Emo Nemo

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Vastralaya

Evan Shively (Perseus271)

Candide is the story of a gentle man who, though pummeled and slapped in every direction by fate, clings desperately to the belief that he lives in "the best of all possible worlds." On the surface a witty, bantering tale, this eighteenth-century classic is actually a savage, satiric thrust at the philosophical optimism that proclaims that all disaster and human suffering is part of a benevolent cosmic plan. Fast, funny, often outrageous, the French philosopher's immortal narrative takes Candide around the world to discover that -- contrary to the teachings of his distinguished tutor Dr. Pangloss -- all is not always for the best. Alive with wit, brilliance, and graceful storytelling, Candide has become Voltaire's most celebrated work.

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  Condemned and banned for five years in Molière’s day, Tartuffe is a satire on religious hypocrisy. Tartuffe worms his way into Orgon’s household, blinding the master of the house with his religious "devotion," and almost succeeds in his attempts to seduce his wife and disinherit his children before the final unmasking.\


<p>Le Père Goriot (French pronunciation: ​[lə pɛʁ ɡɔʁjo], Old Goriot or Father Goriot) is an 1835 novel by French novelist and playwright Honoré de Balzac (1799–1850), included in the Scènes de la vie privée section of his novel sequence La Comédie humaine. Set in Paris in 1819, it follows the intertwined lives of three characters: the elderly doting Goriot; a mysterious criminal-in-hiding named Vautrin; and a naive law student named Eugène de Rastignac.</p><p>Originally published in serial form during the winter of 1834/35, Le Père Goriot is widely considered Balzac's most important novel. It marks the first serious use by the author of characters who had appeared in other books, a technique that distinguishes Balzac's fiction. The novel is also noted as an example of his realist style, using minute details to create character and subtext.</p>

The School for Husbands is a comedy in three acts and in verse.The intrigue of this comedy is the radical contrast between the ideas of two brothers about educating their children: one of them is very strict while the other is indulgent.This was the first play in the title of which the word "School" was employed, to imply that the author not only had the intention of amusing but also intended to convey a special lesson to his hearers.

The Misanthrope or Le Misanthrope ou l’Atrabilaire amoureux is a comedy of manners in five acts and in verse.It is one of the best of Molière's plays — and one of the greatest of all comedies — spotlighting the absurdities of social and literary pretension, focusing on a man who is quick to criticize the faults of others, yet remains blind to his own.This play satirizes the hypocrisies of French aristocratic society, but it also engages a more serious tone when pointing out the flaws, which all humans possess. The play differs from other farces at the time by employing dynamic characters like Alceste and Célimène as opposed to the traditionally flat characters used by most satirists to criticize problems in society. It also differs from most of Molière's other works by focusing more on character development and nuances than on plot progression. The play, though not a commercial success in its time, survives as Molière's best-known work today. Much of its universal appeal is due to common undercurrents of misanthropy across cultural borders.

This unique volume brings together four of Moli re's greatest verse comedies covering the best years of his prolific writing career. Actor, director, and playwright, Moli re (1622-73) was one of the finest and most influential French dramatists, adept at portraying human foibles and puncturing pomposity. The School for Wives was his first great success; Tartuffe, condemned and banned for five years, his most controversial play. The Misanthrope is his acknowledged masterpiece, and The Clever Women his last, and perhaps best-constructed, verse piece. In addition this collection includes a spirited attack on his enemies and a defense of his theater, in the form of two sparkling short plays, The School for Wives Criticized and The Impromptu at Versailles.

The dazzling and exuberant moral stories of Rabelais (c.1471-1553) expose human follies with their mischievous and often obscene humour, while intertwining the realistic with carnivalesque fantasy to make us look afresh at the world.Gargantua depicts a young giant, reduced to laughable insanity by an education at the hands of paternal ignorance, old crones and syphilitic professors, who is rescued and turned into a cultured Christian knight. And in Pantagruel and its three sequels, Rabelais parodied tall tales of chivalry and satirized the law, theology and academia to portray the bookish son of Gargantua who becomes a Renaissance Socrates, divinely guided in his wisdom, and his idiotic, self-loving companion Panurge.

En 1677, Phèdre, la dernière grande tragédie de Racine, met en scène la mythique descente aux enfers d'une incomprise. Vouée au malheur par son hérédité, Phèdre aime sans espoir son beau-fils Hippolyte. Lorsque son mari, Thésée, revient, il envoie injustement son fils à la mort. On assiste alors à l'empoisonnement d'une femme à la fois innocente et coupable. Ironie tragique qui démontre à quel point l'amour peut se vivre comme une malédiction.

Guy de Maupassant's scandalous tale of an opportunistic young man corrupted by the allure of power, "Bel-Ami" is translated with an introduction by Douglas Parmee in "Penguin Classics". Young, attractive and very ambitious, George Duroy, known to his admirers as Bel-Ami, is offered a job as a journalist on La Vie francaise and soon makes a great success of his new career. But he also comes face to face with the realities of the corrupt society in which he lives - the sleazy colleagues, the manipulative mistresses, and wily financiers - and swiftly learns to become an arch-seducer, blackmailer and social climber in a world where love is only a means to an end. Written when Maupassant was at the height of his powers, "Bel-Ami" is a novel of great frankness and cynicism, but it is also infused with the sheer joy of life - depicting the scenes and characters of Paris in the belle epoque with wit, sensitivity, and humanity. Douglas Parmee's translation captures all the vigour and vitality of Maupassant's novel. His introduction explores the similarities between Bel-Ami and Maupassant himself and demonstrates the skill with which the author depicts his large cast of characters and the French society of the Third Republic.

Arthur Schopenhauer's Die Welt als Wille und Vorstellung is one of the most important philosophical works of the nineteenth century, the basic statement of one important stream of post-Kantian thought. It is without question Schopenhauer's greatest work. Conceived and published before the philosopher was 30 and expanded 25 years later, it is the summation of a lifetime of thought.For 70 years, the only unabridged English translation of this work was the Haldane-Kemp collaboration. In 1958, a new translation by E. F. J. Payne appeared that decisively supplanted the older one. Payne's translation is superior because it corrects nearly 1,000 errors and omissions in the Haldane-Kemp translation, and it is based on the definitive 1937 German edition of Schopenhauer's work prepared by Dr. Arthur Hübscher. Payne's edition is the first to translate into English the text's many quotations in half a dozen languages. It is thus the most useful edition for the student or teacher.

'The Wall', the lead story in this collection, introduces three political prisoners on the night prior to their execution. Through the gaze of an impartial doctor--seemingly there for the men's solace--their mental descent is charted in exquisite, often harrowing detail. And as the morning draws inexorably closer, the men cross the psychological wall between life and death, long before the first shot rings out.This brilliant snapshot of life in anguish is the perfect introduction to a collection of stories where the neurosis of the modern world is mirrored in the lives of the people that inhabit it.

Published shortly after his death, the Ethics is undoubtedly Spinoza's greatest work - an elegant, fully cohesive cosmology derived from first principles, providing a coherent picture of reality, and a guide to the meaning of an ethical life. Following a logical step-by-step format, it defines in turn the nature of God, the mind, the emotions, human bondage to the emotions, and the power of understanding - moving from a consideration of the eternal, to speculate upon humanity's place in the natural order, the nature of freedom and the path to attainable happiness. A powerful work of elegant simplicity, the Ethics is a brilliantly insightful consideration of the possibility of redemption through intense thought and philosophical reflection. The Ethics is presented in the standard translation of the work by Edwin Curley. This edition also includes an introduction by Stuart Hampshire, outlining Spinoza's philosophy and placing it in context.

Deceptively brief and insidiously easy to read, La Rochefoucauld's shrewd, unflattering analyses of human behavior have influenced writers, thinkers, and public figures as various as Voltaire, Proust, de Gaulle, Nietzsche, and Conan Doyle. This is the fullest collection of La Rochefoucauld's writings ever published in English, and includes the first complete translation of the Reflexions diverses (Miscellaneous Reflections). This edition includes an excellent introduction that surveys La Rochefoucauld's life, the genesis of his work, its form and content, and its influence, as well as comprehensive explanatory notes. A table of alternative maxim numbers and an extensive and invaluable index of topics help the reader to locate any maxim quickly and to appreciate the full range of La Rochefoucauld's thought on any of his favorite themes, such as self-love, vice and virtue, love and jealousy, friendship and self-interest, passion and pride. About the Series:  For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.

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  We do not like to praise, and we never praise without a motive.\
François Duc de La Rochefoucauld was something of a bungler in life. The scion of a great house, the beneficiary of a princely education, the young nobleman got himself mixed up in all sort of plots and intrigues, eventually getting himself locked in the Bastille and later banished to his estate. As a result of this rather undistinguished career in the world, he developed into a man-of-letters, achieving far more success on the page than in the palace.La Rochefoucauld made a permanent contribution to literature with his Maximes: a collection of cutting aphorisms on the vanity of human nature. His perspective is cynical: seeing bad motives behind even the best actions. Or in his opening words: “Our virtues are most frequently but vices disguised.” And I do not think that one must be a defeated aristocrat in order to see the truth in many of his pronouncements. Here he is his describing me:One of the reasons that we find so few persons rational and agreeable in conversation is there is hardly a person who does not think more of what he wants to say than of his answer to what is said. The most clever and polite content themselves with only seeming attentive while we perceive in their mind and eyes that at the very time they are wandering from what is said and desire to return to what they want to say.This also certainly applies to me: “How is it that our memory is good enough to retain the least triviality that happens to us, and yet not good enough to recollect how often we have told it to the same person?” But do not think that I am somehow superior for admitting to these shortcomings; for “We own to small faults to persuade others that we have not great ones.” And do not attempt to compliment me: “The refusal of praise is only the wish to be praised twice.” There is no way out.I often found myself laughing at these aphorisms. So many of them ring true to my experience. And they represent a perspective too rarely expressed in daily life. Selfless action is a deeply appealing concept; and many people wish fervently to believe in it. Yet it is an incontestable fact that most of what we do, even apparently altruistic actions, benefits ourselves in one way or another.Politicians fight to pass legislation to benefit their constituents, who then return the politician to power; businessmen give their employees a raise, who thus work harder and take less vacation; a friend picks me up from the airport, but he expects me to do something for him in the future; a man returns a wallet he found on the street, is given a reward, and then is lauded on social media. And of course, altruism towards one’s family is the easiest thing to explain this way, since the family is just an extension of the self—psychologically and genetically. Some may find this way of thinking gloomy and unproductive. But I do think it is important to keep in mind our tendency to act out of self-interest; for, in my experience, it is those who are most attached to the idea of selfless action who most often treat other people badly. It is a dangerous thing to think that virtue is on your side. And, personally, I find it a great relief to see myself as an ordinary animal rather than a moral machine. Self-knowledge requires knowledge of our less honorable motives; and pretending otherwise can lead to a kind of self-alienation: “We become so accustomed to disguise ourselves to others that at last we are disguised to ourselves.”But this dark view of human nature must be tempered in two respects. First, not even La Rochefoucauld thought that all actions were driven by vice. He thinks true virtue is rare, but that it does exist. Second, La Rouchefoucauld often points out that our vices prompt us to act more virtuously than virtue ever could: “The praise bestowed upon us is at least useful in rooting us in the practice of virtue.” Or, elsewhere: “Interest which is accused of all our misdeeds often should be praised for our good deeds.” After all, the actions I described above are all virtuous actions.And this, for me, is the key insight of La Rochefoucauld’s cynicism: seeing our self-interest, not as inherently bad, but as a kind of neutral force which can be channeled for good or for evil. This insight alone could prevent a lot of needless guilt. More importantly, once we accept this premise, we can more easily shape our lives and societies. For we have discovered the secret of living together: finding arrangement in which self-interest overlaps.

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