جرائم وجرائم

by August Strindberg, أوغست ستراندبيرغ, عمر مكاوي (مترجم)

This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide.

Genres: Plays, Fiction, Philosophy, Sweden, Swedish Literature, Classics, Drama

Audiobook

First published January 1, 1899

About the author

Johan August Strindberg, a Swede, wrote psychological realism of noted novels and plays, including Miss Julie (1888) and The Dance of Death (1901).

Johan August Strindberg painted. He alongside Henrik Ibsen, Søren Kierkegaard, Selma Lagerlöf, Hans Christian Andersen, and Snorri Sturluson arguably most influenced of all famous Scandinavian authors. People know this father of modern theatre. His work falls into major literary movements of naturalism and expressionism. People widely read him internationally to this day.

https://en.wikipedia.org/wiki/August_...

Reviews

[Heba Hssn · Rating 3 out of 5]

الجريمة المعنوية التي ترتكبها الأفكار أشد فتكا من تلك التي يعاقب عليها القانون وذلك لأصحاب الأنفس الطيبه فقط

[Nahed.E · Rating 4 out of 5]

من منا لم يرتكب ذنبا ما، بفعل، أو قول، أو كلمة؟
من منا لم يؤنبه ضميره علي فعل ما ندم عليه بعد ذلك، وتمني لو أنه لم يفعله قط، أو لم يقل هذا الكلام قط؟
من منا لا تزال صفحته ناصعة البياض دون خدوش الزمن، وتجاعيد الذنوب، وندوب الأيام، وخربشات تأنيب الضمير؟
من منا لم تؤرقه النفس اللوامة ليلا ؟
ياااه .. علي الرغم من صعوبة النفس اللوامة، إلا أنها نعمة من الله، أن يكون ضميرك مستيقظا، يوخزك من وقت لآخر، ويلومك علي خطاياك الصغيرة، حتي تنوي التوبة، وتتوجه إلي الله عز وجل ليل نهار بالاستغفار، لا ملجأ إلا إليه سبحانه، حتي في لحظات عتاب النفس علي الخطايا والذنوب، ليس لنا سواه

في المسرحية، كل منهم له خطاياه .. الخطايا المُعلنة، والأخري الخفية، تلك التي لا يعلم عنها سوي الله عز وجل، والضمير الذي يتحد مع الذاكرة والزمن، فلا يدع أحداً منهم يهرب بماضيه من حاضره أبدا
فالماضي حاضر في الخاطر
والجريمة لا تكف عن طرق باب العقل والقلب والبال .. وهناك من تعايش مع خطيئته، وهناك من حُسنت أخلاقه بسبب ندمه علي ما فات، وهناك من لم يتوقع أبدا أن يكون في ليلىة وضحاها من أصحاب الجرائم
فالكل هنا بيوتهم من زجاج، والكل يحمل في يديه الحجارة رغم ذلك

إن الخطيئة تأتي بعقابها
ولن يفلت أحد من جريمته، حتي وإن سُترت عن أعين الكل

إن أصعب الجرائم تلك التي لا يعرف عنها القضاه شيئا، بل تعرفها ضمائرنا، وتتذكرها جيدا، وهي من الذاكرة بحيث لن تدعنا ننساها

تحضرني عبارة قرأتها لفولتير
"ليس من مجتمع يستطيع أن يبقي بدون عدالة، لنبشر إذن بإله عادل، وإذا كانت قوانين الدولة تعاقب الجرائم المعروفة، فلنبشر إذن بأن الله يعاقب الجرائم المجهولة "

ونِعم بالله

[Ali Salehi · Rating 3 out of 5]

دوستان میخوایم درباره «جرم داریم تا جرم» از «استریندبرگ» صحبت کنیم. یه نمایش درجه سه که برای شروع آثار نویسنده‌ش کار بیش و کم خوبی محسوب میشه.
•فرم
چارچوب اثر بشدت خدامحور و براساس دوری انسان از خدا و فراموشی خدا طراحی شده. بسیار خب....قبول. پس میتونیم بپذیریم که دغدغه نویسنده خوبه؟ کاملا میپذیریم.مخصوصا در زمانه ای ابزورد زده این اثر بشدت کاربردی و بدردبخوره.
اگر ساختار رمان سه جز باشه ، ساختار نمایش چهار جزئی هست که یه جز دیگه «دیالوگ نویسی» هست.

قصه متناسب با حجم اثر هست اما متناسب با ادعا نیست.مخصوصا اواسط اثر بشدت دین زده و گمشده در خودش میشه.دیالوگ ها قدرت ارتباط با مخاطب رو از دست میدن و باعث میشن شخصیت ها کمی تیپیکال بشن. این تیپ شدن شخصیت ها اذیت کننده‌ست.چون که ما اول شخصیت داشتیم.حالا تیپ داریم.
پایان اثر ، تا مرز فاجعه شدن پیش میره اما قابل تحمل میشه. اگر شخص نویسنده به من بگه که این اثر رو به دستور کلیسا نوشته میپذیرم که پایان باشه. وگرنه 👎.

•محتوا
محتوای اثری که به دنبال معنای انسانیه وابسته به پایان اثره.معنای اثر در پایان... بی شک..... فاجعه‌ست.
فردی که از خدا رو برگردونده و طی حوادثی دوباره میره سراغ کلیسا. پس خدا چی. آیا خدا در محل عبادت وجود داره؟ من همیشه گفتم بازم میگم خدا همه جا هست الا اونجایی که دارن عبادتش میکنن.
خدا در این نمایشنامه در کلیساست و اثر با این دیالوگ تموم میشه که «میخوام برم کلیسا».
این خیلی بده.
چرا؟
در مجموع نمایش «جرم داریم تا جرم» اثر «آگوست استریندبرگ» اثر بدی نیست. اما پایان فاجعه باری داره.
امیدوارم در ادامه مسیر خوانش آثار این نویسنده شاهد اینجور فجایع نباشم.
ترجمه آقای «محمود گودرزی» عزیز هم خوب بود.

[Hend · Rating 4 out of 5]

Maurice, a young Parisian playwright. Assured that his play will be a success, he promises to marry Jeanne, his mistress. She gives him a tie and gloves to wear on the opening night. That afternoon, he meets Henriette, the mistress of his friend Adolphe. Although he is falling in love, he has a presentiment of evil. His play is a triumph, but Maurice, instead of going to the celebration party, meets Henriette, who declares her love and throws Jeanne’s gifts into the fire. Planning to flee with Henriette, Maurice visits his daughter Marion. After his visit, the child is found dead, and he and Henriette are arrested for murder.....


in one of the scenes Maurice say to Henriette :you who stir up man's
courage with your scent of blood, whence do you come and where do
you lead me? I loved you before I saw you, for I trembled when I
heard them speak of you. And when I saw you in the doorway, your
soul poured itself into mine...he left Jeanne with all her kindness and her love to him to join Henriette who happened to be a criminal..and has no conscience even ask what this word mean?.he find this evil woman attractive......there was something in common between them....
Astarte, now you demand the sacrifice of women.
You shall have them, but if you ask for innocent children, too



Maurice ask her if she has been in love with Adolphe

she said I don't know. The goodness of his nature drew me like
some beautiful, all but vanished memory of childhood. Yet there
was much about his person that offended my eye...


this conversation happened just before his daughter died...

HENRIETTE. The child! Another woman's child! And for the sake of
it I am to suffer. Why must that child block the way where I want
to pass, and must pass?

MAURICE. Yes, why? It would be better if it had never existed..!

this play raise the question if someone desperately wanted to commit acrime ,and it happened,without him being involved....does he still be a criminal?
and if someone commited acrime and is not punished for it,will his torments of conscience and Constant Feeling Of Guilt be more torturing to him than he have ever punished for his crime...?

[وائل المنعم · Rating 4 out of 5]

ستريندبرج واحدا من كتابي المفضلين واعتبره القمة بين كتاب المسرح، وفي هذا العمل - بغض النظر عن مضمونه الذي قد يختلف البعض عليه - كان وكالعادة متمكنا بشدة من أدواته المسرحية، من حبكة وعرض للشخصيات وتطور للحدث وغيرها، بجانب قوة العاطفة المنقولة بلغة في منتهى الجمال - مترجمة بعربية جميلة - فقط افتقدت المسرحية لعنصر التجريب والتجديد الذي يميز اعمال ستريندبرج الأكثر قوة.
كلمة أخيرة لمحبي السينما، المسرحية من دون نهايتها تبدو عملا مثاليا للمخرج السويدي الأشهر انغمار برغمان.

[Sara Shemes · Rating 3 out of 5]

أختار جيدا، من تضحى لأجله
حتى لا تقع فيمن يحبك حب أضطرار

[Melika Khoshnezhad · Rating 3 out of 5]

نسبت به نمایش‌نامه‌های مینیمالی که تا الان از استریندبرگ خواندم این یکی شلوغ‌پلوغ‌تر بود؛ هم از لحاظ تعداد کاراکترها، هم تعداد پرده‌ها و صحنه‌ها. از لحاظ موضوعی هم به‌نظرم پخته‌تر بود و چالش‌های اخلاقی مطرح در آن که در سطح نیات و افکار مدنظر بود نه کنش‌های بیرونی تازه و جالب بود؛ اما شخصیت‌های زن ژن و هانریت خیلی عصبانی‌ام می‌کردند؛ استریندبرگ همچنان زنان را منفعل یا سواستفاده‌گر به تصویر می‌کشد و این مسئله عذابم می‌دهد.

[Sarah · Rating 3 out of 5]

Crimes and Crimes is a play focusing on a successful playwright who abandons his mistress and child for another woman. The child mysteriously dies, which causes susupicion that the playwright or his new mistress killed her in order to "get the weight off". While this is indeed an interesting focus, I have to say that I didn't like it as much I would have in theory because I have an issue with the charcters. Who am I supposed to feel bad for? Who am I supposed to think of as a scumbag? I'm not sure if Strindberg does this intentionally, but I am sure of one thing: it didn't really work for me. I'm not sure if I'm supposed to ever sympathize with Maurice (the playwright) because to me, he seems vile- he leaves a mistress that he promises to marry only to get with another woman with intention to marry her. Isn't that awful?

Honestly, Strindberg. I feel like I've read so many average plays from him- he's been a bit disappointing in the long run.

[Paul Haspel · Rating 5 out of 5]

There is no question that – as sure as winter nights in Sweden are cold – August Strindberg focused in his plays on human frailty. The great Swedish dramatist crafted relentlessly realistic stories of modern life, and frequently showed overconfident people making ill-informed choices and then suffering unforeseen consequences. And Strindberg’s 1898 play There Are Crimes and Crimes follows squarely in that tradition.

Set in Paris, There Are Crimes and Crimes sets forth the situation of a young playwright named Maurice, who as the play begins is on top of the world: his new play, which will open that night, is expected to achieve both critical and popular success. Flush with the glow of his success, Maurice seems somewhat neglectful of his mistress Jeanne -- poor and uneducated, but faithful -- and of their five-year-old daughter Marion.

Maurice’s neglect for his mistress and daughter becomes outright negligence when Maurice meets Henriette, the mistress of his painter friend Adolphe; Maurice and Henriette immediately become infatuated with one another. Never mind Jeanne and Marion, and never mind that Henriette is already the mistress of Maurice’s friend, the painter Adolphe; the passion of Maurice and Henriette is immediate and absolute. Disregarding the disapproval of Madame Catherine, an older lady who has seen this sort of thing unfold before, Maurice and Henriette plan to run off together.

Maurice realizes at some level the immorality of what he is preparing to do to Adolphe, saying, “Yes, here we are making ourselves out as white as angels, and yet we are, taking it all in all, capable of any kind of polite atrocity the moment glory, gold, or women are concerned.” Henriette, who fancies herself a sculptor, idolizes Maurice’s newfound literary success, telling Maurice that to sculpt a bust of him “has long been my cherished dream.” Once Maurice’s play has succeeded, Henriette crowns him as if he were a king, and expresses resentment at the very existence of Maurice’s daughter Marion. Maurice, who enjoys being idolized by this beautiful and passionate young woman, goes so far as to express a wish that the prior commitments represented by mistress Jeanne and daughter Marion were somehow out of the way. Both people seem self-focused, and unrealistic in their expectations, and the playgoer might expect things not to turn out well.

And indeed, they don’t turn out well. A sudden and tragic event instantly deprives Maurice of the success and adulation that he had so recently enjoyed. An anguished Maurice, finding himself suspected of a foul crime, reflects upon the deep and absolute qualities of his fall from greatness: “Forgive me! But all the same I am without guilt. Who has tied this net from which I can never free myself? Guilty and guiltless; guiltless and yet guilty! Oh, it is driving me mad…” Henriette, confessing to elements from her past for which she herself feels guilty, suffers the additional indignity of being mistaken by detectives for a sex worker plying her trade; and as the two suffer the absolute rejection of Parisian society, she finds herself saying to Maurice, “We’ll go into the river now, won’t we?”

But There Are Crimes and Crimes does not end with a dual suicide at the Seine. Another dramatic reversal restores to Maurice much of what he had lost; a local abbé who knows the situation acknowledges the depth of Maurice’s suffering, but insists to Maurice that “you were not innocent. For we have to stand responsible for our thoughts and words and desires also.” The romantic-minded Henriette, who seems to have enjoyed rebellion against social standards for rebellion’s own sake, is admonished to “Break off your career as an artist, for the only thing that led you into it was a craving for freedom and fun – as they call it. And you have seen now how much fun there is in it.”

The play’s resolution seems to suggest religious faith as a way out of the moral wilderness in which Maurice and Henriette find themselves. But Strindberg’s call to religious observance is not of the “one true faith” variety. Madame Catherine says of churchgoing that “there’s so much to look at, and then there is the music. There is nothing commonplace about it, at least.” For Strindberg, the point seems to be that through religion, a human being can put him- or herself in the presence of something better and higher, and that that process alone can be redemptive.

Those themes of guilt and redemption suffuse There Are Crimes and Crimes. Adolphe, who serves as a sort of moral center for the play, states at one point that “There are crimes not mentioned in the Criminal Code, and these are the worse ones, for they have to be punished by ourselves, and no judge could be more severe than we are against our own selves.” In the same vein, Adolphe later suggests that conscience “is the horror inspired in our better selves by the misdeeds of our lower selves”; and it seems clear that Strindberg wants the viewer or reader of There Are Crimes and Crimes to engage in serious and stern reflections on “crime,” conscience, and the possibility of redemption in his or her own life.

[Ahmad El-Saeed · Rating 3 out of 5]

"الجريمة المعنوية التي ترتكبها الأفكار أشد فتكا من تلك التي يعاقب عليها القانون وذلك لأصحاب الأنفس الطيبه فقط"

" اذا تحول الحب إلي كراهية فلا يعني ذلك إلا شيئاً واحداً الا وهو ان هذا الحب كان فاسداً من البداية "

[Snorri Stefánsson · Rating 1 out of 5]

I´m never reading Strindberg again!

[Mike · Rating 4 out of 5]

The first play I’ve read from Strindberg that didn’t seem melodramatic or overly vicious in portraying the “battle of the sexes.” Instead, this play (a “comedy”) shows the battle within: the “crimes” of the mind/spirit that exist outside the reach of human justice but still torture us with guilt, and the “crimes” of the flesh (whether they be cheating, lying, or even murder) that bring about legal and social consequences. The comedy, I assume, is in the final scene, in which spiritual redemption “wins,” but only when material gain is impossible. When it is suddenly made possible again, then we provide any rationalization necessary to have our cake and eat it -- take our penance in stride as we keep right on sinning. In the end, this play is every bit as harsh and biting as Strindberg’s early work, but at least it was easier for me to digest in (very dark) “comic” form.

[Sandi · Rating 4 out of 5]

"if we had to answer for our thoughts, who could then clear himself?" Strindberg explores what a "guilty mind" looks like in absence of the deed itself. What's the moral state of the criminal without a crime?

It's a neat question with some fun ambiguity here in our interpretation of what happened, but...a comedy?! (it's subtitled such) A kid dies and at the end it's like, "oh, well, kids die all the time." Now that he wasn't actually at fault for child murder and only messed around with talking about infidelity, it must be just a barrel of laughs.

I guess it's a comedy because he wasn't actually a murderer? Dark, Strindberg.

[X · Rating 3 out of 5]

Wasn’t sure what to think of this. The main character was such a deadbeat. I get that the point of him is that he was a jerk... but I feel like the narrative was sympathetic to him in the end, and I was not. I do think the ending was an appropriate way to convey the theme of the story... but I feel like the guy got off too easy

[أحمد سعيد سالم · Rating 3 out of 5]

عمل رائع يغوص في أغوار النفس البشرية رافعاً الستار عن بعض الجرائم النفسية التي لا نشعر بها ولا نعبأ بها لأنها كانت حديث نفس، ولكن الكاتب يضع خطاً بارزاً تحت تلك الجرائم مؤكداً أنها قد تكون أفظع من الجرائم العادية وتحتاج أيضاً إلى الندم والتكفير، أرى أن الفكرة فلسفية نوعاً ما إلا أنها جديرة بالاهتمام فقد تؤدي بالفعل كثرة الجرائم النفسية المستترة والأفكار السيئة إلى جرائم حقيقية في حق الآخرين

[سارة shaalan) · Rating 3 out of 5]

معالجة نفسية مميزة لتأثير العقل والهواجس علي الانسان، وسميحة أيوب أبدعت في تشخيص الدور بشكل رهيب والتقليات النفسية للشخصية وكمان كانت شخصية كريمة مختار هادية وعذبة علي النقيض من سميحة ايوب تجسيد الاشخاص مميز

[Steven · Rating 3 out of 5]

Borders on great literature at times but never quite escapes the banal.

[Alicia Fox · Rating 3 out of 5]

It's just not very good.

[El-Jahiz · Rating 4 out of 5]

Strindberg is Strindberg!

[Hamlet · Rating 1 out of 5]

بی‌ ارزش و شدیدا ضعیف

[Ana · Rating 3 out of 5]

I was rather disappointed by the ending of this otherwise brilliant drama.