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Madeleine Ferat
Excerpt from Madeleine Férat: A Realistic Novel
William and Madeleine got off at Fontenay station. It was a Monday, and the train was almost empty. Five or six fellow-passengers, inhabitants of the district. Who were re turning. Home, presented themselves at the platform-exit with the two young people, and dispersed each in his own direction, without bestowing a glance on the surroundings, like folks in a hurry to get home.
When they were outside the station, the young man offered his arm to the young woman, as though they had not left the streets of Paris. They turned to the left, and went at a leisurely pace up the magnificent avenue of trees which extends from Sceaux to Fontenay. As they ascended, they watched the train at the bottom of the slope start again on its journey with laboured and deep-drawn puffs.
William and Madeleine got off at Fontenay station. It was a Monday, and the train was almost empty. Five or six fellow-passengers, inhabitants of the district. Who were re turning. Home, presented themselves at the platform-exit with the two young people, and dispersed each in his own direction, without bestowing a glance on the surroundings, like folks in a hurry to get home.
When they were outside the station, the young man offered his arm to the young woman, as though they had not left the streets of Paris. They turned to the left, and went at a leisurely pace up the magnificent avenue of trees which extends from Sceaux to Fontenay. As they ascended, they watched the train at the bottom of the slope start again on its journey with laboured and deep-drawn puffs.
266 pages, Hardcover
First published January 1, 1868
4 people are currently reading
191 people want to read
About the author
Émile Zola
2,761 books4,508 followersÉmile Zola was a prominent French novelist, journalist, and playwright widely regarded as a key figure in the development of literary naturalism. His work profoundly influenced both literature and society through its commitment to depicting reality with scientific objectivity and exploring the impact of environment and heredity on human behavior. Born and raised in France, Zola experienced early personal hardship following the death of his father, which deeply affected his understanding of social and economic struggles—a theme that would later permeate his writings.
Zola began his literary career working as a clerk for a publishing house, where he developed his skills and cultivated a passion for literature. His early novels, such as Thérèse Raquin, gained recognition for their intense psychological insight and frank depiction of human desires and moral conflicts. However, it was his monumental twenty-volume series, Les Rougon-Macquart, that established his lasting reputation. This cycle of novels offered a sweeping examination of life under the Second French Empire, portraying the lives of a family across generations and illustrating how hereditary traits and social conditions shape individuals’ destinies. The series embodies the naturalist commitment to exploring human behavior through a lens informed by emerging scientific thought.
Beyond his literary achievements, Zola was a committed social and political activist. His involvement in the Dreyfus Affair is one of the most notable examples of his dedication to justice. When Captain Alfred Dreyfus was wrongfully accused and convicted of treason, Zola published his famous open letter, J’Accuse…!, which condemned the French military and government for corruption and anti-Semitism. This act of courage led to his prosecution and temporary exile but played a crucial role in eventual justice for Dreyfus and exposed deep divisions in French society.
Zola’s personal life was marked by both stability and complexity. He married Éléonore-Alexandrine Meley, who managed much of his household affairs, and later had a long-term relationship with Jeanne Rozerot, with whom he fathered two children. Throughout his life, Zola remained an incredibly prolific writer, producing not only novels but also essays, plays, and critical works that investigated the intersections between literature, science, and society.
His legacy continues to resonate for its profound impact on literature and for his fearless commitment to social justice. Zola’s work remains essential reading for its rich narrative detail, social critique, and pioneering approach to the realistic portrayal of human life. His role in the Dreyfus Affair stands as a powerful example of the intellectual’s responsibility to speak truth to power.
Zola began his literary career working as a clerk for a publishing house, where he developed his skills and cultivated a passion for literature. His early novels, such as Thérèse Raquin, gained recognition for their intense psychological insight and frank depiction of human desires and moral conflicts. However, it was his monumental twenty-volume series, Les Rougon-Macquart, that established his lasting reputation. This cycle of novels offered a sweeping examination of life under the Second French Empire, portraying the lives of a family across generations and illustrating how hereditary traits and social conditions shape individuals’ destinies. The series embodies the naturalist commitment to exploring human behavior through a lens informed by emerging scientific thought.
Beyond his literary achievements, Zola was a committed social and political activist. His involvement in the Dreyfus Affair is one of the most notable examples of his dedication to justice. When Captain Alfred Dreyfus was wrongfully accused and convicted of treason, Zola published his famous open letter, J’Accuse…!, which condemned the French military and government for corruption and anti-Semitism. This act of courage led to his prosecution and temporary exile but played a crucial role in eventual justice for Dreyfus and exposed deep divisions in French society.
Zola’s personal life was marked by both stability and complexity. He married Éléonore-Alexandrine Meley, who managed much of his household affairs, and later had a long-term relationship with Jeanne Rozerot, with whom he fathered two children. Throughout his life, Zola remained an incredibly prolific writer, producing not only novels but also essays, plays, and critical works that investigated the intersections between literature, science, and society.
His legacy continues to resonate for its profound impact on literature and for his fearless commitment to social justice. Zola’s work remains essential reading for its rich narrative detail, social critique, and pioneering approach to the realistic portrayal of human life. His role in the Dreyfus Affair stands as a powerful example of the intellectual’s responsibility to speak truth to power.
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Displaying 1 - 19 of 19 reviews
May 27, 2023
Love tryst soured, super-sensitive duo goes haywire
Well, live and learn as they say. I always thought of Emile Zola as one of the greats, the author of such classics as "Germinal" and "Nana", the hero of the Dreyfus trial, and so on. But it seems that back in the early days, before he bounded onto the world stage, Zola produced a fairly large number of potboilers. Who knew ? He's always strong on atmosphere, on the details of 19th century French life-the parlors, the inns, the gardens, the more decadent parts of the city-and he's a master of human psychology. Still, as I read through MADELEINE FERAT, I had this sinking feeling that I had fallen into a Harlequin romance of bygone years. The lurid details, the many lyrical interludes, the melodrama, corny dialogue, [Example: after the death of his closest friend, the hero says to the heroine on p.71 "The dear fellow ! Now he has gone from us, he is no more, and I am an orphan. But he will always live in me, I have lost my brother......Now, Madeleine, I have only you." ] and above all, the fantastic coincidences that reminded me so much of Bollywood movies. This all put me off. If I needed this sort of book, I could find a million at any local yard sale, embossed in gold and silver cardboard. Zola is a name to reckon with, but he probably wrote this for a bit of cash. (He definitely didn't write it for the movies.)
I remember as I'm writing that Theodore Dreiser's "Sister Carrie" was held up from publication in America for many years because the publishers felt it was too close to pornographic---all because she lived with a man she didn't marry. When I read Dreiser's book the word 'pornographic' certainly never came to mind ! The Victorian prudery of British and American literature in the 1860s and `70s (not to mention later) is well known. So the frankly sexual imagery and situations found in Zola's work, hardly remarkable now, must have been extremely titillating and exciting to young people in those days. Zola would have been guaranteed a large audience.
One very interesting thing emerged. The book is based on the idea that a woman's first sexual experience leaves an indelible imprint. So, if she does not marry her first lover, it is futile for her to try to have a normal life outside that first relationship. (p.164) "If her heart no longer loved Jacques, the fatal memory of her flesh was unchanged." And even more amazing, readers of the time apparently could swallow the idea that thinking of a former lover during the sex act could make the resulting child look like the non-present lover ! This, intones Zola, by a psychological process still unknown. If this sort of stuff is your bread and butter, you are going to love MADELEINE FERAT. Otherwise, give it a miss.
Well, live and learn as they say. I always thought of Emile Zola as one of the greats, the author of such classics as "Germinal" and "Nana", the hero of the Dreyfus trial, and so on. But it seems that back in the early days, before he bounded onto the world stage, Zola produced a fairly large number of potboilers. Who knew ? He's always strong on atmosphere, on the details of 19th century French life-the parlors, the inns, the gardens, the more decadent parts of the city-and he's a master of human psychology. Still, as I read through MADELEINE FERAT, I had this sinking feeling that I had fallen into a Harlequin romance of bygone years. The lurid details, the many lyrical interludes, the melodrama, corny dialogue, [Example: after the death of his closest friend, the hero says to the heroine on p.71 "The dear fellow ! Now he has gone from us, he is no more, and I am an orphan. But he will always live in me, I have lost my brother......Now, Madeleine, I have only you." ] and above all, the fantastic coincidences that reminded me so much of Bollywood movies. This all put me off. If I needed this sort of book, I could find a million at any local yard sale, embossed in gold and silver cardboard. Zola is a name to reckon with, but he probably wrote this for a bit of cash. (He definitely didn't write it for the movies.)
I remember as I'm writing that Theodore Dreiser's "Sister Carrie" was held up from publication in America for many years because the publishers felt it was too close to pornographic---all because she lived with a man she didn't marry. When I read Dreiser's book the word 'pornographic' certainly never came to mind ! The Victorian prudery of British and American literature in the 1860s and `70s (not to mention later) is well known. So the frankly sexual imagery and situations found in Zola's work, hardly remarkable now, must have been extremely titillating and exciting to young people in those days. Zola would have been guaranteed a large audience.
One very interesting thing emerged. The book is based on the idea that a woman's first sexual experience leaves an indelible imprint. So, if she does not marry her first lover, it is futile for her to try to have a normal life outside that first relationship. (p.164) "If her heart no longer loved Jacques, the fatal memory of her flesh was unchanged." And even more amazing, readers of the time apparently could swallow the idea that thinking of a former lover during the sex act could make the resulting child look like the non-present lover ! This, intones Zola, by a psychological process still unknown. If this sort of stuff is your bread and butter, you are going to love MADELEINE FERAT. Otherwise, give it a miss.
June 14, 2024
This is the fifth book written by Emile Zola. His previous book, Theresa Raquin, is now considered a classic. Theresa Raquin outraged the public and it seemed what Zola had in mind was another story that would generate the same kind of publicity. He may very well have done this, but the book itself is close to a failure. While it contains the same beautiful writing that Zola was known for, the novel itself is nothing more than a melodrama or pot-boiler.
We are introduced to Madeleine as a young woman, fresh out of a girl’s academy, who enters adult life with two thousand francs as her sole wealth. She immediately meets a man of doubtful character, James, who befriends her. She becomes his mistress. After a year, James begins his military career as a doctor and ships off to be stationed in China.
Left to her own devices and totally unprepared for the hard work of life, she meets another man, William. She becomes his mistress and later marries him, producing one child in the first year.
William is an emotional basket-case who had grown up as an unloved child. He experienced traumatic incidents in school where he was generally disliked and occasionally beaten by the other students. A new school-fellow began his education at the same school and befriended William. His name is James. William worshiped him and considered him his only friend.
William is aware that Madeleine had an affair with some other man of undetermined length before he met her. This he accepted and they fell deeply in love.
When it becomes clear that Madeleine’s lover was James, William descends into the madness of jealousy. By the end of the book just about every character in the book is half-insane—except James who really doesn’t care about anyone but himself.
About half of the book is devoted to the minds of the couple as they fight to remain on loving terms with each other. Their thoughts are circular, going over the same ground endlessly.
The biggest problem for the modern reader is that the mores of a hundred years ago are not the same at this time. It is hard to reach into these characters and understand the remarkable sensibilities that are leading the characters into this psychological morass.
Over all, the writing is excellent, the plot Ill-conceived and the ending questionable.
Zola’s next book, and the nineteen that followed, began the Rougon-Macquart series. These novels brought fame to Zola and are all superior to this book.
We are introduced to Madeleine as a young woman, fresh out of a girl’s academy, who enters adult life with two thousand francs as her sole wealth. She immediately meets a man of doubtful character, James, who befriends her. She becomes his mistress. After a year, James begins his military career as a doctor and ships off to be stationed in China.
Left to her own devices and totally unprepared for the hard work of life, she meets another man, William. She becomes his mistress and later marries him, producing one child in the first year.
William is an emotional basket-case who had grown up as an unloved child. He experienced traumatic incidents in school where he was generally disliked and occasionally beaten by the other students. A new school-fellow began his education at the same school and befriended William. His name is James. William worshiped him and considered him his only friend.
William is aware that Madeleine had an affair with some other man of undetermined length before he met her. This he accepted and they fell deeply in love.
When it becomes clear that Madeleine’s lover was James, William descends into the madness of jealousy. By the end of the book just about every character in the book is half-insane—except James who really doesn’t care about anyone but himself.
About half of the book is devoted to the minds of the couple as they fight to remain on loving terms with each other. Their thoughts are circular, going over the same ground endlessly.
The biggest problem for the modern reader is that the mores of a hundred years ago are not the same at this time. It is hard to reach into these characters and understand the remarkable sensibilities that are leading the characters into this psychological morass.
Over all, the writing is excellent, the plot Ill-conceived and the ending questionable.
Zola’s next book, and the nineteen that followed, began the Rougon-Macquart series. These novels brought fame to Zola and are all superior to this book.
This entire review has been hidden because of spoilers.
December 28, 2015
Το βιβλίο αυτό είναι απόδειξη πως ακόμα και ο πιο ταλαντούχος δημιουργός μπορεί να περιπέσει σε συγγραφικά ατοπήματα. Νερόβραστο και μελοδραματικό, ψευδοεπιστημονικό σε βαθμό κακουργήματος – υποστηρίζει πως ένας εραστής μπορεί να γονιμοποιήσει την ερωμένη του, με τέτοιο τρόπο ώστε αυτή κατόπιν, να συλλάβει παιδί με άλλο άνδρα το οποίο ωστόσο να φέρει τα γενετικά χαρακτηριστικά του πρώτου –.
Είναι ένα βιβλίο για την ενοχή και την αδυναμία του ανθρώπου να ξεφύγει από το παρελθόν του; Παρουσιάζει ένα μοτίβο που θυμίζει κάπως την Τερέζα Ρακέν. Αν η Τερέζα ήταν μια ενοχική οσιομάρτυς θα γιόρταζε της Αγίας Μαγδαληνής Φερά. Ευτυχώς ο Ζολά μετά από αυτό καταπιάστηκε με τους Ρουγκόν Μακάρ και κατάφερε να βάλει το ταλέντο του σε ένα κανάλι.
Η Μαγδαληνή Φερά, είναι η μεγαλύτερη απόδειξη πως δεν αρκεί να έχεις ταλέντο στην συγγραφή για να γράψεις ένα αριστούργημα. Χρειάζεται όραμα. Ένα όραμα που να πατάει γερά στην γη και να στρέφει το βλέμμα στον ουρανό. Να χωράει δηλαδή όλον τον κόσμο σε μια αριστοτεχνική έστω μικρογραφία.
Είναι ένα βιβλίο για την ενοχή και την αδυναμία του ανθρώπου να ξεφύγει από το παρελθόν του; Παρουσιάζει ένα μοτίβο που θυμίζει κάπως την Τερέζα Ρακέν. Αν η Τερέζα ήταν μια ενοχική οσιομάρτυς θα γιόρταζε της Αγίας Μαγδαληνής Φερά. Ευτυχώς ο Ζολά μετά από αυτό καταπιάστηκε με τους Ρουγκόν Μακάρ και κατάφερε να βάλει το ταλέντο του σε ένα κανάλι.
Η Μαγδαληνή Φερά, είναι η μεγαλύτερη απόδειξη πως δεν αρκεί να έχεις ταλέντο στην συγγραφή για να γράψεις ένα αριστούργημα. Χρειάζεται όραμα. Ένα όραμα που να πατάει γερά στην γη και να στρέφει το βλέμμα στον ουρανό. Να χωράει δηλαδή όλον τον κόσμο σε μια αριστοτεχνική έστω μικρογραφία.
November 21, 2018
Madeleine's father dies when she is young and her guardian is a creepy 60 year old with designs of making Madeleine his virgin wife when she is old enough. She is sent off to a cloistered boarding school where she is taught to be a good wife. The creepy guardian tries to have his way with Madeleine and she runs away into the arms of a stranger who she lives with for a year or so.
Her lover goes off to China so she finds herself alone with a little income until she meets William. He also has had a sheltered life. They marry and live happily until William's best mate (who was thought to be dead) returns. But he was also Madeleine's previous stranger-lover. The couple then struggle with this predicament and the book goes on and on about how William and Madeleine view this sin and the impact on their marriage. There is a strange alternate set of values shown by William and Madeleine's neighbours where the wife has many live-in lovers.
This is not a Zola to read unless you are are a keen fan. It is long, slow, sexist and ponderous on the theme of whether sex with another person is sin (especially when the "guilt" rests with the woman).
Her lover goes off to China so she finds herself alone with a little income until she meets William. He also has had a sheltered life. They marry and live happily until William's best mate (who was thought to be dead) returns. But he was also Madeleine's previous stranger-lover. The couple then struggle with this predicament and the book goes on and on about how William and Madeleine view this sin and the impact on their marriage. There is a strange alternate set of values shown by William and Madeleine's neighbours where the wife has many live-in lovers.
This is not a Zola to read unless you are are a keen fan. It is long, slow, sexist and ponderous on the theme of whether sex with another person is sin (especially when the "guilt" rests with the woman).
September 21, 2020
Far from my favourite Zola, this is a novel of obsessive and jealous love leading to madness.
September 27, 2024
انتهيت من هذا العمل الجميل الذي لازالت أحداثه تدور في رأسي.
رواية قصيرة نوعًا ما لكنها فيها الكثير من العِبر والأسرار والمفاجآت التي تخفيها وتجعلك تتلهف لمعرفة ماستنتهي به
تحمل هذهِ الرواية بين صفحاتها الكثير من التأملات والأسئلة التي قد تدور في رأس قارئها بعد أن يفرغ منها.
رواية العار لإميل زولا من كلاسيكيات الأدب الفرنسي
والقراءة الأولى لي مع كاتبها.
تدور هذهِ الرواية حول الماضي و زلّآت الماضي التي تعيش فينا ولا تغادرنا حتى لو غادرنا وابتعدنا عن كل مايذكّرنا بذلك الماضي البغيض
يكرر هذا النص و يأكد على أن الماضي يعيش معنا ولا يمضي كما نظن بل يظل على بعد مسافةٍ منّا لينتظر الفرصة المناسبة ليعود ويجعلنا في صراع دائم مع أنفسنا ومن حولنا
وهذا ماحصل مع بطلة العمل مادلين التي ظلّت تدفع ثمن خطيئتها التي ستكلّفها الكثير قبل أن تستطيع أن تكفر عن ذنبها وتغفر لنفسها ذلك الذنب والخطيئة التي ستعود من ماضيها يومًا ما لتحوّل حياتها إلى صراع دائم ومرير مع النفس ومع من حولها.
عمل جميل ومشوّق جدًا.
وبالنسبة لي أحببته جدًا و انصح بقراءته
وعندما إنتهيت منه واغلقت آخر صفحة أحسست برغبة كبيرة أن أعود لقراءة العمل مرة أُخرى
وبالنسبة لي قليلة هي الكتب التي تدفعني لإعادة قراءتها
وهذا العمل من هذهِ الأعمال النادرة.
رواية قصيرة نوعًا ما لكنها فيها الكثير من العِبر والأسرار والمفاجآت التي تخفيها وتجعلك تتلهف لمعرفة ماستنتهي به
تحمل هذهِ الرواية بين صفحاتها الكثير من التأملات والأسئلة التي قد تدور في رأس قارئها بعد أن يفرغ منها.
رواية العار لإميل زولا من كلاسيكيات الأدب الفرنسي
والقراءة الأولى لي مع كاتبها.
تدور هذهِ الرواية حول الماضي و زلّآت الماضي التي تعيش فينا ولا تغادرنا حتى لو غادرنا وابتعدنا عن كل مايذكّرنا بذلك الماضي البغيض
يكرر هذا النص و يأكد على أن الماضي يعيش معنا ولا يمضي كما نظن بل يظل على بعد مسافةٍ منّا لينتظر الفرصة المناسبة ليعود ويجعلنا في صراع دائم مع أنفسنا ومن حولنا
وهذا ماحصل مع بطلة العمل مادلين التي ظلّت تدفع ثمن خطيئتها التي ستكلّفها الكثير قبل أن تستطيع أن تكفر عن ذنبها وتغفر لنفسها ذلك الذنب والخطيئة التي ستعود من ماضيها يومًا ما لتحوّل حياتها إلى صراع دائم ومرير مع النفس ومع من حولها.
عمل جميل ومشوّق جدًا.
وبالنسبة لي أحببته جدًا و انصح بقراءته
وعندما إنتهيت منه واغلقت آخر صفحة أحسست برغبة كبيرة أن أعود لقراءة العمل مرة أُخرى
وبالنسبة لي قليلة هي الكتب التي تدفعني لإعادة قراءتها
وهذا العمل من هذهِ الأعمال النادرة.
June 4, 2024
Whew! Zola's Madeleine Ferat is the story of an obsessive and jealous love with horrifyingly tragic consequences. One thing I am learning about the fiction of Emile Zola is that he is the master of psychological drama and horror. Many authors are quite effective at describing the murder of one character by another, but Zola takes his reader deep into the twisted dark recesses within the human mind of his characters and allows the reader to observe the 'seeds of horror' as they are first planted, nurtured, and then as they burst darkly forth upon the novel's pages.
The relationship of Guillaume and Madeleine starts off well enough. Young man meets young woman, cohabitate for a period of time, inherit money and villa from father, get married, have a child--couldn't get any better, right? Not so fast my friend, not so fast. Madeleine is really, all in all, a pretty nice young woman who is becoming comfortable in her own skin and likes to have a good time. After she marries Guillaume she makes a horrific mistake--she tells her new husband about a sexual relationship she had with a man before she met her husband. Well, it turns out that this man was her husband's very best friend. Awkward!
I'm not at all sure that Zola's Madeleine Ferat could have been published in 1868 in either England or the United States. This is a racy novel that doesn't shy away from human sexuality and an incredibly realistic portrayal of the human emotions that lead the couple to spiral inexorably downward from the happy heights of marital bliss to the depths of outright madness and dark despair. This is a difficult and painful novel to read at times, but one that compels the reader to carry on, if only to see if Madeleine and Guillaume can pull out of the death spiral. But it is Zola after all.
Other authors in this period dealt with this sort of co-dependent and mutually assured self-destruction, including Thomas Hardy (Tess of the d'Urbervilles), or Anthony Trollope (He Knew He was Right), but for Zola it seems to be a prominent theme, at least in his early works of fiction.
This gets a solid 4 of 5 stars from me. Well worth reading.
The relationship of Guillaume and Madeleine starts off well enough. Young man meets young woman, cohabitate for a period of time, inherit money and villa from father, get married, have a child--couldn't get any better, right? Not so fast my friend, not so fast. Madeleine is really, all in all, a pretty nice young woman who is becoming comfortable in her own skin and likes to have a good time. After she marries Guillaume she makes a horrific mistake--she tells her new husband about a sexual relationship she had with a man before she met her husband. Well, it turns out that this man was her husband's very best friend. Awkward!
I'm not at all sure that Zola's Madeleine Ferat could have been published in 1868 in either England or the United States. This is a racy novel that doesn't shy away from human sexuality and an incredibly realistic portrayal of the human emotions that lead the couple to spiral inexorably downward from the happy heights of marital bliss to the depths of outright madness and dark despair. This is a difficult and painful novel to read at times, but one that compels the reader to carry on, if only to see if Madeleine and Guillaume can pull out of the death spiral. But it is Zola after all.
Other authors in this period dealt with this sort of co-dependent and mutually assured self-destruction, including Thomas Hardy (Tess of the d'Urbervilles), or Anthony Trollope (He Knew He was Right), but for Zola it seems to be a prominent theme, at least in his early works of fiction.
This gets a solid 4 of 5 stars from me. Well worth reading.
July 26, 2014
It was one of Zola's first novels, and the only thing I can say is that I wasn't really into the story line, but other than that, it was interesting to be able to compare one of his early works to the later ones. I would say that if you love Zola like I do, then read it. If this would be your first Zola novel, I would choose something different (i.e., better) like Germinal, L'Assommoir, or The Ladies Paradise.
May 24, 2016
Dopo essere stata abbandonata dal suo amante, la giovane Madeleine incontra Guillaume, che la sposa e la rende madre. La serenità che la protagonista crede di avere raggiunto cade a pezzi al ritorno del primo amante, che scatena nella mente della donna un senso di vergogna e perdizione. Morte e follia chiudono il romanzo. La psicologia dei pesonaggi è descritta minuziosamente, fino all'eccesso. Zola descrive magistralmente il tormento di Madeleine, combattuta tra il desiderio di continuare a godere della felicità familiare e la consapevolezza di essere ormai indelebilmente segnata dal peccato. È ben delineata anche la debole personalità di Guillaume che dipende morbosamente dalle persone che gli dimostrano affetto: la governante, l'amico, la moglie. Un romanzo intenso, forse un po' esasperato.
November 15, 2024
What a shame! What seemed to be promising at the beginning only got to be frustrating in the end;
Though easy to read and very atmospheric, even a bit gothic (if you read it you’ll get to know the cliche elements I’m talking about) the overall dogmatic attitude of the characters, the superstition and fixation of beliefs found in this book took me close to my patience’s borders.
It smells of mold, old dust and wickedness, all coated in a drizzle of despair and sadness.
Not really my type, Madeleine is one of my most despised characters now. I wouldn’t necessarily say the book is badly written, but it’s narrative is rather insufferable, the characters were the one that made me dislike it. The writing is pretty vivid, the story interesting, but a bit too dramatic.
That being said, onto the next one!
Though easy to read and very atmospheric, even a bit gothic (if you read it you’ll get to know the cliche elements I’m talking about) the overall dogmatic attitude of the characters, the superstition and fixation of beliefs found in this book took me close to my patience’s borders.
It smells of mold, old dust and wickedness, all coated in a drizzle of despair and sadness.
Not really my type, Madeleine is one of my most despised characters now. I wouldn’t necessarily say the book is badly written, but it’s narrative is rather insufferable, the characters were the one that made me dislike it. The writing is pretty vivid, the story interesting, but a bit too dramatic.
That being said, onto the next one!
March 15, 2025
Comment se fait-il que ce roman ne soit pas davantage reconnu comme l’un des chefs d’œuvre de Zola ? Dans ce quatrième roman, l’auteur démontre ses habiletés quant à la construction habile et complexe du caractère de ses personnages - il introduit de subtiles contradictions psychologiques tout en déroulant un fil narratif qui les démêlent autant qu’il les complexifient. On y trouve de nombreuses péripéties et rebondissements qui ne se font pas deviner, le tout dans un roman compact qui se dévore sans efforts. À la fois terrifiant et exquis.
July 21, 2018
Aunque estuve trabajando meses en el análisis de este libro y eso podría haber desencadenado un odio infinito hacia él, tengo muy buenos recuerdos de esta obra. Es una de las novelas menos conocidas de Émile Zola, quizás porque supone un cierto fracaso en el planteamiento del argumento, pero también porque se vio eclipasada por el éxito que supuso la serie de "Les Rougon Macquart", publicada inmediatamente después de "Madeleine Férat".
Merece la pena dedicarle una lectura desde el plano del análisis global de la obra del autor y de su aproximación a la novela experimental que llegará a su máximo esplendor en los títulos más conocidos de Zola ("Germinal", "Nana" o "La Bestia Humana"). Por lo demás, novela de argumento burgués de la segunda mitad del siglo XIX francés, con una mujer oprimida por la sociedad de la época pero también (y aquí es donde comienza la diversión), por su propia disposición fisiológica a la fatalidad.
Merece la pena dedicarle una lectura desde el plano del análisis global de la obra del autor y de su aproximación a la novela experimental que llegará a su máximo esplendor en los títulos más conocidos de Zola ("Germinal", "Nana" o "La Bestia Humana"). Por lo demás, novela de argumento burgués de la segunda mitad del siglo XIX francés, con una mujer oprimida por la sociedad de la época pero también (y aquí es donde comienza la diversión), por su propia disposición fisiológica a la fatalidad.
May 14, 2017
В жизни возможно всё, но возможно ли то, что описывают беллетристы? Читателя должны брать большие сомнения от излишнего стремления писателей драматизировать события. Порой автор может собрать в сюжете одного произведения чрезмерное количество противоречивых моментов, убивая тем веру в действительность предлагаемой им истории. Вот не получится поверить и в случившее с действующими лицами книги «Мадлена Фера», пропитанной горем и возникшими из ниоткуда страстями.
(c) Trounin
(c) Trounin
October 6, 2023
2.1⭐
السرد والاحداث كانوا جدا بطيئين وما استمعت وانا اقرأ
السرد والاحداث كانوا جدا بطيئين وما استمعت وانا اقرأ
September 19, 2024
စောက်ရမ်းစိတ်ဆင်းရဲစရာ ကောင်းတဲ့ ဝတ္ထု။ pushkin ရဲ့ captain' daughter လိုလည်း တအားတိုက်ဆိုင်။ ဒရမ်မာပေါင်း တစ်သိန်း။ နောက်ပိုင်း ချက်ကော့ဗ်လို မော်ဒန်သမားတွေ ပေါ်လာတာကပဲ ၀မ်းသာစရာ။
April 10, 2024
"Elle ne s'était pas trompée : cette créature venait de Satan, le Ciel l'avait mise sur la terre pour la damnation des hommes. Elle la regardait se tordre et s'écheveler, comme elle eût regardé les tronçons d'un serpent remuer dans la poussière : les larmes qu'elle répandait lui paraissaient être les larmes de rage d'un démon qui se voit démasqué ; ses cheveux roux dénoués, son cou gras et blanc gonflé de soupirs, tous ses membres vautrés à terre lui semblaient fumer d'une odeur charnelle et nauséabonde. Elle retrouva Lubrica, le monstre aux seins larges, aux bras tentateurs, l'infâme courtisane cachant un tas de boue infecte sous le satin de sa peau nacrée et voluptueuse.
November 26, 2021
De base nos encontramos con dos historias en paralelo: la de Guillermo y la de Magdalena. El autor nos relata con detalle las circunstancias de su crianza y su adolescencia, y que dieron paso a la formación de su marcado carácter (totalmente dispar), justo hasta el momento en el que se conocieron.
Una vez ambos relacionados, viven cada a uno a su manera, de acuerdo con su personalidad, el hecho de ir encariñándose mutuamente. Así, pasan juntos agradables años hasta que, como es de esperarse, llegan algunos sucesos sumamente incómodos, los cuales están marcados por la figura de Jacobo, con quien cada uno tiene una historia en particular.
Así, la pareja se ve impelida a tomar determinadas decisiones, evidenciándose siempre de manera hasta enfermiza los rasgos más marcados de la personalidad de cada uno. Justo en virtud de esto se define el curso de la historia, en medio de la precisión de la que hace gala el autor para describir el universo interno de los protagonistas (que, a mi parecer, cobra total importancia en comparación con el mismo escenario físico), sin que recayera dicho protagonismo de modo desequilibrado entre ambos (independientemente del nombre de la obra).
Llega uno, incluso, a sentir enorme empatía a pesar de que el actuar de Magdalena y Guillermo fuese a veces tan acalorado, desmesurado o abiertamente demente. No se siente uno insatisfecho en ningún momento a pesar de la manera en la que el ambiente va oprimiendo cada vez más y más el pecho del lector.
Básico de la novela es el papel que juegan la amistad y la lealtad. Es importantísimo reconocer también la emocionalidad de los protagonistas en torno al sentimiento de culpabilidad, lo cual llega a trastornarles seriamente y a definir el curso de sus vidas.
En resumen, recomiendo esta lectura sólo a quienes gusten del drama, de las historias trágicas y de inmiscuirse en la mentalidad de los protagonistas, tanto que se llega a quererlos o a odiarlos. Como buena obra del naturalismo, demuestra de buena manera tanto lo bello como lo desagradable, pero los emparenta de un modo en que el contraste no suscita conflicto alguno.
Para quien quiera ver el resumen del libro, les invito a mi blog: https://aurorasalocaso.blogspot.com/2...
Una vez ambos relacionados, viven cada a uno a su manera, de acuerdo con su personalidad, el hecho de ir encariñándose mutuamente. Así, pasan juntos agradables años hasta que, como es de esperarse, llegan algunos sucesos sumamente incómodos, los cuales están marcados por la figura de Jacobo, con quien cada uno tiene una historia en particular.
Así, la pareja se ve impelida a tomar determinadas decisiones, evidenciándose siempre de manera hasta enfermiza los rasgos más marcados de la personalidad de cada uno. Justo en virtud de esto se define el curso de la historia, en medio de la precisión de la que hace gala el autor para describir el universo interno de los protagonistas (que, a mi parecer, cobra total importancia en comparación con el mismo escenario físico), sin que recayera dicho protagonismo de modo desequilibrado entre ambos (independientemente del nombre de la obra).
Llega uno, incluso, a sentir enorme empatía a pesar de que el actuar de Magdalena y Guillermo fuese a veces tan acalorado, desmesurado o abiertamente demente. No se siente uno insatisfecho en ningún momento a pesar de la manera en la que el ambiente va oprimiendo cada vez más y más el pecho del lector.
Básico de la novela es el papel que juegan la amistad y la lealtad. Es importantísimo reconocer también la emocionalidad de los protagonistas en torno al sentimiento de culpabilidad, lo cual llega a trastornarles seriamente y a definir el curso de sus vidas.
En resumen, recomiendo esta lectura sólo a quienes gusten del drama, de las historias trágicas y de inmiscuirse en la mentalidad de los protagonistas, tanto que se llega a quererlos o a odiarlos. Como buena obra del naturalismo, demuestra de buena manera tanto lo bello como lo desagradable, pero los emparenta de un modo en que el contraste no suscita conflicto alguno.
Para quien quiera ver el resumen del libro, les invito a mi blog: https://aurorasalocaso.blogspot.com/2...
July 4, 2020
I am only writing a short quip here. A reviewer on Goodreads suggest this: is it possible that this novel is how two main characters pull a life change, morality hard to view if the two sink into a trying relationship of three.
I always feel not easy to pull love out of a hat, when the relationship in a marriage or partnership is under great stress???
Now I want to read another insight into Zola's style of writing in this genre.
Did read Tess of D by Thomas Hardy. And another suggested author of the same style of genre.
I always feel not easy to pull love out of a hat, when the relationship in a marriage or partnership is under great stress???
Now I want to read another insight into Zola's style of writing in this genre.
Did read Tess of D by Thomas Hardy. And another suggested author of the same style of genre.
This entire review has been hidden because of spoilers.
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