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3.66 AVERAGE
3.66 AVERAGE
emotional
reflective
sad
slow-paced
Plot or Character Driven:
Character
Strong character development:
No
Loveable characters:
Complicated
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
Es una historia trágica y realista que me gustó (una vez superada la tediosa descripción inicial).
Aunque el ritmo de la narración fluctúa, es una novela que se disfruta por su valor literario, histórico, la crítica social (palpable aún en nuestros días) y los dilemas morales.
Los personajes se caracterizan muy bien y se retrata además la hipocresía de una sociedad que vive para el cotilleo y las apariencias.
El final es crudo, me gustó porque fue sincero y no pintó un final de cuento de hadas, me gustó tanto como me llenó de congoja; no creo que nada justifique permitir que un padre sufra en esas condiciones.
Dicho esto, y dándole unas buenas 4 estrellas como obra, debo decir que he comprobado que no me gustan los clásicos, al libro le sobran bastante largos párrafos que son comunes en los clásicos y son propios de la época, ese estilo me desespera un poco en especial en los diálogos, soy una lectora poco paciente, me gustan los ritmos más vigorosos
Aunque el ritmo de la narración fluctúa, es una novela que se disfruta por su valor literario, histórico, la crítica social (palpable aún en nuestros días) y los dilemas morales.
Los personajes se caracterizan muy bien y se retrata además la hipocresía de una sociedad que vive para el cotilleo y las apariencias.
El final es crudo, me gustó porque fue sincero y no pintó un final de cuento de hadas, me gustó tanto como me llenó de congoja; no creo que nada justifique permitir que un padre sufra en esas condiciones.
Dicho esto, y dándole unas buenas 4 estrellas como obra, debo decir que he comprobado que no me gustan los clásicos, al libro le sobran bastante largos párrafos que son comunes en los clásicos y son propios de la época, ese estilo me desespera un poco en especial en los diálogos, soy una lectora poco paciente, me gustan los ritmos más vigorosos
Le Pere Goriot, also known as Old Man Goriot, Old Goriot, or Father Goriot, written by Honore de Balzac within his Human Comedy series, and read in the new 2011 translation by Penguin Classics. Originally published in 1834-1835 (serialized).
GORIOT BOOKWell, this was the first book in my reading series that was just a quiet, non-difficult read. Even though it is over 150 years old, the translation made it very accessible. So I could sit back and enjoy. And enjoy I did. It won’t be rising to my short list of best books ever read, but I would like to–some time in the future–read more of the Human Comedy books. For that is part of what has made Balzac and his Pere Goriot famous: his use of characters as bridges between different novels about the same time and place. It’s somewhat novel these days (although I know at least one husband who would read a series just because of this phenomenon), but in Balzac’s day it was creative and innovative to re-use characters in different books.
I admit that I like the first half of the book more than the second. Eventually, I tired of the character of Goriot and also the long-winded speeches everyone kept making. (In the nineteenth century, their speeches were much shorter than those in The Odyssey, but still not as short as we would prefer.) Plus, in the old olden days, you could moralize as much as you liked in a novel. That, too, almost gets tiring. However, peeping in on the lives of young dandies and Parisian women is fascinating. If only the threads had come together with more of a bang and fizzle, I would have considered a higher rating. But it’s French, people. Therefore, French endings. It’s British classics that end in five weddings (as opposed to one funeral and unknown despair). It has it’s own refreshing element.
The other thing that makes Balzac stand out in a literary history is his realism. He gets accused of being too slanderous of society, but on the whole people have praised him for his realistic portrayal of contemporary (to Balzac) characters and French society of the times. There is romance, there is comedy, but Le Pere Goriot is largely drama, unfolding around the unsuspecting characters, moralizing us all and keeping us interested.
GORIOT PAINTING
1897 edition of Le Père Goriot, by an unknown artist.
Quotes from the book:
“Who is to say which sight is the more horrible: shriveled hearts, or empty skulls?” (p4).
“…in all, everything about her points to the boarding house, just as the boarding house leads to her” (p8).
“Madame Vaquer, who must be about fifty years of age, resembles all women who have seen better days” (p8).
“Each lodger’s appearance hinted at a tragedy, either fully played out, or in progress; not a tragedy performed in the glare of the footlights against a backdrop of painted scenery, but a silent, real-life tragedy, so chilling it stirs and warms the heart, a tragedy with no final curtain” (p11).
“What kind of employment had knocked the stuffing out of him? What passion had left such a stamp of bewilderment on his bulbous face, which would have seemed overdone as a caricature. What kind of man had he been?” (p12).
“…a burning desire to appear to possess qualities they do not have, they hope to take by surprise the heart and esteem of those who are strangers to them, at the risk of one day falling from grace” (p21).
“This is a time when a student is excited by insignificant things which to him seem very grand” (p28).
“His roving imagination began cashing in future joys thick and fast” (p32).
“Now I understand why they say there is nothing more beautiful than a frigate in full sail, a horse at full gallop, and woman full of dance” (p41).
“A heart is a treasure chest: empty it in one go and you are ruined” (p71).
“Accept that men and women are post-horses that you ride into the ground then leave at each stage, and you’ll reach the pinnacle of your desires” (p73).
“As soon as a few [bank]notes slide into a student’s pocket, an imaginary pillar of support rises up inside him” (p89).
“Today he has it in him to punch a prime minister” (p89).
“Rastignac had one of those heads packed with powder which explode at the slightest impact” (p90).
“Not everyone is lucky enough to have ambition, my sweet” (p95).
“Given that fifty thousand good positions don’t exist, you’ll be forced to eat each other like spiders in a jam jar” (p98).
“… you either have to be rich to start with, or appear so” (p99).
“I don’t point the finger at the Rich in favor of the People: man is the same at the top, the bottom, and in-between” (p99).
“Our happiness, dear friend, will always fit between the soles of our feet and the crown of our head; and whether it costs us a million a year or a hundred louis, we all, inside, have the same intrinsic perception of it” (p124).
“When you have given each other everything, why would you worry about a fraction of the whole?” (p132).
“He was ready to sacrifice his conscious for his mistress” (p227).
“…proving that not even the highest-ranking members of society are exempt from the laws of the heart and do not live free of all sorrows” (p232).
“There’s a God in heaven! He’ll avenge us fathers, against our wishes” (p241).
“There is a God! Yes, there has to be! There is a God, and he’s made a better world for us, or this earth of ours makes no sense whatsoever” (p245).
“Even though there’s no hope, his human dignity must be respected” (p248).
_____
Bonus: A Rastignac (the main character), in French, has come to mean a social climber who will use any means to better his situation.
Bonus two: I was fascinated to find that Balzac had basically lived the life of his main character, Rastignac.
Bonus three: There are several movies made of this novel, most French in origin and many well-praised (including a recent one with Gerard Depardieu and one called Balzac, about the author), but they are (unfortunately) difficult to lay your hands on. If I were to make an American movie of this book, I would call it Hotel Vaquer.
REVIEW FROM THE STARVING ARTIST.
GORIOT BOOKWell, this was the first book in my reading series that was just a quiet, non-difficult read. Even though it is over 150 years old, the translation made it very accessible. So I could sit back and enjoy. And enjoy I did. It won’t be rising to my short list of best books ever read, but I would like to–some time in the future–read more of the Human Comedy books. For that is part of what has made Balzac and his Pere Goriot famous: his use of characters as bridges between different novels about the same time and place. It’s somewhat novel these days (although I know at least one husband who would read a series just because of this phenomenon), but in Balzac’s day it was creative and innovative to re-use characters in different books.
I admit that I like the first half of the book more than the second. Eventually, I tired of the character of Goriot and also the long-winded speeches everyone kept making. (In the nineteenth century, their speeches were much shorter than those in The Odyssey, but still not as short as we would prefer.) Plus, in the old olden days, you could moralize as much as you liked in a novel. That, too, almost gets tiring. However, peeping in on the lives of young dandies and Parisian women is fascinating. If only the threads had come together with more of a bang and fizzle, I would have considered a higher rating. But it’s French, people. Therefore, French endings. It’s British classics that end in five weddings (as opposed to one funeral and unknown despair). It has it’s own refreshing element.
The other thing that makes Balzac stand out in a literary history is his realism. He gets accused of being too slanderous of society, but on the whole people have praised him for his realistic portrayal of contemporary (to Balzac) characters and French society of the times. There is romance, there is comedy, but Le Pere Goriot is largely drama, unfolding around the unsuspecting characters, moralizing us all and keeping us interested.
GORIOT PAINTING
1897 edition of Le Père Goriot, by an unknown artist.
Quotes from the book:
“Who is to say which sight is the more horrible: shriveled hearts, or empty skulls?” (p4).
“…in all, everything about her points to the boarding house, just as the boarding house leads to her” (p8).
“Madame Vaquer, who must be about fifty years of age, resembles all women who have seen better days” (p8).
“Each lodger’s appearance hinted at a tragedy, either fully played out, or in progress; not a tragedy performed in the glare of the footlights against a backdrop of painted scenery, but a silent, real-life tragedy, so chilling it stirs and warms the heart, a tragedy with no final curtain” (p11).
“What kind of employment had knocked the stuffing out of him? What passion had left such a stamp of bewilderment on his bulbous face, which would have seemed overdone as a caricature. What kind of man had he been?” (p12).
“…a burning desire to appear to possess qualities they do not have, they hope to take by surprise the heart and esteem of those who are strangers to them, at the risk of one day falling from grace” (p21).
“This is a time when a student is excited by insignificant things which to him seem very grand” (p28).
“His roving imagination began cashing in future joys thick and fast” (p32).
“Now I understand why they say there is nothing more beautiful than a frigate in full sail, a horse at full gallop, and woman full of dance” (p41).
“A heart is a treasure chest: empty it in one go and you are ruined” (p71).
“Accept that men and women are post-horses that you ride into the ground then leave at each stage, and you’ll reach the pinnacle of your desires” (p73).
“As soon as a few [bank]notes slide into a student’s pocket, an imaginary pillar of support rises up inside him” (p89).
“Today he has it in him to punch a prime minister” (p89).
“Rastignac had one of those heads packed with powder which explode at the slightest impact” (p90).
“Not everyone is lucky enough to have ambition, my sweet” (p95).
“Given that fifty thousand good positions don’t exist, you’ll be forced to eat each other like spiders in a jam jar” (p98).
“… you either have to be rich to start with, or appear so” (p99).
“I don’t point the finger at the Rich in favor of the People: man is the same at the top, the bottom, and in-between” (p99).
“Our happiness, dear friend, will always fit between the soles of our feet and the crown of our head; and whether it costs us a million a year or a hundred louis, we all, inside, have the same intrinsic perception of it” (p124).
“When you have given each other everything, why would you worry about a fraction of the whole?” (p132).
“He was ready to sacrifice his conscious for his mistress” (p227).
“…proving that not even the highest-ranking members of society are exempt from the laws of the heart and do not live free of all sorrows” (p232).
“There’s a God in heaven! He’ll avenge us fathers, against our wishes” (p241).
“There is a God! Yes, there has to be! There is a God, and he’s made a better world for us, or this earth of ours makes no sense whatsoever” (p245).
“Even though there’s no hope, his human dignity must be respected” (p248).
_____
Bonus: A Rastignac (the main character), in French, has come to mean a social climber who will use any means to better his situation.
Bonus two: I was fascinated to find that Balzac had basically lived the life of his main character, Rastignac.
Bonus three: There are several movies made of this novel, most French in origin and many well-praised (including a recent one with Gerard Depardieu and one called Balzac, about the author), but they are (unfortunately) difficult to lay your hands on. If I were to make an American movie of this book, I would call it Hotel Vaquer.
REVIEW FROM THE STARVING ARTIST.
This novel is kinda fascinating. It's my first real experience with a novel of its age, so while it took me some time to get used to the strange stylistic set up, I found it quite enjoyable. It has a great and complicated plot, almost moving into B-Movie territory. In fact, the amount of villainous speeches Vautrin was allowed and the direct descriptions of intent on all the main characters' parts was quite B-Movie. It feels like you can trace their influences back to this book. That said, this book rises above the B-Movie shtick through its characters. Each of them, though since adapted into tropes, feels real.
Another note on the style: Balzac makes many countless numerously much authorial interruptions in the story, but often they are very pleasant. It is as if he only interrupts to carefully guide you through the story, making sure you pick up on every point.
This all, of course, says nothing of the many political critiques I may have of the book, of which there are many, but this is not the place for them. The book does not fail because of these critiques because by and large they come in through authorial interruptions, which you can choose easily to dismiss.
On the translation: Ellen Marriage does a fantastic job. I mean, I can't not refer to the prose as Balzac, even though it's truly Balzac through Marriage.
Another note on the style: Balzac makes many countless numerously much authorial interruptions in the story, but often they are very pleasant. It is as if he only interrupts to carefully guide you through the story, making sure you pick up on every point.
This all, of course, says nothing of the many political critiques I may have of the book, of which there are many, but this is not the place for them. The book does not fail because of these critiques because by and large they come in through authorial interruptions, which you can choose easily to dismiss.
On the translation: Ellen Marriage does a fantastic job. I mean, I can't not refer to the prose as Balzac, even though it's truly Balzac through Marriage.
challenging
emotional
informative
reflective
slow-paced
Plot or Character Driven:
Character
Strong character development:
Yes
Loveable characters:
Complicated
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Complicated
много ми беше скучна, трудно се средоточавах, но към края ми стана по-лесно. може би съм прекалено тъпа да я разбера.
slow-paced
Our heart is a treasury; if you spend all its wealth at once you are ruined. We find it as difficult to forgive a person for displaying his feelings in all its nakedness as we do to forgive a man for being penniless.
[b:Old Goriot|578367|Old Goriot|Honoré de Balzac|https://images.gr-assets.com/books/1397873613s/578367.jpg|72392] is the first book I have read by Balzac and it took me completely by surprise. I must confess that the irony of the series title - La Comédie humaine (The Human Comedy) - was initially lost on me and I had no idea I was about to open one of the most depressing books I have ever read.
Star ratings always feel woefully inadequate. Did I like this book? Did I enjoy it? Not in the slightest. It made me miserable and anxious. The detailed descriptions of places and people are dreary, or else grotesque. This story of an ageing man who is losing everything, growing older and poorer and more ridiculed by those around him, all as a result of his own selflessness, well, it's painful to read. It is a story which feels just so terribly... unfair.
That's what it is. It's not fair. I felt a bit like a foot-stomping, wailing toddler reading this book because everything seemed so very unfair. And yet, I guess I must in some way like wallowing in this misery because I could not stop reading in wide-eyed horror. Enjoyable it may not be, but compelling it definitely was.
Balzac begins with a richly-detailed description of Madame Vaquer's dismal boarding house. Into this wander our characters. A couple of older men and women, a young woman cut off from her father's fortune, a criminal in hiding, Eugène de Rastignac - a young and ambitious student, and Monsieur Goriot, who is known by the more mocking name of "Old Goriot". This latter is regarded with ridicule by his fellow boarders as someone who has blown his money on mistresses and other frivolities.
Eugène de Rastignac's social ambitions lead him to uncover the truth about Old Goriot, a truth which he uses to his own advantage.
Balzac was writing about a very interesting time in French society, offering not-so-subtle criticisms of the ruthless social ambitions people held. Madame de Beauseant tells us:
The more cold-blooded your calculations, the further you will go. Strike ruthlessly; you will be feared. Men and women for you must be nothing more than post-horses; take a fresh relay, and leave the last to drop by the roadside; in this way you will reach the goal of your ambition.
Old Goriot is a victim of this emerging culture, blinded by an unconditional love for those too concerned with social climbing to give him the time of day.
It is a bleak picture that the author paints-- one where money, social status, fancy clothes and upper-class balls have become far more important than love and kindness. Expect misery from start to finish, and one instance of particularly revolting racism. I'm making it sound wonderful, aren't I? I guess it all depends whether you read to feel good or read to have your heart ripped out.
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dark
funny
reflective
slow-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Loveable characters:
Complicated
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
emotional
reflective
sad
slow-paced
Plot or Character Driven:
Character
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Yes
emotional
hopeful
reflective
slow-paced
Plot or Character Driven:
Character
Strong character development:
Yes
Loveable characters:
No
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes