You Na de Rasty Neck occupies a special position in the novel. He is not only a character in the book, but also an observer and witness. It can be said that he is the shadow of the author himself. Let's talk about family background first. Balzac also has two sisters, Laura and Agate; Balzac, like Rusty Neck, is also a poor teenager and the hope of the whole family. He was ambitious since he was a child and studied law when he first came to Paris. He was also sensitive and kind-hearted, and finally completed the enlightenment education in Paris and embarked on the journey of conquering Paris.
The novel itself is the process of Rasty Necker's understanding of social and life rules. When he first arrived in Paris, he was a simple and kind young man, but he soon found that he needed more powerful weapons in the "battlefield of Paris civilization". After many battles of surrender and resistance, he finally chose the road he thought was the most sure: climbing his wife. Later, Lao Gaoman buried his personality, and the selfishness, ruthlessness and hypocrisy of this world made him dry the last tear. From then on, nothing can stop him from climbing up.
Generally speaking, Rasty Neck is a man who climbs by action, while Gao Laotou is a man who collapses by endurance.
Futuoleng is also an important character in the novel. Unlike Rasty Necker, he was stereotyped at the beginning of the novel, and it was only with the unfolding of the plot that he was further exposed. His conversation with Rusty Neck became the key to our understanding of this mysterious figure. He thinks the world is ugly, society is decadent and the world is disgusting. Therefore, rebellion is reasonable. His own wish is to find a disciple, train him and let him go to war with society. "ah!" He said to You Na, "If you are willing to be my student, I will give you everything." Fu Tuoleng transcends all social norms and ignores "good" and "evil". He is an evil soul, a devil angel.
Balzac said in his later years that the prototype of Voltorum was taken from a man named Vito. He was a prisoner and served as the director of the security bureau during the restoration period; He is strong, powerful, proficient in all kinds of weapons, vulgar and playful, all of which are reflected in Voltorum. One detail is worth mentioning, that is, Balzac, accompanied by others, had dinner with this Vito in the first four months of "Old Man Gao" Fu Zi. However, Vito is not Fortolene after all. In Gao Laotou's place, it is more like arresting Gong Duluo, the public security chief of Fu Tuoleng. Moreover, in the author's manuscript, the original name of the police chief is Vito. In the rise and fall of social butterfly, the feeling of loneliness is more characteristic of Victoria.
After all, Fu Tuoling has a little Balzac's own shadow, such as Fu Tuoling's ambition, contempt for the law and mediocrity; He is good at preaching to young people and always treats women differently. In particular, he is strong-willed, dreams of power, loves pleasure and wants to be strong, which are a bit like the author himself.
The above three characters have become the main line of the book. The first appearance was Lao Gaoman, but his tragedy needed a witness, namely Rasty Neck. The reader knows the whole story through his eyes. Later, Lao Xinran betrothed his daughter Telfina to Lara as a mistress, and began to regard the young man as his own son in spirit, calling him "my child", while Lara called Gao "my father in Gaul". However, it should be said that for Latin America, the real rational education is to drive away the cold. With the help of Fu Tuo's coldness, the author also expressed many philosophical views on society and life. He loved Dora and protected him everywhere, calling him "my child" and "my baby", but at the same time he instigated him to do bad things, and even taught him to let Victor Lena get the inheritance by assassination and then marry her. Interestingly, Rasty Neck is better than his teacher. Unlike Fu Tuoleng's "external violence", he is more cunning and refined. He infiltrated the upper class and attacked from within, thus conquering it.
The Critical Spirit of Realism in Gao Laotou
abstract:
Gao Laotou is Balzac's masterpiece of human comedy. This paper compares it to a panoramic view of French society in19th century, which vividly shows the writer's literary and artistic talents, and analyzes the achievements of his works from both ideological and artistic aspects, which is deeply touched.
Keywords: Gao Laotou, genre painting, ideological art
Gao Laotou is an excellent work published by Balzac in 1834. The novel is set at the end of 18 19 and the beginning of 1820, with the Fu Gai apartment and Madame Poseidon's salon as the stage, and the story of Gao Laotou and Lu Sidi Ni crossing in parallel as the main plot.
Gao Laotou embodies Balzac's creative talent and has high ideological and artistic value. The translation of this book into Chinese is less than180,000 words, but its broad vision and colorful characters are almost a panorama. It truly reproduces the French society at that time, is a "custom history of French society" and "marks an era", and fully embodies Balzac's ability to master materials and refine life.
The background of this "genre painting" is/kloc-French society during the Bourbon Restoration in the early 9th century. At that time, capitalist thought had had a great influence on western society, but the feudal system had not yet withdrawn from the historical stage, and it was a transitional period from feudal patriarchal society to capitalist society. Gao Laotou gives a detailed and in-depth description of the historical trend of feudal aristocratic forces in this period.
Mrs. Boucylon is "the leader of aristocratic society", and her mansion is "the most interesting place" in aristocratic residential areas. Being able to appear in this magnificent living room is equivalent to reading the certificate of a noble family. " Once you step into this place where access control is stricter than any society, "you can travel everywhere." On one occasion, Rasty Nie, who had just come out of the cottage, was mentioned as "having something to do with Mrs. Boucylon", and she immediately. It is the greatest honor for bourgeois women to squeeze into this noble salon. These nobles are arrogant, and when it comes to bourgeois women, they try their best to despise sarcasm. "Middle-class women think that wearing our hats will change our style. "Mrs. Bao cylon's evaluation of Dan Feina, the second daughter of Gao Laotou, is that" all actions can't get rid of high spirits. "This is too arrogant. However, the apparent prosperity cannot be concealed. Gorgeous ostentation and extravagance can't hide political failure. The changes of the times cannot be kept, and the attack of the bourgeoisie is unstoppable. Balzac pointed out the hidden crisis and predicted the hidden disaster when describing the flourishing age of a hundred flowers. When Rasty's Nie was introduced to Fu Bao, Mrs. Bao cylon had reached the "moment of abandonment", and her anxiety could not be expressed in words, "upper class"
Ironically, although Mrs. Boucylon thinks highly of herself and despises bourgeois women, her "enlightenment" to Rasty's Nie is completely bourgeois: "The more ruthless you are, the faster you will rise. If you hit others mercilessly, they will be afraid of you. You can only treat men and women as post horses, ride exhausted and dump them at the station, so as to realize your wish of swimming. But let Rasty go after the banker's wife and "love her if you can, or use her". She also personally took him to the theater to meet Fener, because her personal experience and experience made her understand that the aristocratic style is out of date and the money and power of the bourgeoisie are the real rulers. In fact, she is a loser of money. Rochefitt is a new upstart. Alku da, the lover of Madame Busayon, didn't like Miss Rochefitte very much either, but he resolutely abandoned the famous Madame Busayon and decided to marry the bourgeois nouveau riche, because he could get a "dowry of 200,000 francs with interest".
Madame Bucylon, the last daughter of Bagon's royal family, bid farewell to the grand ball in Paris; It is Balzac's "endless elegy of the inevitable collapse of the upper class". Outside the living room, "the lights on four or five hundred cars lit up the surroundings of the Bao cylon mansion." In the living room, "it is the most beautiful woman in Paris", "the most prominent figure in the court" and "the band sends out sentence after sentence of music, which permeates the golden ceiling". Magnificent appearance and Bao's. This splendid palace is just a desolation. " This colorful dance is like the light of aristocratic society. People flocked here to "see how the heroine stepped down", "just like the crowd crowded into Glenford Square to watch the execution." The upper class seems to be specially decorated with flowers to bid farewell to one of its mothers. " Although this lady is "quiet" in front of everyone. She wept, trembled, packed her bags, burned love letters and made final preparations for bidding farewell to Paris. The performance of this kind of people is a true portrayal of the decline of the social status of the aristocratic class and its dependence on dignity. Mrs. Bao cylon went to the countryside to live in seclusion with tears in her eyes, and Fenner, who was ridiculed by her in every way, finally squeezed into this society that was bent on climbing up and realized her old dream. However, Finnian lived a life of "standing out in front of the public", and even Mrs. Boucylon had to admit that "Mrs. Neuchingen is beautiful tonight". In contrast, the fate of these two classes is obvious.