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Southfield Public Library Horace by George Sand Discussion questions used at SPL June 2008 1. This book was written in 1841 - does anything in it still seem relevant? 2. Though it was translated, it seemed as though the translator was trying very hard to keep it from being modernized - how do you think he did in keeping the flavor of the 19th century? 3. Did you find it difficult to read? The writing is very formal, very detailed, with long, long sentences – is that different from things you usually read? 4. In general, how were the women portrayed? Were you surprised by any of them? 5. In general, how were the men portrayed? Again, were you surprised by any of them? 6. What did you think of Horace - was Theophile’s introduction of him in the first chapter intriguing? Did you think you would like him? 7. Did he have any endearing traits? What about annoying ones? What was it about him that made some people care for him? Was he crazy? Just young? Shallow? Manipulative? Did he have any deep relationships? 8. What did you think of Theophile? What did you think of his relationship with Eugenie? Was it a satisfying one for both of them? Why do you think he stayed in the neighborhood instead of being a doctor in a richer area? 9. What about Eugenie - what sort of woman was she? What do you think she thought of her relationship with Theophile? 10. And then there is Marthe - how would you describe her? 11. What did you think of Paul Arsene? 12. Are they all similar to people today? Are they different? 13. What do you think of Horace’s relationship with the Viscountess - who was really using whom in that situation? 14. Was it that Marquis’ fault that the Viscountess was as she was? Why do you think it was acceptable for the aristocracy to behave as they did, but that the poor grisettes were faulted for much the same behavior? 15. What sort of family stability was there in this book? Did anyone have a good relationship with their family? 16. What was the most interesting aspect of this book for you? The dullest? 17. What did you think of the way French society boxed people into levels? Did anyone ever move across them? In your view, has that changed over the last 160 years? 18. How did art and literature influence some of the characters? Their referring to poetry, plays, etc. Is it comparable to anything we do today? 19. What are some of the same issues we are still dealing with today? 20. What do you think the author was trying to share with the reader? 21. How much do you know about George Sand? Did the knowledge influence your reading at all? 22. How did you like the history that Sand wove in the story? What did you learn about each character by the way they reacted to the July revolution? Did you get a good sense of time and place? 23. Who did you like the most as a character? Who was the strongest? 24. Did the author do a good job of developing the characters? 25. In the intro, it was explained that some of the characters were based on real people. What did you think of that? Was it hard to read the story thinking it might have only been written for revenge? Anything contemporary that you could compare it with? 26. One of the controversies of this book during the time it was written was that a “fallen woman” found a happy ending. Do we still like to see characters get their due? Did Horace get his? Were you happy that he did? Southfield Public Library General discussion questions For the person who chose the book – What made you want to read it? What made you pick it for the book club? Did it live up to your expectations? How is the book structured? First person? Third person? Flashbacks? Narrative devices? Do you think the author did a good job with it? How would you describe the author’s writing style? Concise? Flowery? How is language used in this book? Read aloud a passage that really struck you. How does that passage relate to the book as a whole? How effective is the author’s use of plot twists? Were you able to predict certain things before they happened? Did the author keep you guessing until the end? Did the book hold your interest? How important is the setting to the story? Did you feel like you were somewhere else? Did the time setting make a difference in the story? Did the author provide enough background information for you to understand the setting and time placement? Which is stronger in the book – the characters or the plots? Would you recommend this book to someone else? Why? And to whom? Southfield Public Library Horace Information on the author From Biography Resource Center George Sand Also known as: Amantine Lucile Aurore Dupin Dudevant, Armandine Aurore Lucille Dupin, Amandine Lucile Dupin Dudevant, Jules Sand, Amandine Dupin, Armandine Dupin Birth: July 1, 1804 in Paris, France Death: June 9, 1876 in Nohant, France Nationality: French Occupation: author Source: Encyclopedia of World Biography, 2nd ed. 17 Vols. Gale Research, 1998. Updated: 12/12/1998 TABLE OF CONTENTS Biographical Essay Further Readings Source Citation BIOGRAPHICAL ESSAY The French novelist George Sand (1804-1876) was the most successful woman writer of her century. Her novels present a large fresco of romantic sentiment and 19th-century life, especially in its more pastoral aspects. George Sand was born Armandine Aurore Lucille Dupin in Paris on July 1, 1804. On her father's side she was related to a line of kings and to the Maréchal de Saxe; her mother was the daughter of a professional bird fancier. Aurore's father, Maurice Dupin, was a soldier of the Empire. He died when Aurore was still a child. At the age of 14, tired of being the "apple of discord" between her mother and grandmother, Aurore went to the convent of the Dames Augustines Anglaises in Paris. Though she did her best to disrupt the convent's peaceful life, she felt drawn to quiet contemplation and direct communication with God. To save Aurore from mysticism, her grandmother called her to her home in Nohant. Here Aurore studied nature, practiced medicine on the peasants, read from the philosophers of all ages, and developed a passion for the works of François René Chateaubriand. Her eccentric tutor encouraged her to wear men's clothing while horseback riding, and she galloped through the countryside in trousers and loose shirt, free, wild, and in love with nature. Marriage and Lovers When her grandmother died, Aurore became mistress of the estate at Nohant. At 19 she married Casimir Dudevant, the son of a baron and a servant girl. He was goodhearted but coarse and sensual, and he offended her lofty and mystical ideal of love. Aurore soon began to seek her idealized love object elsewhere. For a time she maintained a platonic relationship with Aurélien de Sèze, but eventually this affair languished. She had begun to realize that it was impossible to sustain love without physical passion. At the age of 27 Aurore moved to Paris in search of independence and love, leaving husband and children behind. She began writing articles to earn her living and met a coterie of writers. Henri de Latouche and Charles Sainte-Beuve became her mentors. Aurore fell in love with Jules Sandeau, a charming young writer. They collaborated on articles and signed them collectively "J. Sand." When she published her first novel, Indiana (1832), she took as her pen name "George Sand." George Sand made a home for Sandeau and for her daughter, Solange, but eventually she wearied of his jealousy and idle disposition. He, in turn, realized that he could never overcome her essential frigidity. She felt as though she had failed in marriage as well as in adultery. Several novels of disillusioned love were the fruit of this period of her life. Then she met the young poet Alfred de Musset, and they became lovers. George Sand legally separated from her husband; she gained custody over Solange, while her husband kept the other child, Maurice. She now came to enjoy great renown in Paris both as a writer and as a bold and brilliant woman. She had many admirers and chose new lovers from among them. Her lovers included the Polish composer Frédéric Chopin and the doctor who attended Musset in Venice. Perhaps it was her inability to be aroused to physical passion that drove her from one lover to another. She compensated for this deficiency by the spiritual intensity of her love. Political Views George Sand was a democrat; she felt close to the people by birth, and she often praised the humble virtues of the urban and country poor in her novels. She was a Christian of sorts and advocated a socially conscious religion. Like Jean Jacques Rosseau, she believed that inherently good man was corrupted by civilization and faulty institutions. Despite her own feminist leanings, George Sand never advocated political equality for women. It was in love that she demanded equality, in the free choice of the love object; the inequality of men and women before the law seemed to her a scandal. Last Years As she grew older, George Sand spent more and more time at her beloved Nohant and gave herself up to the intoxications of pastoral life, the entertainment of friends, the staging of puppet shows, and most of all to her grandchildren.
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  • Correspondance, 1812-1876 — Tome 1

    Correspondance, 1812-1876 — Tome 1

    Project Gutenberg's Correspondance, Vol. 1, 1812-1876, by George Sand This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Correspondance, Vol. 1, 1812-1876 Author: George Sand Release Date: October 5, 2004 [EBook #13629] Language: French *** START OF THIS PROJECT GUTENBERG EBOOK CORRESPONDANCE, VOL. 1, 1812-1876 *** Produced by Carlo Traverso, Frank van Drongen and the PG Online Distributed Proofreading Team. This file was produced from images generously made available by the Bibliotheque nationale de France (BnF/Gallica) at http://gallica.bnf.fr GEORGE SAND CORRESPONDANCE 1812-1876 I QUATRIÈME ÉDITION PARIS CALMANN LÉVY, ÉDITEUR. ANCIENNE MAISON MICHEL LÉVY FRÈRES 3, RUE AUBER, 3 1883 CORRESPONDANCE DE GEORGE SAND I A MADAME MAURICE DUPIN[1] QUI ALLAIT QUITTER NOHANT[2] 1812. Que j'ai de regret de ne pouvoir te dire adieu! Tu vois combien j'ai de chagrin de te quitter. Adieu pense à moi, et sois sûre que je ne t'oublierai point. Ta fille. Tu mettras la réponse derrière le portrait du vieux Dupin[3]. [1] Mademoiselle Aurore Dupin avait alors huit ans. [2] Propriété de madame Dupin de Francueil, puis de George Sand, près la Châtre (Indre). [3] Portrait au pastel de M. Dupin de Francueil, qui se trouve dans le salon de Nohant. II A LA MÊME, A PARIS Nohant, 24 février 1815 Oh! oui, chère maman, je t'embrasse; je t'attends, je te désire et je meurs d'impatience de te voir ici.
  • The Novel Map

    The Novel Map

    The Novel Map The Novel Map Space and Subjectivity in Nineteenth-Century French Fiction Patrick M. Bray northwestern university press evanston, illinois Northwestern University Press www.nupress.northwestern.edu Copyright © 2013 by Northwestern University Press. Published 2013. All rights reserved. Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 Library of Congress Cataloging-in-Publication data are available from the Library of Congress. Except where otherwise noted, this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/. In all cases attribution should include the following information: Bray, Patrick M. The Novel Map: Space and Subjectivity in Nineteenth-Century French Fiction. Evanston, Ill.: Northwestern University Press, 2013. The following material is excluded from the license: Illustrations and the earlier version of chapter 4 as outlined in the Author’s Note For permissions beyond the scope of this license, visit www.nupress.northwestern.edu An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high-quality books open access for the public good. More information about the initiative and links to the open-access version can be found at www.knowledgeunlatched.org. Contents List of Illustrations vii Acknowledgments ix Author’s Note xiii Introduction Here