Friday, July 24, 2020
Tuesday, July 21, 2020
Friday, April 17, 2020
Café de la Gare

“I’d given a piece of my mind to the said lodging-house keeper, who isn’t a bad man after all, and I’d told him that to get my own back on him for having paid him so much money for nothing, I’d paint his whole filthy old place as a way of getting my money back.” Read the complete letter
In a jocular passage of a letter Van Gogh wrote to his brother, Theo, the artist said Ginoux had taken so much of his money that he'd told the cafe owner it was time to take his revenge by painting the place.[2]
In August 1888, the artist told his brother in a letter:
“ | Today I am probably going to begin on the interior of the café where I have a room, by gaslight, in the evening. It is what they call here a “café de Nuit” (they are fairly frequent here), staying open all night. “Night prowlers” can take refuge there when they have no money to pay for lodging or are too drunk to be taken in.[4] | ” |
In the first days of September 1888, Van Gogh sat up for three consecutive nights to paint the picture, sleeping during the day. Little later, he sent the water-color, copying the composition and again simplifying the color scheme in order to meet the simplicity of Japanese woodblock prints.
Van Gogh's Cafe Terrace at Night, showing outdoor tables, a street scene, and the night sky, was painted in Arles at about the same time. It depicts a different cafe, a larger establishment on the Place du Forum.
On 7 May 1889, Vincent took a room at the Café de la Gare on Place Lamartine at a rate of one franc per night. He had recently begun using the Yellow House as a studio. Though Vincent became friendly with the café’s owners, Joseph and Marie Ginoux, it did not stop him from arguing with them over his belief that he was paying too much:“I’d given a piece of my mind to the said lodging-house keeper, who isn’t a bad man after all, and I’d told him that to get my own back on him for having paid him so much money for nothing, I’d paint his whole filthy old place as a way of getting my money back.” Read the complete lettered so Vincent spent three nights amid the “night owls”, painting The Night Café. He used the complementary colors of red and green in an effort to represent “the terrible human passions”. In the painting, Joseph Ginoux can be seen standing beside the billiard table, wearing white. Paul Gauguin, who came to stay with Vincent at the Yellow House in mid-October, also painted the café. His version shows Marie Ginoux sitting at a table in the foregroundVincent and Gauguin regarded Marie Ginoux, with her dark hair and local dress, as a true Arlésienne, and they both painted her portrait. When Vincent was in the asylum in Saint-Rémy, he did so several times, working from a drawing of Gauguin’s. When Vincent left Arles for Saint-Rémy on 8 May, he stored the furniture from the Yellow House at the Café de la Gare. During his stay in the asylum, he visited the Ginouxs twice and also wrote to them.
And at last the epileptic fit.
Van Gogh's Cafe Terrace at Night, showing outdoor tables, a street scene, and the night sky, was painted in Arles at about the same time. It depicts a different The next day (September 9), he wrote Theo: "In my picture of the Night Café, I have tried to express the idea that a cafe is a place where one can ruin oneself, go mad or commit a crime. So I have tried to express, as it were, the powers of darkness in a low public house, by soft painted of Louis XV green and malachite, contrasting with yellow-green and harsh blue-greens, and all this in an atmosphere like a devil's furnace, of pale sulfur. And all with an appearance of Japanese gaiety, and the good nature of his tartarin paintings"
And so Vincent spent three nights amid the “night owls”, painting The Night Café. He used the complementary colors of red and green in an effort to represent “the terrible human passions”. In the painting, Joseph Ginoux can be seen standing beside the billiard table, wearing white. Paul Gauguin, who came to stay with Vincent at the Yellow House in mid-October, also painted the café. His version shows Marie Ginoux sitting at a table in the foreground.
Vincent and Gauguin regarded Marie Ginoux, with her dark hair and local dress, as a true Arlésienne, and they both painted her portrait. When Vincent was in the asylum in Saint-Rémy, he did so several times, working from a drawing of Gauguin’s.
When Vincent left Arles for Saint-Rémy on 8 May, he stored the furniture from the Yellow House at the Café de la Gare. During his stay in the asylum, he visited the Ginouxs
Marie d’Agoult
I’ve been intrigued by Marie d’Agoult. At the time, I knew only that Chopin had dedicated his second set of Etudes to her, but she was only a name. Several years ago, I discovered that she studied at the Sacred Heart school in Paris in 1820. Phyllis Stock-Morton’s recent biography recounts the young woman’s general unhappiness with the school (and with Eugénie de Gramont in particular!), but Marie’s own memoirs contain a powerful vignette involving Sophie, whom she loved. As described in the novel (“Heloise and Marie,” Part 6), Marie was allowed to have her own room and a piano, which she apparently played exceedingly well.
Life
Marie was born in Frankfurt am Main, Germany, as Marie Catherine Sophie de Flavigny, the daughter of Alexander Victor François, Vicomte de Flavigny (1770–1819), a footloose émigré French aristocrat, and his wife Maria Elisabeth Bethmann(1772–1847), a German banker's daughter. The young Marie spent her early years in Germany and completed her education in a French convent after the Bourbon Restoration.
She entered into an early marriage of convenience with Charles Louis Constant d'Agoult, Comte d'Agoult (1790–1875) on 16 May 1827, thereby becoming the Comtesse d'Agoult. They had two daughters, Louise (1828–1834) and Claire (1830–1912). They were divorced on 19 August 1835.
From 1835 to 1839, she lived with virtuoso pianist and composer Franz Liszt, who was six years younger, and was then a rising concert star. She became close to Liszt's circle of friends, including Frédéric Chopin, who dedicated his 12 Études, Op. 25 to her (his earlier set of 12 Études, Op. 10 had been dedicated to Liszt). D'Agoult had three children with Liszt; however, she and Liszt did not marry, maintaining their independent views and other differences while Liszt was busy composing and touring throughout Europe.
Friday, June 19, 2015
Vincent Van Gogh
Van Gogh's decision to
commit suicide remains a complex conundrum and many attempts have been made--by
artists as well as writers and psychiatrists--to unravel the causes of that final
tragic act. We shall never know exactly why he decided to shoot himself that
Sunday, July 27, in the wheat fields behind the Château of Auvers. Tellingly,
in his last letter to his mother and Wil he reported "a mood of almost too
much serenity"--a chilling note before the calamity.
In Auvers, too, the
tranquility he desperately longed for had proved as ephemeral and ultimately
elusive as ever. The pervasive melancholy that he had recognized in himself in
his early years in Holland and that he had struggled to hold at bay had finally
manifested itself in his illness in the Midi. It has been suggested that Van
Gogh was extremely sensitive to images of sorrow, whether in the Bible,
contemporary literature, or life and nature. His deep communion with nature
bordered on Romantic mysticism and included not only euphoric feelings of the
regenerative powers of nature, symbolized for him by the sun and the seasons,
the blossoming trees and the wheat fields, but also a visceral sense of the
other face of regeneration: death and timelessness expressed in the cypresses,
olive trees, and the night sky with its stars. The shadow of death had arisen
in his mind in 1873, and can be traced in his mourning for the love and family
life he lacked in his own life, and in his longing for an ideal purity. His
obsessive personality dictated his approach to everything, from his early
devotion to the Bible, to his passion for literature, his excessive behaviors
as well as his attempts to control those behaviors and, above all, his unabated
dedication to art. When, at the age of twenty-seven, he finally decided to
become an artist, Van Gogh believed he had found a remedy for his melancholia.
A theme that recurred in his letters was the efficacy of work as a
"distraction" from his sadness, a note that became ever more urgent
during his periods of illness in Arles and in Saint-Rémy.
Several strands of Van
Gogh's life had come together in Auvers. He knew that he could not live a
healthy life in Paris, or, indeed, in any large city, because his nerves were
constantly overstimulated, not least by the abuse of alcohol and tobacco that
he felt had undermined his health in Paris. In the countryside, however, he
lacked the artistic fellowship and exchanges upon which he thrived. Van Gogh
had suffered greatly from Gauguin's flight from Arles and the consequent
failure of his dream of an artistic community. His sense of isolation was
compounded by his confinement in a religious environment in Saint-Rémy and an
apparent aggravation of his illness--one possible reason for his suicide
attempts at Saint-Paul-de-Mausole. Though he had had no attacks since arriving
in Auvers, the fear must have haunted him. In Auvers, too, he was alone again,
despite the goodwill--even affection, as Emile Bernard would later report--of
people around him. Van Gogh was now within easy reach of Paris, yet Paris may
have aroused acute feelings that were hard to bear: love for Theo, Johanna, and
little Vincent, mixed perhaps with despair at seeing close up a vision of life
that Vincent believed he could never have. Finally, there was Theo's
professional situation. Now that he was married, his income was inadequate to
his needs; in early July, as Vincent was about to return to Auvers from Paris,
Theo confided his anxiety, and the fact that he would not be able to support
Vincent as regularly as before. As concerned as Vincent was for Theo and Theo's
family, he was worried for himself as well: in a subsequent letter to Theo,
Vincent described himself as "stunned" and uncertain about his
financial future. The one reliable element in his world was his art, but the
personal cost was high. The last sentence in his unfinished letter read:
"Well, my own work, I am risking my life for it and my reason has half
foundered because of it."
The heartrending particulars
of the artist's last hours are revealed by contemporary testimonies from Dr.
Gachet and Adeline Ravoux, the innkeeper's daughter, and from Theo's letters to
Johanna. On July 27, after shooting himself, Van Gogh returned to Ravoux's inn.
Emile Bernard has left us a detailed account of the event, which he sent to
Aurier:
I
imagine that you have already guessed that he killed himself. . . . On Sunday
evening he went into the Auvers countryside, left his easel against a
haystack and went behind the Château and shot himself with a revolver. From
the violence of the impact (the bullet passed under the heart) he fell, but
he got up and fell again three times and then returned to the inn where he
lived (Ravoux, place de la Mairie) without saying anything to anyone about
his injury. Finally, Monday evening he expired, smoking [the] pipe he had not
wanted to put down, and explaining that his suicide was absolutely calculated
and lucid. Characteristically enough, I was told that he frankly stated his
desire to die--"Then it has to be done over again"--when Dr. Gachet
told him that he still hoped to save him; but, alas, it was no longer
possible.
|
Dr. Gachet summoned Theo,
who arrived in Auvers the next day. Distraught, he raced into the inn to embrace
his dying brother; they spoke together affectionately. Theo reported his vigil
to Johanna: "I found him somewhat better than I expected. I will not write
the details, they are too sad. . . . He was happy to see me, and I stay with
him constantly. . . . Poor fellow, such brief happiness fell to him, and now he
holds no illusions. The burden grows too great at times; he feels so
alone." At 1:30 a.m. on Tuesday, July 29, 1890, Vincent van Gogh died. His
brother recalled one of the last things Vincent said: "I wish I could pass
away like this." Theo concluded that shortly thereafter all was over, and
that finally Vincent would find the rest denied to him while he was alive. Theo
had funeral invitations printed and attempted to arrange for a mass to be held
the next day in the church in Auvers. However, because Vincent's death was a
suicide, the church refused, and Theo was forced to cancel the service.
Around ten o'clock on
Wednesday morning, Emile Bernard, the old art dealer and artists' friend Julien
"Père" Tanguy, and other artists, including Lucien Pissarro, came
from Paris and joined Dr. Gachet and Theo. Bernard reported to Aurier that
people from the area, who knew him only briefly, loved him, as he was "so
good, so human." The closed wooden coffin was placed in a spare room on
the ground floor of Ravoux's inn--"the artist's room," where Van Gogh
had painted. The simple coffin was draped with white cotton bedecked with
masses of flowers, especially the sunflowers that the artist had so loved. In
front of the casket on the floor were the artist's emblems: his easel, folding
stool, and brushes. Bernard recalled that the "halo" of Van Gogh's
paintings tacked against the walls of his room created an aura of his genius.
Such a sensation made the loss of Van Gogh even more profound to his fellow
artists.
At three o'clock, under a
fierce sun, the funeral cortege followed the hearse up the hill,
"talking," as Bernard recalled, "about the bold thrust he gave
to art, the great projects that he was always planning." Bernard
continued, "We arrived at the cemetery, a small, new graveyard. . . . It
is on the knoll overlooking the crops, under that great blue sky that he would
have loved still. . . . Then he was lowered into the grave. . . . That day was
too much made for him for us not to imagine that he could still have lived
happily."
Dr. Gachet attempted to give
the eulogy, but wept so copiously that his words came out as a confused adieu. Bernard summed up the physician's
final words: "He was, he said, an honest man and a great artist. He had
only two goals: humanity and art. It is the art that he cherished above all
else that will ensure that he lives on."
Thursday, June 18, 2015
.............Marie Charlet
For two
or three seconds the two voices clamored amidst the pounding of his heart. He
removed his pince-nez, slowly polished the lenses in a delaying gesture’
“Suit
yourself.” The shrug was emphatic, too emphatic. “I don’t care.”
A
tiny flame leaps in her eyes. “You didn’t even tell me your name, Mine’s Marie.
What’s yours?
“Henri.”
“That’s a pretty name.”
She
stretched a glistening arm out of the bathtub.
“Hand me the towel, Henri.”
Two hours later he was hurrying down
rue Caulain court, deftly avoiding the rain puddles, humming to himself in his
deep, chesty baritone, as he always did when he was happy. Marie was coming
back!
Ten minutes ago she had left saying, “Seven o’clock.
No, I won’t forget. And you’ll see, I’ll be nice to you…”. For that’s all that was the matter with her .
The poor girl had been ill treated all her life. Cold, hungry, afraid. No
wonder she had grown hard. Even dog turned mean when they are beaten. The
rampage of irrelevant adrenal grand increase stamina for damage taken to their
health . Ignore pain: damage decreases stamina instead of health It’d probably
be negligible, and if they were fought so, they’ll enjoy the blood rage perk
and it actually helps fight, because these adrenaline glands, they get a steady
beat up their opponent, they're dead fighter regardless.
Astonishing
how wrong you could be in judging people! He had thought her selfish, callous,
stupid, when as a matter of fact, she was none of these things. Of course she
had grown a protective shell. Who wouldn’t with the kind of life she had been
forced into? Beneath it all she had a nimble mind and a good heart. It was shortly
after he had handed her a towel that he had changed his opinion of her. With exquisite swiftness, all her motions were
graceful, she had sprung out of the tub, dried herself, combing her hair while
still nude.
He
was calling her Marie thrilling at the proximity of her fresh, at her tranquil
immodesty as she roughed her lips, penciled her eyebrows with a burnt match.
Wearing nothing but her culotte.
On
Boulevard Clichy he held her like his fiancée as they drove to Drouant’s, where
he gave his order for the dinner to be sent in at the same time with Chandon.
“Look!”
She was standing in the doorway, dressed in a blue velveteen, a feather boa
slung lorette style over her shoulder.
“Don’t talk about it. Just forget it, it’s all
right now.”
“But
I want to talk about it,” Vincent insist gently, “Perhaps, if I do I ‘ll stop
thinking about it. It wasn’t the exclusion that was hard, it was the proximity
of mad men. Some of them awoke at night with terrible cries. At time I felt I
was crazy…”
Something
inside him seem to have unlocked the floodgates of speech. In a torrent of
words he told Henri about his life in Arles, the hours spent in the fields
under the broiling sun, painting with a frenzy that grew into a sort of madness
and the staggering walk back to town at sunset over dusty country roads, his
easel strapped on his back, the still wet canvas on his hand. Then Gaugan’s
long-awaited had arrived with the trip together at Avignon and then back at
Arles the first quarrels,
In December, Gauguin painted a portrait of van Gogh
painting a sunflower bouquet, reflecting his sympathy with van Gogh’s
endeavors, but whenever he raised the topic of departure, van Gogh would become
agitated.
According to Gauguin's
account, on the evening of December 23, 1888, van Gogh confronted him with a
razor, demanding to know if he intended to leave Arles. Gauguin's confirmation
further upset van Gogh,, the argument degenerating into bawls. Gauguin who turned and fled. Disturbed by his
companion's irrational behavior, spent the night in a hotel. So they went together at the Café de’ la Gare to
reconcile in absinth’s glasses, and the evening at the brothel. Never any word
nobody has ever told who ever cares for less than their friendship had flung
out a glass of au burgundy onto Gaugan’s face. Van Gogh only drank absinth
liquor no burgundy and the awkward pity of the whores. Finally the crack up. No
one but him hears cymbals crashing up over his skull that had swirled, he shook
his eyes didn’t believe on what had happen, the circumstance so come se come ca
and rampaged over the glass au burgundy. He has been bitten in the left ear and
it dangling over the pool of blood. His own blood drew the temporary madness.
Rachel to whom he thought of and he kept the dangling conversation off and on
during wrap and unwrap…. "Last
Sunday night at half past eleven a painter named Vincent Vangogh,
appeared at the maison de tolérance,
asked for a girl called Rachel, and handed her ... his ear with these words:
'Keep this object like a treasure.' Then he
disappeared. then again covered the thing with the newspaper May 5, 2009 - According to a new book, the
painter Vincent van Gogh did not slice off his left ear in a
fit of madness and drunkenness in Arles in December 1888. His ear was severed by a
bitten row of teeth
wielded by his friend, the painter, Paul Gauguin, in a
drunken row over a woman called Rachel and the true nature of art. dated the twenty-third of December 1988. Then on
the occasion of rampage, he ran to her with the designated gift in his hand.
She collapsed their right on the couch while they played Chopin’s nocturne…the
last nocturne. The
following morning when Gauguin returned to the Yellow House, he was shocked to
find it spattered with blood. Taken into custody by the police for
interrogation, he discovered that van Gogh had returned home after their
confrontation and mutilated his left ear. Bleeding profusely, he went to a
brothel and was then taken to a hospital. Upon release from the authorities, Gauguin
telegraphed Theo, who arrived on the next morning's train.
That morning it was the twenty seventh of May
Henri was sitting on the edge of his couchgazing at the small carpet of sunshine on the floor.
..He told Henri about his life in Arles.. While he spoke his eyes flashed their messages to his brain. Yes, it was Vincent but a different Vincent....
Quiet, cowed, with dull, haunted eyes...No portfolio, no gourd of rum, no gesticulation, a well behaved Vincent Van Gogh, self-conscious in a new ready-made suit that was too tight for him and a felt hat that was too big.
"I feel fine," Vincent said in a toneless voice. He sat down "it's good to see you again. Henri, I arrived yesterday and spent the day with Johanna. Did you know they named the baby after me?
For the first time he smiled, an incredulous, ecstatic
Tuesday, June 16, 2015
Moulin Rouge
Moulin Rouge: A novelbased on the life of Henri de Toulouse-Lautec
by Pierre La Mure
Agostina Segatori Sitting in the Café du Tambourin
Agostina Segatori Sitting in the Café du Tambourin was painted byVincent van Gogh in 1887. Agostina Segatori owned the Café du Tambourin that Van Gogh knew intimately. It was a gathering spot for Parisian artists, a place where their work was exhibited. Van Gogh, unable to pay in cash for his meals, exchanged paintings for his fare. The paintings then adorned the restaurant. He held a special exhibit of his Japanese prints in the café as well. His connection with Agostina and the cafe came to a sad end when she went bankrupt and Van Gogh's paintings were confiscated by creditors. This painting, however, demonstrates an artistic discovery that culminated in his unique, creative style not quite on the brink of being understood and revered.
Marie
was born in Frankfurt am Main, Germany, as Marie Catherine Sophie de Flavigny,
the daughter of Alexander Victor François, Vicomte de Flavigny (1770–1819),
by Pierre La Mure
Agostina Segatori Sitting in the Café du Tambourin
Agostina Segatori Sitting in the Café du Tambourin was painted byVincent van Gogh in 1887. Agostina Segatori owned the Café du Tambourin that Van Gogh knew intimately. It was a gathering spot for Parisian artists, a place where their work was exhibited. Van Gogh, unable to pay in cash for his meals, exchanged paintings for his fare. The paintings then adorned the restaurant. He held a special exhibit of his Japanese prints in the café as well. His connection with Agostina and the cafe came to a sad end when she went bankrupt and Van Gogh's paintings were confiscated by creditors. This painting, however, demonstrates an artistic discovery that culminated in his unique, creative style not quite on the brink of being understood and revered.
Van Gogh's influence in Paris
In 1886 Van Gogh left
the Netherlands, never to return, for Paris and the guidance of his brother Theo van Gogh.
He entered Paris as a shy, somber man and while his personality would never
change, he emerged artistically into what one critic described as a
"singing bird". While Van Gogh had been influenced by great Dutch
masters, coming to Paris meant that he was influenced by Impressionists, Symbolists, Pointillists, and Japanese art.
His circle of friends includedCamille Pissarro, Henri Toulouse-Lautrec, Paul Gauguin, Émile Bernard and
others. The works of Japanese print makersHiroshige and Hokusai greatly
influenced Van Gogh, both for the beautiful subject matter and the style of
flat patterns of colors without shadow. Van Gogh explored the various
influences and molded them into a style that was uniquely his own. In the two
years, from 1886 through 1888, Van Gogh emerged as a sophisticated, thoughtful
and provoking artist. This painting demonstrates his journey of creativity of
that period
The painting
In the painting
Agostina, a woman in her forties, can be seen smoking a cigarette while having
her second glass of beer, evidenced by two saucers under the mug of beer. In
demeanor and style, such as her clothing, make-up and hairstyle, she is a
modern woman. She is wearing a fashionable hat. According to the style at the
time, her jacket is a different design than her dress. A parasol sits on one of
the seats next to her.
Van Gogh used the theme
of a woman sitting at a small table, introduced by Impressionists, such as Edgar Degas andÉdouard Manet. The table and stools were in the shape
of tambourines, befitting the café's theme. On the wall behind her are Van
Gogh's Japanese prints, which he began exhibiting at the café in February 1887.[2][3][4]
Café du Tambourin
Van Gogh occasionally
visited Café du Tambourin run by Agostina Segatori, the subject of this
painting. Previously an artist's model
This affective instability was hurting George
Sand, the meeting with Chopin would end there for several years
It is in the living room of Marie d'Agoult, to
the Hotel de France, George Sand made the acquaintance of Chopin in 1836, but
their relationship did not begin until June 1838. Their loves were discreet
because Chopin feared reactions of his family, and that first summer was a
happy summer. In the fall, to escape the jealousy of Mallefille for health
Maurice, who had rheumatism, and especially for that of Chopin coughing
ominously, Sand decided to leave and take everyone in the Balearics. They
sailed to Majorca, November 7, 1838, settled first in Palma, then the
Carthusian monastery of Valldemosa.
After a disastrous stay, they left the monastery
to Marseille where they arrived on February 24, 1839. Chopin was very bad, he
had to rest. They settled in the Beauvau hotel where they would stay three
months. Vacationing studious, during which they worked and agreed that a trip
to Genoa. The art of the fin-du-siècle Silver Age of the Empire is
matched with the Waltz nr 9 "l'Adieu" of Chopin. Of course, no one
knew that the world would collapse in the chaos of 1917-21, and no one was
aware that they were "dancing the last waltz".
He thought of
giving her the balance, but checked himself. She might leave him…”It won’t be
long now, you’ll soon have enough.” He said.
“Almost three hundred frances”. She was
excited as a child.
“Look!” she cried waving a bank book. “And
the man didn’t ask any questions. Only my name, just like you said.” There it
was neatly written in flowery cursive for Marie Francoise Charlet. And the
amount. The price of her nights, of the dreary hours spent with him…. It was
out of her purse, held it in her hand. She talked about it, thus it does
indirectly came to talk about herself.
“Ever
been to Rue MouffetardM” she asked one day, unexpectedly, “That’s where I was
born…” Her simply words brought to life
the putrescence of the slum, the livid abjection of a swarming, horny-handed
humanity of cooperd, bottlers, warehousemen in grimy leather aprons and
hobnailed shoes. She described the rumblings of Percheron (a breed of large
fast trotting draft horses)-driven wine wagons, the hammering of barrel corks,
the various slime over the cobblestones, the stench กลิ่นเหม็น of fermenting vats หม้อขนาดใหญ่
mingling with that of rotting grape vines. She told her about her games with
other pig-tailed gamines in dank courtyards, the cold hungry Saturday nights
when her parents were too drunk to think about dinners, her mother’s slaps, her
father’s beatings followed by fits of ambiguous tenderness. “First he makes me
take off my culotte – knee length trousers made full in the legs to resembles a
skirt, worn by women and girls, then he trash me. Then when I was crying in bed
he’d come and kiss me, and beg me to forgive him.”
Abruptly she would stop in the
middle of her reminiscences, squint at him with the malevolence of the poor for
the rich,
“I don’t know why I tell you these things. You’ve never been hungry; you can’t understand…”
“I don’t know why I tell you these things. You’ve never been hungry; you can’t understand…”
He did not press her, and unexpectedly an hour or a week
later she would resume her confidences. “One Saturday night – I was fourteen
then a man took me in the hallway of our house, behing the stairs. He was a
cooper in the same warehouse where my father worked. He was drunk, but just the
same he gave me a franc for finished it with me, with the money I bought a knot
of ribbon for my dress.” After the inevitable brawl, she had fled from home and
joined her sister in the Sebastopol district. There under the tutorial of her
elder sister, she had become a street walker. In naïve, ingenuous words she described
the rapture of her first hat, her first scrap of lace, the wonder of easy money,
the thrill of the evenings in smoke – filled snooker salon, the first waltzes
with pomaded ขี้ผึ้งใส่ผมครีมใส่ผม louts
คนที่โง่งุ่มง่ามและมีมารยาทเลว. “Perhaps you’d like to go to the theatre?
Sarah Bernhardt is playing La Dame aux Come’lias at the Renaisance….Perhaps
you’d like to go to music hall?”
“I don’t want to go to nowhere with you. She replied with
sudden violence.” “Think I want people to see me with a cripple?”
He turned white and limped away.
Boredom sharpened her latent cruelity, She hurt him for
fun, to pass a moment. AQn obscure class-hattered, the immemorial enmity of the
poor toward the rich, goaded her into tormenting him, to see how much the
wealthy cripple, who had never been cold or hungry, would endure from her.
She jeer at his fastidiousness, his habits of meticulous
cleanliness. “Fussy, ain’t you? Fond of yourseld?”
“The
men I know don’t go in for so much brushing and washing. But then they are real
men don’t cripple like you.”
She knew the word cripple made him
wince, and she began to use it constantly, just to see the reflex of pain on
his face.
They were quarreled as he stunned by
the violence she made no argue just shouted, made obscene gestures that
enhances him. When she sensed he reached th e limit of his endurance, Marie
would sidle to him, beg his forgiveness,coax him to the couch. Quickly, in one
of her swift and graceful gestures, she would unfastened her blouse, pull up
her skirt. And once again an old magic would succeed .In the moist fusion of
their breaths.
“Don’t ask me how you can hate a
woman and want her at the same time. I don’t know. But one thing I know:
hatered is probably the most powerful aphrodisiac of all, and love performed in
the heat of anger is perhaps the most thrilling of all.” For an instance he
desire at the ceiling. “The only trouble with that kind of love is that it
doesn’t quench your desire, doesn’t bring you either piece of relief, doesn’t
solve anything and…”
”…and slowly drive you nut.” He
stopped abruptly, “Do I make any sense? Can you understand me at all? Perhaps
it’s her indifference. The maddening way she has of looking at me
as if she didn
T
see me. I don’t expect you to understand, for you are not a cripple, and a girl
never looked at you like that. There is something deeper more complicated than
sex, it is pride, not social pride but the human’s pride”. She looked at me as
if I were a toad masquerading into human, that’s insult can drive you crazy.
That day he had come across the bank book on the bath room shelf and found it’s
empty. An uncontrollable jealousy had swept over him. In a spatter of insult he
had ordered her out, raised his voice first and then his cane at her, and would
have struck her if she hadn’t swiftly stepped aside.
That was two weeks ago. Now his
anger has spent itself when pain hadset in. Every hour has brought its torment
of longing. First her body’s fragrance has haunted him, the memory of her small
breasts, of her yielding thighs had agonized his nights, although, he had tried
to applaud himself for his courage, assure himself he was delighted to be rid
of her. But it was no use. You didn’t placate the hunger of your body with self
awarded tributes. He had spent his evening at home, he had scoured the nights
in search of her, peere3d into obscure bistros. Now he knew she would never
come back.
That morning it was the twenty-
seventh of May, he was sitting on the edge of his couch gazing at the small
carpet of sunshine on the floor, when he heard the sound of footsteps outside.
Once more the senseless hope soared.
It wasn’t Marie. These were a man
footsteps, heavy, thudding and tired. Hurriedly he got up, tottered to his
easel, started loading his palette. There was the knock at the door. “Entrez!”
As the door opened, his voice rose
to an exclamation of joy.
“Vincent!” He dropped the tube of
paint he held in his hand, matched his cane. “When did you arrive? How long are
you going to stay? Come and sit on the couch and let me look at you! How do you
feel?”
“I’m glad you’re back Vincent. I’ve
been thinking about you a lot, Montmartre hasn’t been the same since you left…Remember
Cormon’s?”
“Yes I wish I’d gone to the atelier French
that winter instead of
painting at home or in the streets as I did.”
“I’m now care free for anatomy”
“To hell with anatomy! You
have life. You’re really found yourself at last.”
“yes, I suppose I did, it almost killed me though. But perhaps it
was worth it, even the asylum….”
En 1822, elle rencontre le baron François Casimir Dudevant qu’elle épouse le 17 septembre de la même année. Le couple a deux enfants : Maurice en 1823 et Solange en 1828.
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Eventually married to Count Charles d’Agoult, Marie moved in
high social circles, became increasingly interested in politics and hosted her
own highly successful salon in the early 1830s. About this time she met
the Hungarian pianist and composer Franz
Liszt. In 1835 she left her husband and children for Liszt, openly
defying the social conventions and allying herself with the artists and
intellectuals of her time. She and Liszt had three children.
What the novel does not go into is
Marie’s life beyond her affair with Liszt.
Writing under the name Daniel Stern, she became a noted
journalist, novelist, and historian. Her three-volume History of the Revolution of 1848 is still highly regarded as a perceptive and
multi-faceted chronicle of this event. One American historian recently wrote:
“Her incisive portraits of political leaders, and her reasoned analysis of the
social factors influencing the outcome of the revolution, would have a profound
impact on many subsequent treatments of 1848.” (James Chastain, Ohio
University, 2005) Devoted to democracy and social justice despite her
aristocratic background, Marie d’Agoult is a provocative figure of her age–a
sort of French Mary Wollstonecraft who argued strongly for a better world,
including improved educational and property rights for women.
Sand's
biographers often see Chopin as a millstone around the neck of an extraordinary
and diversely-talented woman. Chopin's biographers are
more likely to depict Sand as responsible, in some way at least, for the early
death of the composer by relinquishing her care for him in his last years. This
is also, of course, a tacit admission that we have her to thank for keeping him
alive for so long and well enough to compose. As she had discovered early on in
their relationship, on a trip to Majorca in 1838, Chopin was peculiarly
vulnerable to illness, his constitution undermined by tuberculosis. He might
well have been carried off before the 39 years allotted to him had George not
taken him into her care at Nohant and in Paris. She gave him the right
conditions in which to compose.
The last waltz
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