| Amantine Lucile Aurore Dupin | |||||||
| ā màn dì nà - lù xī - ào luó 'ěr · dù bān | |||||||
yuèdòuqiáo zhì · sāng George Sandzài小说之家dezuòpǐn!!! | |||||||
乔治·桑1832年，她第一次以"乔治.桑 (George Sand) "这一男性笔名发表两部小说，分别是《安蒂亚娜》和《瓦朗蒂娜》。两本小说讲述的都是爱情失意的女人的故事。这是她一生中创作精力最旺盛的年代，从1833年至1836年，她相继发表《莱丽娅》、《雅克》和《莫普拉》。这些小说都是以作家早年的感情生活为基础写的，表达作者对爱情的感受与观点。乔治.桑 (George Sand) 认为爱情就是生命，是人们至高无上的权利和义务，爱情应克服一切偏见和习俗，摆脱一切羁绊和束缚。乔治.桑 (George Sand) 的作品从一开始就具有显著的浪漫主义元素。
在巴黎生活期间，乔治.桑 (George Sand) 热衷于乔装成男性出入各种公开场合，尤其是出席一些禁止女性参加的集会。这在19世纪的法国是一种惊世骇俗的举动，尤其为上流社会所不容许。也正是因为如此，乔治.桑 (George Sand) 始终没有再次嫁给某个伯爵或公爵。这些不寻常的举动很快就使得乔治.桑 (George Sand) 成为法国文坛声名大噪的人物。她的作品为严肃有余、温婉不足的19世纪法国文学注入了清新的空气。她和当时著名的青年诗人缪塞以及著名钢琴家肖邦的恋情使得她的人生更富传奇色彩。
1836年之后，乔治.桑 (George Sand) 结识了一些资产阶级自由派及空想社会主义者，开始关注社会不公现象并创作"社会问题小说"。其成就最高的作品《康素爱萝》（1843）和《安吉堡的磨工》就创作于这一时期。这些小说虽然具有现实主义的某些特征，但仍属于浪漫主义范畴。乔治.桑 (George Sand) 的小说多以爱情为主题，赞颂劳动者，贬斥贵族和富人。
1848年，路易-菲利浦下台，成立临时共和政府，乔治.桑 (George Sand) 积极参加活动，撰写《致人民的信》，甚至为临时政府的公共教育部及内政部撰写公报。6月份工人，乔治.桑 (George Sand) 慑于工人的声势，回到诺昂，从此不再写"社会问题"小说，也不再过问，开始以充满静谧与无邪的田园情趣为题材来写作，发掘人心中高贵与美好的一面。
其实早在1846年，乔治.桑 (George Sand) 就已经开始对田园生活感兴趣。这一年她发表了著名的田园小说《魔沼》，全书没有复杂的情节和冗长的理论阐述，而是自始至终充满诗意。这部作品奠定了作家晚期创作的基调。
晚年的乔治.桑 (George Sand) 的创作受到了法国启蒙思想家卢梭的影响，追求反璞归真、回归自然。这一时期她的代表作品包括小说《弃儿弗朗索瓦》（1848）、《小法岱特》（1849）和《我的生活》（1855）。两部小说都描写充满浪漫情调的爱情，其间可见卢梭《新爱洛依丝》的影子。
乔治.桑 (George Sand) 晚期的创作还有一个显著的特点，就是描写农民的生活。这在贵族传统根基深厚的法国文学史上是没有先例的。尽管农民的生活在田园牧歌的乡村背景中被女作家理想化，但仍具有划时代的意义。乔治.桑 (George Sand) 在一些小说中采用糅合了土语的朴素法语，具有浓郁的乡土气息。
这一时期，乔治.桑 (George Sand) 还发表了《他与她》（1859），追忆早年和缪塞的恋情。
晚年的乔治.桑 (George Sand) 热情好客，她在诺昂的庄园成为当时法国文学界名流的聚会场所。圣勃夫、米什莱、福楼拜、小仲马、巴尔扎克等人经常拜访她。
1876年，乔治.桑 (George Sand) 在诺昂去世，享年72岁。死后，她被埋葬在诺昂。2004年，曾有人建议将她的遗体移至巴黎的先贤祠。
Early life
Sand's father, Maurice Dupin, was the grandson of the Marshal General of France, Maurice, Comte de Saxe, himself an illegitimate son of August the Strong, King of Poland and a Saxon elector, and a cousin to the sixth degree to the kings of France Louis XVI, Louis XVIII and Charles X. Sand's mother, Sophie-Victoire Delaborde, was a commoner. Sand was born in Paris but raised for much of her childhood by her grandmother, Marie Aurore de Saxe, Madame Dupin de Franceuil, at her grandmother's estate, Nohant, in the French province of Berry (See House of George Sand). She later used the setting in many of her novels. It has been said that her upbringing was quite liberal. In 1822, at the age nineteen, she married Baron Casimir Dudevant (1795–1871), illegitimate son of Baron Jean-François Dudevant. She and Dudevant had two children: Maurice (1823–1889) and Solange (1828–1899). In early 1831, she left her prosaic husband and entered upon a four- or five-year period of "romantic rebellion." In 1835, she was legally separated from Dudevant and took her children with her.
Contemporary views
Sand's reputation came into question when she began sporting men's clothing in public — which she justified by the clothes being far sturdier and less expensive than the typical dress of a noblewoman at the time. In addition to being comfortable, Sand's male dress enabled her to circulate more freely in Paris than most of her female contemporaries, and gave her increased access to venues from which women were often barred — even women of her social standing.
Also scandalous was Sand's smoking tobacco in public; neither peerage nor gentry had yet sanctioned the free indulgence of women in such a habit, especially in public (though Franz Liszt's paramour Marie D'Agoult affected this as well, smoking large cigars). These and other behaviors were exceptional for a woman of the early and mid-19th century, when social codes—especially in the upper classes—were of the utmost importance.
As a consequence of many unorthodox aspects of her lifestyle, Sand was obliged to relinquish some of the privileges appertaining to a baroness — though, interestingly, the mores of the period did permit upper-class wives to live physically separated from their husbands, without losing face, provided the estranged couple exhibited no blatant irregularity to the outside world.
Poet Charles Baudelaire was a contemporary critic of George Sand: "She is stupid, heavy and garrulous. Her ideas on morals have the same depth of judgment and delicacy of feeling as those of janitresses and kept women.... The fact that there are men who could become enamoured of this slut is indeed a proof of the abasement of the men of this generation."
Relationships
Sand conducted affairs of varying duration with Jules Sandeau (1831), Prosper Mérimée, Alfred de Musset (summer 1833 – March 1835), Louis-Chrystosome Michel, Pierre-François Bocage, Félicien Mallefille and Frédéric Chopin (1837–47). Later in life, she corresponded with Gustave Flaubert. Despite their obvious differences in temperament and aesthetic preference, they eventually became close friends.
She was engaged in an intimate friendship with actress Marie Dorval, which led to widespread but unconfirmed rumors of a lesbian affair. Letters written by Sand to Dorval mentioned things like "wanting you either in your dressing room or in your bed."
In Majorca one can still visit the (then abandoned) Carthusian monastery of Valldemossa, where she spent the winter of 1838–39 with Chopin and her children. This trip to Majorca was described by her in Un Hiver à Majorque (A Winter in Majorca), published in 1855. Chopin was already ill with incipient tuberculosis at the beginning of their relationship, and spending a winter in Majorca - where Sand and Chopin did not realize that winter was a time of rain and cold, and where they could not get proper lodgings - exacerbated his symptoms.
They split two years before his death, for a culmination of reasons. Sand's insecurities at forty probably contributed to her boredom and sexual dissatisfaction with Chopin. In Lucrezia Floriani, a novel, Sand used Chopin as a model for a sickly Eastern European prince named Karol. He's cared for by a middle-aged actress past her prime, Lucrezia, who suffers a great deal by caring for Karol. Though Sand claimed not to have made a cartoon out of Chopin, the book's publication and widespread readership may have exacerbated their apathy to each other. However, the tipping point in their relationship involved her daughter Solange. Chopin continued to be cordial to Solange after she and her husband, Auguste Clesinger, had a vicious falling out with Sand over money. Sand took Chopin's support of Solange as outright treachery, and confirmation that Chopin had always "loved" Solange. Sand's son Maurice also disliked Chopin. Maurice wanted to establish himself as the 'man of the estate,' and did not wish to have Chopin as a rival for that role. Chopin was never asked back to Nohant. In 1848, he returned to Paris from a tour of the UK and died at the Place Vendôme. Chopin was penniless at that point; his friends had to pay for his stay there, as well as his funeral at the Madeleine. The funeral was attended by over 3,000 people, including Delacroix, Liszt, Victor Hugo and other famous people. George Sand, however, was notable by her absence.
Writing career
A liaison with the writer Jules Sandeau heralded her literary debut. They published a few stories in collaboration, signing them "Jules Sand." Her first published novel, Rose et Blanche (1831), was written in collaboration with Sandeau. She subsequently adopted, for her first independent novel, Indiana (1832), the pen name that made her famous – George Sand.
Drawing from her childhood experiences of the countryside, she wrote the rural novels La Mare au Diable (1846), François le Champi (1847–1848), La Petite Fadette (1849), and Les Beaux Messieurs Bois-Doré (1857). A Winter in Majorca described the period that she and Chopin spent on that island in 1838-9.
Her other novels include Indiana (1832), Lélia (1833), Mauprat (1837), Le Compagnon du Tour de France (1840), Consuelo (1842–1843), and Le Meunier d'Angibault (1845).
Further theatre pieces and autobiographical pieces include Histoire de ma vie (1855), Elle et Lui (1859) (about her affair with Musset), Journal Intime (posthumously published in 1926), and Correspondence. Sand often performed her theatrical works in her small private theatre at the Nohant estate.
In addition, Sand authored literary criticism and political texts. She wrote many essays and published works establishing her socialist position. Because of her early life, she sided with the poor and working class. When the 1848 Revolution began, women had no rights and Sand believed these were necessary for progress. Around this time Sand started her own newspaper which was published in a workers' co-operative. This allowed her to publish more political essays. She wrote "I cannot believe in any republic that starts a revolution by killing its own proletariat."
Her most widely used quote is "There is only one happiness in life, to love and be loved."
She was known well in far reaches of the world, and her social practices, her writings and her beliefs prompted much commentary, often by other luminaries in the world of arts and letters. A few excerpts demonstrate much of what was often said about George Sand:
"She was a thinking bosom and one who overpowered her young lovers, all Sybil — a Romantic."
V.S. Pritchett (writer)
"What a brave man she was, and what a good woman."
Ivan Turgenev (novelist)
"The most womanly woman."
Alfred de Musset (poet)
Death
George Sand died at Nohant, near Châteauroux, in France's Indre département on 8 June 1876, at the age of 71 and was buried in the grounds of her home there. In 2004, controversial plans were suggested to move her remains to the Panthéon in Paris.
Works
Voyage en Auvergne (autobiographical sketch, 1827)
Compagnon du tour De France (1840)
La Petite Fadette (1848)
Château des Désertes (1850)
Histoire de ma vie (autobiography up to the revolution of 1848; 1855)
French literature
By category
French literary history
Medieval
16th century · 17th century
18th century · 19th century
20th century · Contemporary
French writers
Chronological list
Writers by category
Novelists · Playwrights
Poets · Essayists
Short story writers
France portal
Literature portal
This box: view • talk • edit
Novels
Rose et Blanche (1831, with Jules Sandeau)
Indiana (1832)
Valentine (1832)
Lélia (1833)
Andréa (1833)
Mattéa (1833)
Jacques (1833)
Kouroglou / Épopée Persane (1833)
Leone Leoni (1833)
Simon (1835)
Mauprat (1837)
Les Maîtres mosaïtes (1837)
L'Oreo (1838)
L'Uscoque (1838)
Spiridion (1839)
Un hiver à Majorque (1839)
Pauline (1839)
Horace (1840)
Consuelo (1842)
La Comtesse de Rudolstadt (1843, a sequel to Consuelo)
Jeanne (1844)
Teverino (1845)
Le Péché de M. Antoine (1845)
Le Meunier d'Angibault (1845)
La Mare au diable (1846)
Lucrezia Floriani (1846)
François le Champi (1847)
La Petite Fadette (1849)
Les Maîtres sonneurs (1853)
La Daniella (1857)
Elle et Lui (1859)
Jean de la Roche (1859)
L'Homme de neige (1859)
La Ville noire (1860)
Marquis de Villemer (1860)
Mademoiselle La Quintinie (1863)
Laura, Voyage dans le cristal (1864)
Le Dernier Amour (1866, dedicated to Flaubert)
La Marquise (1834)
Plays
Gabriel (1839)
François le Champi (1849)
Claudie (1851)
Le Mariage le Victorine (1851)
Le Pressoir (1853, Play)
French Adaptation of As You Like It (1856)
Le Marquis de Villemer (1864)
L'Autre (1870, with Sarah Bernhardt)
In literature
Frequent literary references to George Sand can be found in Possession (1990) by A. S. Byatt. The American poet Walt Whitman cited Sand's novel Consuelo as a personal favorite and the sequel to this novel La Comtesse De Rudolstady contains at least a couple of passages that appear to have had a very direct influence on him. Elizabeth Barrett Browning (1806–1861), the English poet, produced two poems "To George Sand: A Desire" and "To George Sand: A Recognition". The character, Stepan Verkhovensky, in Dostoevsky's novel The Possessed took to translating the works of George Sand in his periodical, before the periodical was subsequently seized by the ever-cautious Russian government of the 1840s. George Sand is referenced a number of times in the play Voyage, the first part of Tom Stoppard's The Coast of Utopia trilogy. And, in the first episode of the "Overture" to Swann's Way - the first novel in Marcel Proust's In Search of Lost Time sequence - a young, distraught Marcel is calmed by his mother as she reads from François le Champi, a novel which it is explained was part of a birthday package from his grandmother which also included La Mare au Diable, La Petite Fadette, and Les Maîtres Sonneurs. As with many episodes involving art in À la recherche du temps perdu, this reminiscence includes commentary on the work. George Sand also makes an appearance in Isabel Allende's Zorro, going still by her given name, as a young girl in love with Diego de la Vega (Zorro).
In music, film, TV
A Song to Remember (1945), directed by Charles Vidor, starring Merle Oberon as George Sand and Cornel Wilde as Chopin.
Song Without End (1960), also directed by Vidor (who died during production and direction was assumed by George Cukor), in which Dirk Bogarde starred as Franz Liszt; Patricia Morison played a cameo role as George Sand
Notorious Woman (1974), a 7-part BBC miniseries starring Rosemary Harris as George Sand and George Chakiris as Chopin.
In 1976, the band Ambrosia recorded the song "Danse With Me, George (Chopin's Plea)", based on Sand and Chopin's romance. It appeared on Ambrosia's Album "Somewhere I've Never Travelled."
Impromptu (1991), starring Judy Davis as George Sand and Hugh Grant as Chopin.
Les Enfants du siècle (1999), starring Juliette Binoche as George Sand and Benoît Magimel as Alfred de Musset
Chopin (2002), directed by Jerzy Antczak starring Danuta Stenka as George Sand and Piotr Adamczyk as Chopin.
Gossip Girl (2008), Blair Waldorf plans to astonish the dean of Yale University by answering 'George Sand' to his question of whom she would have dinner with, dead or alive. In another episode, Blair Waldorf says "Why rip off a page of your life when you can throw the whole book into the fire? George Sand, she understands me."
In 2007, Céline Dion recorded a song based on a love letter sent from George Sand to Alfred de Musset for her album D'Elles.
The game Eternal Sonata mentions the relationship between George Sand and Chopin.
The band Meg & Dia have a song based on Sand's novel Indiana
A song from Cole Porter's 1933 London show, "Nymph Errant" was entitled "Georgia Sand" in reference to Sand.