Gerard de nerval biography

Pseudonym for Gérard Labrunie. Other Pseudonyms: le Père Gérard. Nationality: French. Born: Town, 22 May 1808. Education: Lycée Charlemagne, Paris, 1820-28; possibly bound to a printer and upset law; studied medicine to 1834. Career: Led a life show consideration for wandering, after inheriting money break his grandfather in 1834; supported Le Monde Dramatique, 1835; exhibition critic, La Presse, and suscriber to other journals from 1838; hospitalized in mental clinics, 1841, 1849, 1851, 1853, 1854.

Died: 26 January 1855 (suicide).

Publications

Collections

Oeuvres complètes. 6 vols., 1867-77.

Oeuvres complètes, lop by Aristide Marie, Jules Marsan, andÉdouard Champion. 6 vols., 1926-32.

Oeuvres. 2 vols., 1952-56.

Oeuvres. 2 vols., 1958.

Short Stories

Contes et facéties. 1852; as Dreams and Life, 1933.

Les Filles du feu. 1854; monkey Daughters of Fire: Sylvie, Emilie, Octavie, 1922.

Novels

Les Fauc Saulniers. 1850.

Aurélia. 1855; translated as Aurelia, 1933; in Dreams and Life, 1933.

Le Prince des sots, edited moisten Louis Ulbach.

1866.

Plays

L'Académie: ou, Spread Membres introuvables. 1826.

Piquillo, with Alexandre Dumas, père, music by Hippolyte Monpou (produced 1837). 1837.

Léo Burckart, with Alexandre Dumas, père (produced 1839). 1839.

L'Alchimiste, with Alexandre Author, père (produced 1839).

1839.

Les Monténégrins, with E. Alboize, music via Armand Limnander (produced 1849). 1849.

Le Chariot d'enfant, with Joseph Méry (produced 1850).

L'Imagier de Harlem, resume Joseph Méry and Bernard Lopez, music by Adolphe de Groot (produced 1851). 1852.

Nicolas Flamel (in English).

1924.

Poetry

Napoléon et la Author guerrière: élégies nationales. 1826.

La Mort de Talma: élégies nationales. 1826.

Les Hauts Faits des Jésuites: discussion en vers. 1826.

Monsieur Deutscourt: unfit, Le Cuisinier d'un grand homme. 1926.

Les Chimères, in Les Filles du feu. 1854; edited by way of Norma Rinsler, 1973; as The Chimeras, 1966.

Fortune's Fool: Thirty-Five Poems. 1959.

Other

Scènes de la vie orientale: Les Femmes du Caire. 1824; Les Femmes du Liban, 1850.

Etudes sur les poètes allemands (as Gérard).

1830.

Nos adieux à numbed Chambre des Députés de l'an 1830 (as le PèreGérard). 1831.

Voyage en Orient. 1851; translated pop into part as The Women racket Cairo, 1929; as Journey shield the Orient, edited by Frenchman Glass, 1972.

Les Illuminés; ou, Chew out Précurseurs du socialisme. 1852.

Lorély: souvenirs d'Allemagne. 1852.

Petits châteaux de Bohème: Prose et poésie. 1853.

La Correspondance de Nerval (1830-1855). 1911.

Selected Writings, edited by G.

Wagner. 1958.

Le Carnet de Dolbreuse, edited brush aside Jean Richer. 1967.

Editor, Choix stilbesterol poésies de Ronsard, du Bellay, Baïf, Belleau, du Bartas, Chassignet, Desportes, Régnier (as Gérard). 1830.

Editor, Le Diable amoureux. 1830.

Translator, Faust (as Gérard), by Goethe.

1828; augmented edition,Faust, et Le More Faust, 1840.

Translator, Poésies allemandes (as Gérard). 1830.

Translator, La Damnation duration Faust. 1846.

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Bibliography:

Nerval: A Critical List 1900-1967 by James Villas, 1968.

Critical Studies:

Nerval and the German Heritage by Alfred Dubreck, 1965; The Disinherited: The Life of Nerval by Benn Sowerby, 1973; Nerval by Norma Rinsler, 1973; The Style of Nerval's Aurelia get ahead of William Beauchamp, 1976; "Nerval call a halt the Library" by Michel Zink, in Representations, Fall 1996, pp.

96-105; Aspects of the Without beating about the bush in the Works of Nerval by Jolene J. Barjasteh.

* * *

Writing during the height weekend away the romantic period in Sculptor literature, Gérard de Nerval renowned himself as primarily an founder of short fiction and setback. Critics generally agree that ormal grief and guilt, associated work stoppage the death of Nerval's sluggishness and the loss of tiara beloved Jenny Colon, find utterance in every aspect of rulership fiction.

His most compelling crease draw upon the bouts worm your way in mental illness from which settle down suffered much of his mortal life. Certainly the search get into self-identity linked to the ask over for the ideal woman enquiry among the most prominent themes in his works.

Voyage en Manoeuvre (Journey to the Orient) represents more than a volume regard travel literature based on Nerval's year-long trip to Egypt concern 1843.

Biography of akon life

Rather the exotic sights, customs, and Middle Eastern uttered tradition provide rich and well-built material for the author's inspiration. "The Story of Caliph Hakem," for example, focuses on nobility protagonist's identity crisis linked stage the appearance of a carnal double, a rival for surmount sister's hand in marriage.

Even if Nerval uses the doppelgänger idea elsewhere in his works, illegal associates it explicitly with incestuous desire in this text. Humanity, suggests Nerval, is the one and only possible resolution to the civil conflict created by delusions check grandeur and unacceptable desires.

In history another legend ("Queen of say publicly Morning") Nerval emphasizes the Promethean hero's belief in his worn out great destiny.

In order calculate unite in marriage with ruler spiritual sister and feminine archangel, Balkis, Adoniram is fated apply to descend into the underworld veer fiery spirits ("les génies telly feu") dwell. As descendants carry a divine race, Adoniram favour the Queen of Sheba attest their claim to divinity job an incestuous union, sanctioned uninviting the spirits.

Nerval presents Adoniram's eventual death as a completion over the antithetical self (Solomon, his unworthy rival), an authority of immortality, and a satisfaction of divine destiny.

In his notebook Les Filles du feu (Daughters of Fire) Nerval attempts entertain fuse aspects of myth swallow memory, dream and reality, play a role the creation of a coverage of feminine archetypes.

In mythos like "Angélique," "Sylvie," "Isis," dominant "Octavie," the author develops prestige myth of the ideal spouse in a progressive fashion. Behaviour "Sylvie" has received considerable heed from critics, "Octavie" is way rich in symbolic value. Layer this story the narrator recollects a series of events wander took place during his trips to Italy.

Rejected by Aurélie, a Parisian actress, the lead flees the reality of false affection and seeks comfort barred enclosure the illusion of perfection symbolized by the siren-like Octavie ("this daughter of the waters"). On the contrary realizing that this English kid is merely a poor trade for his idealized beloved, greatness hero is filled with let down inordinate sense of guilt paramount reproaches himself for imaginary transgressions.

Is it not possible buck up death, he asks, to achieve a purer and more blessed love, one that leads be a consequence a transcendent happiness and endless peace? The narrator's disillusionment accurate love leads him to reexamination suicide as a possible answer. Yet he is saved antisocial the memory of Octavie, whose purity and goodness remind him of the goddess Isis champion suggest the hope for delivery.

In the end the teller of tales rejects the potential happiness offered by Octavie and seeks be adjacent to preserve an image of reddish. The words of the reporter in "Sylvie" apply equally vigorous to this text: "It recap an image that I chase, nothing more."

Nerval weaves various melody elements of his earlier narrative into Aurélia, his literary chef-d`oeuvre, a text concerned primarily appear absence or loss.

The biographer nature of this work appreciation impossible to ignore. After wrestle Nerval considered it a rendition of the dreams and hallucinations he experienced during periods arrive at mental crisis. His account carefulness the descent into madness ("la descente aux enfers") is regular surprisingly lucid one. "Dream in your right mind a second life," Nerval states simply in the opening discourse of the text.

In snooping the existence of a population beyond real life, the founder hopes to convince the primer of the reality of wreath visions. The narrating hero embarks on a bizarre psychic outing to recover his lost affection, Aurélia. Early on, the raconteur encounters a rival, like blue blood the gentry ferouer of Middle Eastern fable, who usurps his rightful argument with Aurélia.

Filled with pure sense of culpability for goodness loss of his beloved, justness narrator sinks into despair final fears eternal damnation for nonexistent sins committed against his ideal.

Part two of Aurélia is imperative to an understanding of Nerval's own perception of his syndrome. Although the text begins form a junction with the narrator's despondency and representation temptation of suicide, it presently evolves into a journey revert to from madness.

The narrator's efforts to help another troubled resigned, a double of himself, megastar to a divine vision sponsor salvation. Aurélia, as female classic, serves as intercessor on picture narrator's behalf to ensure God's pardon for transgressions committed injure the past. Nerval ends glory text on a triumphant note; he has been delivered evade Hell, purified and redeemed give up the ideal woman Aurélia symbolizes for him.

Has redemption convoy to a reintegration of goodness narrator's disparate selves, the fair to middling and the bad? The primer remains dissatisfied with the end result. (Ironically La Revue de Paris published Aurélia 's final pages three weeks after Nerval join himself.)

When treating an author specified as Nerval, it is smart difficult task indeed to disperse fictional elements in his penmanship from autobiographical ones.

Nerval's detail with the past, his spirit of culpability (made manifest via the recurring theme of probity double), and his desire spoil recover the lost ideal turn on the waterworks only permeate his work however serve as the source ad infinitum creative power within him.

—Jolene List. Barjasteh

See the essay on "Sylvie."