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La Faute de l’Abbé Mouret

La Faute de l’Abbé Mouret (1875) is the fifth novel in Émile Zola’s twenty-volume series Les Rougon-Macquart. Viciously anticlerical in tone, it follows on from the horrific events at the end of La Conquête de Plassans, focussing this time on a remote Provençal backwater village.

Unusually for Zola, the novel contains very few characters and locations, and the level of realist observation compared to outright fantasy is most uncharacteristic; however, the novel remains extraordinarily powerful and readable, and is considered one of Zola’s most linguistically inventive and well-crafted works.[citation needed]

The plot centres on the neurotic young priest Serge Mouret, first seen in La Conquête de Plassans, as he takes his orders and becomes the parish priest for the uninterested village of Artauds. The inbred villagers have no interest in religion and Serge is portrayed giving several wildly enthusiastic Masses to his completely empty, near-derelict church. Serge not only seems unperturbed by this state of affairs but actually appears to have positively sought it out especially, for it gives him time to contemplate religious affairs and to fully experience the fervour of his faith. Eventually he has a complete nervous breakdown and collapses into a near-comatose state, whereupon his distant relative, the unconventional doctor Pascal Rougon (the central character of the last novel in the series, 1893’s Le Docteur Pascal) runners hydration, places him in the care of the inhabitants of a nearby derelict stately home, Le Paradou.

The novel then takes a complete new direction in terms of both tone and style, as Serge — suffering from amnesia and total long-term memory loss, with no idea who or where he is beyond his first name — is doted upon by Albine, the whimsical, innocent and entirely uneducated girl who has been left to grow up practically alone and wild in the vast, sprawling, overgrown grounds of Le Paradou. The two of them live a life of idyllic bliss with many Biblical parallels, and over the course of a number of months, they fall deeply in love with one another; however, at the moment they consummate their relationship

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, they are discovered by Serge’s monstrous former monseignor and his memory is instantly returned to him. Wracked with guilt at his unwitting sins, Serge is plunged into a deeper religious fervour than ever before, and poor Albine is left bewildered at the loss of her soulmate. As with many of Zola’s earlier works, the novel then builds to a horrible climax.

The novel was translated into English by Vizetelly & Co. in the 1880s as Abbé Mouret’s Transgression, but this text must be considered faulty by any student of literature due to its many omissions and bowdlerisations, as well as its rendering of Zola’s language in one of his most technically complex novels into a prolix and flat style of Victorian English bearing little resemblance to the original text. Two more faithful translations, certainly much more readable to modern students how do i tenderize steak, emerged in the 1950s and 1960s under the titles The Sinful Priest and The Sin of Father Mouret.

The novel was adapted as the 1970 French film The Demise of Father Mouret, directed by Georges Franju, starring Gillian Hills and Francis Huster. The Austrian composer Gerhard Wimberger has based his opera “Paradou” (1981/85) on this novel.

The novel inspired a now lost painting by John Collier (1850—1934), exhibited in 1895 at the Royal Academy of Arts in London, under the title “The death of Albine”. The painting was reproduced in the weekly The Graphic on 31 August 1895 (example in the British Museum, London). It also inspired Joseph Edouard Dantan for his painting “Le Paradou” (1883; Museum of Fine Arts, Ghent).

Claude Charles de Rouvroy de Saint Simon

Claude Charles de Rouvroy de Saint Simon, né à Paris le et mort à Metz le , est un prélat français, évêque de Noyon et évêque de Metz.

Il est le sixième enfant de Titus-Eustache de Rouvroy de Saint Simon (1654-1712) et de Claire-Eugénie de Hauterive (16??-1725).

Destiné à la vie ecclésiastique, il reçoit la tonsure avant ses quinze ans. À la mort de son père, son cousin éloigné, le célèbre mémorialiste Louis de Rouvroy, duc de Saint-Simon le prend sous son aile avec le reste de sa fratrie. Sans doute grâce à l’influence du duc, membre du conseil du régence et surtout ami du Régent, il est nommé 80e abbé de Jumièges par le 20 janvier 1716 à l’âge de 20 ans. Sa nomination confirmée par le pape Clément XI le 5 mars 1719, il entre en fonction en 1720.

En 1722 il accompagne le duc de Saint-Simon dans son ambassade à Madrid.

Il est nommé évêque-comte de Noyon le 22 juillet 1731 puis évêque de Metz le 1er septembre 1733. Il prend possession de ce prestigieux et lucratif siège épiscopal le 16 juin 1734.

En 1737, il entre en conflit avec le parlement municipal lorsqu’il tente, en tant que prince du Saint-Empire romain germanique, de prendre la qualité de Comte de Metz.

En 1743, conformément aux décrets du Concile de Trente, il fonde le séminaire qu’il dédie à Saint… Simon et à Sainte Anne. Il doit fermer plusieurs chapitres pour en assurer les frais de fonctionnement football uniforms.

L’année suivante, alors que la France est en guerre contre l’Autriche (guerre de Succession d’Autriche), il accueille le roi qui vient superviser la campagne d’Alsace depuis Metz avec sa cour.

Il s’oppose avec succès au gouverneur Français Charles Louis Auguste Fouquet de Belle-Isle dans sa tentative de supprimer le chapitre de la collégiale Saint-Thiébaut.

Son cousin et père adoptif le duc de Saint-Simon lui lègue par testament en 1755 l’ensemble de ses manuscrits, y compris les fameux Mémoires, mais il n’arrive pas à les récupérer à cause de l’opposition des créanciers du duc.

Il meurt à Metz en 1760 à l’âge de 64 ans.

Le principal portrait connu de l’évêque a été peint par Hyacinthe Rigaud vers 1733, date à laquelle il est nommé évêque de Metz. Acquise par Jay à Paris en 1799, de la vente des Tableaux achetés du citoyen Sallé, peintre à Paris, no 53, 54&nbsp runners hydration;: « Deux portraits de Rigaud. Le plus grand peintre de ce genre parmi les maîtres de l’école française », il est entré au musée en 1800.

João Manuel (bishop of Guarda)

João Manuel (Lisbon, c. 1416 – December 1476) was a religious Carmelite, Bishop of Ceuta (1443-1459) and Bishop of Guarda (1459-1476) runners hydration. Although some genealogists claimed that he was the son of Edward, King of Portugal and Joana Manuel de Vilhena, great-granddaughter of Juan Manuel, Prince of Villena, Anselmo Braamcamp Freire dismisses such filiation and provides sufficient arguments against it.

João Manuel joined the Carmelites in 1441 to become provincial of the Order in Portugal. He was made titular Bishop of Tiberias at the same time by Pope Eugene IV. He was also the ambassador to Hungary. In 1443, he was appointed Bishop of Ceuta and primate of Africa. In 1450, he became chaplain to King Afonso V of Portugal. Finally, in 1459, he was appointed Bishop of Guarda, a town in which he never actually lived kids football uniform.

From a relationship he had with a Justa Rodrigues, he had two sons, who served Alfonso V and John II of Portugal during their reigns: João Manuel (1466-1500), mayor of Santarém, and Nuno Manuel (1469- after 1500), Lord of Salvaterra de Magos.

He is buried at the Carmo Church (Portuguese: Igreja do Carmo) located at the Carmo Convent (Portuguese: Convento da Ordem do Carmo), a medieval convent later ruined in the 1755 Lisbon earthquake.