Nerval- 'Sylvie' Flashcards

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1
Q

protagonist describes his estrangement from society from the beginning

A

Il ne nous restait pour asile que cette tour d’ivoire; des poètes, où nous montions toujours plus haut pour nous isoler de la foule.

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2
Q

the first time we experience Valois is through a kind of dream, semi consciousness when he experiences pivotal scenes of his childhood

A

Plongé dans une demi-somnolence, toute ma jeunesse repassait en mes souvenirs.

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3
Q

dying Romanticism; gone are the times when despair would have led to grand gestures like suicide

A

elle me trouve un peu de ressemblance avec Werther, moins les pistolets, qui ne sont plus de mode.

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4
Q

ending is ambiguous; represents what he could have had? unclear whether he regrets what happened

A

Je me dis: “là était le bonheur peut-être, cependant…”

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5
Q

drawn towards what he can never have; obsessed with Adrienne because of the timeless, impenetrable space she inhabits

A

j’eus un instant idée de jeter un coup d’œil par-dessus les murs en gravissant la plus haute pointe des rochers; mais je m’en gardai comme d’une profanation.

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6
Q

idea of him also performing

A

je paraissais

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7
Q

oxymoronic description of Aurélie

A

une apparition bien connue illuminait l’espace vide

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8
Q

similar description of Adrienne as something intangible

A

mirage de la gloire et de la beauté

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9
Q

Aurélie only exists as part of him/as his perception of her

A

‘je me sentais vivre en elle’ ‘elle vivait pour moi seul’

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10
Q

realisation that he loves Aurélie because of her resemblance to Adrienne; thinks they could be the same person but acknowledges this would be madness

A

Aimer une religieuse sous la forme d’une actrice!…et si c’était le même!

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11
Q

ornate Renaissance clock hasn’t been wound up in two centuries

A

le mouvement, excellent sans doute, n’avait pas été remonté depuis deux siècles

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12
Q

figure of Diana on top of the clock; symbol of time/eternal youth

A

surmonté de la figure du Temps…la Diane historique

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13
Q

Sylvie becomes socially mobile, leaving behind her peasant origins to become part of the petit bourgeoisie

A

je comprenais que Sylvie n’étais plus une paysanne. Ses parents seuls étaient restés dans leur condition, et elle vivait au milieu d’eux comme une fée industrieuse, répandant l’abondance autour d’elle

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14
Q

Sylvie has become a reader in her own right; he seems shocked by this

A

Vous avez donc bien lu depuis trois ans!

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15
Q

Sylvie’s reading makes him suddenly self conscious of his own language, recognise his own cliches

A

J’essayai de parler des choses que j’avais dans le coeur…je ne trouvais que des expressions vulgaires, ou bien tout à coup quelque phrase pompeuse de roman-que Sylvie pouvait avoir lue!

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16
Q

even Sylvie’s voice has changed

A

elle phrasait

17
Q

unlike Adrienne, Sylvie is a real woman who undermines the narrator’s imagination by living in her own right

A

elle éxiste elle

18
Q

love for Sylvie and Adrienne as two sides of the same coin, representing the real and the ideal

A

C’était les deux moitiés d’un seul amour. L’une était idéal sublime, l’autre la douce réalité.

19
Q

describes Adrienne and her resemblance to Aurélie through the metaphor of a stunning original and a faded pencil drawing

A

c’était un crayon estompé par le temps qui se faisait peinture, comme ces veux croquis de maîtres admirés dans un musée, dont on retrouve ailleurs l’original éblouissant

20
Q

everything seems to resemble something else; Adrienne compared to Dante’s Beatrice

A

Elle ressemblait à la Beatrice de Dante qui sourit au poète errant sur la lisière des saintes demeures.

21
Q

name of the last chapter; signposts its own status as a written text

A

dernier feuillet

22
Q

different perspective; mature, almost like an epilogue at the end

A

Les illusions tombent l’une après l’autre, comme les écorces d’un fruit, et le fruit, c’est l’éxpérience.

23
Q

Sylvie amused at suggestion that Adrienne and Aurélie could be the same person

A

Quelle idée!

24
Q

when the narrator sees the advertisement for the fête

A

un lourd chariot, traîné par des boeufs…et nous enfants de ces contrées…sans savoir alors que nous ne faisons que répéter d’âge en âge une fête druidique survivant aux monarchies et aux religions nouvelles.

25
Q

constant references to the old France but always idealises it e.g. never mentions the Revolution or its causes

A

je me répresentais un château du temps de Henri IV…un français si naturellement pur, que l’on se sentait bien exister dans ce vieux pays du Valois, où, pendant plus de mille ans, a battu le coeur de la France.

26
Q

fascination with the ‘old’ France is linked with his fascination with Adrienne

A

d’une famille alliée aux anciens rois de France; le sang des Valois coulait dans ses veines

27
Q

CHRISTOPHER PRENDERGAST, THE ORDER OF MIMESIS: narrative bases itself around a journey

A

The narrative is built around a journey…a quest for an elusive point of reference, a lost (and unfindable) Referent…the guarantee that they are not merely the insubstantial imaginings of a mind that has lost touch with reality.

28
Q

CHRISTOPHER PRENDERGAST: object was already lost in the first place

A

The ‘original’ object of desire is/was never there, it is primordially lost, the ‘object primordialement perdu.’ Around that inaugural absence, desire circulates, forging its compensatory representations for what it can never know or have.

29
Q

CHRISTOPHER PRENDERGAST: imagery of the Origin and the chain, the circle, Adrienne

A

the imagery of the Origin and the chain…the conventional topoi of romantic nostalgia, that fixation on the myth of the happy Beginning’

30
Q

NAOMI SEGAL: NARCISSUS AND ECHO: WOMEN IN THE FRENCH RÉCIT: reading as a threat, Sylvie has moved on

A

Her reading is a threat to the preserved image of infancy that he has invested in her

31
Q

A.W.RAITT: TIME AND INSTABILITY IN NERVAL’S SYLVIE: return reminds him that time is unstoppable

A

the return to Loisy reveals only that all is irrevocably changed…whatever happens, time will flow inexorably on, eternity can never be attained.

32
Q

A.W.RAITT: TIME AND INSTABILITY IN NERVAL’S SYLVIE: references to specific historical moments

A

It is no coincidence that Sylvie begins and ends with clear references to specific historical moments: the aftermath of the July revolution and ‘vers 1832’; all that comes between shows how impossible it is to rid oneself of the shackles of time.