Louis Lambert

La Comédie Humaine #86

by Honoré de Balzac, Clara Bell (Translator), James Waring (Translator)

Louis Lambert is an 1832 novel by French novelist and playwright Honoré de Balzac (1799–1850), included in the Études philosophiques section of his novel sequence La Comédie humaine. Set mostly in a school at Vendôme, it examines the life and theories of a boy genius fascinated by the Swedish philosopher Emanuel Swedenborg (1688–1772).

Balzac wrote Louis Lambert during the summer of 1832 while he was staying with friends at the Château de Saché, and published three editions with three different titles. The novel contains a minimal plot, focusing mostly on the metaphysical ideas of its boy-genius protagonist and his only friend (eventually revealed to be Balzac himself). Although it is not a significant example of the realist style for which Balzac became famous, the novel provides insight into the author's own childhood. Specific details and events from the author's life – including punishment from teachers and social ostracism – suggest a fictionalized autobiography. - wikipedia

Genres: Fiction, Classics, France, French Literature, 19th Century, Literature, Roman

108 pages, Paperback

First published January 1, 1832

About the author

French writer Honoré de Balzac (born Honoré Balzac), a founder of the realist school of fiction, portrayed the panorama of society in a body of works, known collectively as La comédie humaine .

Honoré de Balzac authored 19th-century novels and plays. After the fall of Napoléon in 1815, his magnum opus, a sequence of almost a hundred novels and plays, entitled, presents life in the years.

Due to keen observation of fine detail and unfiltered representation, European literature regards Balzac. He features renowned multifaceted, even complex, morally ambiguous, full lesser characters. Character well imbues inanimate objects; the city of Paris, a backdrop, takes on many qualities. He influenced many famous authors, including the novelists Marcel Proust, Émile Zola, Charles John Huffam Dickens, Gustave Flaubert, Henry James, and Jack Kerouac as well as important philosophers, such as Friedrich Engels. Many works of Balzac, made into films, continue to inspire.

An enthusiastic reader and independent thinker as a child, Balzac adapted with trouble to the teaching style of his grammar. His willful nature caused trouble throughout his life and frustrated his ambitions to succeed in the world of business. Balzac finished, and people then apprenticed him as a legal clerk, but after wearying of banal routine, he turned his back on law. He attempted a publisher, printer, businessman, critic, and politician before and during his career. He failed in these efforts From his own experience, he reflects life difficulties and includes scenes.

Possibly due to his intense schedule and from health problems, Balzac suffered throughout his life. Financial and personal drama often strained his relationship with his family, and he lost more than one friend over critical reviews. In 1850, he married Ewelina Hańska, his longtime paramour; five months later, he passed away.

Reviews

[Sandra · Rating 2 out of 5]

Mi dispiace ma non sono entrata in sintonia con questo romanzo di Balzac, uno degli scrittori che prediligo. Più che un romanzo ho letto un trattato di filosofia, religione, etica...troppo cervellotico, non il
solito grande romanziere Balzac

[Alp Turgut · Rating 3 out of 5]

Honore de Balzac’ın “Felsefi İncelemeler” başlığı altında bir araya gelen romanlardan biri olan “Louis Lambert”, yazarın süslü diline bir kere daha şahitlik olduğumuz “istenç” ve “inanç” kavramlarını inceleyen bir nevi otobiyografik bir roman. Yazarın ilk ağızdan genç yaşlarda tanıdığı yaşıtlarından oldukça farklı Louis Lambert’in trajik hayatını anlattığı kitapta sevgi teması tabii ki romanın kalbini oluşturuyor. Yine de fazla detaya girmesi ve de hikayeyi felsefi çözümlemelerle zaman zaman bölmesi kitabı okuması epey zor bir hale sokmuş. Bu yüzden “Louis Lambert”i ancak yazarı daha iyi tanımak ve bibliyografyasına hakim olmak isteyenlere öneririm.

06.03.2017
İstanbul, Türkiye

Alp Turgut

http://www.filmdoktoru.com/kitap-labo...

[Catherine Vamianaki · Rating 3 out of 5]

Δεν είναι απο τα καλύτερα του. Ομως η περίπτωση του Λουί είναι ιδιαίτερη, διαφορετική. Πιο πολύ μου άρεσε η αναφορά της καθημερινότητάς στο κολλέγιο Βαντομ. Η αυστηρότητα των εσωκλειστων μαθητών της εποχής εκείνης.

[Elizabeth (Alaska) · Rating 3 out of 5]

This is a rather short, rather interesting part of Balzac's La Comédie Humaine. It is considered to be his most autobiographical novel. The unnamed narrator meets Louis Lambert at school and they become friends. This is also one of the earliest of the novels (published 1832) and was written well before Balzac hit his writing stride. It is included in his Études Philosophiques.

I haven't cared much for the philosophical studies I've read previously and there was much of this that left me empty. There was one question, however, that I will think about for a long time. I'm paraphrasing enormously - Why does man seem to look at eternity in only one direction? If life is eternal, that is, there is life after death, what about life before birth?

I won't recommend this to anyone who is not planning to read the entire series. But it's short, and will have you thinking.

[Maan Kawas · Rating 5 out of 5]

A beautiful novel by the great French novelist Balzac’s novel sequence “La Comedie Humane”, which fall into the “Etude Philosophic” section of the sequence! The novel seems to focus on the life and particularly the thoughts of the genius boy protagonist “Louis Lambert”, who was fascinated by the philosophy of Swedenborg and his book “Heaven and Hell”. The novel talks about Lambert’s background and early childhood and school days, and the suffering he and his close friend were subject to from their peers (i.e. ostracism) as well as teacher (punishments). However, the main core of the novel is not about the life of Lambert as it is on his thoughts and ideas, as well as about emotions in human’s lives. The novel, according to many critics, includes many autobiographical elements from Balzac’s own life, as a student at the College de Vendome, the essay her wrote then (as the Lambert), namely, “Treatise on the Will”. The key ideas and topics the novel addresses may include metaphysics, in particular, Swedenborg’s metaphysics, and religions and the philosophical similarities underlying the key religious traditions (Christianity, Judaism, Islam, Buddhism, & Hinduism), and finally, it tackles the difficulty a genius faces in society and the line between genius and insanity. I loved the passionate description of the inner life and thoughts as lived by Lambert and shared by his close friend; and the love his beloved Pauline showed towards him and her support to him until his early death was very moving. The mental disorder and the attempts of self-castration by Lambert before the wedding day were unexpected and moving at the same time. Although the novel is less realistic in nature compared to Balzac’s others novels, it is a beautiful one and a work of a genius.

[Phil · Rating 1 out of 5]

(The Human Comedy #17/98)
Worst entry so far in The Human Comedy. A whiney pseud goes mad to get out of his wedding. His equally whiney school chum writes his biography.

Terrible, turgid and tedious. Avoid, unless you have to complete the series.

[Fatih · Rating 3 out of 5]

Gerçekçi romanın gelmiş geçmiş en büyük ustası sayılan Balzac'ın çocukluğuna atıfların bolca bulunduğu bir nevi otobiyografik bir eser olan Lambert, bir olay kurgusundan daha çok bir çocuğun ruh dünyasının perdelerini aralamaya çalışıyor gibi. Çok keyif aldığımı söyleyemeyeceğim ne yazık ki.

[Berr · Rating 5 out of 5]

“Doğada eşit adımlarla ilerleyen, ilerledikçe de kendi kendine eklenerek çoğalan o güç, her şeyi üreten o A + A, toplumda yıkıcı bir güç oluyor. Bugünkü politika insan güçlerini herhangi bir amaç uğrunda birleştirerek düzenleyecek yerde, etkilerini hiçe indirmek için bunları birbirine karşı kullanıyor. Örnek olarak Avrupa'yı ele alırsak, Caesar'dan Costantinus'a, küçük Costantinus'tan büyük Attila'ya, Hunlardan Charlemagne'a; Charlemagne'dan X. Léon'a, X. Léon'dan II. Philippe'e, II. Philippe'ten XIV. Louis'ye Venedik'ten İngiltere'ye, İngiltere'den Napoléon'a, Napoléon'dan İngiltere'ye kadar politikanın hiçbir zaman bir dalda durmadığını ve bu sürekli çırpınma yüzünden hiçbir ilerleme elde edilemediğini görüyorum. Uluslar büyüklüklerini anıtlarıyla, mutluluklarını da kişilerin refahıyla ölçüyorlar. Yeni anıtlar eskilerin değerinde mi? Sanmıyorum. Doğrudan doğruya kişiden çıkan güzel sanatlar, akıl ya da el işleri çok az ilerledi. Lucullus da en az Samuel Bernard, de Baujon ya da Bavyera kralı kadar beğeni sahibiydi. Sonuç olarak insanın ömrü kısaldı. İyi niyetli insan için hiçbir şey değişmedi. İnsan hep aynı: Biricik yasası yine güç, biricik bilgeliği yine başarı. İsa Mesih, Muhammed, Luther, genç ulusların içinde geliştikleri çevreye değişik renkler vermekten başka bir şey yapmadılar.”

Alıntı Şuradan
Louis Lambert
Honoré de Balzac

[gamzereadsbooks · Rating 4 out of 5]

Kreapelin, Bleuler öncesi şizofreni anlatımı, hazine bulmuş gibi hissettim okuduktan sonra.

[Brian Bess · Rating 3 out of 5]

I first became intrigued by this relatively obscure philosophical novel by Balzac when I found that Henry James had named the protagonist of his great novel The Ambassadors, Louis Lambert Strether, after the title character. The novel has been difficult to find in a print edition; now I have it in a complete ebook collection of Balzac’s work.
Balzac incorporated many autobiographical elements in this tale of a boy genius whom the narrator meets when they are both students at a school in Vendome, as Balzac himself was. The character of Lambert writes an essay, which Balzac also wrote, called “Treatise on the Will.” Lambert is heavily influenced by the philosophy of Emmanuel Swedenborg; he investigates with obsessive depth the relation between Thought and Will. This obsessive dedication leads ultimately to madness and death.
There is little plot in the novel to speak of. The boys meet at school, become close friends, become kindred spirits and unite in a shared experience of social ostracism and part when the narrator, identified as Balzac himself, suffers an illness and is forced to leave the school. After graduation, Louis moves to his uncle’s home in Blois, meets a woman named Pauline, falls in love with her and on the eve of their wedding suffers a mental breakdown, leaving him in a comatose state much of the time. Pauline devotes herself to his care. By chance, the narrator encounters Louis’ uncle, finds out what has become of him and visits him. Louis never seems to recognize his friend. With the help of Pauline, the narrator reconstructs some of Louis’ philosophical musing. These philosophical passages comprise a large portion of the novel. Later, Louis dies at the age of twenty-eight.
Balzac is both himself and Louis Lambert. Louis is a mouthpiece for Balzac’s own philosophical concerns. This novel falls outside the scope of the majority of Balzac’s entries in his ‘Human Comedy,’ most of which are concerned with various strata of French society in the first half of the nineteenth century. The novel possesses neither the structural unity of a novel such as the masterpiece Old Goriot nor the anthropological insight into multiple specimens of French society that his best work provides. In the context of his work, it is a curiosity, worth reading more for the insight it sheds on the intellectual life of its creator than its value as a work of fiction. I would only recommend this novel to someone who is already interested in Balzac and wants to explore some of his more obscure novels. The reader that is curious to sample a representative novel would be better served by reading Old Goriot, Cousin Bette, Eugenie Grandet or any of several other great novels by this great writer.

[Classic reverie · Rating 5 out of 5]

While reading Balzac's "La Comedie Humaine" I had run across Louis Lambert's name which I include the quotes from "Drama on the Seashore", "A Distinguished Providential", "End of Evil Ways" and "The Recruit". I wondered about Louis and after reading " Louis Lambert", I understand him better. This story is truly philosophical and a philosopher would certainly enjoy this, a good amount of this is centered on this study and how Louis' genius thought. I loved the romantic angle and the stern and abusive college that he attended but really truthfully I was not too interested in the philosophical parts. This is truly a sad story and makes me wonder about angels. There is also a religious element that is not as strong as the philosophical one.

Story in short- Louis is a prodigy and deep thinker that cannot find his place in the world.
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From Huxley's "Chrome Yellow" Mention "Louis Lambert"

"In his earlier middle age he had been distressed by this absence of neck, but was comforted by reading in Balzac's "Louis Lambert" that all the world's great men have been marked by the same peculiarity, and for a simple and obvious reason: Greatness is nothing more nor less than the harmonious functioning of the faculties of the head and heart; the shorter the neck, the more closely these two organs approach one another; argal...It was convincing."
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I didn't read this edition but from a Delphi Collection of his works which included the below.

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LOUIS LAMBERT
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BALZAC WROTE THIS famous novel during the summer of 1832, while he was staying with friends at the Château de Saché. Louis Lambert contains a minimal plot, focusing mostly on the metaphysical ideas of its boy- genius protagonist. The novel is notable for providing insight into the author’s own childhood. Specific events from the Balzac’s life, including punishment from teachers and social ostracism, support the belief of many critics that the work should be considered as an autobiography. Similar to how David Copperfield reflects Dickens’ life, so too does Louis Lambert mirror Balzac’s youth. Although many critics deplored the novel, Balzac remained persistent in his belief that it provided an important look at philosophy, especially the branch of metaphysics.Highlight (Yellow) | Location 178262

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DRAMA ON THE SEASHORE
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UN DRAME AU bord de la mer is an 1834 short story, narrated by the previous character Louis Lambert, who tells of a time when he was standing on a cliff at Croisic-point, daydreaming about his future and watching his wife Pauline swimming.
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The tale then concerns their encounter with a local fisherman and they learn about his unfortunate past.
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That age, which for all men lies between twenty-two and twenty-eight, is the period of great thoughts, of fresh conceptions, because it is the age of immense desires. After that age, short as the seed-time, comes that
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of execution. There are, as it were, two youths, — the youth of belief, the youth of action; these are often commingled in men whom Nature has favored and who, like Caesar, like Newton, like Bonaparte, are the greatest among great men.
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The sea was beautiful; I had just dressed after bathing; and I awaited Pauline, who was also bathing, in a granite cove floored with fine sand, the most coquettish bath-room that Nature ever devised for her water-fairies. The spot was at the farther end of Croisic, a dainty little peninsula in Brittany; it was far from the port, and so inaccessible that the coast-guard seldom thought it necessary to pass that way. To float in ether after floating on the wave! —

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ah! who would not have floated on the future as I did! Why was I thinking? Whence comes evil? — who knows! Ideas drop into our hearts or into our heads without consulting us. No courtesan was ever more capricious nor more imperious than conception is to artists; we must grasp it, like fortune, by the hair when it comes.
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When she saw me, she said, — “What is it?” I did not answer; my eyes were moist. The night before, Pauline had understood my sorrows, as she now understood my joy, with the magical sensitiveness of a harp that obeys the variations of the atmosphere. Human life has glorious moments. Together we walked in silence along the beach. The sky was cloudless, the sea without a ripple; others might have thought them merely two blue surfaces, the one
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above the other, but we — we who heard without the need of words, we who could evoke between these two infinitudes the illusions that nourish youth, — we pressed each other’s hands at every change in the sheet of water or the sheets of air, for we took those slight phenomena as the visible translation of our double thought. Who has never tasted in wedded love that moment of illimitable joy when the soul seems freed from the trammels of flesh, and finds itself restored, as it were, to the world whence it came?
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Are there not hours when feelings clasp each other and fly upward, like children taking hands and running, they scarce know why? It was thus we went along.
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It was one of those nothings of which memory makes poems when we sit by the fire and recall the hour when that nothing moved us, and the place where it did so, — a mirage the effects of which have never been noted down, though it appears on the objects that surround us in moments when life sits lightly and our hearts are full. The loveliest scenery is that we make ourselves. What man with any poesy in him does not remember some mere mass of rock, which holds, it may be, a greater place
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in his memory than the celebrated landscapes of other lands, sought at great cost. Beside that rock, tumultuous thoughts! There a whole life evolved; there all fears dispersed; there the rays of hope descended to the soul! At this moment, the sun, sympathizing with these thoughts of love and of the future, had cast an ardent glow upon the savage flanks of the rock; a few wild mountain flowers were visible; the stillness and the silence magnified that rugged pile, — really sombre, though tinted by the dreamer, and beautiful beneath its scanty vegetation, the warm chamomile, the Venus’ tresses with their velvet leaves. Oh, lingering festival; oh, glorious decorations; oh, happy exaltation of human forces! Once already the lake of Brienne had spoken to me thus. The rock of Croisic may be perhaps the last of these my joys. If so, what will become of Pauline?

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I had thought out many dramas; Pauline was accustomed to great emotions beside a man so suffering as myself; well, never had either of us listened to words so moving as these.
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“Poor man!” said Pauline, with that accent which removes from the compassion of a woman all that is mortifying in human pity, “ought we not to feel ashamed of our happiness in presence of such misery?” “Nothing is so cruelly painful as to have powerless desires,” I answered. “Those two poor creatures, the father and son, will never know how keen our sympathy for them is, any more than the world will know how beautiful are their lives; they are laying up their treasures in heaven.”
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“But see,” I said, “how the winds from the sea bend or destroy everything. There are no trees. Fragments of wreckage or old vessels that are broken up are sold to those
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who can afford to buy; for costs of transportation are too heavy to allow them to use the firewood with which Brittany abounds. This region is fine for none but noble souls; persons without sentiments could never live here; poets and barnacles alone should inhabit it.
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“How beautiful this silence!” she said to me; “and how the depth of it is deepened by the rhythmic quiver of the wave upon the shore.” “If you will give your understanding to the three immensities which surround us, the water, the air, and
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the sands, and listen exclusively to the repeating sounds of flux and reflux,” I answered her, “you will not be able to endure their speech; you will think it is uttering a thought which will annihilate you. Last evening, at sunset, I had that sensation; and it exhausted me.”
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We now heard the hurried steps of our guide; he had put on his Sunday clothes. We addressed a few ordinary words to him; he seemed to think that our mood had changed, and with that reserve that comes of misery, he kept silence. Though from time to time we pressed each other’s hands that we might feel

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the mutual flow of our ideas and impressions, we walked along for half an hour in silence, either because we were oppressed by the heat which rose in waves from the burning sands, or because the difficulty of walking absorbed our attention. Like children, we held each other’s hands; in fact, we could hardly have made a dozen steps had we walked arm in arm.
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The inclination of our souls was changed. We were both plunged into gloomy reflections, saddened by the recital of a drama which explained the sudden presentiment which had seized us on seeing Cambremer. Each of us had enough knowledge of life to divine all that our guide had not told of that triple existence.
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Arriving at the hotel, we noticed a billiard-table, and finding that it was the only billiard-table in Croisic, we made our preparations to leave during the night. The next day
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we went to Guerande. Pauline was still sad, and I myself felt a return of that fever of the brain which will destroy me. I was so cruelly tortured by the visions that came to me of those three lives, that Pauline said at last, — “Louis, write it all down; that will change the nature of the fever within you.” So I have written you this narrative, dear uncle; but the shock of such an event has made me lose the calmness I was beginning to gain
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from sea-bathing and our stay in this place.
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***A Distinguished Providential*** below regarding Lambert
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With the quick impulsiveness of a poetic and mobile temperament, he rushed off to Daniel’s lodging. As he climbed the stairs, and
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thought of these friends, who refused to leave the path of honor, he felt conscious that he was less worthy of them than before. A voice spoke within him, telling him that if d’Arthez had loved Coralie, he would have had her break with Camusot. And, besides this, he knew that the brotherhood held journalism in utter abhorrence, and that he himself was already, to some small extent, a journalist. All of them, except Meyraux, who had just gone out, were in d’Arthez’s room when he entered it, and saw that all their
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faces were full of sorrow and despair. “What is it?” he cried. “We have just heard news of a dreadful catastrophe; the greatest thinker of the age, our most loved friend, who was like a light among us for two years — — ” “Louis Lambert!” “Has fallen a victim to catalepsy. There is no hope for him,” said Bianchon. “He will die, his soul wandering in the skies, his body unconscious
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on earth,” said Michel Chrestien solemnly. “He will die as he lived,” said d’Arthez. “Love fell like a firebrand in the vast empire of his brain and burned him away,” said Leon Giraud. “Yes,” said Joseph Bridau, “he has reached a height that we cannot so much as see.” “We are to be pitied, not Louis,” said Fulgence Ridal. “Perhaps he will recover,” exclaimed Lucien.
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“From what Meyraux has been telling us, recovery seems impossible,” answered Bianchon. “Medicine has no power over the change that is working in his brain.” “Yet there are physical means,” said d’Arthez. “Yes,” said Bianchon; “we might produce imbecility instead of catalepsy.” “Is there no way of offering another head to the spirit of evil? I would give mine to save him!” cried Michel Chrestien.
*** A Distinguished Providential
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*** End of Evil Ways ***mentions Lambert

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From the height at which Lucien was standing he saw this cloister, and the details of the building that joins the two towers, in sharp perspective; before him were the pointed caps of the towers. He stood amazed; his suicide was postponed to his admiration. The phenomena of hallucination are in these days so fully recognized by the medical faculty that this mirage of the senses, this strange illusion of the mind is
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beyond dispute. A man under the stress of a feeling which by its intensity has become a monomania, often finds himself in the frame of mind to which opium, hasheesh, or the protoxyde of azote might have brought him. Spectres appear, phantoms and dreams take shape, things of the past live again as they once were. What was but an image of the brain becomes a moving or a living object. Science is now beginning to believe that under the action of a paroxysm of passion the blood rushes to the brain, and that such
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congestion has the terrible effects of a dream in a waking state, so averse are we to regard thought as a physical and generative force. (See Louis Lambert.)
*** End of Evil Ways
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THE RECRUIT At times they saw him, by a phenomenon of vision or locomotion, abolish space in its two forms of Time and Distance; the former being intellectual space, the other physical space. Intellectual History of Louis Lambert.
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From “The Vicar of Tours” which include the passages of Pauline’s which showed that during that story that Lambert was alive and died during that story.
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Mademoiselle Salomon de Villenoix belonged to the race of these heroic beings. Her devotion was religiously sublime, inasmuch as it won her no glory after being, for years, a daily agony. Beautiful and young, she loved and was beloved; her lover lost his reason. For five years she gave herself, with love’s devotion, to the mere mechanical well-being of that unhappy man, whose madness she so penetrated that she never believed him mad. She was
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simple in manner, frank in speech, and her pallid face was not lacking in strength and character, though its features were regular. She never spoke of the events of her life. But at times a sudden quiver passed over her as she listened to the story of some sad or dreadful incident, thus betraying the emotions that great sufferings had developed within her. She had come to live at Tours after losing the companion of her life; but she was not appreciated there at her true value and was thought to be merely an amiable woman. She did much good,


I had so wanted Pauline and Louis to be happy but he was too sensitive and though he had mental illness it is the kind were he still had his reason to the point. The Drama at the Seashore was ine of his tims when he was better. It seemed she did not marry him but in her heart he was her husband! I loved Pauline’s love and devotion to her beloved never failed her!

[Marco Innamorati · Rating 3 out of 5]

Un romanzo del tutto inusuale per Balzac. Descrive la breve vita di un personaggio potenzialmente geniale ma presto travolto dagli abissi della psicosi. Costruisce una filosofia delirante - attribuita la protagonista della storia - che si appoggia su Spinoza e per certi versi anticipa Schopenhauer. Il contenuto delle elucubrazioni è però chiaramente un jeu d’ésprit. Nella Commedia umana, forse, era necessario che trovasse spazio anche uno psicotico: il lettore interessato a una larga conoscenza di Balzac troverà un interesse in Louis Lambert, ma difficilmente l’opera potrà attrarre un lettore occasionale.

[Andrew Stewart]

Maybe another time but I doubt it, this book sucks.

[Gülçin · Rating 3 out of 5]

2.5

[Katarina Popović · Rating 3 out of 5]

"Je préfère la pensée à l'action, une idée à une affaire, la contemplation au mouvement."

feelam

[Christian Molenaar · Rating 5 out of 5]

Forget anything negative I’ve ever said about the Études philosophiques, any excuse for Balzac to turn the “intellectual biography” of his high school buddy into a deranged exegesis on Swedenborg is a good thing. Hilarious we call this guy a “realist.” What a legend

[Vittorio Ducoli · Rating 5 out of 5]

L’artista come veggente: il cuore della Comédie

Louis Lambert è il secondo episodio del Livre mystique, la trilogia di racconti che Balzac dedica, nell’ambito degli Studi filosofici, al misticismo swedenborghiano di cui è intrisa la sua visione del mondo e che gli fornisce anche la chiave per interpretare il suo ruolo di intellettuale ed artista immerso nella società del suo tempo. Se I proscritti assume la tipica forma del racconto, Louis Lambert ha il respiro del romanzo, che anche se piuttosto breve si presenta con una struttura alquanto complessa.
Il romanzo è scritto in prima persona; il narratore è un amico del protagonista, che ha condiviso con lui gli anni del collegio, nel quale, come si vedrà, non è difficile riconoscere lo stesso Balzac. Alcune pagine sono però occupate da lettere che Lambert ha scritto allo zio ed alla fidanzata Pauline de Villenoix, ed infine le utime pagine del romanzo riportano le riflessioni mistico-filosofiche del protagonista, rese sotto forma di brevi tesi: il romanzo si presenta quindi come un resoconto a posteriori, di stampo quasi prenaturalista, della vita e del pensiero di Louis, con tanto di documentazione originale a supporto della vicenda narrata.
Tale struttura, pur nella diversità dei temi trattati rispetto all’analisi sociale oggetto delle Études de moeurs, incanala sicuramente anche Louis Lambert nell’alveo conosciuto del realismo balzachiano, conferendogli nello stesso tempo, soprattutto grazie alle pagine epistolari, un alone decisamente romantico: e proprio questo contrasto tra i due registri, quasi cronachistico il primo e intriso di tono aulici il secondo, non è elemento di poco conto nel determinare il fascino del romanzo.
Un perfetto esempio dello stile asciutto del narratore lo si ritrova proprio nell’incipit, nel quale Balzac informa in questo modo il lettore sulle origini del protagonista: ”Louis Lambert nacque nel 1797 a Montoire, piccola città del Vendômois dove il padre contava di lasciargli la modesta conceria di cui era proprietario, ma la sua precoce attitudine allo studio dovette modificare la decisione paterna”. Nelle prime versioni del romanzo, che sarà oggetto di svariati affinamenti, era specificata con esattezza la data di nascita del protagonista: il 20 settembre, e lungo tutto il romanzo si ritrovano precisi riferimenti temporali e vi intervengono, sia pur marginalmente, anche personaggi storici, il che accentua la sensazione di trovarsi di fronte ad un resoconto oggettivo di fatti realmente accaduti.
Nelle prime pagine il narratore racconta ciò che sa dell’infanzia di Louis, che si rivelò sin da piccolo un genietto attratto dalla lettura della Bibbia e che a dieci anni, con la speranza di farne un ecclesiastico, fu mandato dai genitori nella cittadina di Mer presso uno zio curato, proprietario tra l’altro di una notevole biblioteca, della quale il ragazzo legge avidamente soprattutto le opere di autori mistici.
Circa tre anni dopo Madame de Staël, mentre passeggia nel parco di una sua proprietà del Vendômois, essendo stata bandita da Parigi dal regime napoleonico a causa delle sue simpatie tedesche, incontra il giovane Louis immerso nella lettura di un’opera del mistico svedese Swedenborg: impressionata dalla vivacità intellettuale del ragazzo decide di finanziarlo, mandandolo a studiare nel Collegio degli Oratoriani di Vendôme, dove rimane per tre anni durante i quali stringe una affettuosa amicizia con il narratore, rafforzata dai comuni interessi letterari e filosofici che fanno dei due le vittime delle angherie dei compagni, oltre che dell’incomprensione degli insegnanti, i quali li puniscono spesso per il loro non essere allineati alle rigide e stupide regole disciplinari del collegio. L’episodio che più di tutti segna quel triennio è la confisca e la distruzione, ad opera di un insegnante, di un manoscritto intitolato Trattato della Volontà, nel quale il diciassettenne Louis aveva esposto il suo pensiero filosofico, intriso di misticismo, ed il cui contenuto aveva fortemente impressionato l’amico. Pochi mesi dopo il narratore è costretto dalla famiglia ad abbandonare il collegio, e di fatto perde di vista l’amico, del quale però ricostruisce successivamente le vicende umane.
Il lettore viene così a sapere che Louis, di fatto mai ripresosi emotivamente dalla distruzione della sua opera, ha lasciato il collegio verso la metà del 1815; da poco orfano, si è rifugiato a Blois presso lo zio curato, che per fargli terminare gli studi lo manda a Parigi. Qui Louis rimane per un triennio, vivendo in grandi ristrettezze e provando un disgusto crescente per la frenesia e la mondanità della capitale. Rientrato a Blois ventitreenne, incontra Pauline de Villenoix, una affascinante e facoltosa giovane della quale si innamora perdutamente, venendo presto ricambiato. Quando però la data delle nozze è già fissata, improvvisamente Louis cade in uno stato catatonico dal quale non si riprende più. Pauline resta fedele al suo amore, accudendo Louis e percependo che è ormai entrato in una dimensione mentale altra, dalla quale spesso riesce comunque di comunicare con lei. Quando l’amico, che lo ha rintracciato per caso, si reca a visitare la coppia, rimane profondamente colpito dalle condizioni in cui trova Louis e dalla dedizione che gli dimostra Pauline, la quale tra l’altro gli consegna la trascrizione di alcune frasi di contenuto filosofico pronunciate da Louis. Turbato dall’atmosfera della casa, il narratore interrompe le sue visite, ed informa infine il lettore che Louis Lambert è morto tra le braccia di Pauline a ventotto anni, il 25 settembre 1824.
Questa scarna trama fa da supporto alle riflessioni filosofiche ed esistenziali di Louis, come detto intrise di misticismo di stampo swedenborghiano, che l’autore dissemina nei colloqui tra i due amici in collegio, nelle lettere di Louis allo zio e a Pauline e infine nelle tesi che la stessa Pauline consegna al narratore.
Louis Lambert è un testo complesso e stratificato, non solo strutturalmente, e si presta quindi ad essere analizzato ed interpretato a svariati livelli. La sua importanza nell’ambito della Comédie è tra l’altro testimoniata dalla particolare cura che Balzac gli riservò per buona parte della sua vita artistica. La prima edizione uscì infatti, con il titolo Notice biographique sur Louis Lambert, nel 1832 - quindi agli albori del Balzac maturo e pochi mesi dopo la pubblicazione del primo capitolo del Livre mystique, I proscritti - riportando come date di composizione 1822-1832, il che rivela che Balzac aveva concepito il romanzo almeno dieci anni prima, quando ventitreenne viveva nella mansarda di rue Lesdiguières e sbarcava il lunario scrivendo romanzi d’appendice e firmandoli con vari pseudonimi. Significativamente, il romanzo è dedicato a Louise-Antoinette-Laure Hinner, Madame de Berny, la sua musa-amante conosciuta proprio in quel 1822, che lo avrebbe sempre aiutato nei momenti di difficoltà. Successivamente, nel 1836, uscì una nuova versione del romanzo, profondamente riveduta ed ampliata, avente come titolo Histoire intellectuelle de Louis Lambert, ed è solo dieci anni dopo che il romanzo, ulteriormente rivisto ed adeguatamente sistemato nell’architettura della Comédie humaine, prende il titolo definitivo di Louis Lambert; si può quindi affermare che il lavorìo su questo romanzo ha accompagnato Balzac per oltre un ventennio, durante il quale egli ha cercato di perfezionarlo sempre più, soprattutto riguardo allo stile della scrittura. Per chi fosse interessato, è possibile consultare in rete, ad esempio sull’ottimo sito Internet archive, l’edizione Werdet del 1836, dalla quale si può avere un’idea del lavoro di cesello svolto da Balzac per giungere alla versione definitiva.
Perché tanta attenzione da parte sello scrittore? Forse una risposta può essere ricercata in quello che considero il livello interpretativo primario del testo, vale a dire quello autobiografico.
Non vi è dubbio infatti che, come già accennato, il narratore del romanzo è facilmente identificabile con Balzac, soprattutto con riferimento al fatto che lo scrittore di Tours passò davvero un periodo di tre anni nel Collegio degli Oratoriani di Vendôme, subendone la rigida disciplina ma nello stesso tempo immergendosi nella accanita lettura dei libri disponibili nella sua vastissima biblioteca. Per questo, e per i maldestri tentativi di scrivere versi, Balzac fu soprannominato dai compagni Il poeta, al pari del narratore nel romanzo: probabilmente tratti dalla sua esperienza in collegio sono anche alcuni degli episodi che nel romanzo coinvolgono i due amici.
L’elemento autobiografico, che se limitato alla figura del narratore sarebbe tutto sommato marginale, limitandosi quest’ultimo ad essere un osservatore della personalità dell’amico, pervade però il romanzo ad un livello più profondo, in quanto a mio avviso si può asserire che Balzac abbia fatto di Louis Lambert un suo alter ego, e che quindi il suo vissuto lo si ritrovi nell’unione delle personalità dei due personaggi, unione che nel romanzo assume tratti di identificazione reciproca che sfiorano quelli derivanti da un rapporto anche fisico, come deducibile da passi quali: ”Ci abituammo, come due innamorati, a pensare insieme e a comunicarci le nostre fantasie”, oppure ”[Louis era] sempre aggraziato come una fanciulla innamorata, aveva tutti i pudori del sentimento, tutte le delicatezze dell’animo che rendono la vita bella e dolce”.
Al pari di lui, Louis è sottratto poco più che bambino ad una formazione intellettualmente ed umanamente libera per essere irregimentato nella rigidità istituzionale del collegio, che mortificherà le sue aspirazioni. È qui comunque interessante notare come l’autore abbia rovesciato il contesto che porta Louis in collegio rispetto alla sua esperienza reale. È noto infatti come il giovane Balzac abbia fortemente sofferto la tendenza della madre ad allontanarlo da sé, sin da quando lo mise a balia nei primi anni di vita per poi internarlo di collegio in collegio. Nella finzione del romanzo egli sublima in qualche modo la sua sofferenza filiale, facendo di Louis un figlio amato, che finisce in collegio per l’intervento finanziario di una nobildonna, significativamente musa dei letterati romantici, che finirà comunque per dimenticarsi di lui. L’esito è però lo stesso che subì Balzac: la frustrazione delle aspirazioni intellettuali da parte dell’autorità, il mancato riconoscimento del genio. È utile ricordare in proposito che la famiglia accolse con forte scetticismo, per usare un eufemismo, le aspirazioni letterarie di Honoré, supportata in questo dal giudizio di un membro del Collège de France, che interrogato sul valore di una sua opera giovanile sentenziò: ”Fategli fare di tutto, ma non della letteratura”; ed è ancora da notare che – come già accennato – in quegli anni di apprendistato letterario e miseria economica grande fosse la frustrazione di Balzac per la necessità di scrivere romanzi di consumo per poter sopravvivere.
Un altro elemento di identificazione tra Honoré e Louis lo si può rintracciare nei giudizi che quest’ultimo dà della società parigina, riportati nelle lettere allo zio, che a mio avviso rappresentano uno dei punti focali del romanzo. Per capire quanto queste lettere riflettano il pensiero di Balzac credo sia sufficiente riportarne un passaggio: ”Il lungo e paziente studio della società che ho appena compiuto porta a tristi conclusioni, dominate dal dubbio. Qui il denaro è la molla di ogni cosa. Ci vuole denaro anche per fare a meno del denaro.”
Balzac riversa quindi nel personaggio di Louis - che non dimentichiamolo prende forma nei difficili anni che precedono la genesi della Comédie - tutti i suoi tormenti di intellettuale che sente l’estrema difficoltà della missione che ha davanti.
Louis è di fatto Balzac, è il veggente che, grazie al genio e alla mistica di Swedenborg che tanta importanza riveste per l’autore, può essere in grado di penetrare la realtà, di adempiere alla sua missione intellettuale compiendo il necessario e arduo lungo e paziente studio della società. In quanto tale è un isolato ed un paria e non può essere un membro di quella stessa società che analizza; deve osservarla da un’altra dimensione.
L’orizzonte umano non è però solo sociale, ci dice Balzac: le passioni e i sentimenti lo determinano in modo altrettanto potente. E così l’uomo Louis Lambert si innamora della sua Pauline, che comprende i suoi afflati filosofici e spirituali e nella quale identifica l’angelo swedenborghiano; accanto a lei gli sembra di poter coltivare il suo genio indagatore nella cornice prettamente umana di un amore assoluto. Ma nessun compromesso è possibile, ed il genio pretende l’esclusiva: Louis deve quindi elevarsi verso orizzonti sconosciuti per poter continuare la sua missione.
Quella di Louis non è quindi follia, per quanto ad occhi umani possa sembrare tale. Secondo la visione mistica di Balzac, la sua missione lo porta verso un cerchio superiore di conoscenza, nel quale il linguaggio si fa più essenziale, si va al nocciolo delle cose e pochi sono coloro in grado di recepire compiutamente i messaggi nella bottiglia che il aveggente lancia in mare. Pauline de Villenoix, l’angelo, continua a comunicare con Louis, trascrive il suo pensiero e lo consegna al narratore perché lo divulghi. In lei si può forse vedere in trasparenza la figura di Madame de Berny, levatrice dell’opera di Balzac, cui non a caso il romanzo è dedicato, che aiutandolo anche economicamente nei momenti più duri e credendo nel suo genio rappresentò per lo scrittore in qualche modo davvero una figura angelica in senso swedenborghiano.
Se le Études philosophiques rappresentano in qualche modo il cuore della Comédie humaine, in quanto si propongono di indagare le cause profonde dell’organizzazione sociale e dei comportamenti umani esposti nelle Études de moeurs; se il Livre mystique può essere considerato il cuore delle Études philosophiques, perché nei suoi tre episodi Balzac espone le radici mistico-cristiane della sua visione del mondo; se infine di questi tre episodi Louis Lambert è quello che più intimamente tocca il vissuto di Balzac, le ragioni ultime della missione di cui si sentiva investito in quanto intellettuale, allora si può affermare che – procedendo in qualche modo per cerchi concentrici à la Swedenborg, questo piccolo, complesso, enigmatico romanzo rappresenta il cuore stesso della Comédie, come ci dice anche emblematicamente il fatto che abbia accompagnato Balzac, attraverso rifacimenti, ripensamenti e affinamenti, praticamente per quasi tutti gli anni dedicati dallo scrittore all’edificazione del suo immenso edificio letterario.

[Maggie · Rating 2 out of 5]

In this autobiographical novella, the narrator meets a new student named Louis Lambert in school. Louis is a boy genius with deep metaphysical ideas who is misunderstood by the teachers and the other students, except for the narrator who recognises his talent. The two become best friends. Louis writes a book, Treatise of the Will, which is torn up by a teacher who ridicules him. Later in life, Louis falls passionately in love with a lady, Pauline de Villenoix, but turns insane on the day before their wedding. Pauline cares for him for the rest of his short life and is the only person who understands his random utterances which reveal the thoughts of a brilliant mind.

Large parts of this story expound on Louis’ metaphysical ideas. The story is autobiographical in that Balzac went to the school described, was bullied and was a social outcast in school, and also wrote an essay titled the Treatise of the Will. The ideas that Louis has are clearly ideas that Balzac himself has had, and while they seem to be rubbish to many, Balzac evidently feels that they are the brilliant product of a misunderstood mind.

The ideas really are rubbish. For example:
“The Will acts through organs commonly called the five senses, which, in fact, are but one—the faculty of Sight. Feeling and tasting, hearing and smelling, are Sight modified to the transformations of the Substance which Man can absorb in two conditions: untransformed and transformed.”

Nevertheless, what little story there is is actually fairly decent, and the descriptions of school life did make me feel sorry for the ostracism that Balzac faced.

[Jason Furman · Rating 3 out of 5]

A peculiar novella, this is along the lines of what I would have expected from something classified as a "Philosophical Study" (unlike the Wild Ass's Skin, which was actually more of a conventional novel).

Louis Lambert is recounted in the first person by a narrator who appears to be Balzac and is focused on an almost supernatural philosophical genius, Louis Lambert. It recounts all of the events of his short and uneventful life in several sustained segments of narrative, the longest being the beginning of the novella, which are quite good and interesting and sympathetically convey his love of reading, philosophy, and the hostility and misunderstanding he faces, especially from his rigid school. Louis Lambert does better when it is distantly describing his philosophy, his youthful masterwork "The Treatise of the Will," almost in the way Borges would have. Where it loses me (and I suspect most) is when it actually at great length start reproducing it, his somewhat repetitive love letters, and a conclusory series of almost fortune-cookie like philosophical observations that are reproduced in numbered order.

Without all of this, it would have been an interesting short story or even short novella that provided various, partial glimpses filtered through a narrator who is far from omniscient about the life of someone who only briefly crossed paths with him. But unfortunately it is weighted down with much more.

[Nick Tramdack · Rating 2 out of 5]

Almost a science fiction novel. Lambert's philosophies... and there's not much else in the book... suggest remarkable, concrete-sounding ways of revolutionizing everything, of "immanentizing the eschaton", of ushering in a new era.

Yet they're so misinformed and ridiculous in the light of contemporary thought that the average reader will probably get very little from this book.

Recommended only for hardcore Balzacians.

[Steve Gordon]

While not the greatest short work by any means, it is one of the more autobiographical stories by Balzac. His "philosophy" developed here is sorely outdated, but the sketches of his old schools days make it a worthwhile read.

[lilly amber · Rating 5 out of 5]

will and faith

[Tom Baikin-O'hayon · Rating 4 out of 5]

Balzac's most philosophical work. personaly I find him a better economist then a philosopher, but here he's a proper romantic metaphisician

[Néguine · Rating 5 out of 5]

J'ai longtemps hésité à lire ce livre, mais une fois commencé, j'étais totalement éblouie par le style remarquable de Balzac. Il donne un rythme au début lent à son récit pour prendre l'essor ensuite au milieu de son oeuvre.
Le livre s'ouvre sur un passage biographique raconté par le narrateur qui ne sera que le camarade de collège du protagoniste, Louis Lambert, ce dernier n'apparaît d'ailleurs qu'après une prélude plus ou moins longue, cela titille la curiosité des lecteurs et leur donne de plus en plus envie de rencontrer le personnage principal.
La manière que Balzac adapte pour le début de son oeuvre évoque celle de Flaubert dans son fameux roman, Madame Bovary.
Il y a un amour innocent et même spirituel entre le narrateur et Louis Lambert. Les personnages sont donc attachés l'un à l'autre par une affection forte et floue.
Le narrateur fait des pieds et des mains pour se faire absorber dans le monde imaginaire de Lambert, qui est supérieur à ses pensées.
C'est un livre époustouflant. Le style de Balzac s'avère incommensurablement avancé pour son époque, il a mélangé en même temps plusieurs genres :biographie, fiction, épistolaire...
Je ne peux pas verser le sentiment que j'ai éprouvé en lisant ce chef-d'oeuvre, dans un moule de mots.
A tout qui connaît Balzac, il est infailliblement nécessaire de lire au moins une fois Louis Lambert.

[Ben · Rating 3 out of 5]

Part of the Études philosophiques of Balzac's La Comédie humaine, Louis Lambert is considered to be both Balzac's most autobiographical novel and his most metaphysical one. There are many parallels between the life of the author and the young child genius, Louis Lambert, in terms of their social life, ostracization and interests. Like many of the great minds of his generation, Balzac was highly interested in mysticism and Kabbalism -- a friend of Éliphas Lévi (who was also a friend of Victor Hugo and an influence on writers like Strindberg and Rimbaud) and a disciple of Emanuel Swedenborg (who greatly influenced Emerson, Yeats and countless others). Like Swedenborg, Lambert's connections with the metaphysical plane (told to us, as readers, from a somewhat unreliable narrator) means that his sanity is questioned by many, with the exception of those closest to him. The novella, no doubt, raises important metaphysical questions, but it falls flat in its delivery, with a messy and unfocused form of storytelling.

[Gláucia Renata · Rating 3 out of 5]

Publicado em 1832, esse livro faz parte dos Estudos Filosóficos dentro da divisão da Comédia Humana.
Traz um romance entre o protagonista e uma rica e bela herdeira e a trama mais parece um pretexto para que Balzac exponha suas ideias e crenças metafísicas baseada principalmente em Swenderborg. Essa filosofia vai de encontro com muitos dos conceitos posteriormente compilados e codificados por Kardec e essas divagações são bem interessantes pois mostram que estas ideias já existiam antes da codificação. Mas a leitura se torna maçante por conter inúmeras e longas cartas de amor de Louis à sua amada. Me fez relembrar o suplício que foi ler "Os Sofrimentos do Jovem Werther".



Histórico de leitura
24/06/2019

"Louis Lambert nasceu em 1797, em Montoire, cidadezinha do Vendômois, onde seu pai era proprietário de um pequeno curtume e contava deixá-lo como seu sucessor; mas as aptidões que manifestou prematuramente pelo estudo modificaram a resolução paterna."

[Ufuk Beyazova · Rating 3 out of 5]

Louis Lambert / Honore de Balzac

Baudelaire '' bir keşif adamı'' demiş Balzac için. Onun gizli şeyleri gören bir yazar ollduğunu belirtmiş. Bu kitap yazarın çocukluğundan bir çok öge barındırıyormuş. Bir anlamda otobiyografik bir roman yani. Yazarın dilinden kendi yaşamına bakmak hep ilginç gelmiştir bana.
Öykümüz 1800 lerin başında geçiyor. Ĺouis Lambert tam bir kitap kurdu. Din, tarih, felsefe, fizik eline ne geçerse okuyor. ''Çoğu zaman bir sözcüğün sırtına biner, tadına doyulmaz yolculuklar yaparım'' diyordu. ''Bir çöpün üstüne konup ırmağın götürdüğü yere giden böcek gibi'. Okuduğu kitaplar onun düşünce dünyasını zenginleştirir. Daha ortaokulda iken kendisi de bir bilimsel kitap yazmaya başlar. ''Daha sonra bu bilimin gizemlerini derinleştirecek, temellerini sağlamlayacak, genişleme olanaklarını araştıracak, bulacak''tır. Sonuna dek ''düşüncenin göklerinde uçacak, bir kırlangıç çevikliğiyle dolaşacak''tır.
http//beyazkitaplik.com

[Sladjana Kovacevic · Rating 5 out of 5]

Balzac-Louis Lambert
✒"Dans cet état de force et de faiblesse, de grâce enfantine et de puissance surhumaine, Louis Lambert est l’être qui m’a donné l’idée la plus poétique et la plus vraie de la créature que nous appelons un ange"
😇Ovo delo se dosta razlikuje od ostalih iz Ljudske komedije
😇Zamišljeno je delimicno kao filozofska rasprava a delimično kao biografija izuzetnog mladića
😇Ujedno,ovo je najbliže autobiografiji
😇Narator je sam Balzak,a tema je odrastanje,školovanje u verskoj ustanovi,poznanstvo s Lambertom
😇Ovde je topla ljudska priča o prijateljstvu i o tome kako je dobro imati prijatelje kojima se divimo,jer nas oplemenjuju
😇Naravno,tu je i Balzakova kritika i analiza vremena u opisu samog internata i teških uslova života dece koja su tamo boravila i učila.
#7sensesofabook #classicliterature #knjige #literature #bookstagram #readingaddict

[Gwynplaine26th · Rating 3 out of 5]

A raccontarci la storia di Louis Lambert in veste di narratore è un suo compagno di classe al collegio degli oratoriani di Vendome, l'unico ad accorgersi che in quel ragazzo di umili origini brucia il fuoco del genio. Un fuoco perpetuo percepibile dal lettore stesso, Balzac ha uno stile narrativo che cattura, ma avrei preferito approfondisse di più.

"Spesso" mi disse parlando delle sue letture "ho compiuto viaggi meravigliosi negli abissi del passato a bordo di un vocabolo, come un insetto che galleggia sopra un filo d'erba in balia del fiume. Partito dalla Grecia arrivavo a Roma e attraverso la distesa delle età moderne. Che libro meraviglioso si potrebbe comporre raccontando la vita e le avventure di un singolo vocabolo"!

[Nikos Pappas · Rating 3 out of 5]

εργασιομανής ο Μπαλζάκ, ταυτόσημος με την πράξη της γραφής, συντάσσει τον Λουί Λαμπέρ κατά τη διαμονή του στον πύργο του Saché. (να δούμε πότε θα αποσυρθούμε και μεις στη φάρμα μας να συγγράψουμε, ας όψεται το βιοποριστικό και οι λογαριασμοί.) ως εκ τούτου, είναι ένα βιβλίο κυρίως για σινεφίλ της ανάγνωσης και φίλους του Ονορέ. μια προσπάθεια να προσεγγιστούν φιλοσοφικά και επιστημ��νικά θέματα της εποχής, κρινόμενη με επιείκεια, αν σκεφτούμε τα μεγάλα τμήματα αυτών των περιοχών που βρίσκονταν, κατά το πρώτο μισό του 19ου αιώνα, συσκοτισμένα. κρατώ τη γνωριμία μας με τον Emanuel Swedenborg, απόφοιτου του σημαντικότατου για την ευρωπαϊκή σκέψη Πανεπιστημίου της Ουψάλα (γενέτειρας του Bergman, παρεμπιπτόντως).