ faces, clothing and habitats, as is common in 19th century literature, and a bit of sermonizing from time to time, but overall a first rate melodrama.
September 18, 2020
This is a classic melodrama written in short installments verging on an endless family soap.
I read the kindle version though I did originally start a hardback edition but the 1400 pages became just too weighty. If your concerned it might be anti-Semitic don't, indeed it wasn't at all - the title is really rather misleading as the novel isn't anything like Melmoth or The Highlander i.e. no ghosts or magic and it is not a tale about the title either, so there's little or no Jewish stereotyping one might expect.
The evil Jesuits have lost a fortune but the group (Rodin, Father d'Aigngny) seek to regain it 150 years later in 1832 by manipulating the inheritance/will coming to seven members of an extended and widely dispersed family of the Renneports including Jacques, the lovely Arlenne de Cardoville, General Simon's twin daughters, Djalma Singh, devote/good monk Gabriel, businessman Francois Hardy. The first half of the book is the evil prevention of these individuals attending the reading of the will - the second half is how Rodin engineers a worse strategy on the family to gain the money for himself and become Pope. There are some lovely side characters like the old soldier and guardian Dagobert, Morok (lion tamer) and Goliath and mother Bunch.
It is a huge novel with lots of classic gothic form of consigning to nunneries, mental asylums, false imprisonment, lying, drugging, disease, duals, inter-racial love and skullduggery. The title alludes to the family's origins to the New testament reference to the guy who told Jesus to 'move-on' and was consigned to endlessly wander the earth in punishment (so much for forgiveness!) but since most of the populace would be Jewish that reference is a bit academic to me too); there is a second inference to 'wandering' is that to plagues of Typhoid which impacts the story towards the end.
I really did appreciate this gothic, classic mix of Dickens/Balzac/Walpole extended story building up to a crescendo halfway and an even more 'will the baddy get his comeuppance?' finale. It is well written - I'll definitely be looking to read Sue's other novels and similar.
I read the kindle version though I did originally start a hardback edition but the 1400 pages became just too weighty. If your concerned it might be anti-Semitic don't, indeed it wasn't at all - the title is really rather misleading as the novel isn't anything like Melmoth or The Highlander i.e. no ghosts or magic and it is not a tale about the title either, so there's little or no Jewish stereotyping one might expect.
The evil Jesuits have lost a fortune but the group (Rodin, Father d'Aigngny) seek to regain it 150 years later in 1832 by manipulating the inheritance/will coming to seven members of an extended and widely dispersed family of the Renneports including Jacques, the lovely Arlenne de Cardoville, General Simon's twin daughters, Djalma Singh, devote/good monk Gabriel, businessman Francois Hardy. The first half of the book is the evil prevention of these individuals attending the reading of the will - the second half is how Rodin engineers a worse strategy on the family to gain the money for himself and become Pope. There are some lovely side characters like the old soldier and guardian Dagobert, Morok (lion tamer) and Goliath and mother Bunch.
It is a huge novel with lots of classic gothic form of consigning to nunneries, mental asylums, false imprisonment, lying, drugging, disease, duals, inter-racial love and skullduggery. The title alludes to the family's origins to the New testament reference to the guy who told Jesus to 'move-on' and was consigned to endlessly wander the earth in punishment (so much for forgiveness!) but since most of the populace would be Jewish that reference is a bit academic to me too); there is a second inference to 'wandering' is that to plagues of Typhoid which impacts the story towards the end.
I really did appreciate this gothic, classic mix of Dickens/Balzac/Walpole extended story building up to a crescendo halfway and an even more 'will the baddy get his comeuppance?' finale. It is well written - I'll definitely be looking to read Sue's other novels and similar.
May 8, 2018
Por fin, después de más de un mes con este libro, he terminado de leerlo.
Me ha dejado muchos sentimientos, pero sobretodo de rabia e impotencia por todas las desgracias que sufren los siete mienbros de la familia Rennepont a causa de los jesuitas, especialmente de uno muy cruel.
Cuanto más se acerca al final, más crueldades y pérdidas sufren, de tal forma que el final resulta ser una pequeña tirita para una multitud de enormes heridas.
En cuanto a la forma en que está escrito, hay partes muy, muy densas, casi soporíferas, donde nos explica acontecimientos historicos (que he comprobado eran ciertos), nos da cada mínimo detalle de todo, desde vestimenta, colores, paisajes... Ha habido momento en que se ha pasado dos o tres páginas (sin exagerar) dando cáda detalle del vestido de un sólo personaje.
Pero quitando estos (y otros) detalles, la historia en generál me ha gustado muchisimo.
Reseña completa en el blog:
http://mitesorolibros.blogspot.com/20...
Me ha dejado muchos sentimientos, pero sobretodo de rabia e impotencia por todas las desgracias que sufren los siete mienbros de la familia Rennepont a causa de los jesuitas, especialmente de uno muy cruel.
Cuanto más se acerca al final, más crueldades y pérdidas sufren, de tal forma que el final resulta ser una pequeña tirita para una multitud de enormes heridas.
En cuanto a la forma en que está escrito, hay partes muy, muy densas, casi soporíferas, donde nos explica acontecimientos historicos (que he comprobado eran ciertos), nos da cada mínimo detalle de todo, desde vestimenta, colores, paisajes... Ha habido momento en que se ha pasado dos o tres páginas (sin exagerar) dando cáda detalle del vestido de un sólo personaje.
Pero quitando estos (y otros) detalles, la historia en generál me ha gustado muchisimo.
Reseña completa en el blog:
http://mitesorolibros.blogspot.com/20...
December 30, 2025
Un libro interesante, a ratos más espeso pero me dejó con ganas de leer el segundo tomo.
March 11, 2020
حیله و فریب، جاه طلبی، عشق
شخصیت ها: رز، بلانش، ژنرال سیمون، داگوبر، گابریل، آدرین، مایو، رودن و ...
داستان خوب و نسبتا جالبی است. نسبتا به این دلیل که روند شکل گیری داستان خیلی کند است و تنها در نیمه دوم کتاب کمی جذابیت و هیجان به داستان اضافه می شود. نیمه اول کتاب به معرفی شخصیت های اصلی و فرعی پرداخته است.
در داستان تعداد زیادی شخصیت های اصلی و فرعی وجود دارد که تقریبا هر یک داستان مجزای خود را نیز دارند. در بخشی هایی از کتاب جذابیت داستان شخصیت های فرعی جای روند اصلی کتاب را می گیرد. به همین دلیل نمی توان گفت که داستان یک شخصیت اصلی دارد. در انتها نیز تقریبا سرنوشت همه شخصیت ها مشخص می شود.
قالب کلی داستان نبرد بین بدی و خوبی است که در نهایت ...
شخصیت ها: رز، بلانش، ژنرال سیمون، داگوبر، گابریل، آدرین، مایو، رودن و ...
داستان خوب و نسبتا جالبی است. نسبتا به این دلیل که روند شکل گیری داستان خیلی کند است و تنها در نیمه دوم کتاب کمی جذابیت و هیجان به داستان اضافه می شود. نیمه اول کتاب به معرفی شخصیت های اصلی و فرعی پرداخته است.
در داستان تعداد زیادی شخصیت های اصلی و فرعی وجود دارد که تقریبا هر یک داستان مجزای خود را نیز دارند. در بخشی هایی از کتاب جذابیت داستان شخصیت های فرعی جای روند اصلی کتاب را می گیرد. به همین دلیل نمی توان گفت که داستان یک شخصیت اصلی دارد. در انتها نیز تقریبا سرنوشت همه شخصیت ها مشخص می شود.
قالب کلی داستان نبرد بین بدی و خوبی است که در نهایت ...
Read
December 30, 2013Some of the most beautiful English written here by a French national. Written by a man with an extraordinary breadth of experience for his time, an epic romantic fantasy, and a stark portrayal of the commoner struggling for independence from the morass of religious and governmental autocracy. Written in the dawning of French revolution, and full of interesting historical anthropological tidbits. Definitely worth the 1000+ page read.
May 28, 2021
Wow! They don't write 'em like that any more!I
Finished 5/29/21
Finished 5/29/21
July 11, 2019
Super entertaining and... love the end.
Read
September 18, 20231845
NO, I did NOT read this book! I had it on my shelves for a couple of decades, having picked it up at a book sale thinking it would enlighten me about some aspect[s] of the history of Jews!! I skimmed it just now, and decided I could get rid of it.
It is not about Jews at all. It is about France [Paris] in the 1820s and is highly anti-Jesuit. 1500 or so pages, huge book. Published serialized [think Charles Dickens's books]. Very popular in its day, in France.
An excellent long review on goodreads, by Simon Maxwell-Stewart, pointing out what's good about the book and how it shares many characteristics of its times, which sometimes grate on one's ear today.
NO, I did NOT read this book! I had it on my shelves for a couple of decades, having picked it up at a book sale thinking it would enlighten me about some aspect[s] of the history of Jews!! I skimmed it just now, and decided I could get rid of it.
It is not about Jews at all. It is about France [Paris] in the 1820s and is highly anti-Jesuit. 1500 or so pages, huge book. Published serialized [think Charles Dickens's books]. Very popular in its day, in France.
An excellent long review on goodreads, by Simon Maxwell-Stewart, pointing out what's good about the book and how it shares many characteristics of its times, which sometimes grate on one's ear today.
January 27, 2023
قطعا این رمان در سال 1844 که به صورت پاورقی منتشر میشد, کتاب پیشرو و جالبی بوده ,اما برای امروز ما زیادی ساده و خسته کننده است. کتاب نمونه تیپیک سبک رومانتیک است , مرزبندي هاي مشخص و سیاه و سفید با با صفات ثابت و غیر قابل تغییر .آخر کتاب را دوست داشتم جایی که یهودی سرگردان و خواهرش از پیر شدن خودشان خیلی خوشحال شدند چون پیری علامت فنا پذیر شدن و به معنای بخشیده شد ن و رهایی از درد سرگردانی ابدی بود.
October 20, 2022
Don't know what this site is referring to when they list this book as having 265 pages. The copy that I just read, was a giant of a book at almost 1,400 pages.
A bit tedious in parts, but overall I quite enjoyed it.
A bit tedious in parts, but overall I quite enjoyed it.
July 19, 2020
Extremely flat characters, a social novel that is too boring to read and with a soapy plot
November 9, 2014
Le juif errant est un polemique tout a fait absurde contre l'influence de l'église catholique et particulierement les Jesuites dans la vie des francais au dix-neuvieme siècle.
Finallement le juif errant presente un theorie de complot tout a fait meprisable. La Compagnie de Jésus a été supprimée en 1773 par le pape Clément XIV. Au dix-neuvieme siècle les Jésuites étaient absent de tous les pays catholique. La compagnie survivait uniquement dans l'empire Russe qui refusait d'appliquer le bref apostolique abolissant la Compagnie des Jesuites.
L'eglise Catholique Romaine avait toujours des défauts mais les attaques qui se trouvent chez Eugene Sue sont parfaitement ridicules.
Finallement le juif errant presente un theorie de complot tout a fait meprisable. La Compagnie de Jésus a été supprimée en 1773 par le pape Clément XIV. Au dix-neuvieme siècle les Jésuites étaient absent de tous les pays catholique. La compagnie survivait uniquement dans l'empire Russe qui refusait d'appliquer le bref apostolique abolissant la Compagnie des Jesuites.
L'eglise Catholique Romaine avait toujours des défauts mais les attaques qui se trouvent chez Eugene Sue sont parfaitement ridicules.
June 1, 2017
it could be written in a shorten version, maybe only one volume book. but got an interesting idea.
August 28, 2018
Не мсмотря на свой объем читается очень легко. Захватывающий сюжет, много героев, прекрасно описан быт и жизнь тех времен.
April 29, 2017
Книга неимоверно оргомная, нечеловечески затянутая и читать её просто пытка. С другой стороны, надо отдать должное автору - история сама по себе интересная и даже захватывающая. Размер книги - это проблема не только Сю, но и вообще всех французских классиков. Я бы например с огромным удовольствием прочитала бы эту книгу в сильно ужатом виде, можно ужать на треть - выкинуть лишних деталей, персонажей и сократить диалоги. При этом очень интересно автор ведёт диалог с читателем: надо же читателю дать деталей и бэкграунд, поэтому всё это помещено в диалоги, причём из-за этого диалог часто страдает потерей логики. К примеру, в самом начале книги, когда ещё ничего не понятно, был разговор девочек-близнецов и присматривающего за ними солдата. Цель диалога - рассказать историю девочек до сих пор, естественно нелёгкая судьба постигла невинных дитяток. Но одна из девочек спрашивает: "Так может, наша мама умерла от всех этих переживаний?" "Нет, деточка, - говорит старый солдат, - ваша мама скончалась от холеры. Вы же сами прилежно за ней ухаживали, не боясь подцепить заразу". У девочек что, потеря памяти, или они просто не очень умненькие? А вот ещё интересный момент: в 8 часов утра возле дома Адриенны разворачивается диалог двух служанок, одна из которых видит барышню. Барышня пробирается к себе, переодевается, тут же принимает Агриколя у себя, и затем отправляется к тётке на краткую беседу. У тётки происходит беседа, после окончания которой на дворе оказывается ночь. То, что беседа затянулась на целый день - я верю. Я почти уверена, что если читать беседу вслух со скоростью нормальной речи, как раз займёт весь день. Я просто переживаю, что мадемуазель за день ни поесть, ни присесть ни разу не успела.
Зато сюжет богатый. Всяческие бесконечные перипетии, подлости, планирование этих подлостей. Автор наделяет орден Иезуитов, Общество Иисуса, огромной властью и бесконечным интриганством. Из Википедии мы узнаём, что однажды орден был упразднён, а позже восстановлен. Время, когда орден не существовал, приходится на те 150 лет, которые некий предок героев заморозил выдачу своего наследства. Короче, не подрасчитал он что-то. Предок назначил своим потомкам собраться в определённый день для выдачи огромного капитала, за которое и борются корыстные монахи. Да, в своих нападках Сю полностью перепевает роман Льюиса "Монах", даже вечный жид тот же. Потомков всего семеро, монахи строят козни, чтобы только один попал на оглашение вовремя - тот, кого они обманом заманили к себе в орден и уже содрали с него дарственную. Всё проходит как по писаному ещё в середине второго тома. И тут deus ex machina, всё отменяется, назначается второй срок. Казалось бы, из первой половины книги положительные герои уже узнали, почём фунт лиха и увидели врагов в лицо. Дальше логично было бы им собраться с силами и нанести ответный удар - была бы классическая битва. Но далее книга развивается отнюдь не так однозначно. Я бы даже сказала, что козни иезуитов даже выявили, что положительные герои - люди отнюдь не идеальные, и уж точно не самые дальновидные и жить долго и счастливо со своим наследством почему-то даже не планируют. А организованная преступная группировка Общество Иисуса непонятно почему столь неуязвима и не поддаётся никакому урегулированию со стороны каких-либо сил вменяемости.
За всем этим следить, даже непонятно почему, следить интересно. Сюжет спасает.
Зато сюжет богатый. Всяческие бесконечные перипетии, подлости, планирование этих подлостей. Автор наделяет орден Иезуитов, Общество Иисуса, огромной властью и бесконечным интриганством. Из Википедии мы узнаём, что однажды орден был упразднён, а позже восстановлен. Время, когда орден не существовал, приходится на те 150 лет, которые некий предок героев заморозил выдачу своего наследства. Короче, не подрасчитал он что-то. Предок назначил своим потомкам собраться в определённый день для выдачи огромного капитала, за которое и борются корыстные монахи. Да, в своих нападках Сю полностью перепевает роман Льюиса "Монах", даже вечный жид тот же. Потомков всего семеро, монахи строят козни, чтобы только один попал на оглашение вовремя - тот, кого они обманом заманили к себе в орден и уже содрали с него дарственную. Всё проходит как по писаному ещё в середине второго тома. И тут deus ex machina, всё отменяется, назначается второй срок. Казалось бы, из первой половины книги положительные герои уже узнали, почём фунт лиха и увидели врагов в лицо. Дальше логично было бы им собраться с силами и нанести ответный удар - была бы классическая битва. Но далее книга развивается отнюдь не так однозначно. Я бы даже сказала, что козни иезуитов даже выявили, что положительные герои - люди отнюдь не идеальные, и уж точно не самые дальновидные и жить долго и счастливо со своим наследством почему-то даже не планируют. А организованная преступная группировка Общество Иисуса непонятно почему столь неуязвима и не поддаётся никакому урегулированию со стороны каких-либо сил вменяемости.
За всем этим следить, даже непонятно почему, следить интересно. Сюжет спасает.
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