#andré chénier

[wavveisnothere]

Finished! :D

I read “Le pas du juge” by Henri Troyat two months ago, and that’s how I discovered André Chénier.

#andré chénier #french revolution #frev #frev art #frev community #révolution française #art #procreate

[fleurdusoir]

Je ne suis qu'au printemps, je veux voir la moisson; Et comme le soleil, de saison en saison, Je veux achever mon année.

André Chénier, La jeune captive

#citation #poésie #littérature française #auteur français #quote #poetry #french literature #french author #andré chénier #la jeune captive #printemps #moisson #soleil #saison #année

[usergreenpixel]

Hi, Citizens!

So, in my review of “Andrea Chénier” (the Frev opera) I mentioned that the real Chénier was a royalist (that’s the reason why he was actually executed) and even wrote an ode to Charlotte Corday.

Well, I found the ode! Not as proof I’m not lying, just as a fun tidbit.

The original version (from this website):

Quoi ! tandis que partout, ou sincères ou feintes,

Des lâches, des pervers, les larmes et les plaintes

Consacrent leur Marat parmi les immortels,

Et que, prêtre orgueilleux de cette idole vile,

Des fanges du Parnasse un impudent reptile

Vomit un hymne infâme au pied de ses autels ;

La vérité se tait ! Dans sa bouche glacée,

Des liens de la peur sa langue embarrassée

Dérobe un juste hommage aux exploits glorieux !

Vivre est-il donc si doux ? De quel prix est la vie,

Quand, sous un joug honteux, la pensée asservie,

Tremblante, au fond du coeur, se cache à tous les yeux ?

Non, non. Je ne veux point t'honorer en silence,

Toi qui crus par ta mort ressusciter la France

Et dévouas tes jours à punir des forfait.

Le glaive arma ton bras, fille grande et sublime,

Pour faire honte aux dieux, pour réparer leur crime,

Quand d'un homme à ce monstre ils donnèrent les traits.

Le noir serpent, sorti de sa caverne impure,

A donc vu rompre enfin sous ta main ferme et sûre

Le venimeux tissu de ses jours abhorrés !

Aux entrailles du tigre, à ses dents homicides,

Tu vins redemander et les membres livides

Et le sang des humains qu'il avait dévorés !

Son oeil mourant t'a vue, en ta superbe joie,

Féliciter ton bras et contempler ta proie.

Ton regard lui disait : " Va, tyran furieux,

Va, cours frayer la route aux tyrans tes complices.

Te baigner dans le sang fut tes seules délices,

Baigne-toi dans le tien et reconnais des dieux. "

La Grèce, ô fille illustre ! admirant ton courage,

Épuiserait Paros pour placer ton image

Auprès d'Harmodius, auprès de son ami ;

Et des choeurs sur ta tombe, en une sainte ivresse,

Chanteraient Némésis, la tardive déesse,

Qui frappe le méchant sur son trône endormi.

Mais la France à la hache abandonne ta tête.

C'est au monstre égorgé qu'on prépare une fête

Parmi ses compagnons, tous dignes de son sort.

Oh ! quel noble dédain fit sourire ta bouche,

Quand un brigand, vengeur de ce brigand farouche,

Crut te faire pâlir, aux menaces de mort !

C'est lui qui dut pâlir, et tes juges sinistres,

Et notre affreux sénat et ses affreux ministres,

Quand, à leur tribunal, sans crainte et sans appui,

Ta douceur, ton langage et simple et magnanime

Leur apprit qu'en effet, tout puissant qu'est le crime,

Qui renonce à la vie est plus puissant que lui.

Longtemps, sous les dehors d'une allégresse aimable,

Dans ses détours profonds ton âme impénétrable

Avait tenu cachés les destins du pervers.

Ainsi, dans le secret amassant la tempête,

Rit un beau ciel d'azur, qui cependant s'apprête

A foudroyer les monts, à soulever les mers.

Belle, jeune, brillante, aux bourreaux amenée,

Tu semblais t'avancer sur le char d'hyménée ;

Ton front resta paisible et ton regard serein.

Calme sur l'échafaud, tu méprisas la rage

D'un peuple abject, servile et fécond en outrage,

Et qui se croit encore et libre et souverain.

La vertu seule est libre. Honneur de notre histoire,

Notre immortel opprobre y vit avec ta gloire ;

Seule, tu fus un homme, et vengeas les humains !

Et nous, eunuques vils, troupeau lâche et sans âme,

Nous savons répéter quelques plaintes de femme ;

Mais le fer pèserait à nos débiles mains.

Un scélérat de moins rampe dans cette fange.

La Vertu t'applaudit ; de sa mâle louange

Entends, belle héroïne, entends l'auguste voix.

Ô Vertu, le poignard, seul espoir de la terre,

Est ton arme sacrée, alors que le tonnerre

Laisse régner le crime et te vend à ses lois.

Here’s the English version (from this website):

What! Everywhere, pretended or sincere,

Of cowards and of rogues the plaints and tears

Of their Marat’s ascension spread the news,

And, prideful priest of deity most foul,

A slimy would-be poet on the prowl

A noxious hymn upon his altar spews,

Yet truth keeps silent! Frozen, terrified,

By icy bonds of fear its tongue is tied,

Denying glorious deeds their just acclaim!

Is life so sweet then, and is death so frightful

When our free thoughts we must conceal and stifle,

Enslaving them under a yoke of shame?

No, I won’t honor you with silent praise

Who for the life of France gave up your days

To punish evils on the world released.

You armed yourself with steel, O maid sublime,

To shame the gods, and to undo their crime

Of giving human features to that beast.

The serpent coiling in his filthy lair

Saw your undaunted hand reach out and tear

Of his accursed days the poison thread.

You came to face the tiger gorged on killing,

Demanding restitution of the villain

For the warm flesh and blood of all the dead.

He saw you in the dimming light of day

Rejoice in triumph as you watched your prey.

“Go, vicious tyrant,” said your gaze, “begone!

Others will follow you into the night.

Bathing in blood has been your sole delight;

Now, fear the gods whilst bathing in your own.”

Illustrious maid! If Greece your like had harbored,

They’d raid their quarries for the purest marble

To raise your statues, to great heroes next;

Choirs at your tomb, in ecstasy most holy,

Would sing of Vengeance, goddess who works slowly

Yet strikes the tyrant when he least expects.

But here in France, to die by axe you’re fated.

It is the monster who is celebrated

Amidst his friends, monsters of lesser scale.

Oh! How you smiled — in what superb disdain

—

When thugs out to avenge the thug you’d slain

Believed the threat of death would make you pale!

Let them turn pale, those magistrates of hate,

Odious officials of an odious state:

At their tribunal, subject to their will,

Friendless and fearless in that awful hour,

You showed them that, though villainy have power,

One who renounces life is stronger still.

For months, beneath a sweet and cheerful look,

Your soul in its well-guarded secret book

Concealed the sentence on the scoundrel passed.

So smiles the azure sky, bright and alluring,

While, hidden still, a mighty storm is brewing,

Ready to shake the mountains with its blast.

Young, fair, led to your death, on that last ride

You looked resplendent like a lovely bride,

Your face, your gaze full of serenity.

Calm even on the scaffold, you despised

The baying crowds in outrage quick to rise,

A servile mob that still believes it’s free.

No, only virtue can be free. Our story

Is one of lasting shame, and yours of glory:

You were the only man, avenging maid!

And we, vile eunuchs, soulless, craven herd

Can murmur, woman-like, a plaintive word,

But our enfeebled hands can’t lift a blade.

You did not think one traitor sacrificed

To our ancestral spirits would suffice

A broken France from chaos to restore:

No, you had hoped that, by your courage shaken,

Our timid souls would finally awaken

And slay the plundering gang grown fat on gore.

One fewer snake crawls in this pit of slime.

Fair heroine of our forsaken time,

Virtue applauds you; hear her noble voice!

O virtue! When to evil laws succumb

And thunder sleeps, the dagger must become

Your sacred weapon and our only choice.

Well, that was an… interesting read. What do you think, Citizens?

#frev #french revolution #frev art #Frev poetry #history #andré chénier #andrea chénier #charlotte corday #jean paul marat

[plexussolaire]

L'épi naissant mûrit de la faux respecté ; Sans crainte du pressoir, le pampre tout l'été Boit les doux présents de l'aurore ; Et moi, comme lui belle, et jeune comme lui, Quoi que l'heure présente ait de trouble et d'ennui, Je ne veux point mourir encore. Qu'un stoïque aux yeux secs vole embrasser la mort : Moi je pleure et j'espère. Au noir souffle du nord Je plie et relève ma tête. S'il est des jours amers, il en est de si doux ! Hélas ! quel miel jamais n'a laissé de dégoûts ? Quelle mer n'a point de tempête ? L'illusion féconde habite dans mon sein. D'une prison sur moi les murs pèsent en vain, J'ai les ailes de l'espérance. Échappée aux réseaux de l'oiseleur cruel, Plus vive, plus heureuse, aux campagnes du ciel Philomèle chante et s'élance. Est-ce à moi de mourir ? Tranquille je m'endors Et tranquille je veille ; et ma veille aux remords Ni mon sommeil ne sont en proie. Ma bienvenue au jour me rit dans tous les yeux ; Sur des fronts abattus, mon aspect dans ces lieux Ranime presque de la joie. Mon beau voyage encore est si loin de sa fin ! Je pars, et des ormeaux qui bordent le chemin J'ai passé les premiers à peine. Au banquet de la vie à peine commencé, Un instant seulement mes lèvres ont pressé La coupe en mes mains encor pleine. Je ne suis qu'au printemps, je veux voir la moisson, Et comme le soleil, de saison en saison, Je veux achever mon année. Brillante sur ma tige et l'honneur du jardin, Je n'ai vu luire encor que les feux du matin ; Je veux achever ma journée. O mort ! tu peux attendre ; éloigne, éloigne-toi ; Va consoler les cœurs que la honte, l'effroi, Le pâle désespoir dévore. Pour moi Palès encore a des asiles verts, Les Amours des baisers, les Muses des concerts ; Je ne veux point mourir encore. » Ainsi, triste et captif, ma lyre toutefois S'éveillait, écoutant ces plaintes, cette voix, Ces vœux d'une jeune captive ; Et secouant le faix de mes jours languissants, Aux douces lois des vers je pliai les accents De sa bouche aimable et naïve. Ces chants, de ma prison témoins harmonieux, Feront à quelque amant des loisirs studieux Chercher quelle fut cette belle. La grâce décorait son front et ses discours, Et comme elle craindront de voir finir leurs jours Ceux qui les passeront près d'elle.

André Chénier, La Jeune Captive.

#poésie #poème #poète #french poetry #andré chénier #chénier #chenier #littéraire #écriture #échange #texte #jeunesse #vie #mot #mort #écrivain #captive #liberté #espoir

[fine-arts-gallery]

Portrait of the poet André Chénier (1825) by Horace Vernet.

#art #aesthetic #painting #portrait #artwork #portraiture #art history #19th century #romantic academia #romanticism #paintings #oil painting #classical art #fine art #oil on canvas #classic art #1800s #19th century art #portrait of the poet andré chénier #horace vernet

[paolo-streito-1264]

Brassaï. André Chénier’s House, on the Corner of Rue de Cléry & Rue Beauregard, Paris. 1939.

[laclefdescoeurs]

Portrait of the poet André Chénier (1762-1794), 1825, Émile-Jean-Horace Vernet

#Émile Jean Horace Vernet #Horace Vernet

[hamiltrash1804]

modern era jehan would definitely have rats and they would all have unusual names but boy does he treasure them “this one’s byron, and here’s charlotte and emily brontë, I named them that because they’re from the same litter. here’s andré chénier, one of my oldest rats, and these are percy and mary shelley, my breeding pair. this one is gérard de nerval, bahorel says he kind of looks like me.”

#thank you to everyone in the server for answering my questions lmao #les miserables #les mis #jehan prouvaire #jean prouvaire #prouvaire #bahorel #les amis de l'abc #modern era #if im tagging stuff wrong please tell me idk how to do it

[psalm22-6]

[T]he old man rushed headlong, with as much rapidity as his age permitted, from the bed-chamber, shut the door behind him, and, purple, choking and foaming at the mouth, his eyes starting from his head, he found himself nose to nose with honest Basque, who was blacking boots in the anteroom. He seized Basque by the collar, and shouted full in his face in fury:—“By the hundred thousand Javottes of the devil, those ruffians did assassinate him!”

“Who, sir?”

“André Chénier!”

“Yes, sir,” said Basque in alarm.

Engraving based on a drawing by Hermann Vogel around 1879 [source]

#Gillenormand #basque #les miserables #les mis #lm illustration #lm pour rire

[everyonewasabird]

Brickclub 5.5.3 “Marius Attacks”

Once again, I’m lost on the tone.

On the one hand, Gillenormand explains all his newfound niceness in terms of manipulation: “hey doesn’t it annoy you how I won’t fight you anymore, neener-neener?” and “I knew you didn’t love me, so I’m giving you something that will force you to.” On the other, it’s possible the good news and the niceness in itself are meant to entirely soften those things, so they’re meant to be a bit comical, and the stakes mean there’s no bite.

It’s hard to tell, because I really don’t fucking like this guy and I don’t know that I really see signs that Hugo agrees with me anymore.

Marius and Gillenormand reconcile in mutual tears. It leaves me pretty cold tbh.

And honestly, we know how the threat of Gillenormand’s cruelty and its momentary thawing can cause Marius to melt and fawn and call him “father”--the same way Marius’s cruelty evoked that same behavior in Cosette. Is there some reason I should think this moment is different? Why?

And Gillenormand emphasizes explicitly that this newfound affection is transactional: Marius calls him father three times, therefore Marius is rewarded with Cosette. In a truly harmless character that could maybe be an unimportant quirk, or a joke, but..... that’s not where we are. Gillenormand figured out how to turn Marius back into the rat helplessly pressing the levers Gillenormand wants pressed, and by god Gillenormand is going to make the most of it while Marius is still weak enough not to be able to make his own choices.

And, of course, none of this is honest, open interaction. Gillenormand is hiding his politics in the face of Marius’s displeasure--in this case hiding a view we know Jean Prouvaire agreed with, that André Chénier should never have been killed--and taking out his rage by grabbing Basque by the collar and shouting in his face.

Because, as with Madame Thenardier, it’s always about having someone available to punch down at.

But it does feel like it’s all being played for laughs, and Gillenormand is the toothless old father at the heart of old plays, a foolish comic figure of no particular threat. Is this book smart enough to know better?

I genuinely can’t tell.

#brickclub #lm 5.5.3

[usergreenpixel]

JACOBIN FICTION CONVENTION MEETING 27: ANDREA CHÉNIER (1896)

1. The Introduction

Hello, Citizens! Welcome to the Jacobin Fiction Convention!

Sorry for the long as fuck wait, but hopefully I can prove that this review was worth it. Fortunately, I’m feeling a bit better so it’s time to post!

Anyway, opera. A classic form of art that is around to this day. Not my cup of tea most of the time, but I’m honestly not surprised that there is at least one opera about Frev and that, dear Citizens, is “Andrea Chénier”.

What is this opera about? Well, it’s a highly fictionalized story that’s very loosely based on the story of a real poet who lived during Frev, André Chénier. We’ll get back to the “loosely based” part later, but please keep it in mind for now.

As for the way I found out about this opera, I basically got lucky because it was going to be performed in my area (or rather, a performance would be broadcast at a movie theater) so I did some digging, found out what it’s about and decided to give it a try because why not?

I also did some research on this opera to try and find it with English subtitles and, unfortunately, there is almost nothing except this. Better than nothing, I suppose, but please hit me up if you manage to find an actual performance with English subtitles.

Alright, with that out of the way, let’s pick this opera apart and find out if it’s worth watching and just how loosely it is based on the life of the titular poet. Let’s go.

2. The Summary

Here’s the summary of the opera that I found on the website of the Royal Opera House (the one in Covent Garden, London):

“The poet Andrea Chénier attends a party at the Countess di Coigny's mansion. He expresses outrage at the corruption in King Louis XVI's government and the poverty of many Frenchmen. This moves the Countess's daughter Maddalena, and inspires the footman and revolutionary-in-the-making Carlo Gérard to quit his servitude. Soon after, the French Revolution begins.

Five years on, Louis XVI has been executed, the Jacobin party are in power, and their leader Robespierre has imposed 'The Terror'. Gérard has become a leading Jacobin, but Chénier has fallen out of favour with the authorities and is in danger. He delays his flight from Paris to meet a mysterious woman who has written to him. She reveals herself to be Maddalena, and the pair quickly realize they are in love. However, Gérard also desires Maddalena. When Chénier is arrested by the authorities, Gérard realizes that he has the power to destroy the man who once inspired him. As his conscience is tested, so too is the love of Andrea and Maddalena.”

Okay, love triangles and all that jazz are not my thing at all, but this could make for an interesting story. Let’s see what it’s all about.

3. The Story

Here’s something I liked: the idea of basing your story on the life of a relatively obscure figure. That I can get behind.

But, as I already said, love triangles and tragedies aren’t my thing! I get that many operas are tragic but I also think there’s enough tragedy in real life ™️, which is probably I usually avoid this genre.

As for love triangles, I understand that this is a story from the 19th century so this trope was probably fresher back then, but good Supreme Being is it getting tiring to see yet another love triangle by this point.

Also, this opera is, unfortunately but not surprisingly, laced with propaganda!

Maddalena is in danger only because she is a noble, for example, and (while he doesn’t personally appear) it’s basically stated that Robespierre is responsible for the deaths of the main couple and he refuses to save them stating in a letter that “even Plato eliminated all poets from his republic” (approximate quote).

Like I said, I like the idea of having an obscure historical figure in the spotlight for a change. I can also understand the importance of showing tragedies that befell people during Frev. It’s important to talk about! Unfortunately, the ideas are the only things that I liked about this opera because the way it twisted the real story of André Chénier rubbed me the wrong way.

More on that in the next section though.

4. The Characters

(Spoilers ahead!)

Andrea Chénier himself… oh boy. Remember how I said that the opera flipped his story on its head? Here’s why.

See, I don’t usually tackle accuracy, but here I may as well say it. The real Chénier wasn’t a poor unfortunate poet in love who was executed for loving a noble. He was a royalist and was against the Revolution, so much so that he wrote an entire ode to Corday. Yes, you heard that right. Not that I condone death penalty, but suddenly his demise doesn’t sound so unreasonable, does it?

In the opera, however, he is a tragic hero who is smitten by his love interest and, honestly, a character who is flatter than a sheet of paper so, other than my frustration with the complete twisting of the real him, his character caused no strong emotions in me.

His love interest, Maddalena, is a pretty stereotypical female love interest you would expect to see in the media from the 19th century, but she has moments hinting at her hidden depths ™️ , like pleading for Andrea’s life and bribing a guard to take the place of another noblewoman.

The latter happens both so she can die together with Andrea and to at least spare one person from execution. It’s a shame that ultimately Maddalena isn’t that interesting as a character because she could’ve been that way.

So, the leads just made me apathetic, but you know who I hated with a passion? Gérard! Motherfucking Gérard. Why?

Well, for starters, he is basically the stereotypical Childhood Friend Hopelessly in Love ™️ (he desires Maddalena, hence the love triangle). A tired trope, but he also does everything to ruin Andrea and then… he does something horrible.

(Tw: attempted r*pe)

When Maddalena comes to Gérard to plead for Andrea’s life and he realizes that he can use this situation to have power over Maddalena, he basically wants to assault her in exchange for Chénier’s life. I… I really wish I was making that up. He also confesses that he used to watch her dance in the past, which also has extremely creepy implications.

Luckily, the bastard recoils at the last moment, realizes that Maddalena loves Chénier and tries to save the guy but… by this point Gérard was basically irredeemable in my eyes so I still hated him. By the way, apparently Gérard is loosely based on Tallien…

The only sans-culotte we see, Mathieu, is basically a walking Thermidorian propaganda piece so… yeah. We’re once again lacking in the positive revolutionary representation, but that’s nothing new.

I liked one minor character though, and that character is Bersi. She is a biracial (although she is whitewashed in the adaptation I watched) servant girl who is Maddalena’s most loyal friend and confidante in the story, hiding her from the authorities and even becoming a s*x worker to support both Maddalena and herself despite the fact that she was risking her life the entire time. Now that’s the loyalty I can get behind.

5. The Setting

Actually, the setting was pretty good when I watched this opera, but there were questionable choices in character designs here and there. For example, Mathieu wears The Joker’s makeup, complete with a Glasgow grin. I guess it’s an attempt to villanize him, but it just looks so anachronistic that it’s silly. Hopefully other adaptations don’t do that. Also some women don’t cover themselves up with fichus (shawls worn on the shoulders), which would not be considered appropriate at the time.

Other than said choices (which are probably unique to that particular performance), I don’t have any major complaints.

6. The Music

The music didn’t blow me away, if I’m being honest, but it was good and a tiny tidbit of “Ça Ira” (a revolutionary song) being included in the soundtrack was a much appreciated bonus for me.

7. The Acting

Pretty solid, but since I’m not a fan of operas I’m not the best person to pass judgment here.

8. The Conclusion

Honestly, I don’t know whether to recommend this opera or not. It has all the usual propaganda, makes up so much shit about Chénier that it crossed the lines of historical fiction for me and it’s just not my cup of tea as a story.

But, if anyone in my audience wants to check it out, more power to them. Just please be aware of the Thermidorized narrative and of what the real Chénier was like.

With that out of the way, allow me to announce the conclusion of today’s meeting.

As always, please stay tuned for updates, Citizens!

Love,

- Citizen Green Pixel

#frev #french revolution #frev art #maximilien robespierre #tallien the loser ™️ #frev opera #andrea chénier #jacobin fiction convention #review #frev theater #obscure frev media #frev media

[benbenlang1]

祖国的敌人伴奏--选自歌剧《安德烈·谢尼埃》André Chénier|Nemico della patria|U.Giordano

https://www.99banzou.com/product/1436029.html Nemico della patria (Conducted by Sir Georg Solti) – Ettore Bastianini/Orchestra of the Lyric Opera of Chicago Composed by：Umberto Giordano Nemico della Patria È vecchia fiaba che beatamente Ancor la beve il popolo Nato a Costantinopoli Straniero Studiò a Saint Cyr Soldato Traditore Di Dumouriez un complice E poeta Sovvertitor di cuori e di…

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[alrederedmixedmedia]

Alredered Remembers French poet and political journalist André Marie de Chénier, on his birthday.

[charmemma]

L’amour endormi

Là reposait l’Amour, et sur sa joue en fleur D’une pomme brillante éclatait la couleur. Je vis, dès que j’entrai sous cet épais bocage, Son arc et son carquois suspendus an feuillage. Sur des monceaux de rose au calice embaumé Il dormait. Un souris sur sa bouche formé L’entr’ouvrait mollement, et de jeunes abeilles Venaient cueillir le miel de ses lèvres vermeilles.

André Chénier

[x00151x]

Efemérides literarias: 30 de octubre

Efemérides literarias: 30 de octubre

Nacimientos 1513: Jacques Amyot, escritor y traductor francés (f. 1593).1624: Paul Pellisson, escritor francés (f. 1693).1762: André Chénier, poeta francés (f. 1794).1811: Santos Degollado, político mexicano (f. 1861).1812: Claudio Mamerto Cuenca, médico y poeta argentino (f. 1852).1836: Camillo Boito, arquitecto y escritor italiano (f. 1914).1871: Paul Valerý, escritor y poeta francés (f.…

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#Efemérides #Octubre

[juwol]

“Détache la ceinture à la belle étrangère, Et la vierge en ses bras devient épouse et mère.” André Chénier / Les Bucoliques @cafejoseph #kodakektar100 #candidstreetphotography #streetphotographyinternational #visualstorytelling #documentaryphotography #streetphotography #capturestreets #streetphotographymagazine #streetphotomag #aspfeatures #streetphotographers #street_ig #eyeshotmag #thesestreetsmag #FujifilmFrance #xphotographer #x100v #fujifilmxseries #fujifilmx_us #myfujifilmlegacy #fujifilm_xseries #montpellier #igersmontpellier #france #photographe #southoffrance #occitanie #frenchphotographer #eyeshot_magazine #streetlifeworldwide (à Place Jean-Jaurès) https://www.instagram.com/p/CkMDCqxtu0l/?igshid=NGJjMDIxMWI=

#kodakektar100 #candidstreetphotography #streetphotographyinternational #visualstorytelling #documentaryphotography #streetphotography #capturestreets #streetphotographymagazine #streetphotomag #aspfeatures #streetphotographers #street_ig #eyeshotmag #thesestreetsmag #fujifilmfrance #xphotographer #x100v #fujifilmxseries #fujifilmx_us #myfujifilmlegacy #fujifilm_xseries #montpellier #igersmontpellier #france #photographe #southoffrance #occitanie #frenchphotographer #eyeshot_magazine #streetlifeworldwide