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اشتفان تسوایک در مقدمه ی این کتاب نوشته است: منظور و هدف من از تألیف این اثر، تنها نوشتن شرح حال و آثار یکی از هنرمندان عالی قدر و اروپایی نیست ، بلکه در این کتاب بیشتر میخواهم راوی تلاش و کوشش صلحآمیز و انسان دوستانهی مردم باشم که برای من و گروه دیگری نماد درخشان بزرگواری و معنویات در این عصر و زمانه است. بحث و تحقیق در زندگی بزرگان عالم ما را به این نتیجه میرساند که بیتردید عظمت واقعی یک هنرمند به انسان دوستی و تلاش او در گسترش و اعتلای اخلاق خوب و معنویات در جامعهی بشری بستگی دارد و منظور نهایی این «زندگینامه»، نوعی قدرشناسی از نویسندهای است که صفای روح و پاکی نیت او در این قرن گرفتار و پرآشوب به اعجاز شباهت دارد. به همین علت این کتاب را به گروه اندک شماری تقدیم میکنم که در دوران ما، که جهان در آتش فتنه و آشفتگی میسوزد، اعتقاد و ایمان خود را به رومن رولان و هم فکران او از دست ندادهاند
چاپ دوم ۱۳۹۴
ISBN 978-9641720775
چاپ دوم ۱۳۹۴
ISBN 978-9641720775
- GenresBiographyNonfiction
335 pages, Paperback
First published January 1, 1921
37 people are currently reading
144 people want to read
About the author
Stefan Zweig
2,250 books10.5k followersStefan Zweig was one of the world's most famous writers during the 1920s and 1930s, especially in the U.S., South America, and Europe. He produced novels, plays, biographies, and journalist pieces. Among his most famous works are Beware of Pity, Letter from an Unknown Woman, and Mary, Queen of Scotland and the Isles. He and his second wife committed suicide in 1942.
Zweig studied in Austria, France, and Germany before settling in Salzburg in 1913. In 1934, driven into exile by the Nazis, he emigrated to England and then, in 1940, to Brazil by way of New York. Finding only growing loneliness and disillusionment in their new surroundings, he and his second wife committed suicide.
Zweig's interest in psychology and the teachings of Sigmund Freud led to his most characteristic work, the subtle portrayal of character. Zweig's essays include studies of Honoré de Balzac, Charles Dickens, and Fyodor Dostoevsky (Drei Meister, 1920; Three Masters) and of Friedrich Hölderlin, Heinrich von Kleist, and Friedrich Nietzsche (Der Kampf mit dem Dämon, 1925; Master Builders). He achieved popularity with Sternstunden der Menschheit (1928; The Tide of Fortune), five historical portraits in miniature. He wrote full-scale, intuitive rather than objective, biographies of the French statesman Joseph Fouché (1929), Mary Stuart (1935), and others. His stories include those in Verwirrung der Gefühle (1925; Conflicts). He also wrote a psychological novel, Ungeduld des Herzens (1938; Beware of Pity), and translated works of Charles Baudelaire, Paul Verlaine, and Emile Verhaeren.
Most recently, his works provided the inspiration for 2014 film The Grand Budapest Hotel.
Zweig studied in Austria, France, and Germany before settling in Salzburg in 1913. In 1934, driven into exile by the Nazis, he emigrated to England and then, in 1940, to Brazil by way of New York. Finding only growing loneliness and disillusionment in their new surroundings, he and his second wife committed suicide.
Zweig's interest in psychology and the teachings of Sigmund Freud led to his most characteristic work, the subtle portrayal of character. Zweig's essays include studies of Honoré de Balzac, Charles Dickens, and Fyodor Dostoevsky (Drei Meister, 1920; Three Masters) and of Friedrich Hölderlin, Heinrich von Kleist, and Friedrich Nietzsche (Der Kampf mit dem Dämon, 1925; Master Builders). He achieved popularity with Sternstunden der Menschheit (1928; The Tide of Fortune), five historical portraits in miniature. He wrote full-scale, intuitive rather than objective, biographies of the French statesman Joseph Fouché (1929), Mary Stuart (1935), and others. His stories include those in Verwirrung der Gefühle (1925; Conflicts). He also wrote a psychological novel, Ungeduld des Herzens (1938; Beware of Pity), and translated works of Charles Baudelaire, Paul Verlaine, and Emile Verhaeren.
Most recently, his works provided the inspiration for 2014 film The Grand Budapest Hotel.
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Displaying 1 - 13 of 13 reviews
January 5, 2022
One year after I read the epic 1,700 page romance "Jean-Christophe" by Romain Rolland, I revisited the story through the lens of Stefan Zweig's "Romain Rolland--The Man and his Work." Published during Rolland's lifetime, this book both delivers everything you want to know about the Nobel Prize winning author and also somehow seems to partially miss the mark.
Zweig himself was an interesting writer who continues to have an extensive international following long after his death. Having to flee Nazi persecution, he and his second wife left Europe for self-imposed exile in Brazil. Now, as much as I think I'd love to spend the rest of my days in a tropical country, evidently the change in scenery was too much for Zweig. Lonely, without supports, and out of their element, Zweig and his wife committed suicide in 1942. He left behind quite a literary legacy, including several biographies which were kind of his specialty. His biographies have a reputation for being rather light on facts and heavy with conjecture about the psychological and spiritual motivations of his subject.
As such, "Romain Rolland" feels more like a propagandist's portrait of a third-world dictator, full of poesy and whimsy, with Rolland almost serving as a new Christ figure for all of Europe. However, I am assuming Rolland approved, as the two authors continued many years of correspondence with each other.
So when I said that this book somehow misses the mark, I meant that I never really got a sense of the historical Romain Rolland, only of Zweig's portrait of the author as some kind of semi-fictional hero. I hesitate to even label this book as a biography. Still, there are parts of the book that touched me in a way that only a biography can.
My favorite antecdote concerns Rolland's reaction to the publication of Tolstoy's scathing critique of art and music "What Is To Be Done?" Rolland practically worshipped Tolstoy, but he also loved music, particularly German music like that of Richard Wagner. So Rolland evidently developed a few short-circuits in his brain when he read Tolstoy belittling his favorite tunes as the "music of the bourgeois." What is the young Rolland to do? Well, just like any modern young person who reads a Tweet criticizing their favorite Timelord or version of Spiderman, he sends Tolstoy a fretful response. Tolstoy had never heard of Rolland, and they never had any previous correspondence. But weeks later, Rolland receives a letter back from Tolstoy. Not only did Tolstoy receive Rolland's rant, but he took the time to write a detailed pep talk--over thirty pages, in fact--AND in Rolland's language! Supposedly, Tolstoy's words were sweet and encouraging to the young artist, and Rolland was reinvigorated with a new mission in life after such wisdom from the master.
I think this story tells us more about what a class act Tolstoy was more than it says anything about Rolland. But Zweig uses the advice that Tolstoy gives young Rolland as a launching point for all of Rolland's subsequent work.
Essentially, Tolstoy inspired in Rolland a "call to idealism," and his initial efforts to share this supranational enthusiasm was through the French stage. But much like Goethe, his attempts to establish a People's Theater fell flat through lack of interest. Zweig discusses all of Rolland's early plays, including several that had never been published in his lifetime and which had still not seen the light of day by the time Zweig's biography of Rolland came out in 1921. And though he clearly had been interviewing Rolland for this book, Zweig never gives us a sense of what these first unpublished plays were like. We only know that they were "rejected." Apparently, Rolland rejected them as well, because he clearly didn't want Zweig to talk about them. Those plays that do receive some clear detail are his historical dramas about the French Revolution.
Whereas "July 14" (1902) was a kind of celebration or festival commemorating the liberation of the French people from monarchial rule, "Danton" (1900) is of far more interest to modern readers for it's realistic portrayal of the aftermath of the Revolution. The moral heart of the play, the historical Georges Danton, is sickened that the Revolution has only led to more tyranny, while Robespierre, so enslaved by his agenda and theories, no longer sees human beings, only partisans. Danton, like many innocents during the Reign of Terror, met his end under the blade of Robespierre's guillotine. Today's revolutionaries who live under a government they would love to see torn down would do well to pay attention.
"Every spiritual movement, and above all every revolution or reformation, knows this tragical instant of victory, when power passes into the hands of the few; when moral unity is broken in sunder by the conflict between political aims; when the masses, who in an impetuous onrush have secured freedom, blindly follow demagogues inspired solely by self-interest."
Which brings us to the meat of Romain Rolland's career, the 10-volume door-stopper that is "Jean-Christophe." After his failure in the realm of theater, Rolland went into a 10-year period of isolation, composing what would be his masterpiece. Perhaps more than any other novel that had previously been written, Rolland's epic about a German musician represented all of contemporary Europe. This is why, as Zweig puts it, "Rolland needs so much room," or in other words, writes such long ass books! Rolland wasn't just trying to tell the history of a single fictional character; he was serving as a kind of therapist to an entire continent of peoples living through a war-torn epoch of industrial and sociopolitical changes. According to Zweig, breadth of scope was "a moral necessity" rather than an artistic choice.
Like in "Danton," the main point of "Jean-Christophe" was to find the morality behind political struggles. During his theatrical forays, Rolland watched how the Dreyfus Affair tore France in two, followed by a fatal blow to morale by the Boer War. He hoped to reinvigorate Europeans who were disatisified with their lives, with their government, with their humiliating defeat. Here, the vanquished can be the ultimate winner. "The individual gains the victory, only when he is free from illusion, and when he has no part in any wrong committed by his nation." Whereas other writers of the day were promising better things to come in the near future, Rolland made no such promises of victory but instead examined the false values that measure defeat. It is here we can see Tolstoy's influence on Rolland, mixed with a healthy dash of Ernest Renan.
The majority of Zweig's book is an analysis of "Jean-Christophe," and for good reason, as this was the culmination of Rolland's art, his religious confession, his psychotherapeutic intervention to the people of Europe. Here we have one of the great portraits of a full man, the entire spectrum of a full life, with all the people and influences that shape and alter that life perpetually until death. When I first read the novel, I assumed the titular character was meant to be Beethoven, but Zweig points out how certain events in the life of Jean-Christophe were modeled after those of many great musicians, including Christoph Gluck, Richard Wagner, George Handel, Friedemann Bach, Gustav Mahler, César Frank, Mozart, and especially Hugo Wolf. Indeed, the character of Jean-Christophe is a composite, just as the entire novel is a composite of the European spirit coming in to the 20th Century. Rolland evidently considered himself a musician first and foremost as well. Zweig points out that his writing here does have the quality of a symphonic composition of harmonies transposed into speech, and that this structure cannot be understood by those who see "Jean-Christophe" only as a novel in 10 volumes. In fact, Zweig boldly asserts that through this musical architecture and the details of the protagonist's creative process throughout his life, we are witness to nature's secret of creation, and thus to the infinite. Wow. I'm not sure about all that, but indeed, it is fitting that so much space is dedicated to "Jean-Christophe," as a work of this breadth cannot be simply summarized. Overall, I felt Zweig did the novel justice, and he even helped me think of character arcs in a fresh new light.
These are just some examples demonstrating how Zweig conveyed an understanding to the reader of the work of a great artist. Zweig has a lot more to say, and one may argue perhaps too much, as I did find this book a bit long for a biography this light on facts. Also, I can't tell if much of this book is pure conjecture and interpretation on the part of Zweig, or actually coming from interviewing Rolland directly. Regardless, I do think that Zweig's exploration provides great insights into an author whose voice we can no longer hear except posthumously through his own timeless writing.
Of course, none of this biography could substitute for actually reading "Jean-Christophe" or any of Rolland's works. For those of you interested in getting into Rolland, I would surely not recommend reading this book first, because Zweig analyzes Rolland's works with the preconception that one is already familiar with the books in question, or at least with "Jean-Christophe." For example, when Zweig starts talking about characters such as Olivier and Grazia, he never gives you any context as to who these people are in the novel. He just starts name-dropping and yammering away, and so newcomers to Rolland's work who haven't read "Jean-Christophe" will be lost and confused. The only work that Zweig actually seems to assume that we have no previous knowledge of is Rolland's novel "Clerambault," for which Zweig gives us some details of the plot in order to provide context to his analysis.
That being said, this book will certainly help enrich the experience of those who have read Rolland. It also has made me curious about Zweig's own ouvre, and I hope to soon be reading some of his novels, or perhaps his biography of another of my favorite authors, Dostoevsky.
SCORE: Three and a half stars, rounded to four.
Zweig himself was an interesting writer who continues to have an extensive international following long after his death. Having to flee Nazi persecution, he and his second wife left Europe for self-imposed exile in Brazil. Now, as much as I think I'd love to spend the rest of my days in a tropical country, evidently the change in scenery was too much for Zweig. Lonely, without supports, and out of their element, Zweig and his wife committed suicide in 1942. He left behind quite a literary legacy, including several biographies which were kind of his specialty. His biographies have a reputation for being rather light on facts and heavy with conjecture about the psychological and spiritual motivations of his subject.
As such, "Romain Rolland" feels more like a propagandist's portrait of a third-world dictator, full of poesy and whimsy, with Rolland almost serving as a new Christ figure for all of Europe. However, I am assuming Rolland approved, as the two authors continued many years of correspondence with each other.
So when I said that this book somehow misses the mark, I meant that I never really got a sense of the historical Romain Rolland, only of Zweig's portrait of the author as some kind of semi-fictional hero. I hesitate to even label this book as a biography. Still, there are parts of the book that touched me in a way that only a biography can.
My favorite antecdote concerns Rolland's reaction to the publication of Tolstoy's scathing critique of art and music "What Is To Be Done?" Rolland practically worshipped Tolstoy, but he also loved music, particularly German music like that of Richard Wagner. So Rolland evidently developed a few short-circuits in his brain when he read Tolstoy belittling his favorite tunes as the "music of the bourgeois." What is the young Rolland to do? Well, just like any modern young person who reads a Tweet criticizing their favorite Timelord or version of Spiderman, he sends Tolstoy a fretful response. Tolstoy had never heard of Rolland, and they never had any previous correspondence. But weeks later, Rolland receives a letter back from Tolstoy. Not only did Tolstoy receive Rolland's rant, but he took the time to write a detailed pep talk--over thirty pages, in fact--AND in Rolland's language! Supposedly, Tolstoy's words were sweet and encouraging to the young artist, and Rolland was reinvigorated with a new mission in life after such wisdom from the master.
I think this story tells us more about what a class act Tolstoy was more than it says anything about Rolland. But Zweig uses the advice that Tolstoy gives young Rolland as a launching point for all of Rolland's subsequent work.
Essentially, Tolstoy inspired in Rolland a "call to idealism," and his initial efforts to share this supranational enthusiasm was through the French stage. But much like Goethe, his attempts to establish a People's Theater fell flat through lack of interest. Zweig discusses all of Rolland's early plays, including several that had never been published in his lifetime and which had still not seen the light of day by the time Zweig's biography of Rolland came out in 1921. And though he clearly had been interviewing Rolland for this book, Zweig never gives us a sense of what these first unpublished plays were like. We only know that they were "rejected." Apparently, Rolland rejected them as well, because he clearly didn't want Zweig to talk about them. Those plays that do receive some clear detail are his historical dramas about the French Revolution.
Whereas "July 14" (1902) was a kind of celebration or festival commemorating the liberation of the French people from monarchial rule, "Danton" (1900) is of far more interest to modern readers for it's realistic portrayal of the aftermath of the Revolution. The moral heart of the play, the historical Georges Danton, is sickened that the Revolution has only led to more tyranny, while Robespierre, so enslaved by his agenda and theories, no longer sees human beings, only partisans. Danton, like many innocents during the Reign of Terror, met his end under the blade of Robespierre's guillotine. Today's revolutionaries who live under a government they would love to see torn down would do well to pay attention.
"Every spiritual movement, and above all every revolution or reformation, knows this tragical instant of victory, when power passes into the hands of the few; when moral unity is broken in sunder by the conflict between political aims; when the masses, who in an impetuous onrush have secured freedom, blindly follow demagogues inspired solely by self-interest."
Which brings us to the meat of Romain Rolland's career, the 10-volume door-stopper that is "Jean-Christophe." After his failure in the realm of theater, Rolland went into a 10-year period of isolation, composing what would be his masterpiece. Perhaps more than any other novel that had previously been written, Rolland's epic about a German musician represented all of contemporary Europe. This is why, as Zweig puts it, "Rolland needs so much room," or in other words, writes such long ass books! Rolland wasn't just trying to tell the history of a single fictional character; he was serving as a kind of therapist to an entire continent of peoples living through a war-torn epoch of industrial and sociopolitical changes. According to Zweig, breadth of scope was "a moral necessity" rather than an artistic choice.
Like in "Danton," the main point of "Jean-Christophe" was to find the morality behind political struggles. During his theatrical forays, Rolland watched how the Dreyfus Affair tore France in two, followed by a fatal blow to morale by the Boer War. He hoped to reinvigorate Europeans who were disatisified with their lives, with their government, with their humiliating defeat. Here, the vanquished can be the ultimate winner. "The individual gains the victory, only when he is free from illusion, and when he has no part in any wrong committed by his nation." Whereas other writers of the day were promising better things to come in the near future, Rolland made no such promises of victory but instead examined the false values that measure defeat. It is here we can see Tolstoy's influence on Rolland, mixed with a healthy dash of Ernest Renan.
The majority of Zweig's book is an analysis of "Jean-Christophe," and for good reason, as this was the culmination of Rolland's art, his religious confession, his psychotherapeutic intervention to the people of Europe. Here we have one of the great portraits of a full man, the entire spectrum of a full life, with all the people and influences that shape and alter that life perpetually until death. When I first read the novel, I assumed the titular character was meant to be Beethoven, but Zweig points out how certain events in the life of Jean-Christophe were modeled after those of many great musicians, including Christoph Gluck, Richard Wagner, George Handel, Friedemann Bach, Gustav Mahler, César Frank, Mozart, and especially Hugo Wolf. Indeed, the character of Jean-Christophe is a composite, just as the entire novel is a composite of the European spirit coming in to the 20th Century. Rolland evidently considered himself a musician first and foremost as well. Zweig points out that his writing here does have the quality of a symphonic composition of harmonies transposed into speech, and that this structure cannot be understood by those who see "Jean-Christophe" only as a novel in 10 volumes. In fact, Zweig boldly asserts that through this musical architecture and the details of the protagonist's creative process throughout his life, we are witness to nature's secret of creation, and thus to the infinite. Wow. I'm not sure about all that, but indeed, it is fitting that so much space is dedicated to "Jean-Christophe," as a work of this breadth cannot be simply summarized. Overall, I felt Zweig did the novel justice, and he even helped me think of character arcs in a fresh new light.
These are just some examples demonstrating how Zweig conveyed an understanding to the reader of the work of a great artist. Zweig has a lot more to say, and one may argue perhaps too much, as I did find this book a bit long for a biography this light on facts. Also, I can't tell if much of this book is pure conjecture and interpretation on the part of Zweig, or actually coming from interviewing Rolland directly. Regardless, I do think that Zweig's exploration provides great insights into an author whose voice we can no longer hear except posthumously through his own timeless writing.
Of course, none of this biography could substitute for actually reading "Jean-Christophe" or any of Rolland's works. For those of you interested in getting into Rolland, I would surely not recommend reading this book first, because Zweig analyzes Rolland's works with the preconception that one is already familiar with the books in question, or at least with "Jean-Christophe." For example, when Zweig starts talking about characters such as Olivier and Grazia, he never gives you any context as to who these people are in the novel. He just starts name-dropping and yammering away, and so newcomers to Rolland's work who haven't read "Jean-Christophe" will be lost and confused. The only work that Zweig actually seems to assume that we have no previous knowledge of is Rolland's novel "Clerambault," for which Zweig gives us some details of the plot in order to provide context to his analysis.
That being said, this book will certainly help enrich the experience of those who have read Rolland. It also has made me curious about Zweig's own ouvre, and I hope to soon be reading some of his novels, or perhaps his biography of another of my favorite authors, Dostoevsky.
SCORE: Three and a half stars, rounded to four.
March 29, 2020
Kitabın adı “Avrupa’nın Vicdanı” olarak çevrilmiş, aslında Fransız yazar ve Zweig’ın da yakın dostu olan Romain Rolland’ın eserlerinin bir incelemesi. Konuya aşina olmayanlar için biraz sıkıcı gelebilir. Sanırım bu yüzden puanı biraz düşük.
Kitapta özellikle Rolland’ın en büyük ve en önemli eseri Jean Christopher detaylı bir şekilde incelenmiştir.
1919 yılında Rolland tarafından yazılan aklın bağımsızlığı beyannamesi beni çok etkiledi. Bugün bile geçerliliği olan bir metin var olduğunu düşünüyorum. Başlangıç cümlelerini yazdım gerisini de mutlaka okuyun.
“Herşeyden önce felaketlerin sebebi, dünyanın her yanında aklın neredeyse tamamen bir kenara çekilip dizginlenemeyen güçlerin gönüllü kölesi haline gelmesidir.”
Kitapta özellikle Rolland’ın en büyük ve en önemli eseri Jean Christopher detaylı bir şekilde incelenmiştir.
1919 yılında Rolland tarafından yazılan aklın bağımsızlığı beyannamesi beni çok etkiledi. Bugün bile geçerliliği olan bir metin var olduğunu düşünüyorum. Başlangıç cümlelerini yazdım gerisini de mutlaka okuyun.
“Herşeyden önce felaketlerin sebebi, dünyanın her yanında aklın neredeyse tamamen bir kenara çekilip dizginlenemeyen güçlerin gönüllü kölesi haline gelmesidir.”
March 12, 2022
This is a strange book but fascinating nonetheless, an adulatory biography of the French writer who was a lifelong pacificist.
Romain Rolland is best known for his novel, Jean-Christophe, published in 10 volumes between 1904 and 1912. For this and for his pamphlet Au-dessus de la mêlée, a plea for France and Germany to respect truth and humanity in WWI, he was awarded the Nobel Prize in 1915.
Rolland wrote biographies of Beethoven, Michelangelo, and Tolstoy as well as plays and corresponded with many leading people of the inter-war years such as Einstein and Schweitzer.
If you liked The World of Yesterday, you will appreciate the style this book is written in: knowledgeable, understated, respectful, and appreciative. Zweig appreciated the humanity of Rolland and his ability to be himself at a time when people were full of hatred towards other races, even people like the Belgian poet Emile Verhaeren.
The only things I didn't like about this book were the cover - who is that person - it's not Zweig or Rolland as they both passed away in the 1940s, the fact there's no index, and that there are no page numbers on the actual pages, even though each mini-chapter has a page number in the introduction.
Romain Rolland is best known for his novel, Jean-Christophe, published in 10 volumes between 1904 and 1912. For this and for his pamphlet Au-dessus de la mêlée, a plea for France and Germany to respect truth and humanity in WWI, he was awarded the Nobel Prize in 1915.
Rolland wrote biographies of Beethoven, Michelangelo, and Tolstoy as well as plays and corresponded with many leading people of the inter-war years such as Einstein and Schweitzer.
If you liked The World of Yesterday, you will appreciate the style this book is written in: knowledgeable, understated, respectful, and appreciative. Zweig appreciated the humanity of Rolland and his ability to be himself at a time when people were full of hatred towards other races, even people like the Belgian poet Emile Verhaeren.
The only things I didn't like about this book were the cover - who is that person - it's not Zweig or Rolland as they both passed away in the 1940s, the fact there's no index, and that there are no page numbers on the actual pages, even though each mini-chapter has a page number in the introduction.
December 12, 2024
Muy bueno en sus tres primeras partes. Excelente en su último cuarto. Como casi siempre, Zweig llega a emocionar al lector y consigue reflejar el heroísmo en la vida de su buen amigo Rolland. Indudablemente me apunto a leer su monumental Jean-Christophe y, sobre todo, sus Diarios de guerra, escritos en su acostumbrada soledad, por esa época en su "cárcel de vidrio" de Suiza. Mi edición no fue la de la foto adjunta, sino la buena edición de Sequitur, de 2020, bien traducida por Alfred Cahn. Bellísima lectura.
February 5, 2016
Zweig'ın daha önceki biyografi kitaplarına göre daha ayrıntılara giren ve daha zor okunan bir kitap. Adı neden Avrupa'nın Vicdanı olmuş anlamadım, zaten orjinal eser adı kitapta yazmıyor. Kitabın adı önceki biyografi kitapları gibi Romain Rolland olmalıydı. Zweig hayranı iseniz ve R. Rolland hakkında bilgilenmek istiyorsanız okuyun, yoksa 400 sayfa okumanın zaman ve enerjisini bir başka hitap için kullanın.
February 12, 2023
Stefan Zweig'dan bir biyografi denemesi daha okudum. Bu kitap biyografiden ziyade 1915 yılında Nobel Edebiyat Ödülüne layık görülen yazar Romain Rolland'ın sanatçı olarak gelişimine ve eserlerine odaklanan bir metin.
Avrupa'nın Vicdanı kitabında ilk altmış sayfada Romain Rolland'ın kısa hayat hikayesini; yaşadığı dönemin, aldığı eğitimin, hayatına giren insanların sanatına etkisini okuyoruz. Geri kalan sayfalarda ise Stefan Zweig tek tek yazarın eserlerini ele alıyor. En büyük bölümü tabii ki Fransa'da nehir roman türünü başlatan metin olarak kabul edilen ünlü seri Jean-Christophe kaplıyor.
Romain Rolland'ın herhangi bir tiyatro oyununu, romanını ya da yazdığı biyografileri okumadıysanız bu kitabı ele almanızı tavsiye etmem. Öncelikle Stefan Zweig'ın diğer biyografi denemeleri arasında oldukça sönük kalıyor. Jean-Christophe serisinin hikayesinin tamamı anlatılmış durumda. Kitabın tamamı kocaman bir sürprizbozan (spoiler) diyebiliriz.
Benim Avrupa'nın Vicdanı kitabını ele almamın sebebi #seriokumalar grubumuzda Jean-Christophe serisiyle ilgili konuşurken yine Stefan Zweig'dan "Dünün Dünyası" ile beraber ek okuma olarak önerilmiş olması. İyi ki okumuşum diyorum çünkü bu metin Jean-Christophe serisinin ikinci cildini anlamadığımı ve çok yanlış değerlendirdiğimi farketmemi sağladı. Üçüncü cilde geçmemiştim zaten. İkinci cildi tekrar okuyup seriye devam edeceğim umarım.
Özetle meraklısı çok sever, bunun dışındaki okuyucular merak ettikleri başka kitapları okusa daha hayırlı olur diyerek yorumumu sonlandırıyorum.
Avrupa'nın Vicdanı kitabında ilk altmış sayfada Romain Rolland'ın kısa hayat hikayesini; yaşadığı dönemin, aldığı eğitimin, hayatına giren insanların sanatına etkisini okuyoruz. Geri kalan sayfalarda ise Stefan Zweig tek tek yazarın eserlerini ele alıyor. En büyük bölümü tabii ki Fransa'da nehir roman türünü başlatan metin olarak kabul edilen ünlü seri Jean-Christophe kaplıyor.
Romain Rolland'ın herhangi bir tiyatro oyununu, romanını ya da yazdığı biyografileri okumadıysanız bu kitabı ele almanızı tavsiye etmem. Öncelikle Stefan Zweig'ın diğer biyografi denemeleri arasında oldukça sönük kalıyor. Jean-Christophe serisinin hikayesinin tamamı anlatılmış durumda. Kitabın tamamı kocaman bir sürprizbozan (spoiler) diyebiliriz.
Benim Avrupa'nın Vicdanı kitabını ele almamın sebebi #seriokumalar grubumuzda Jean-Christophe serisiyle ilgili konuşurken yine Stefan Zweig'dan "Dünün Dünyası" ile beraber ek okuma olarak önerilmiş olması. İyi ki okumuşum diyorum çünkü bu metin Jean-Christophe serisinin ikinci cildini anlamadığımı ve çok yanlış değerlendirdiğimi farketmemi sağladı. Üçüncü cilde geçmemiştim zaten. İkinci cildi tekrar okuyup seriye devam edeceğim umarım.
Özetle meraklısı çok sever, bunun dışındaki okuyucular merak ettikleri başka kitapları okusa daha hayırlı olur diyerek yorumumu sonlandırıyorum.
February 4, 2017
Sadece Zweig'in emeği ve dili için 7 puan alabilen bir kitap. Aşırı zorlama, aşırı abartı. Romain Rolland'ı seviyorsanız bile soğumanıza sebep olacak kadar uzun. Eğer Zweig 21. yüzyılda yaşasaydı facebookta ''Romain Roman Yav Biz Sana Aşığız Be'' fan sayfası oluşturması kaçınılmazdı. Büyük ihtimalle Romain'de Tolstoy için böyle bir sayfa açardı. Koyu bir Zweig ya da Rolland hayranı değilseniz okumasanız da olur.
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September 14, 2021I love reading Stephan Sweig, no matter what he writes.
November 17, 2021
En realidad no es una biografía... Es un ensayo sobre la obra de Romain Rolland y sobre la personalidad de este escritor que, además es cercano a Stefan Zweig (no sé si amigo).
Es de muy alta calidad, como casi todo lo que he leído de Stefan Zweig, pero en un principio tuve un choque de expectativas pues esperaba... una biografía que no fue.
Es de muy alta calidad, como casi todo lo que he leído de Stefan Zweig, pero en un principio tuve un choque de expectativas pues esperaba... una biografía que no fue.
October 29, 2023
Con la maestria de siempre de Zweig intenta una biografia heroica de su amigo. Heroe en lo personal quizas pero obviamente no una figura de tamaño suficiente para incidir en la historia. El relato le queda grande
May 13, 2025
Bu eseri biraz zayıf bulduğumu yazmam gerekiyor. Stefan Zweig çağdaşı Romain Rolland'ı neredeyse peygamber seviyesine çıkarmış. Her cümle bir öncekinden başka türde övgü ve yüceltme içerecek şekilde kurgulanmıştı. İlk defa bir Zweig eserinden sıkıldım dersem abartmış olmam.
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May 24, 2016Free download available at Project Gutenberg.
January 23, 2021
بیوگرافی های اشتفن تسوایک خواندنی است.غنی ترین کتابی که در این زمینه از او خوانده ام ، زندگی نامۀ نیچه است.
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