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اثر ویکتور هوگو از انتشارات دبیر - مترجم: محمدعلی شیرازی-جدید ترین کتاب ها

In 1855, fleeing political persecution, Victor Hugo found sanctuary on the Isle of Guernsey, among the most historic and picturesque of the Channel Islands. The legends and lore of the islands sparked Hugos imagination, resulting in one of his most unusual works. Setting mythical, romantic, and social themes against a backdrop of memorable descriptions, The Toilers of the Sea is a novel of epic proportions which tells the story of a reculsive fisherman from the Channel Islands who must free a ship that has run aground in order to win the hand of the woman he loves, a shipowners daughter.


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I know many people will disagree with me here, but this particular book was an aggressively tedious read. The story started off very well and held my interest tightly, unfortunately it soon was a struggle to care about the story as the narrative became extraneously descriptive. The tempo of this tale is incredible slow, as the author carries on describing the entire history of every little thing that appears in the story; I would say this book is twenty percent story and eighty percent needless tangents. Feel free to just read a summary of the book as the story its self is not worth reading all the mind numbing minutia.

مشاهده لینک اصلی
Romanul, scris la apogeul carierei marelui romantic francez (1866), este dedicat de autor locuitorilor insulei Guernsey, unde aceasta a fost exilat la mijlocul secolului al XIX-lea: @Închin această carte insulei ospitalității și libertății, acestui colț din bătrânul pământ normand, unde trăiește un mic popor de nobili oameni ai marii - asprei și blandei stânci Guernsey, astăzi azilul meu și, poate, și mormâ[email protected]
În fapt, Guernsey-ul era pe atunci, că astăzi, de altfel, dependent din punct de vedere politic de Coroana Regatului Unit, însă fără a face parte din acesta și nici din UE. Astăzi despre Guernsey și Jersey se știe doar că au fost singurele insule din Canalul Mânecii pe care naziștii au reușit să le ocupe și că sunt veritabile paradisuri fiscale europene (motiv pentru care nu fac parte nici din UE).
În sine, deși romanul abundă în termeni tehnici despre vapoare, porturi și alte asemenea, lectura acestuia este de-a dreptul relaxantă. În fapt, parcurgând jumătate din el, nici nu ai spune că este scris de Hugo: romantismul lipsește cu desăvârșire. Abia ulterior se conturează drama unor personaje care, deși caracterizate de platitudine dintru început, reușesc, imboldite de arta literară a lui Hugo, să se dezrobească de cotidian și să se manifeste liber.
Aici se poate dibui și una dintre intențiile autorului: în fiecare om, chiar caracterizat și catalogat drept plat la o privire sinoptică, se poate discerne spiritul său de sacrificiu, ceea ce face ca noi toți să fim, cel puțin în ungherele cele mai ascunse ale sufletului nostru, uneori nici de noi cunoscute, adevărați Avraami în fața lui dumnezeu. Avem nevoie doar de acel dumnezeu, de acea ființă sau de acea împrejurare care, cu toată carapacea noastră, să ne... pătrundă.
E drept că astfel se pot contura @deznadejdile puse față în față@, cum este intitulat unul dintre capitolele romanului, dar nu întotdeauna @mormântul cel [email protected] reprezintă o înfrângere, căci deseori nu denotă altceva decât izbăvirea unui suflet nobil asupra tuturor, asupra micimii întregii lumi, fiind @acceptarea funerară a unei noi î[email protected], previzibile.

@Dacă nu s-ar aprinde nimic îndărătul pleoapei, înseamnă că niciun gând nu încolțește în minte, înseamnă că niciun sentiment de dragoste nu clocotește în inima. Acela care iubește, acela are și voință, iar voință înflăcărează privirea omului. [...] Aproape toată taină sufletelor mari stă în aceste cuvinte: <> - Să [email protected]

@Istovirea forțelor nu istovește însă și voință. Voința și nu credința constituie forța principală. Credința despre care se spune că ar fi în stare să mute munții din loc nu reprezintă nimic față de ceea ce poate înfăptui voință@.


مشاهده لینک اصلی
PREFACE

Religion, Society, and Nature! these are the three struggles of man. They constitute at the same time his three needs. He has need of a faith; hence the temple. He must create; hence the city. He must live; hence the plough and the ship. But these three solutions comprise three perpetual conflicts. The mysterious difficulty of life results from all three. Man strives with obstacles under the form of superstition, under the form of prejudice, and under the form of the elements. A triple ἁναγκη weighs upon us. There is the fatality of dogmas, the oppression of human laws, the inexorability of nature. In Notre Dame de Paris the author denounced the first; in the Misérables he exemplified the second; in this book he indicates the third. With these three fatalities mingles that inward fatality—the supreme ἁναγκη, the human heart.


Page 134:
The Channel Islands are like England, an aristocratic region. Castes exist there still. The castes have their peculiar ideas, which are, in fact, their protection. These notions of caste are everywhere similar; in Hindostan, as in Germany, nobility is won by the sword; lost by soiling the hands with labour: but preserved by idleness. To do nothing, is to live nobly; whoever abstains from work is honoured. A trade is fatal. In France, in old times, there was no exception to this rule, except in the case of glass manufacturers. Emptying bottles being then one of the glories of gentlemen, making them was probably, for that reason, not considered dishonourable. In the Channel archipelago, as in Great Britain, he who would remain noble must contrive to be rich. A working man cannot possibly be a gentleman. If he has ever been one, he is so no longer. Yonder sailor, perhaps, descends from the Knights Bannerets, but is nothing but a sailor.

Page 236:
It is the self-willed ones who are sublime. He who is only brave, has but a passing fit, he who is only valiant has temperament and nothing more, he who is courageous has but one virtue. He who persists in the truth is the grand character.[Pg 236] The secret of great hearts may be summed up in the word: Perseverando. Perseverance is to courage what the wheel is to the lever; it is the continual renewing of the centre of support. Let the desired goal be on earth or in heaven, only make for the goal. Everything is in that; in the first case one is a Columbus, in the second a god. Not to allow conscience to argue or the will to fail—this is the way to suffering and glory. In the world of ethics to fall does not exclude the possibility of soaring, rather does it give impetus to flight. The mediocrities allow themselves to be dissuaded by the specious obstacles—the great ones never. To perish is their perhaps, to conquer their conviction. You may propose many good reasons to the martyr why he should not allow himself to be stoned to death. Disdain of every reasonable objection begets that sublime victory of the vanquished which we call martyrdom.

Page 238:
The pressure of darkness acts in inverse proportion upon different kinds of natures. In the presence of night man feels his own incompleteness. He perceives the dark void and is sensible of infirmity. It is like the vacancy of blindness. Face to face with night, man bends, kneels, prostrates himself, crouches on the earth, crawls towards a cave, or seeks for wings. Almost always he shrinks from that vague presence of the Infinite Unknown. He asks himself what it is; he trembles and bows the head. Sometimes he desires to go to it.

This curiosity is evidently forbidden to the spirit of man; for all around him the roads which bridge that gulf are broken up or gone. No arch exists for him to span the Infinite. But there is attraction in forbidden knowledge, as in the edge of the abyss. Where the footstep cannot tread, the eye may reach; where the eye can penetrate no further, the mind may soar. There is no man, however feeble or insufficient his resources, who does not essay. According to his nature he questions or recoils before that mystery. With some it has the effect of repressing; with others it enlarges the soul. The spectacle is sombre, indefinite.

Another great masterpiece by Victor Hugo, one of the greatest French writers.

The English version of this book can be found at Gutenberg Project.

مشاهده لینک اصلی
You know an authors legacy is going to the shitter when his or her most famous novels get translated into Disney cartoons and garish musicals. But whats worse is that the rest of your output gets duly ignored. Im going to go out on a limb here and say that @[email protected] might be Hugos greatest work. Its definitely superior to @Notre [email protected] and it gives @Les [email protected] a run for its money.
Sublime and supreme, this is the ultimate tale of man against the world. Remember that English 101 crap about man vs nature? Forget all that. This is about humanity in nature, humanity as a conquering and chaotic devilry of a force, unbeatable only on its own terms, even Gods. Theres so much going on in this novel that charms, even the Melvillian interruptions for discussion of sea life and off-the-cuff discussions of semi-related topics to the main story are welcome.
The plot? A lonely seaman goes to rescue a shipwreck crammed between two rocks on a deadly reef. Oh yeah, theres a girl. And a killer octopus. And crime. And murder. And the indomitable, simple idea that @It must be [email protected] Hugos genius not only lies in his telling of Gilliatts tale, its also in what he decides to leave out of the bulk of the novel: what everyone else is doing. But by the time you get to the harrowing final page, itll all make sense.
One of the greats!

مشاهده لینک اصلی
Like early Clive Cussler? Then this is a must-read literary classic for you: a singular hero, Gilliatt (versus Dirk Pitt, his sidekick Giordino, tons of high tech equipment, and Numa backup teams the world over in Cusslers world) must salvage the engines of ship which is wrecked, upright, between two massive rock towers springing from the ocean depths using the technology of the mid-19th century.. How he does it is amazing enough: why he does it and what happens afterward is icing on the cake. Of the four Hugo novels Ive read, this is my favorite. Just one flaw: Hugo utilizes a heartbreakingly beautiful final which is just too similar to the end of his (also very good) @The Man Who [email protected] As the end of the novel approaches, I was thinking, @Oh no, please no, not again, wheres a box of [email protected] That said, still, @Toilers of the [email protected] just might be the greatest @Man Vs. [email protected] in all of fiction literature. And even if you know the ending, there will be tears.

مشاهده لینک اصلی
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