Prosper Mérimée - Prosper Mérimée

Frantsiya milliy merosi ma'lumotlar bazasi uchun qarang Mérimée bazasi.

Prosper Mérimée
Prosper Mérimée.jpg
Tug'ilgan(1803-09-28)1803 yil 28-sentyabr
Parij, Frantsiya
O'ldi23 sentyabr 1870 yil(1870-09-23) (66 yosh)
Kann, Frantsiya
Adabiy harakatRomantizm
Taniqli ishlarLa Vénus d'Ille (1837), Karmen (1845)
Imzo
Frantsuz adabiyoti
toifalar bo'yicha
Frantsuz adabiyot tarixi
Frantsuz yozuvchilari
  • Xronologik ro'yxat
  • Yozuvchilar toifalari bo'yicha
  • Esseistlar
  • Romanchilar
  • Dramaturglar
  • Shoirlar
  • Qisqa hikoyalar mualliflari
  • Bolalar yozuvchilari
Portallar
  • Frantsiya
  • Adabiyot

Prosper Mérimée (Frantsiya:[meʁime]; 1803 yil 28 sentyabr - 1870 yil 23 sentyabr)[1] edi a Frantsuz yozuvchisi ning harakatida Romantizm, va kashshoflaridan biri roman, qisqa roman yoki uzoq qissa. U shuningdek taniqli bo'lgan arxeolog va tarixchi va me'morchilikni saqlash tarixidagi muhim shaxs. U eng yaxshi romanlari bilan tanilgan Karmen, bu asos bo'ldi Bize opera Karmen. U juda yaxshi ko'rgan tilni rus tilini o'rgangan va bir qancha muhim rus yozuvchilarining, shu jumladan asarlarini tarjima qilgan Pushkin va Gogol, frantsuz tiliga. 1830-1860 yillarda u frantsuz tarixiy yodgorliklarining inspektori bo'lib, ko'plab tarixiy joylarni, shu jumladan O'rta asrlar qal'asini himoya qilish uchun mas'ul bo'lgan. Karkasson va sobori jabhasini tiklash Notre-Dame de Parij. Yozuvchi bilan birga Jorj Sand, u gobelenlar seriyasini kashf etdi Xonim va yagona muguz va ularni saqlashni tashkil qildi. U yaratilishida muhim rol o'ynagan Musée milliy du Moyen Âge gobelenlar namoyish etiladigan Parijda. Frantsiya yodgorliklarining rasmiy ma'lumotlar bazasi Mérimée bazasi, uning nomini oldi.

Ta'lim va adabiy debyut

Prosper Merimi Parijda tug'ilgan Birinchi Frantsiya Respublikasi, 1803 yil 28 sentyabrda, erta Napoleon davri. Uning otasi Leonor rassom bo'lib, École politexnika dizayn professori bo'ldi va yog'li bo'yoqlar kimyosini o'rganish bilan shug'ullandi. 1807 yilda uning otasi Rasm va Haykaltaroshlik Akademiyasining doimiy kotibi etib tayinlandi. Onasi Anne tug'ilganda yigirma to'qqiz yoshda edi va u ham rassom edi. Otasining singlisi Avgustin fizikning onasi bo'lgan Augustin-Jean Fresnel va sharqshunos Fulgens Fresnel. Etti yoshida Prosper 1815 yilda Napoleon qulaganidan keyin Napoleon Litseyiga o'qishga kirdi. Anri-IV litseyi. Uning sinfdoshlari va do'stlari Restoratsiya Frantsiyasi elitasining farzandlari, shu jumladan taniqli botanikaning o'g'li Adrien Jussieu edi. Antuan Loran de Jussieu va Jan-Jak Amper, o'g'li André-Mari Amper, fizika va elektrodinamikadagi tadqiqotlari bilan mashhur. Ikkala ota-onasi ham ingliz tilida yaxshi gaplashishgan, tez-tez Angliyaga sayohat qilishgan va ko'plab ingliz mehmonlarini mehmon qilishgan. O'n besh yoshida u ingliz tilini yaxshi bilardi. U chet tillarini bilishga qobiliyatli edi va ingliz tilidan tashqari mumtozlikni ham yaxshi bilardi Yunoncha va lotin. Keyinchalik hayotida u ispan tilini yaxshi biladigan bo'lib, serbcha va bemalol gaplasha oldi Ruscha. Maktabda u ham tarixga katta qiziqish bilan qaragan va keyinchalik ko'plab hikoyalarida muhim elementlarga aylangan sehr va g'ayritabiiy narsalarga maftun bo'lgan.[2]

Litseyni mumtoz tillarda yuqori baho bilan tugatdi va 1820 yilda qirol ma'muriyatida lavozimni egallashni rejalashtirgan holda huquqshunoslikni o'rganishni boshladi. 1822 yilda u yuridik imtihonlardan o'tdi va advokatlik faoliyati bilan shug'ullanish uchun litsenziyasini oldi.[3] Biroq, uning haqiqiy ishtiyoqi frantsuz va chet el adabiyotiga bo'lgan edi: 1820 yilda u asarlarini tarjima qildi Osiyo, taxmin qilingan qadimiy gal sherigi, frantsuz tiliga.[4] 1820-yillarning boshlarida u saloniga tez-tez tashrif buyurgan Juliette Récamier, u uchrashgan Parijning adabiy va siyosiy hayotidagi obro'li arbob Chateaubriand va boshqa taniqli yozuvchilar. 1822 yilda salonlarda u uchrashdi Anri Beyle, yigirma yosh katta, u o'zining eng yaqin do'stlaridan biriga aylandi va keyinchalik Stendal taxallusi ostida yozuvchi sifatida mashhur bo'ldi.[2] Keyin u rassom va san'atshunos Etienne Delecluzening saloniga tashrif buyurishni boshladi, uning a'zolari yangi maktabga qiziqish bildirishdi. Romantizm san'at va adabiyotda.[4]

1823 yil bahoridan 1824 yil yozigacha u o'zining birinchi adabiy asarlarini yozdi: siyosiy va tarixiy o'yin Kromvel; deb nomlangan satirik asar Les Espagnols en Dannark (Daniyadagi ispaniyaliklar); va deb nomlangan oltita qisqa teatr asarlari to'plami Terat de Klara Gazul, teatr, siyosat va hayot haqidagi ispan aktrisasi tomonidan yozilgan deb taxmin qilingan, ammo aslida Frantsiyaning hozirgi siyosati va jamiyatiga qaratilgan shov-shuvli sharh. 1825 yil mart oyida u Delecluze salonida o'zining yangi asarlarini o'qidi. Dastlabki ikkita asar tezda unutildi, ammo Klara Gazulning sahnalari adabiy do'stlari bilan katta muvaffaqiyatga erishdi. Ular o'zlarining xayoliy mualliflari nomi bilan matbuotda bosilgan va uning birinchi nashr etilgan asari bo'lgan. Balzak tasvirlangan Klara Gazul "zamonaviy adabiy inqilobda hal qiluvchi qadam" sifatida,[5] va uning shuhrati tez orada Frantsiyadan tashqariga chiqdi; nemis romantisti Gyote uni maqtagan maqola yozdi. Merimiy Gyotega nisbatan unchalik xushmuomala emas edi; u Gyotening o'z asarini "daho va nemis soddaligining kombinatsiyasi" deb atagan.[6]

Qirol Louis XVIII 1824 yilda vafot etdi va yangi qirolning rejimi, Charlz X, ancha avtoritar va reaktsion edi. Merimi va uning do'stlari rejimga qarshi liberal oppozitsiyaning bir qismi bo'lishdi. 1825 yil 30-noyabrda u yosh, ammo allaqachon mashhur bo'lgan talabalar namoyishida qatnashdi Viktor Gyugo. U Gyugoning uyiga taklif qilindi, u erda u uchun makaron tayyorlash orqali shoirni maftun etdi. Mérimée rassom boshchiligidagi yangi romantik harakatga jalb qilindi Eugène Delacroix va yozuvchilar Gyugo, Alfred de Musset va Evgen Syu. 1830 yilda u Gyugoning spektaklining g'alati premyerasida qatnashdi Ernani, Stendal va rus yozuvchisini o'z ichiga olgan bir qator do'stlarini olib keldi Turgenev, Gyugoni qo'llab-quvvatlash uchun. Gyugo o'z nomidan anagramma yaratdi Prosper Mérimée ichiga Premer nasr.[7]

Frontispiece La Guzla, deb taxmin qilingan muallif Hyacinthe Maglanovichni ko'rsatmoqda

1827 yil iyul oyida u adabiy jurnalda yangi asarini nashr etdi, La Guzla. Ehtimol, bu qadimiy Adriatik viloyatidan she'rlar to'plami edi Illyria (zamonaviy Xorvatiya) va u boshqa taxmin qilingan nomi bilan nashr etilgan, Hyacinthe Maglanovich. She'rlar hayoliy va bo'rilarga to'la darajada romantik edi. Merimi o'zining tarixiy manbalariga asoslanib, o'zining Balkanlarning chiroyli va gothik portreti, shu jumladan ertak haqida hikoya qiladi. vampirlar 18-asr frantsuz rohibining yozuvlaridan olingan Dom Calmet. Adabiy jurnallarda nashr etilgan ushbu she'rlar Frantsiyada ham, chet ellarda ham yuqori baholandi. Rus shoiri Aleksandr Pushkin she'rlari haqiqiy serbiyalik shoirdan tarjima qilingan bir Meremidan tashqari she'rlari Merérméni rus do'sti Sobolevskiy orqali xabar berishidan oldin rus tiliga tarjima qilgan. She'rlar kitobi tijorat yutug'i emas edi, faqat o'nlab nusxada sotilgan, ammo jurnallar va matbuot Merimeni muhim adabiy shaxsga aylantirdi. O'shandan beri Merimening hikoyalari va maqolalari Parijning ikki etakchi adabiy jurnallari tomonidan muntazam ravishda nashr etilib turiladi Revue des deux Mondes va Revue de Parij.[8]

Keyin La Guzla u uchta an'anaviy roman yozgan: La Jakeri (1828 yil iyun) - bu o'rta asrlarda dehqonlar qo'zg'oloni haqida, yorqin liboslar, chiroyli detallar va rang-barang sharoitlar bilan to'ldirilgan. Tanqidchi Anri Patinning ta'kidlashicha, roman "dramada etishmayotgan, ammo ko'plab sahnalar juda zo'r".[9] Ikkinchisi, La Famille Carvajal (1828), asariga parodiya bo'lgan Lord Bayron, 17-asrda o'rnatilgan Yangi Granada, qotillik va ehtiros jinoyati bilan to'ldirilgan. Ko'pgina tanqidchilar romanning parodiya ekanligini butunlay sog'inib qolishdi: Revue de Parij hikoyani "shafqatsiz va uyatli ehtiroslari" uchun qoraladi. Uchinchisi edi La Chronique du Temps de Charles IX (1829), yana bir tarixiy roman, hukmronligi davrida yaratilgan Frantsuz Karl IX XVI asrda. Viktor Gyugo o'zining tarixiy romanini nashr etishidan uch yil oldin yozilgan Notre-Dame de Parij. Merimening hikoyasida kinoya va ekstremal realizm, jumladan, dam olishning qonli va qonli dam olishlari uyg'unlashgan Avliyo Varfolomey kunidagi qirg'in. U 1829 yil mart oyida katta muvaffaqiyatga erishmasdan nashr etildi va uning muallifi o'sha paytgacha bu janrdan charchagan edi. "Men meni zeriktiradigan yovuz roman yozdim", deb yozgan u do'sti Albert Stapferga.[10]

Romanlar, Ispaniyadagi sayohatlar va hukumat lavozimlari (1829–1834)

1829 yilda Merimi o'z iste'dodlariga to'liq mos keladigan yangi adabiy janrni topdi; The nouvelle yoki roman, mohiyatan uzoq qissa yoki qissa. 1829-1834 yillarda u uchta asosiy printsipga rioya qilgan holda o'n uchta hikoya yozgan; nasrda bayon qilingan qisqacha hikoya; yozishning siyrak va tejamkor uslubi, keraksiz lirika yo'q; va harakatlarning birligi, ularning barchasi oxiriga olib keladi, bu ko'pincha keskin va shafqatsiz edi.[11] Qisqa vaqt ichida Merimee o'zining eng mashhur ikkita romanini yozdi, Mateo Falcone, Korsikadagi fojiali vendetta haqida va Tamango da nashr etilgan qullar savdosi kemasida drama Revue de Parijva katta muvaffaqiyatga erishdi.[12]

Shuningdek, u kelajakdagi yozishmalarining ko'p qismi uchun material beradigan bir qator uzoq sayohatlarni boshladi. 1830 yil iyun oyida u Ispaniyaga sayohat qildi va u erda juda ko'p soat vaqtini bo'sh vaqt bilan o'rganib chiqdi Prado muzeyi Madridda buqalar kurashida qatnashish va Moorish me'morchiligini o'rganish Kordova va Sevilya. U 1830 yil iyul oyida Ispaniyada bo'lgan Frantsuz Karl X ag'darilib, o'rniga qoidasi o'rnatildi Lui Filipp I. Ispaniyaning hayratiga tushib, u Frantsiyaga zudlik bilan qaytmaslikka, balki safarini davom ettirishga qaror qildi. 1830 yil oktyabrda u ko'plab adabiy va tarixiy qiziqishlari va siyosiy qarashlari bilan o'rtoqlashadigan ispan aristokrati, kelajakdagi Montijo grafi bilan uchrashdi. U grafga tashrif buyurdi va uning rafiqasi bilan uchrashdi Montijo grafinya va ularning yosh qizi Evgeniya, keyin to'rt yoshda edi, u 1853 yilda u bo'lishi kerak edi Empress Evgeniya, imperator Napoleon III ning rafiqasi.[8]

U 1831 yil yanvar oyida Parijga qaytib keldi va Ispaniyaga qilgan safari haqida jonli xabarlarni nashr etishni boshladi Revue de Parij sarlavha ostida Lettres d'Espan. Ular orasida birinchi eslatma ham bor edi Karmen, unga Montexo grafinya tomonidan aytilgan hikoya. Shuningdek, u qirol Lui Filippning yangi ma'muriyatida o'z mavqeini qidirdi. Uning ko'plab do'stlari yangi hukumatda allaqachon ish topgan edilar; Stendal Frantsiyaning konsuli etib tayinlandi Triest va yozuvchilar Chateaubriand va Lamartin ikkalasi ham faxriy hukumat lavozimlariga sazovor bo'lishdi. Yigirma yetti yoshdagi Merimi qisqa vaqt ichida Dengiz kuchlari vazirligi kotibiyatining boshlig'i bo'lib ishlagan, so'ngra yangi hukumat tashkil etilgandan so'ng lavozimdan lavozimga ko'chirilgan; qisqa vaqt ichida u tasviriy san'at direktori bo'lib ishlagan, so'ngra Ichki ishlar vazirligiga ko'chirilgan va u istehzo bilan shunday deb yozgan edi: "Men telegraf liniyalarini, o't o'chiruvchilar korpusini boshqarishni, shahar posbonlarini va boshqalarni katta shon-sharaf bilan olib bordim. . "[13] U samarali ma'mur bo'lib chiqdi va epidemiyaga qarshi kurashni tashkil etish uchun mas'ul etib tayinlandi vabo 1832 yil 29 mart va 1 oktyabr kunlari Parijda sodir bo'lgan va o'n sakkiz ming parijlik o'ldirilgan.[14] Epidemiya avjiga chiqqan paytda u ko'p vaqtini Parijning asosiy kasalxonasi - Hotel-Dieu'da o'tkazdi.[15] 1832 yil noyabrda u yana Davlat kengashiga ko'chirildi va u erda hisob-kitoblar boshlig'i bo'ldi. U u erda uzoq vaqt bo'lmagan; 1832 yil dekabrda Bosh vazir Adolphe Thiers uni Britaniyadagi saylovlar to'g'risida hisobot berish uchun Londonga kengaytirilgan diplomatik missiya bilan yubordi. U Londonning eng taniqli klubiga a'zo bo'ldi Afinaum va Angliyadagi muhtaram frantsuz elchisi bilan maslahatlashib, Shahzoda Talleyran.[16]

Tarixiy yodgorliklarning bosh inspektori (1833–1852)

Bittasi Xonim va yagona muguz 1841 yilda Merimey tomonidan kashf etilgan gobelenlar va Jorj Sand Chateau-da Bussak

1833 yil 27-mayda Bosh vazir Tirs Merimeni bosh inspektor deb tayinladi tarixiy yodgorliklar, yiliga sakkiz ming frank ish haqi va barcha sayohat xarajatlari to'lanadi. Merimening yozishicha, bu ish "uning didiga, dangasalikiga va sayohat g'oyalariga" to'liq mos keladi.[17]

Inqilob paytida Frantsiyaning me'moriy merosining katta qismi, xususan cherkovlar va monastirlar zarar ko'rgan yoki yo'q qilingan. XVI asrda Parijdagi 300 ta cherkovdan 1800 yilda faqat 97 tasi turar edi Aziz Denis Bazilikasi sobori oldidagi haykallar, vitraylari va yodgorlik qabrlari olib tashlangan. Notre-Dame de Parij shpil tushirilgan edi. Butun mamlakat bo'ylab cherkovlar va monastirlar buzilgan yoki omborxonalar, kafelar, maktablar yoki qamoqxonalarga aylantirilgan. Qolgan yodgorliklarni kataloglashtirish bo'yicha birinchi harakat 1816 yilda "Frantsiya yodgorliklari" ning birinchi ro'yxatini yozgan Aleksandr de Labord tomonidan qilingan. 1832 yilda Viktor Gyugo maqola yozdi Revue des deux Mondes "qadimiy toshlarni qirg'in qilish" va Frantsiya o'tmishidagi "buzg'unchilar" ga qarshi urush e'lon qildi. Qirol Lui Filipp cherkovlar va boshqa yodgorliklarni tiklash uning rejimining ustuvor vazifasi bo'lishini e'lon qildi. 1830 yil oktyabrda Ichki ishlar vaziri tomonidan tarixiy yodgorliklar inspektori lavozimi yaratildi, Fransua Gizot, Sorbonnadagi tarix professori. Mérimée o'zining ikkinchi inspektori va eng baquvvat va uzoq umr ko'ruvchi bo'ldi. U yigirma etti yil davomida ushbu lavozimda ishlagan.[18]

O'rta asrlar shaharchasi Karkasson, 1860 yilda yodgorlik qildi

Merimi ichki ishlar vazirligidagi byurokratik mahoratini oshirgan va u vazifaning siyosiy va moliyaviy qiyinchiliklarini tushungan. U yangi vazifalariga uslubiy ravishda yaqinlashdi. U avval restavratsiya bo'yicha ixtisoslashgan va o'qitilgan me'morlar guruhini tashkil etdi va ilgari katolik cherkoviga tiklash uchun berilgan mablag'ni uning byudjetiga o'tkazdi. 1834 yil 31-iyulda u tarixiy yodgorliklarni birinchi tekshiruv safari bilan yo'l oldi, besh oy davomida sayohat qilib, ko'rgan yodgorliklarini tavsiflab, katalogladi. 1834 yildan 1852 yilgacha Frantsiyaning turli mintaqalariga o'n to'qqizta tekshiruv safari uyushtirdi. Janubi-sharqiy va Korsikaga eng uzoq vaqt besh oy davom etgan, ammo ko'p sayohatlar bir oydan qisqa bo'lgan. U har safaridan keyin qaytib kelgach, Vazirlikka nima qilish kerakligi to'g'risida batafsil hisobot tayyorladi. Bundan tashqari, u arxeologiya va tarix jurnallari uchun ilmiy tadqiqotlar yozgan. Uning ilmiy asarlari orasida O'rta asrlarda Frantsiyadagi diniy me'morchilik (1837) va gallar, yunonlar va rimliklar (1839) harbiy yodgorliklari tadqiqotlari mavjud. Va nihoyat, u har bir mintaqa yodgorliklari haqida mashhur tomoshabinlar uchun bir qator kitoblar yozdi va u "Yunoniston yoki Misrdan ham noma'lum" deb e'lon qilgan Frantsiyani jonli tasvirlab berdi.[19]

1840 yilda u birinchi rasmiyni nashr etdi Tarixiy yodgorliklar ro'yxati 934 ta yozuv bilan Frantsiyada.[20] 1848 yilga kelib ularning soni 2800 taga etdi. U restavratsiya loyihalariga ustuvor ahamiyat berish uchun muntazam ravishda qayta ko'rib chiqishni tashkil etdi va har bir mintaqada loyihalarni kuzatib boradigan, yangi kashfiyotlar qilgan va har qanday buzg'unchilik haqida signal beruvchi muxbirlar tarmog'ini tashkil etdi. Garchi u tasdiqlangan ateist bo'lsa-da, u himoya qilgan va tiklagan binolarning aksariyati cherkovlar bo'lib, u ularni milliy tarixning san'at asarlari va ziyoratgohlari deb bilgan. U tez-tez mahalliy cherkov ma'murlari bilan tortishib, so'nggi me'moriy o'zgarishlarni olib tashlashni va binolarni asl qiyofasiga qaytarishni talab qildi. Shuningdek, u eski inshootlarni buzmoqchi yoki o'zgartirmoqchi bo'lgan mahalliy hukumatlarga qarshi turdi. Uning orqasida qirol hukumatining vakolati bilan u shaharning oldini olishga muvaffaq bo'ldi Dijon O'rta asr Estates Saroyini ofis binosiga aylantirishdan va u shaharni to'xtatdi Avignon bo'ylab joylashgan o'rta asrlarning qal'alarini buzishdan Rhone daryosi temir yo'llarga yo'l ochish.[21]

The Musée milliy du Moyen Âge, Merimi 1844 yilda yaratgan

Unga bir nechta loyihalarida me'mor yordam bergan Evgen Viyollet-le-Dyuk. Violet-le-Dyuk yigirma olti yoshda edi va matematika va kimyo fanlarini o'rgangan, ammo me'morchilikni o'rganmagan; u o'z kasbini amaliy tajriba va sayohatdan o'rgangan. 1840 yilda u Merime uchun birinchi marta ishlagan; bir oy ichida u O'rta asrlarning qulashiga to'sqinlik qiladigan echimni ishlab chiqdi Vezelay Abbey. 1842–43 yillarda Merimey unga sobiq sobori fasadlarini tiklash uchun juda katta loyihani taklif qildi. Notre-Dame de Parij. Davomida olib tashlangan haykallarni qaytarib berdi Frantsiya inqilobi va keyinchalik shpilni tikladi.[22]

Merimi o'z konservatorlarini "soxta qadimgi" narsalardan qochish kerakligi to'g'risida ogohlantirdi: u ularga "mavjud bo'lgan narsalarni ko'paytirishni" buyurdi. Yo'q qilingan qismlarni ehtiyotkorlik bilan ko'paytiring, u erda ba'zi izlar bor. O'zingizni ixtirolarga bermang. Qadimgi davlatning izlari yo'qolganda, eng oqilona narsa - xuddi shu viloyatdagi bir xil turdagi binoga o'xshash analog naqshlarni nusxalashdir ".[22] Ammo, keyinchalik uning ba'zi restavratorlari, xususan Viollet-le-Duc, ba'zida gothic yoki romanesque me'morchilik uslubi ruhi bilan boshqarilgani uchun tanqid qilindi, agar asl qiyofasi ma'lum bo'lmasa.[23]

U ko'plab yodgorliklarni tiklashda shaxsan ishtirok etgan. Uning didi va iqtidori g'ayrioddiy lingvistik iste'dod, aniq ilmiy bilim, ajoyib tarixiy baho va dizayn va qurilish san'atiga bo'lgan samimiy muhabbatni birlashtirgan holda arxeologiyaga juda mos edi. U dizayn bo'yicha amaliy ko'nikmalarga ega edi. O'zining bir nechta san'at asarlari Uolters san'at muzeyi yilda Baltimor, Merilend.[24][25] ulardan ba'zilari, boshqa shunga o'xshash qismlar bilan, uning asarlarida qayta nashr etilgan.

1840–41 yillarda Merimi Italiya, Gretsiya va Kichik Osiyo bo'ylab kengaytirilgan ekskursiya o'tkazdi, arxeologik joylar va qadimiy tsivilizatsiyalarga tashrif buyurdi va yozdi. Uning arxeologiyasi unga Académie française des Inscriptions et Belles-Lettres-dan joy oldi va uning hikoyalari va romanlari unga joy oldi. Académie française 1844 yilda.[8]

1842 yilda u Frantsiya davlatiga O'rta asr binosi - "Hotel d'Cluny" ni va shuningdek, Rim hammomlarining qo'shni xarobalarini sotib olishni rejalashtirgan. U ularni birlashtirdi va namoyish etilishi kerak bo'lgan O'rta asrlar san'at asarlari to'plamini va qurilishini nazorat qildi. Hozir "muzey" deb nomlangan Musée milliy du Moyen Âge, 1844 yil 16 martda ochilgan.[26]

1841 yilda, tekshiruv safarlaridan birida u Chateau shahrida qoldi Bussak, Kreuz ichida Limuzin kompaniyasida, markaziy Frantsiya tumani Jorj Sand, yaqin atrofda yashagan. Ular birgalikda yaqinda Sub-prefektura tomonidan egallab olingan qal'ani ko'zdan kechirdilar. Yuqoridagi xonada ular ketma-ket oltita gobelenni topishdi Xonim va yagona muguz. Ular uzoq vaqt e'tiborsizlikdan aziyat chekishgan va nam va sichqonlarga zarar etkazishgan, ammo Merimi va Sand ularning qadr-qimmatini darhol anglab etishgan. Merimening gobelenlari yodgorliklar ro'yxatiga kiritilgan va ularni saqlab qolish uchun tartibga solingan.[27] 1844 yilda Sand ular haqida roman yozdi va ularni XV asrga to'g'ri belgilab qo'ydi.[28] 1861 yilda ular Frantsiya davlati tomonidan sotib olingan va Parijga olib kelingan, u erda tiklangan va namoyish etilgan Musée milliy du Moyen Âge Mérimée yaratishda yordam bergan, ularni bugun ko'rish mumkin.

La Vénus d'Ille, Kolomba va Karmen (1837–1845)

U tarixiy yodgorliklarni tadqiq qilar ekan, Merimi o'zining eng mashhur uchta romanini yozgan; La Vénus d'Ille (1837), Kolomba (1840) va Karmen (1845). Venera d'Ille uning 1834 yilgi yodgorliklarni tekshirish safari uchun yon mahsulot edi Russillon, Casefabre qishlog'iga va Ille-sur-Tet yaqinidagi Serrabina prioriyasiga. Novella Venera haykali haqida hikoya qiladi, u hayotga kiradi va uning eri deb hisoblagan egasining o'g'lini o'ldiradi. Hikoya tarixchi Freher tomonidan aytilgan O'rta asrlar hikoyasidan ilhomlangan.[29] Ushbu hikoyani misol sifatida Merémi hayoliy adabiyotlarni yozish san'atini tasvirlab berdi; "Unutmangki, g'ayritabiiy narsa haqida gapirib berayotganda, konkret voqelikning iloji boricha ko'proq tafsilotlarini tasvirlab berish kerak. Bu buyuk san'at Xofman va uning ajoyib hikoyalari "deb nomlangan.[29]

Kolomba - korsikalik haqida fojiali voqea vendetta. Markaziy qahramon Kolomba ukasini ishontirib aytadiki, u o'z oilasiga qilingan eski yomonlikning qasosini olish uchun odamni o'ldirishi kerak. Ushbu voqea uning orolga tarixiy yodgorliklarni o'rganish bo'yicha uzoq safari natijasidir va Korsika madaniyati va tarixi haqida batafsil ma'lumot bilan to'ldirilgan. Bu nashr etilganida Revue des deux Mondes bu ulkan mashhur muvaffaqiyatga erishdi. Hali ham frantsuz maktablarida misol sifatida keng o'rganilmoqda Romantizm.[30]

Karmen Merimening so'zlariga ko'ra, Mononto grafinyasi 1830 yilda Ispaniyaga tashrifi chog'ida unga aytib bergan hikoyaga asoslangan edi. Bohemienne (Romani ) askarni o'g'irlaydigan, keyin unga muhabbat qo'yadigan. Uning nomidan u odamni o'ldiradi va noqonuniy bo'lib qoladi, keyin u allaqachon turmush qurganligini aniqlaydi va rashk bilan erini o'ldiradi. U a sevib qolganini bilganida matador, u uni o'ldiradi, keyin hibsga olinadi va o'limga hukm qilinadi. Merineyga grafinya aytgan asl hikoyada Karmen a Bohemienne, lekin u Ispaniyada va Bolqonda rimliklar tili va rimliklar madaniyatini o'rganganligi sababli, unga shu ma'lumotni berishga qaror qildi. Karmen kabi mashhur muvaffaqiyatga ega bo'lmagan Kolomba. Meremening o'limidan keyin 1875 yilgacha opera tomonidan yaratilganiga qadar u haqiqatan ham mashhur bo'lmadi Jorj Bize. Opera Karmen Merimening hikoyasiga katta o'zgarishlar kiritdi, shu jumladan Karmenning erining rolini yo'q qildi.[29]

Merimi o'z adabiy obro'sini mustahkamlamoqchi edi. U birinchi bo'lib Frantsiya Yozuvlar Akademiyasiga va Belles-Lettrega saylanish uchun uslubiy targ'ibot o'tkazdi, u 1843 yil noyabrda erishgan eng yuqori akademik organga aylandi. Keyinchalik u eng taniqli adabiy tashkilot - Académie française. U har bir a'zo vafot etganida va joy bo'sh bo'lganida sabr-toqat bilan a'zolarni lobbi qildi. Nihoyat, u 1844 yil 14 martda, ovoz berishning o'n ettinchi bosqichida saylandi.[29]

Ikkinchi respublika va rus adabiyotining tarjimasi (1848–1852)

1847 yil oxirida Merimee Ispaniya tarixi, biografiyasi bo'yicha katta ishni yakunladi Don Pedro I, Kastiliya qiroli. Olti yuz sahifadan iborat bo'lib, beshta qismda nashr etilgan Journal de Deux Mondes 1847 yil dekabrdan 1848 yil fevralgacha.

1847 yilda u o'qidi Boris Godunov tomonidan Aleksandr Pushkin frantsuz tilida va Pushkinni asl tilida o'qishni xohladi. U o'zining rus o'qituvchisi sifatida bir vaqtlar Tsarning qizi Buyuk knyazlik Mari sharafiga sazovor bo'lgan rus muhojiri Madam de Langreneni qabul qildi. Rossiyalik Nikolay I. 1848 yilga kelib u Pushkinning tarjimasini qila oldi Spades malikasi frantsuz tiliga; u 1849 yil 15-iyulda Revue des deux Mondes. U Parijdagi rus yozuvchilarining adabiy saloniga tashrif buyurishni boshladi Cercle des Art o'zining rus tilini mukammal qilish uchun Choiseul shafqatsiz harakatida. U Pushkinning yana ikkita hikoyasini tarjima qildi, Bogemiyaliklar va Hussar, shu qatorda; shu bilan birga O'lik qalblar va Bosh inspektor tomonidan Nikolay Gogol. Shuningdek, u rus tarixi va adabiyoti bo'yicha bir necha insholar yozgan. 1852 yilda u ilmiy maqolasini nashr etdi, Rossiya tarixi epizodi; Soxta Dimitri, ichida Revue des Deux Mondes.[31]

1848 yil fevralda Milliy gvardiya a'zosi sifatida u tomoshabin edi 1848 yildagi frantsuz inqilobi bu qirol Lui Filippni ag'darib tashlagan va Frantsiya Ikkinchi respublikasi. 8 mart kuni u do'sti Madam de Montijoga shunday deb yozgan edi: "Mana biz respublikada, g'ayrat-ehtirossiz, lekin buni ushlab turishga qaror qildik, chunki bu bizning xavfsizligimiz uchun yagona imkoniyat".[32] Yangi hukumat tarixiy yodgorliklar byurosini tugatdi va uning vazifasini Tasviriy san'at bo'limiga qo'shdi; ammo, Merimi tarixiy yodgorliklar inspektori lavozimini va tarixiy yodgorliklar komissiyasiga a'zoligini saqlab qoldi.[32] 1848 yil dekabrda, Lui Napoleon Bonapart 1848 yil dekabrda Ikkinchi Respublikaning birinchi prezidenti etib saylandi va Merime o'z faoliyatini davom ettirdi. 1849 yilda u o'rta asrlarni saqlab qolish uchun muvaffaqiyatli kampaniyani tashkil etishga yordam berdi Karkasson qal'asi. 1850 yilda u Sen-Loranning shifri yilda Grenobl tarixiy yodgorlik sifatida tasniflanishi.[31]

1852 yil Merimi uchun qiyin bo'lgan. 1852 yil 30 aprelda u bilan birga yashagan va unga juda yaqin bo'lgan onasi vafot etdi. U, shuningdek, do'stlaridan biri, Piza matematikasi professori Count Libri Carrucci Della Sommai ismli, 1824 yilda Frantsiyaga joylashib, professor bo'lib ishlagan sud ishiga aralashib qoldi. Sorbonna, a'zosi Frantsiya kolleji, Faxriy Legion sohibi va Frantsiya kutubxonalarining bosh inspektori. U o'zining ilmiy qopqog'i ostida davlat kutubxonalaridan qimmatbaho qo'lyozmalarni, shu jumladan matnlarini o'g'irlayotgani aniqlandi Dante va Leonardo da Vinchi va ularni qayta sotish. U fosh bo'lganida, u o'n oltita magistralda 30000 asar olib, Angliyaga qochib ketdi va o'zini fitna qurboniga aylantirdi. Garchi barcha dalillar graf Libriga qarshi bo'lsa-da, Merimi o'z tarafini oldi va 1852 yil aprel oyida Librining ayblovchilariga shafqatsiz hujum qildi. Revue des deux Mondes. U prokuratura xodimlarining malakasizligiga hujum qildi va ishni ixtiro qilganlikda katolik cherkovini aybladi. Onasi vafot etgan o'sha kuni u davlat prokurorlari huzuriga chaqirildi va o'n besh kunlik qamoq jazosiga hukm qilindi va ming frank jarimaga tortildi. The Revue des deux Mondes shuningdek, ikki yuz frank jarimaga tortildi. Merimi hukumatdan iste'foga chiqishni taklif qildi, rad etildi. U jazoni ro'yxatdagi tarixiy yodgorliklaridan birida o'tkazdi Palais de la Cité qamoqxonada, rus tartibsiz fe'llarini o'rganish vaqtini o'tkazdi.[33]

Imperiya imperatori va senatorining maslahatchisi (1852–1860)

The Empress Evgeniya 1853 yilda

1851 yil dekabrda Prezident Lui-Napoleon Bonapartning Frantsiya Konstitutsiyasi tomonidan qayta saylanishiga to'sqinlik qilindi. Buning o'rniga u to'ntarish uyushtirdi va imperator bo'ldi Napoleon III. Merimiya to'ntarishni falsafiy jihatdan qabul qildi, chunki u monarxiyadan ko'ra anarxiyadan qo'rqardi va boshqa amaliy variantni ko'rmadi.[34] Merimiy to'ntarishni qabul qilgan bo'lsa, boshqalar, jumladan Viktor Gyugo ham buni qabul qilmadi. Ugo surgunga borishdan oldin, 1851 yil 4-dekabrda Parijda Merimey bilan so'nggi uchrashuvini Gugo quyidagicha tasvirlab berdi: "" Ah ", dedi M. Merimi," Men sizni qidiryapman ". Men javob berdim:" Umid qilamanki topolmaysiz " Men ". U qo'lini uzatdi va men orqamga o'girildim. O'shandan beri men unga o'xshamayapman. U o'lik deb o'ylayman ... M. Mérimée tabiatan qabih". Merimening xizmatlarini yangi imperator kutib oldi; davlat to'ntarishidan ko'p o'tmay, 1852 yil 21-yanvarda u Faxriy Legion ofitseriga ko'tarildi. Yangi imperator tarixiy yodgorliklarni saqlashga, xususan, Notr-Dam soborini qayta tiklashga ustuvor ahamiyat berdi va Merimi o'z mavqeini saqlab qoldi va bir muncha vaqt tekshiruv safarlarini davom ettirdi.[35]

Merimi, uni izlamay, tez orada imperator bilan yana yaqin aloqada bo'ldi. Montijoning graf va grafinya yaqin do'stlari qizi Eugéni Montijo, Sankt-Bulut saroyidagi tadbirga taklif qilingan va u erda yangi imperator bilan uchrashgan. 1852 yil noyabr oyida u mehmonga taklif qilindi Fonteyn saroyi Imperator unga turmush qurishni taklif qilgan joyda. Ular o'n besh kundan keyin Tileriler saroyida turmush qurishdi va u bo'ldi Empress Evgeniya. Mérimée uchun darhol sharaflar kuzatildi; u yiliga 30 ming frank maosh oladigan imperiya senatoriga aylandi va yosh imperatriusning ishonchli va eng yaqin do'stiga aylandi.[8]

Empressning onasi Montijoning grafinyai Ispaniyaga qaytib keldi va Merimi imperatorning qilgan barcha ishlari to'g'risida uni xabardor qilib turdi. U sud hayoti bilan shug'ullanib, sud bilan imperatorlik qarorgohidan turar joyga ko'chib o'tdi Biarritz, Shateau de Compiène, Saint-Cloud shatosu va Fonteyn-Bela saroyi. Tez orada Empress imperatorning yagona romantik qiziqishi emasligi aniq bo'ldi; Napoleon III eski ishqibozlar bilan ishlarini davom ettirar, imperatorni ko'pincha yolg'iz qoldirar edi. Merimi sudda uning bosh do'sti va himoyachisi bo'ldi. U suddagi barcha tadbirlarda, shu jumladan to'p va raqslardan nafratlansa ham, maskalangan to'plarda qatnashishga majbur edi. U 1858 yilda do'sti Jenni Dakkinga yozganidek, u hikoyalar aytib berdi, sahna ko'rinishlarida qatnashdi va "o'zini ahmoq qildi". "Har kuni biz juda ko'p ovqat yeymiz va men yarim o'likman. Taqdir qilmadi meni xushmuomalalikka aylantir ... "[36] U Chateau de Compiègne-da bo'lib, u erda imperator uchun Frantsiyaning etakchi madaniyat arboblari bilan ma'ruzalar va munozaralar uyushtirgan. Lui Paster va Charlz Gounod. U taniqli mehmonlar bilan uchrashdi, shu jumladan Otto fon Bismark, u "juda janob" va "odatdagi nemisdan ko'ra ma'naviy" deb ta'riflagan.[37]

U senator roliga juda oz e'tibor berdi; o'n etti yil ichida u palatada atigi uch marta nutq so'zladi.[38] Merimi o'z vaqtining katta qismini asosiy ilmiy biografiyasini yozishga bag'ishlamoqchi edi Yuliy Tsezar. Biroq, u imperatorga ushbu loyiha to'g'risida xabar berganida, imperator Qaysarga o'z hayratini bildirdi va loyihani o'z zimmasiga oldi. Merimi imperatorga o'zining barcha izlanishlarini berishga va kitobini yozishda yordam berishga majbur edi. Yuliy Tsezarning tarixi 1865 yil 10 martda Napoleon III nomi bilan nashr etilgan va birinchi kuni yuz qirq ming nusxada sotilgan.[39]

Oxirgi ishlar, imperiyaning qulashi va o'lim (1861-1870)

U yodgorliklarga so'nggi uzoq sayohatini 1853 yilda qilgan, garchi u 1860 yilgacha yodgorliklarning bosh inspektori bo'lib ishlagan bo'lsa ham. Akademiya fransasi va Yozuvlar akademiyasining yig'ilishlarida qatnashishni davom ettirgan. U so'nggi asarlarini, uchta romanini fantastik janrda yozgan: Djomen bu sehrgarning yosh ayolni ilonga berganini ko'rgan Shimoliy Afrikadagi bir askar haqidagi voqea, bu shunchaki tush bo'lganligini anglab etdi. U vafotidan keyin 1873 yilgacha nashr etilmagan; La Chambre bleuEmpress uchun o'yin-kulgi sifatida yozilgan - bu mehmonxonadagi ikkita sevgilining hikoyasi, ular o'zlarining xonalari eshigi ostiga qon oqishini topishdan qo'rqib, bu faqat port sharob ekanligini tushunishadi. Lokis Daniya xalqi ertakidan olingan yarim odam va yarim ayiq bo'lgan jonzot haqidagi dahshatli voqea. Bu hikoya imperatriusni xursand qilish uchun ham yozilgan va u 1869 yil iyulda sudga ovoz chiqarib o'qigan, ammo mavzu sudni hayratda qoldirgan va bolalar xonadan yuborilgan. Bu 1869 yil sentyabr oyida Revue des deux Mondes.[40]

U yodgorliklarni saqlash bo'yicha ishlarini davom ettirdi, Komissiya yig'ilishlarida qatnashdi va 1860 yilda uning o'rnini yodgorliklar inspektori etib tayinlagan Besvillvaldga maslahat berdi. Uning talabiga binoan Komissiya O'rta asr qishloqlarini himoya qildi. Kord-sur-Ciel, Villebon Chateau va romanesk cherkovlari Sent-Emilyon. Shuningdek, u do'sti yordamida rus adabiyotiga bo'lgan ishtiyoqini rivojlantirishda davom etdi Turgenev va Parijdagi boshqa rus muhojirlari. U hayotiga bag'ishlangan o'n ikki maqola turkumini yozishni boshladi Buyuk Pyotr da paydo bo'lgan Nikolay Ustrialovning rus tilidagi asari asosida Journal des Savants 1864 yil iyunidan 1868 yil fevraligacha. U do'stiga "Buyuk Pyotr jirkanch yovuzlar bilan o'ralgan jirkanch odam edi. Bu menga juda kulgili" deb yozgan.[41] 1869 yilda u do'sti Albert Stapferga "Rus tili Evropada yunon tilidan tashqari eng chiroyli tildir. Nemis tilidan boy va ajoyib ravshanlikka ega ... Bu erda buyuk shoir va boshqa deyarli buyuk, ikkalasi ham bor" yoshligida duellarda o'ldirilgan va ajoyib roman yozuvchisi, mening do'stim Turgenev ".[42]

1860-yillarda u hali ham muntazam ravishda sayohat qilgan. U har yili 1860-1869 yillarda Angliyaga borgan, ba'zan rasmiy ish bilan shug'ullangan va 1862 yilda Londonda bo'lib o'tgan Universal tasviriy san'at ko'rgazmasida frantsuzlarning ishtirokini tashkil qilgan va 1868 yilda ingliz muzeyidan Luvrga ikkita antiqa Rim büstünü o'tkazish uchun va do'stini ko'ring Entoni Panitssi, Britaniya muzeyi direktori. 1859 yilda u Germaniya, Italiya, Shveytsariya va Ispaniyada bo'lib, u erda so'nggi buqalar jangida qatnashgan.[43]

1867 yilga kelib, u saroyning cheksiz marosimlari va sayohatlaridan charchagan va keyinchalik u kamdan-kam hollarda imperatorlik safarlarida qatnashgan. U jiddiy nafas olish muammolarini rivojlantirdi va Frantsiyaning janubida tobora ko'proq vaqt sarflashni boshladi Kann. U tobora ko'proq konservativ bo'lib, XVIII asrning 60-yillarida imperator tomonidan taklif qilingan liberal islohotlarga qarshi chiqdi.[44] 1869 yil may oyida u ochilish marosimida qatnashish taklifini rad etdi Suvaysh kanali Empress tomonidan.

1870 yil may oyida boshlangan Prussiya va Frantsiya o'rtasidagi siyosiy inqiroz Kanndan Parijga qaytishni talab qildi, u erda Senatning favqulodda yig'ilishlarida qatnashdi. Sog'lig'i yomonlashdi va u kamdan-kam hollarda uyidan chiqib ketishi mumkin edi. Empress unga imperatorlik bog'laridan meva yubordi va 24 iyunda unga eski sevgilisi Valentin Dessert va Violet-le-Dyuk tashrif buyurishdi. Uning sog'lig'i yomonlashishda davom etdi; u do'stiga: "Hammasi tugadi. Men o'zimni o'limga kelayotganimni ko'rayapman va o'zimni tayyorlayapman" dedi.[45]

Prussiya bilan urush vatanparvarlik ishtiyoqi bilan boshlandi, ammo tezda vayronaga aylandi. Frantsiya armiyasi va imperator Sedan atrofida qurshab olingan. One of the leaders of the group of deputies advocating the creation of a republic, Adolphe Thiers, visited Mérimée to ask him to use his influence with the Empress for a transition of power, but the meeting was brief; Mérimée would not consider asking the Empress and Emperor to abdicate. He told his friends that he dreaded the arrival of a republic, which he called "organized disorder".[45]

On 2 September, news arrived in Paris that the army had capitulated and that Napoleon III had been taken prisoner. On 4 September, Mérimée got out of bed to attend the last meeting of the French Senate at the Luxembourg Palace. In the chamber he wrote a brief note to Panizzi: "All that the most gloomy and most dark imagination could invent has been surpassed by events. There is a general collapse, a French Army which surrenders, and an Emperor who allows himself to be taken prisoner. All falls at once. At this moment the legislature is being invaded and we cannot deliberate any longer. The National Guard which we just armed pretends to govern. Adieu, my dear Panizzi, you know what I suffer". The Third Republic was proclaimed on the same day. Despite his illness, he hurried to the Tuileries Palace hoping to see the Empress, but the Palace was surrounded by armed soldiers and a crowd. The Empress fled for exile to London, and Mérimée did not see her again.[46]

Mérimée returned to Cannes on 10 September. He died there on 23 September 1870, five days before his 67th birthday. Though he had been an outspoken atheist most of his life, at his request he was buried at the Cimetière du Grand Jas, the small cemetery of the Protestant church in Cannes. A few months later, in May 1871, during the Parij kommunasi, a mob burned his Paris home, along with his library, manuscripts, archaeological notes and collections because of his close association with the deposed Napoleon III.

Shaxsiy hayot

He lived with his mother and father in Paris until the death of his father in September 1837. From 1838 he shared an apartment with his mother on the Left Bank at 10 rue des Beaux-Arts, in the same building as the offices of the Revue des deux Mondes. They moved to a house at 18 rue Jacob in 1847 until his mother died in 1852.

Mérimée never married, but he needed female company. He had a series of romantic affairs, sometimes carried out by correspondence. In January 1828, during his youth, he was wounded in duel with the husband of his mistress at the time, Émilie Lacoste. In 1831 he began a relationship by correspondence with Jenny Dacquin. Their relationship continued for ten years, but they only met six or seven times, and then rarely alone. In 1873, after his death, she published all of his letters under the title Lettres a une inconnue, or "Letters to an Unknown", in several volumes.[47]

In his youth he had a mistress in Paris, Céline Cayot, an actress whom he supported financially and paid for an apartment. He then had a longer and more serious relationship with Valentine Delessert. Born in 1806, she was the daughter of Count Alexandre de Laborde, yordamchi ga King Louis Philippe, and she was married to Gabriel Delessert, a prominent banker and real estate developer, who was twenty years older. Mérimée met Delessert in 1830, and she became his mistress in 1836, when he was visiting Chartres, where her husband had been named Prefect. he wrote to Stendhal that "She is my grand passion; I am deeply and seriously in love".[48] Her husband, who had become prefect of police in Paris, apparently ignored the relationship. However, by 1846, the relationship had cooled, and while he was on one of his long tours, she became the mistress of another writer, Charles de Rémusat. His correspondence shows he was desolate when Delessert abandoned him for younger writers Rémusat and then, in 1854, for Maxime Du Camp. One consolation for Mérimée in his last years was a reconciliation with Delessert in 1866.[49]

In 1833 he had a brief romantic liaison with the writer Jorj Sand, which ended unhappily. After they spent a night together, they separated without warmth. She told a friend, the actress Marie Darval, "I had Mérimèe last night, and it wasn't much". Darval promptly told her friend Aleksandr Dyuma, who then told all of his friends. Mérimée promptly counter-attacked, calling her "a woman debauched and cold, by curiosity more than by temperament". They continued to collaborate on common goals. They both played a part in 1834 in the discovery and preservation of The Lady and the Unicorn tapestries; he declared the tapestries were of historic value, and she publicized them in one of her novels. In 1849 he assisted her when she asked that the paintings in the church of Nohant, where she lived, be classified, which he did. He also provided a subsidy of 600 francs to the church. However, she deeply offended him by openly ridiculing the Empress Eugénie. At their last meeting in 1866, he found her hostile. She came to visit him a few days before his death, but he refused to see her.[49]

When he traveled on his inspection trips around France, he often sought the company of prostitutes. He was often cynical about his relationships, writing, "There are two kinds of women; those who are worth the sacrifice of your life, and those who are worth between five and forty francs.[50] Many years later he wrote to Jenny Dacquin, "It is a fact that at one time of my life I frequented bad society, but I was attracted to it through curiosity only, and I was there as a stranger in a strange country. As for good society, I found it often enough deadly tiresome."[51]

U bilan juda yaqin do'stlik bor edi Stendal, who was twenty years older, when they were both aspiring writers, but the friendship later became strained as Mérimée's literary success exceeded that of Stendhal. They traveled together to Rome and Naples in November 1837, but in his correspondence Stendhal complained of the vanity of Mérimée and called him "his Pedantry, Mister Academus". The early death of Stendhal in Paris on 23 March 1842, shocked Mérimée. He offered his correspondence from Stendhal to the Revue des deux Mondes, but the editor refused them as not worthy of attention. In 1850, eight years after the death of Stendhal, Mérimée wrote a brief brochure of sixteen pages describing the romantic adventures that he and Stendhal had had together in Paris, leaving most of the names blank. Only twenty-five copies were made, and distributed to friends of Stendhal. The brochure caused a scandal; Mérimée was denounced as an "atheist" and "blasphemer" by friends of Stendhal for suggesting that Stendhal had ever behaved improperly. He responded that he simply wanted to show that Stendhal was a genius but not a saint.[52]

The poet and critic Charlz Bodler compared the personality of Mérimée with that of the painter Eugène Delacroix, both men suddenly thrust into celebrity in the artistic and literary world of Paris. He wrote that they both shared "the same apparent coldness, lightly affected, the same mantle of ice covering a shy sensibility, an ardent passion for the good and the beautiful, the same hypocrisy of egoism, the same devotion to secret friends and to the ideas of perfection".[53]

Politically, Mérimée was a liberal in the style of the Doktorlar, welcomed the Iyul Monarxiyasi, and maintained an affection for Adolphe Thiers va Viktor amakivachcha, with whom he maintained a lifelong correspondence.[54][55] After the uprisings of 1848, he opted for the stability offered by Emperor Napoleon III, which earned him the ire of the republican opposition such as Victor Hugo.[54] Despite his close relations with the Emperor, Mérimée remained a committed Voltairean and opposed to both "papists" and legitimists (ultra-royalists).[54] He likewise became more critical of both the domestic and foreign policies of the Empire after 1859, and opposed the military adventures in Meksika.[54][55][56]

Adabiy tanqid

In his later years, Mérimée had very little good to say about other French and European writers, with a few exceptions, such as his friends Stendal va Turgenev. Most of his criticism was contained in his correspondence with his friends. He described the later works of Viktor Gyugo as "words without ideas". Describing Les Misérables, Mérimée wrote: "What a shame that this man who has such beautiful images at his disposal lacks even a shadow of good sense or modesty, and is unable to refrain from saying these platitudes not worthy of an honest man". He wrote his friend Madame Montijo that the book was "perfectly mediocre; not a moment that is natural".[57] Gapirganda Flaubert va Bovari xonim, he was a little kinder. He wrote: "There is a talent there which he wastes under the pretext of realism". Describing the Fleurs du mal tomonidan Bodler, he wrote: "Simply mediocre, nothing dangerous. There are a few sparks of poetry... the work of a poor young man who doesn't know life... I don't know the author, but I'll wager that he is naïve and honest. That's why I hope they don't burn him."[58]

In an essay of October 1851, he attacked the entire genre of Realizm va Naturalizm in literature: "There is a tendency in almost all of our modern school to arrive at a faithful imitation of nature, but is that the objective of art? I don't believe so".[59]

He was equally scathing in his descriptions of the foreign writers of his time, with the exception of the Russians, particularly Turgenev, Pushkin va Gogol, whom he admired. Of Charlz Dikkens he wrote: "[He] is the greatest one among the pygmies. He has the misfortune of being paid by the line, and he loves money". He was even harsher toward the Germans: Gyote was "a great humbug", Kant was a "chaos of obscurity", and of Vagner he wrote: "There is nothing like the Germans for audacity in stupidity".[60]

In return, Mérimée was attacked by Victor Hugo, who had admired Mérimée at the beginning of his career, but never forgave him for becoming a senator under Napoleon III. In one of his later poems, he described a scene as being "flat as Mérimée".

Legacy and place in French literature

Mérimée's best-known literary work is the novella Karmen, though it is known principally because of the fame of the opera made from the story by Jorj Bize vafotidan keyin. He is also known as one of the pioneers of the short story and novella, and also as an innovator in fantasy fiction. His novellas, particularly Kolomba, Mateo Falcone, Tamango va La Vénus d'Ille, are widely taught in French schools as examples of vivid style and concision.

Mérimée was an important figure in the Romantik harakat of French literature in the 19th century. Like the other Romantics, he used picturesque and exotic settings (particularly Spain and Corsica) to create an atmosphere, and looked more often at the Middle Ages than to classical Greece or Rome for his inspiration. He also frequently used themes of fantasy and the supernatural in his stories, or, like Victor Hugo, used the Middle Ages as his setting. He used a careful selection of details, often noted during his travels, to create the setting. He often wrote about the rapport of force between is characters; man and woman, slave and master, father and son, and his stories often featured extreme passions, violence, cruelty and horror, and usually ended abruptly in a death or tragedy. He told his stories with a certain distance and ironic tone that was particularly his own.[61]

His development and mastery of the nouvelle, a long short story or short novel, was another notable contribution to French literature. When he began his writing career in the 1830s, the most prominent genres were the drama (Victor Hugo and Musset ), poetry (Hugo, Lamartin va Vigny ), and the autobiography (Chateaubriand ). Mérimée perfected the short story, with an economy of words and action. The contemporary literary critic Sainte-Beuve wrote: "...He goes right to the fact, and goes immediately into action... his story is clear, lean, alert, vivid. In the dialogues of his characters there is not a useless word, and in his actions he lays out in this advance exactly how and why it will have to happen". In this genre, he was the contemporary of Edgar Allan Po and the predecessor of Gay de Mopassant.[61]

Mérimée's other important cultural legacy is the system of classification of historic monuments that he established, and the major sites that he saved, included the walled citadel of Carcasonne, and his part in the foundation of the National Museum of Medieval History Parijda. The French national list of heritage monuments is called the Base Mérimée uning sharafiga. Another part of his legacy is the discovery and preservation of The Lady and the Unicorn tapestries now on display in the National Museum of Medieval History.

Ishlaydi

Dramatik asarlar

  • Théâtre de Clara Gazul – several short satirical pieces purportedly by a Spanish actress, Clara Gazul (1825)
  • La Jacquerie, scènes féodales – dramatic scenes about a peasant insurrection in the Middle Ages (1828)
  • Le Carrosse du Saint Sacrement – a comedy about a theatrical troupe, published the Revue de Parij (1829; later made into the film The Golden Coach tomonidan Jan Renoir )

Poems and ballads

  • La Guzla, ou Choix de Poésies Illyriques recueillies dans la Dalmatie, la Croatie et l'Herzegowine – ballads purportedly translated from the original "Illyrian" (i.e. Xorvat ) by one Hyacinthe Maglanovich (1827)

Romanlar

  • La Chronique du temps de Charles IX — a novel set at the French court at the time of the St. Bartholomew massacre in 1572 (1828)

Romanlar

  • Mateo Falcone – a novella about a Corsican man who kills his son in the name of justice (published in the Revue de Parij; 1829)
  • Vision de Charles XI – novella published in Revue de Parij (1829)
  • L'Enlevement de la Redoute – historical novella published in the Revue de Parij (1829)
  • Tamango – historical novella about the slave trade in the 18th century, published in the Revue de Parij (1829)
  • Federigo – novella published in the Revue de Parij (1829)
  • La Vase étrusque – novella published in Revue de Parij (1830)
  • La Partie de trictrac – novella published in the Revue de Parij (1830)
  • La Double Meprise – novella published in Revue de Parij (1833)
  • Mosaik – a collection of the novellas published earlier in the press, as well as three of his letters from Spain (1833)
  • Les âmes du Purgatoire – a novella about the libertine Don Juan Maraña.
  • La Vénus d'Ille – a fantastic dahshat tale of a bronze statue that seemingly comes to life (1837)
  • Karmen – a novella describing an unfaithful gypsy girl who is killed by the soldier who loves her (1845). It was later the basis of the opera Karmen tomonidan Jorj Bize (1875)
  • Kolomba – a novella about a young Corsican girl who pushes her brother to commit murder to avenge their father's death (1840)
  • Lokis - a dahshat story, set in Litva, about a man who appears to be half-bear and half-man. This was his last work published in his lifetime (1868)
  • La Chambre oqartmasi – a novella that combines a supernatural tale and farce, written for the amusement of the Court of Napoleon III, published after his death
  • Djoûmane – his last novella, published after his death (1870)

History, literature, notes on voyages and archaeology

  • Lettres d'Espagne (Letters from Spain) – descriptions of Spanish life, including the first mention of the character Carmen (1831)
  • Notes d'un voyage dans la midi de la France – an account of his first tour as Inspector of Public Monuments (1835)
  • Notes d'un voyage dans l'ouest de la France – description of the monuments of western France (1836)
  • Notes d'un voyage en Auvergne – description of the monuments of the Overgne (1838)
  • Notes d'un voyage en Corse – description of the monuments of Korsika. This trip gave him the material for his next novella, Kolomba (1840)
  • Essai sur la guerre sociale – an essay on the Ijtimoiy urush in ancient Rome (1841)
  • Mélanges historiques et littéraires (1841)
  • Études sur l'histoire romaine: vol.1 Guerre sociale, vol.II Conjuration de Catilina (1844)
  • Les Peintures de St.-Savin – the first detailed study of the Romanesque murals of the Sen-Savin-sur-Gartempe Abbey cherkovi, now a UNESCO World Heritage site (1845)
  • Histoire de don Pédre, roi de Castille – a biography of Peter of Castile, also known as Peter the Cruel and Peter the Just, ruler of Kastiliya in the 14th century (1848)
  • Un Episode de l'histoire de Russie; le faux Demitrius – a study of the history of the Soxta Dmitriy in Russian history (1852)
  • Histoire du regnè de Pierre le Grand – first of a series of articles on the reign of Buyuk Pyotr of Russia (1864)
  • Les Cosaques de l'Ukraine et leurs derniers attamans (1865)
  • Les Cosaques d’autrefois (1865)

Translations and criticism of Russian literature

  • La Dame de pique (Spades malikasi, "Пиковая дама"), Les Bohémiens (The Gypsies, "Цыганы"), Le Hussard ("Гусар") (1852) by Aleksandr Pushkin (1852)
  • L'Inspecteur général (Davlat inspektori; "Ревизор") by Nikolay Gogol (1853)
  • Le Coup de pistolet ("Выстрел") by Alexander Pushkin (1856)
  • Apparitions ("Призраки") by Ivan Turgenev (1866)
  • Articles on Nikolay Gogol (1852), Aleksandr Pushkin (1868), Ivan Turgenev (1868)

Xatlar

  • Lettres à une inconnue (Letters to an unknown) – a collection of letters from Mérimée to Jenny Dacquin (1874)
  • Letters to Panizzi, collection of his letters to the Sir Entoni Panitssi, librarian of the British Museum
  • General Correspondence, edited by Parturier, in three volumes (1943)
  • "Lettres à Edward Ellice", with an introduction and notes by Marianne Cermakian and France Achener (1963), Bernard Grasset, Paris[62]

Manba: Mérimée, Prosper (1927). Œuvres complètes [Complete Works]. Paris: Le Divan.

Adabiyotlar

Izohlar va iqtiboslar

  1. ^ "Prosper Mérimée". Britannica entsiklopediyasi.
  2. ^ a b Darcos 1998, p. 20.
  3. ^ Balsamo, Jean, Notes and introduction to Kolomba (1995)
  4. ^ a b Pierl, Caecelia, Notes to Mateo Falcone, 17-bet
  5. ^ Darcos 1998, p. 38-45.
  6. ^ Darcos 1998, p. 74.
  7. ^ Darcos 1998, p. 43.
  8. ^ a b v d Quillet, p. 3717.
  9. ^ Darcos 1998, p. 82.
  10. ^ Darcps 1998, p. 82.
  11. ^ Darcos 1998, pp. 82=83.
  12. ^ Notes on Kolomba by Jean Balsamo (1995)
  13. ^ Darcos 1998, p. 110.
  14. ^ Fierro, Alfred, Parijdagi histoire va Dictionnaire (1996), page 617
  15. ^ Darcos 1998, p. 115.
  16. ^ Darcos 1998, p. 119.
  17. ^ Darcos 1998, p. 118.
  18. ^ Darcos 1998, 156-159 betlar.
  19. ^ Darcos 1998, pp. 148–156.
  20. ^ Petit Robert – Dictionnaire Universel des noms propres, Volume 2, (1988) page 1880
  21. ^ Darcos 1998, p. 209.
  22. ^ a b Darcos 1998, p. 219.
  23. ^ Darcos 1998, pp. 219–221.
  24. ^ "Prospere Mérimée". Olingan 29 avgust 2014.
  25. ^ Mérimée, Prosper (1834). "Letters from Spain No. III: An Execution", The Dublin University Magazine, Jild IV, pp. 184–191.
  26. ^ Darcos 1998, p. 221.
  27. ^ Tindall, Gillian, On a Unicorn Hunt in France, The New York Times, 31 May 1998
  28. ^ Ralls, Karen (March 2014), "Medieval Mysteries: A Guide to History, Lore, Places and Symbolism: Karen Ralls PhD, p. 180: 9780892541720: Amazon.com: Books", Amazon.com, ISBN  978-0892541720
  29. ^ a b v d Darcos 1998, p. 270.
  30. ^ Mérimée 1995, pp. 3–54.
  31. ^ a b Darcos 1998, 294-296 betlar.
  32. ^ a b Darcos 1998, p. 313.
  33. ^ Darcos 1998, 332–333-betlar.
  34. ^ Darcos 1998, p. 232.
  35. ^ Darcos 1998, pp. 324–325.
  36. ^ Darcos 1995, pp. 358.
  37. ^ Darcos 1998, pp. 345–352.
  38. ^ Darcos 1995, p. 357.
  39. ^ Darcos 1998, p. 399.
  40. ^ Darcos 1998, p. 434.
  41. ^ Darcos 1995, p. 403.
  42. ^ Darcos 1998, p. 410.
  43. ^ Darcos 1998, pp. 486–489.
  44. ^ Darcos 1998, p. 352.
  45. ^ a b Darcos 1998, p. 528.
  46. ^ Darcos 1998, pp. 529–531.
  47. ^ Darcos 1998, p. 244.
  48. ^ Darcos 1998, p. 241.
  49. ^ a b Darcos 1998, p. 461.
  50. ^ Darcos 1998, 238-239 betlar.
  51. ^ MerimiLetters to an Unknown, XXI
  52. ^ Darcos 1998, 231–232 betlar.
  53. ^ Darcos 1998, p. 248.
  54. ^ a b v d Schmitt, Alain (2010). "Mérimée libéral". La Revue des Lettres modernes. Écritures XIX. 6: 105–115.
  55. ^ a b Schmitt, Alain (2007). "Mérimée et Victor Cousin – une amitié philosophique ?". Romantisme: Revue du dix-neuvième siècle. 1 (135): 111–127. doi:10.3917/rom.135.0111.
  56. ^ Arrous, Michel (2012). ""Aa. Vv., "Cahiers Mérimée", 3"". Studi Francesi (166): 167–168. doi:10.4000/studifrancesi.4740.
  57. ^ Darcos 1998, p. 438.
  58. ^ Darcos 1998, p. 439.
  59. ^ Darcos 1998, p. 447.
  60. ^ Darcos 1998, p. 445.
  61. ^ a b Mérimée, Prosper, Mateo Falcone, notes and presentation by Caecilia Perl, Flammarion (200), pages 10–13
  62. ^ From Notes and presentation by Caecelia Pierl for Mateo Falcone and Tamango (2013), Flammarion

Bibliografiya (frantsuz tilida)

  • Darcos, Xavier (1998). Prosper Mérimée (frantsuz tilida). Parij: Flammarion. ISBN  2-08-067276-2.CS1 maint: ref = harv (havola)
  • Mérimée, Prosper, Kolomba (1995), Le Livre de Poche Classiques, introduction and notes by Jean Balsamo, ISBN  978-2-253-06722-1
  • Mérimée, Prosper, Mateo Falcone, Tamango (2013), Flammarion, Presentation and notes by Caecelia Pierl, ISBN  978-2-0812-9390-8
  • Mérimée, Prosper, La Vénus d'Ille et autres nouvelles, (2016), Librio, ISBN  978-2-0812-9390-8
  • Dictionnaire Encyclopédique Quillet. Paris: Librarie Aristide Quillet. 1962 yil.

Qo'shimcha o'qish

  • Child, T.E. (1880). "Prosper Mérimée," The Gentleman's Magazine, Vol. 246, pp. 230–245.
  • Cropper, Corry (2004–2005). "Prosper Mérimée and the Subversive 'Historical' Short Story," Nineteenth-Century French Studies, Vol. 33, No. 1/2, pp. 57–74.
  • Dale, R.C. (1966). The Poetics of Prosper Merimee. The Hague/Paris: Mouton & Co.
  • Erlande-Brandenburg, Alain (1993). The Lady and the Unicorn. Paris: Réunion des Musées Nationaux.
  • Gerould, Daniel (2008). "Playwriting as a Woman: Prosper Mérimée and 'The Theatre of Clara Gazul'," PAJ: A Journal of Performance and Art, Vol. 30, No. 1, pp. 120–128.
  • Jeyms, Genri (1878). "Mérimée Letters." In: French Poets and Novelists. London: Macmillan & Co., pp. 390–402.
  • Northup, George T. (1915). "The Influence of George Borrow upon Prosper Mérimée," Modern Philology, Vol. 13, No. 3, pp. 143–156.
  • Pater, Walter H. (1900). "Prosper Mérimée." In: Studies in European Literature. Oxford: Clarendon Press, pp. 31–53.
  • Raitt, A. W. "History and Fiction in the Works of Merimee." Bugungi tarix (Apr 1969), Vol. 19 Issue 4, pp 240-247 online.
  • Sivert, Eileen Boyd (1978). "Fear and Confrontation in Prosper Mérimée's Narrative Fiction," Nineteenth-Century French Studies, Vol. 6, No. 3/4, pp. 213–230.
  • Sprenger, Scott (2009). "Mérimée’s Literary Anthropology: Residual Sacrality and Marital Violence in 'Lokis,'" Anthropoetics XIV, no. 2 Winter 2009.
  • Symons, Arthur (1919). "Prosper Mérimée." In: The Symbolist Movement in Literature. Nyu-York: E.P. Dutton & Company, pp. 43–68.
  • Thorold, Algar (1909). "Prosper Mérimée." In: Six Masters in Disillusion. London: Archibald Constable & Co., pp. 26–55.
  • Wells, B. W. (1898). "The Fiction of Prosper Mérimée," The Sewanee Review, Vol. 6, No. 2, pp. 167–179.

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