THE SONG OF THE CYNICAL
by Patrice Bollon [October 20, 2005]
to the roaring 80's, New York, some sophisticated golden boys, as does meeting in more than in the pages of novels already yellowed by Bret Easton Ellis, American Psycho as (1991), affected never leave without being in possession of a small book entitled The Art of Prudence , "the art of prudence, "they were carelessly exceed, the left pocket of their dress Ermenegildo Zegna wool and silk - it was between them a sort of recognition code - the cover page.
"L'Homme de cour", the English Jesuit Baltasar Gracian (1601-1658), is one of the major works of Western thought. La Rochefoucauld, La Bruyere, Voltaire, Chamfort, but also Pascal, all have read and built upon them, more or less open. The translation is now proposing that Benito Pelegrin gives new meaning to this book, closer to the original intentions of its author. If cynicism remains, it seems to serve an idealism.
For this book was their handbook, their manual of etiquette total. They found advice for all situations, both professional and private, but primarily to help in their quest to climb hardware. The titles of the aphorisms, that the book contained, beacons, it is true, by themselves, the rules of Snakes and Ladders or Monopoly modern in which they lived: "Going still necessary," "To keep well to overcome his master, "" Find the weakness of each, "" Knowing how to use his friends as his enemies, "" sympathize with the great men, "" Knowing the wealthy to use it and the unfortunate to flee, "" Give thanks in advance as what we will then give a salary, "etc.. [...]
The most astonishing case is that the manual was not absolute cynicism of the work of one of these brokers enriched by the e-economy, or one of those speculators shrewd Wall Street as the famous Warren Buffet. It was condensed translation of a very old English work, dating from the seventeenth century, specifically from 1647, the original title of the most improbable Oraculo manual y arte de Prudencia - it sounds like in French on: Pocket Handbook and practical guidance of prudence. As for its author, it was neither a prince nor a counselor prince, but a Jesuit, respected for his sermons and his mastery of casuistry, Father Baltasar Gracian y Morales. Born in 1601 near Saragossa, he died fifty-seven years later in a remote town of Aragon, where the Society of Jesus, exasperated by his incessant teasing, finally had to resort to the ban.
Nietzsche placed it among his bedside books
Universally known by its French title of "The Man court, as was accommodated in our language in 1684 by the diplomat Nicolas Amelot de la Houssaie, The Art of caution is of these books, rare, seem to find that in almost every age, a news item. Except for a brief period between the late eighteenth century and the mid-nineteenth, it never disappeared. And there are not great minds who read, reread, have inspired, even soaked, or sought to translate in their language.
La Rochefoucauld, La Bruyère, Saint-Evremond, Vauvenargues, Voltaire, Chamfort, each in turn looted, more or less discreet or open. Pascal shows by some of his thoughts, he had too much practiced. Schopenhauer, made it his personal use, a German translation, which appeared after his death. Nietzsche, who placed it among his bedside books, it drew some aphorisms of Human, All Too Human. And in the twentieth century, there was, more unexpected, Lacan, to admire the language, and Jankélévitch, who borrowed his notion of "je ne sais quoi" - an invention of Houssaie to make the "ease" within the meaning of "easy ways" in which Gracian saw one of the greatest qualities that a man can acquire.
A baroque language, steep and dark
This means that, contrary to what was often argued, The Art of caution is far beyond this "bible of successful unscrupulous "what some have hastily returned. Retranslation - short or translation (see below) - that today Benito Pelegrin, and political texts, aesthetic and moral that he was associated, can take, finally, the true measure This legendary work, beyond the endless clichés which, since its first publication, have obscured, if not bent scope.
What does this, in essence, this new reading is the place that is cynical, given the overall goal that was assigned Gracian in his work - namely, not to the key to material success, but allow the ideal man as he conceived it to locate in the secular world, to realize that alone, he said, was important: to complete the final battle against Death, and Of course, God. The language he used, as baroque, allusive, steep and dark than the classical Houssaie was intended, explanatory, clear and runny, so finely retranslated by Pelegrin, even acts as a sort of "rebirth" of the book.
Then comes, this business of "stripping" of the text, not about an entirely different than that conveyed by the version of the Houssaie but deep insight nine. If cynicism remains, of course, in both cases it takes a different value. It no longer appears as an end in itself but as a way to achieve success far exceeding material success: that of becoming a man "universal" in full harmony with me as buried - that it is a prince of a general, artist or just a "good man".
One could say, in this sense, it was Gracian, as Cioran liked to call a "cynical paper" is the opposite of a hedonist or a low-income (or -large) for success: an idealist, converted by force of circumstances to realism, and having decided to use his skills maneuvering to accomplish a lofty goal, transcendent. Without doubt this is the message, even highly positive and constructive The Oracle explains that manual may have appeared in every age, as new as if it were written yesterday. Too independent, too artistic, Gracian may have wasted his life time. He has done better by putting his cynicism in the service of his idealism, he conquered more surely than her ideal man virtual eternity.
literary Le Figaro, October 20, 2005
by Patrice Bollon [October 20, 2005]
to the roaring 80's, New York, some sophisticated golden boys, as does meeting in more than in the pages of novels already yellowed by Bret Easton Ellis, American Psycho as (1991), affected never leave without being in possession of a small book entitled The Art of Prudence , "the art of prudence, "they were carelessly exceed, the left pocket of their dress Ermenegildo Zegna wool and silk - it was between them a sort of recognition code - the cover page.
"L'Homme de cour", the English Jesuit Baltasar Gracian (1601-1658), is one of the major works of Western thought. La Rochefoucauld, La Bruyere, Voltaire, Chamfort, but also Pascal, all have read and built upon them, more or less open. The translation is now proposing that Benito Pelegrin gives new meaning to this book, closer to the original intentions of its author. If cynicism remains, it seems to serve an idealism.
For this book was their handbook, their manual of etiquette total. They found advice for all situations, both professional and private, but primarily to help in their quest to climb hardware. The titles of the aphorisms, that the book contained, beacons, it is true, by themselves, the rules of Snakes and Ladders or Monopoly modern in which they lived: "Going still necessary," "To keep well to overcome his master, "" Find the weakness of each, "" Knowing how to use his friends as his enemies, "" sympathize with the great men, "" Knowing the wealthy to use it and the unfortunate to flee, "" Give thanks in advance as what we will then give a salary, "etc.. [...]
The most astonishing case is that the manual was not absolute cynicism of the work of one of these brokers enriched by the e-economy, or one of those speculators shrewd Wall Street as the famous Warren Buffet. It was condensed translation of a very old English work, dating from the seventeenth century, specifically from 1647, the original title of the most improbable Oraculo manual y arte de Prudencia - it sounds like in French on: Pocket Handbook and practical guidance of prudence. As for its author, it was neither a prince nor a counselor prince, but a Jesuit, respected for his sermons and his mastery of casuistry, Father Baltasar Gracian y Morales. Born in 1601 near Saragossa, he died fifty-seven years later in a remote town of Aragon, where the Society of Jesus, exasperated by his incessant teasing, finally had to resort to the ban.
Nietzsche placed it among his bedside books
Universally known by its French title of "The Man court, as was accommodated in our language in 1684 by the diplomat Nicolas Amelot de la Houssaie, The Art of caution is of these books, rare, seem to find that in almost every age, a news item. Except for a brief period between the late eighteenth century and the mid-nineteenth, it never disappeared. And there are not great minds who read, reread, have inspired, even soaked, or sought to translate in their language.
La Rochefoucauld, La Bruyère, Saint-Evremond, Vauvenargues, Voltaire, Chamfort, each in turn looted, more or less discreet or open. Pascal shows by some of his thoughts, he had too much practiced. Schopenhauer, made it his personal use, a German translation, which appeared after his death. Nietzsche, who placed it among his bedside books, it drew some aphorisms of Human, All Too Human. And in the twentieth century, there was, more unexpected, Lacan, to admire the language, and Jankélévitch, who borrowed his notion of "je ne sais quoi" - an invention of Houssaie to make the "ease" within the meaning of "easy ways" in which Gracian saw one of the greatest qualities that a man can acquire.
A baroque language, steep and dark
This means that, contrary to what was often argued, The Art of caution is far beyond this "bible of successful unscrupulous "what some have hastily returned. Retranslation - short or translation (see below) - that today Benito Pelegrin, and political texts, aesthetic and moral that he was associated, can take, finally, the true measure This legendary work, beyond the endless clichés which, since its first publication, have obscured, if not bent scope.
What does this, in essence, this new reading is the place that is cynical, given the overall goal that was assigned Gracian in his work - namely, not to the key to material success, but allow the ideal man as he conceived it to locate in the secular world, to realize that alone, he said, was important: to complete the final battle against Death, and Of course, God. The language he used, as baroque, allusive, steep and dark than the classical Houssaie was intended, explanatory, clear and runny, so finely retranslated by Pelegrin, even acts as a sort of "rebirth" of the book.
Then comes, this business of "stripping" of the text, not about an entirely different than that conveyed by the version of the Houssaie but deep insight nine. If cynicism remains, of course, in both cases it takes a different value. It no longer appears as an end in itself but as a way to achieve success far exceeding material success: that of becoming a man "universal" in full harmony with me as buried - that it is a prince of a general, artist or just a "good man".
One could say, in this sense, it was Gracian, as Cioran liked to call a "cynical paper" is the opposite of a hedonist or a low-income (or -large) for success: an idealist, converted by force of circumstances to realism, and having decided to use his skills maneuvering to accomplish a lofty goal, transcendent. Without doubt this is the message, even highly positive and constructive The Oracle explains that manual may have appeared in every age, as new as if it were written yesterday. Too independent, too artistic, Gracian may have wasted his life time. He has done better by putting his cynicism in the service of his idealism, he conquered more surely than her ideal man virtual eternity.
literary Le Figaro, October 20, 2005
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