History and synopsis of the novel 1984 by George Orwell

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“Nineteen Eighty four” is the most famous dystopian novel in the world. It was written by George Orwell in 1948 and published a year later. It is a science fiction novel, and cautionary tale that centers on the consequences of totalitarianism, mass surveillance and repressive regimentation of people and behaviors within society. “Nineteen eighty four” is often analyzed as a warning about the danger of allowing Britain to become a totalitarianism country. This is a novel that had been either banned or legally challenged as subversive or ideologically corrupting throughout its publication history. It is also the only original manuscript of Orwell that survived and is now held at the John Hay Library at Brown University (Providence, Rhode Island, USA).

1984
1984

Orwell originally welcome the prospect of a socialist revolution in the UK, but at some time between 1941 and 1948 he became disillusioned and came to the conclusion that his desired English Socialism would be perverted into an oppressive totalitarian dictatorship.

Some believe that the tittle 1984 was chosen as an inversion of the year it was finished: 1948 and that the date was meant to give an immediate and urgency to the menace of totalitarian rule.

One key theme of Orwell’s novel is Nationalism, which is separated in 3 categories. The positive nationalism can be deducted by Oceanians’ perpetual love for Big Brother. The negative nationalism defined by the obsessive hatred of some people, and the transferred nationalism which redirected emotions from one power unit to another.

Another important theme is Censorship and surveillance which include the relationship between language and thought. In our era of fake news and corrupt media, this has only become even more pronounced: if you lie to a population and confuse them enough, you can control them.

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Many of the details surrounding censorship, as example: the rewriting of history, the suppression of dissident literature, the control of the language people use to express themselves and even to think in were derived from Stalinist Russia and Nazi Germany. But, many of the most famous features of Nineteen Eighty-Four were suggested to Orwell by his time working at the BBC in London in the first half of the 1940s: it is well-known that the Ministry of Truth was based on the bureaucratic BBC with its propaganda department, while the infamous Room 101 was supposedly named after a room of that number in the BBC building, in which Orwell had to endure tedious meetings.

Other important themes are poverty and inequality, while most people live in extreme poverty; hunger, thirst, disease and filth are the norm. Even fixing a broken window can take years and telescreens cannot be turn off. At the same time the Upper class reside in clean and comfortable flats with pantries well-stocked and telescreen that can be turn off.

Nineteen eighty four has been adapted to radio, television, theater, opera and ballet. Already in 1949 the NBC radio in the US published a one-hour radio-adaptation. CBS produced the first television adaptation in 1953, followed by the BBC in 1954.

Very small summary

Oceania being one of the three super-states that rules the world is in perpetual war with Eurasia or with Eastasia depending of the period. In the year 1984, we are in Oceania which is governed by an all-controlling government, which created a propagandistic language designed to limit free thought and promote the government’s doctrine. Winston Smith, our hero lives in London and his job is to rewrite history in the Ministry of Truth. However he is longing for the truth and secretly rebels. After being approached by someone who appears to be a secret member of the brotherhood, he falls into a trap and is sent to the Ministry of Love for a violent reeducation.

You can find this book on our French/English bilingual books page.

Read “1984” bilingual book.

1984 is also available  in English on our English Literature page  

Beginning of the book

Chapter 1

It was a bright cold day in April, and the clocks were striking thirteen. Winston Smith, his chin nuzzled into his breast in an effort to escape the vile wind, slipped quickly through the glass doors of Victory Mansions, though not quickly enough to prevent a swirl of gritty dust from entering along with him.

The hallway smelt of boiled cabbage and old rag mats. At one end of it a coloured poster, too large for indoor display, had been tacked to the wall. It depicted simply an enormous face, more than a metre wide: the face of a man of about forty-five, with a heavy black moustache and ruggedly handsome features. Winston made for the stairs. It was no use trying the lift. Even at the best of times it was seldom working, and at present the electric current was cut off during daylight hours. It was part of the economy drive in preparation for Hate Week. The flat was seven flights up, and Winston, who was thirty-nine and had a varicose ulcer above his right ankle, went slowly, resting several times on the way. On each landing, opposite the lift-shaft, the poster with the enormous face gazed from the wall. It was one of those pictures which are so contrived that the eyes follow you about when you move. BIG BROTHER IS WATCHING YOU, the caption beneath it ran.

Inside the flat a fruity voice was reading out a list of figures which had something to do with the production of pig-iron. The voice came from an oblong metal plaque like a dulled mirror which formed part of the surface of the right-hand wall. Winston turned a switch and the voice sank somewhat, though the words were still distinguishable. The instrument (the telescreen, it was called) could be dimmed, but there was no way of shutting it off completely. He moved over to the window: a smallish, frail figure, the meagreness of his body merely emphasized by the blue overalls which were the uniform of the party. His hair was very fair, his face naturally sanguine, his skin roughened by coarse soap and blunt razor blades and the cold of the winter that had just ended.

Outside, even through the shut window-pane, the world looked cold. Down in the street little eddies of wind were whirling dust and torn paper into spirals, and though the sun was shining and the sky a harsh blue, there seemed to be no colour in anything, except the posters that were plastered everywhere. The blackmoustachio’d face gazed down from every commanding corner. There was one on the house-front immediately opposite. BIG BROTHER IS WATCHING YOU, the caption said, while the dark eyes looked deep into Winston’s own. Down at streetlevel another poster, torn at one corner, flapped fitfully in the wind, alternately covering and uncovering the single word INGSOC. In the far distance a helicopter skimmed down between the roofs, hovered for an instant like a bluebottle, and darted away again with a curving flight. It was the police patrol, snooping into people’s windows. The patrols did not matter, however. Only the Thought Police mattered.

Behind Winston’s back the voice from the telescreen was still babbling away about pig-iron and the overfulfilment of the Ninth Three-Year Plan. The telescreen received and transmitted simultaneously. Any sound that Winston made, above the level of a very low whisper, would be picked up by it, moreover, so long as he remained within the field of vision which the metal plaque commanded, he could be seen as well as heard. There was of course no way of knowing whether you were being watched at any given moment. How often, or on what system, the Thought Police plugged in on any individual wire was guesswork. It was even conceivable that they watched everybody all the time. But at any rate they could plug in your wire whenever they wanted to. You had to live — did live, from habit that became instinct — in the assumption that every sound you made was overheard, and, except in darkness, every movement scrutinized.

Winston kept his back turned to the telescreen. It was safer, though, as he well knew, even a back can be revealing. A kilometre away the Ministry of Truth, his place of work, towered vast and white above the grimy landscape. This, he thought with a sort of vague distaste — this was London, chief city of Airstrip One, itself the third most populous of the provinces of Oceania. He tried to squeeze out some childhood memory that should tell him whether London had always been quite like this. Were there always these vistas of rotting nineteenth-century houses, their sides shored up with baulks of timber, their windows patched with cardboard and their roofs with corrugated iron, their crazy garden walls sagging in all directions? And the bombed sites where the plaster dust swirled in the air and the willow-herb straggled over the heaps of rubble; and the places where the bombs had cleared a larger patch and there had sprung up sordid colonies of wooden dwellings like chicken-houses? But it was no use, he could not remember: nothing remained of his childhood except a series of bright-lit tableaux occurring against no background and mostly unintelligible.

The Ministry of Truth — Minitrue, in Newspeak — was startlingly different from any other object in sight. It was an enormous pyramidal structure of glittering white concrete, soaring up, terrace after terrace, 300 metres into the air. From where Winston stood it was just possible to read, picked out on its white face in elegant lettering, the three slogans of the Party:

WAR IS PEACE

FREEDOM IS SLAVERY

IGNORANCE IS STRENGTH

The Ministry of Truth contained, it was said, three thousand rooms above ground level, and corresponding ramifications below. Scattered about London there were just three other buildings of similar appearance and size. So completely did they dwarf the surrounding architecture that from the roof of Victory Mansions you could see all four of them simultaneously. They were the homes of the four Ministries between which the entire apparatus of government was divided. The Ministry of Truth, which concerned itself with news, entertainment, education, and the fine arts. The Ministry of Peace, which concerned itself with war. The Ministry of Love, which maintained law and order. And the Ministry of Plenty, which was responsible for economic affairs. Their names, in Newspeak: Minitrue, Minipax, Miniluv, and Miniplenty.

The Ministry of Love was the really frightening one. There were no windows in it at all. Winston had never been inside the Ministry of Love, nor within half a kilometre of it. It was a place impossible to enter except on official business, and then only by penetrating through a maze of barbed-wire entanglements, steel doors, and hidden machine-gun nests. Even the streets leading up to its outer barriers were roamed by gorilla-faced guards in black uniforms, armed with jointed truncheons.

Winston turned round abruptly. He had set his features into the expression of quiet optimism which it was advisable to wear when facing the telescreen. He crossed the room into the tiny kitchen. By leaving the Ministry at this time of day he had sacrificed his lunch in the canteen, and he was aware that there was no food in the kitchen except a hunk of dark-coloured bread which had got to be saved for tomorrow’s breakfast. He took down from the shelf a bottle of colourless liquid with a plain white label marked VICTORY GIN. It gave off a sickly, oily smell, as of Chinese ricespirit. Winston poured out nearly a teacupful, nerved himself for a shock, and gulped it down like a dose of medicine.

Instantly his face turned scarlet and the water ran out of his eyes. The stuff was like nitric acid, and moreover, in swallowing it one had the sensation of being hit on the back of the head with a rubber club. The next moment, however, the burning in his belly died down and the world began to look more cheerful. He took a cigarette from a crumpled packet marked VICTORY CIGARETTES and incautiously held it upright, whereupon the tobacco fell out on to the floor. With the next he was more successful. He went back to the living-room and sat down at a small table that stood to the left of the telescreen. From the table drawer he took out a penholder, a bottle of ink, and a thick, quarto-sized blank book with a red back and a marbled cover.

For some reason the telescreen in the living-room was in an unusual position. Instead of being placed, as was normal, in the end wall, where it could command the whole room, it was in the longer wall, opposite the window. To one side of it there was a shallow alcove in which Winston was now sitting, and which, when the flats were built, had probably been intended to hold bookshelves. By sitting in the alcove, and keeping well back, Winston was able to remain outside the range of the telescreen, so far as sight went. He could be heard, of course, but so long as he stayed in his present position he could not be seen. It was partly the unusual geography of the room that had suggested to him the thing that he was now about to do.

But it had also been suggested by the book that he had just taken out of the drawer. It was a peculiarly beautiful book. Its smooth creamy paper, a little yellowed by age, was of a kind that had not been manufactured for at least forty years past. He could guess, however, that the book was much older than that. He had seen it lying in the window of a frowsy little junk-shop in a slummy quarter of the town (just what quarter he did not now remember) and had been stricken immediately by an overwhelming desire to possess it. Party members were supposed not to go into ordinary shops (‘dealing on the free market’, it was called), but the rule was not strictly kept, because there were various things, such as shoelaces and razor blades, which it was impossible to get hold of in any other way. He had given a quick glance up and down the street and then had slipped inside and bought the book for two dollars fifty. At the time he was not conscious of wanting it for any particular purpose. He had carried it guiltily home in his briefcase. Even with nothing written in it, it was a compromising possession.

The thing that he was about to do was to open a diary. This was not illegal (nothing was illegal, since there were no longer any laws), but if detected it was reasonably certain that it would be punished by death, or at least by twenty-five years in a forced-labour camp. Winston fitted a nib into the penholder and sucked it to get the grease off. The pen was an archaic instrument, seldom used even for signatures, and he had procured one, furtively and with some difficulty, simply because of a feeling that the beautiful creamy paper deserved to be written on with a real nib instead of being scratched with an ink-pencil. Actually he was not used to writing by hand. Apart from very short notes, it was usual to dictate everything into the speakwrite which was of course impossible for his present purpose. He dipped the pen into the ink and then faltered for just a second. A tremor had gone through his bowels. To mark the paper was the decisive act. In small clumsy letters he wrote:

April 4th, 1984.

He sat back. A sense of complete helplessness had descended upon him. To begin with, he did not know with any certainty that this was 1984. It must be round about that date, since he was fairly sure that his age was thirty-nine, and he believed that he had been born in 1944 or 1945; but it was never possible nowadays to pin down any date within a year or two.

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1984 is also available  in English on our English Literature page  

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Discover the poem “Prophet” by Alexander Pushkin

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To read the whole article and poem follow the links

“The Prophet” («Пророк») was written by Alexander Pushkin (Александр Пушкин) in 1826 and immediately gained wide popularity. This poem became central to Pushkin’s philosophical reflections, and a kind of program for action, a guide in life and work for many writers and followers of the great poet. The idea expressed in “The Prophet” gave a powerful impetus to many subsequent generations of poets.  … Continue reading

Painting “Cry of prophet Jeremiah on the Ruins of Jerusalem” (on a Bible subject) by Ilya Repin – 1870

«Пророк» Александра Пушкина“Prophet” by Alexander Pushkin
Духовной жаждою томим,
В пустыне мрачной я влачился, —
И шестикрылый серафим
На перепутье мне явился.
I dragged my flesh through desert gloom,
Tormented by the spirit’s yearning,
And saw a six-winged Seraph loom,
Upon the footpath’s barren turning.
Перстами легкими как сон
Моих зениц коснулся он.
Отверзлись вещие зеницы,
Как у испуганной орлицы.
And as a dream in slumber lies
So light this light his finger on my eyes.
My wizard eyes grew wide and wary;
An eagle’s startled from the eyrie
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Découvrez le poème « Prophète » d’Alexandre Pouchkine

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« Le Prophète » (« Пророк ») a été écrit par Alexandre Pouchkine (Александр Пушкин) en 1826 et a immédiatement gagné une grande popularité. Ce poème est devenu central dans les réflexions philosophiques de Pouchkine, et une sorte de programme d’action, un guide dans la vie et l’œuvre pour de nombreux écrivains et disciples du grand poète. L’idée exprimée dans « Le Prophète » a donné un puissant élan à de nombreuses générations ultérieures de poètes. Continuer la lecture

“Cri du prophète Jérémie sur les ruines de Jérusalem” (sur un sujet biblique) d’Ilya Repin – 1870

«Пророк» Александра Пушкина« Prophète » par Alexandre Pouchkine
Traduit par Akirill.com
Духовной жаждою томим,
В пустыне мрачной я влачился, —
И шестикрылый серафим
На перепутье мне явился.
La soif spirituelle me tourmentais,
Dans le désert sombre, j’ai erré,
Et un Séraphin à six ailes
À la croisée des chemins, m’est apparu.
Перстами легкими как сон
Моих зениц коснулся он.
Отверзлись вещие зеницы,
Как у испуганной орлицы.
De ses doigts légers comme un songe,
Il toucha mes prunelles.
Mes prunelles s’écarquillèrent voyantes;
Comme celles d’un aigle effarouché.
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What do you know about the novel “Demons” by Fyodor Mikhailovich Dostoevsky

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The sixth novel by Fyodor Mikhailovich Dostoevsky “Demons” also called “The Possessed” was written in 1872. This is one of the most politicized works of the writer, which he wrote under the impression of the activities of the emerging terrorist and revolutionary movements in Russia. The novel became a kind of warning about a social catastrophe, which will lead to cruel methods of achieving the idea of ​​​​universal happiness and the principle “the end justifies the means.”

Cover of the first edition of “Demons” by Fyodor Mikhailovich Dostoevsky

Dostoevsky did not plan a grandiose thing: he wanted to express himself on the topic of the emerging “Nechaevism” and similar political phenomena on several pages. The work was not even conceived in an artistic style, but as a result, a prediction novel came out from under his pen, which has not lost its relevance so far.

Russian society rather coolly accepted the new novel, and some critics even declared the work “slander” and “nonsense”. Over time, the situation has changed little. Most supporters of the Russian revolutionary movement perceived “Demons” as a vicious caricature of their ideas. Such a reputation prevented the wide popularity of the work.

Unlike Russia, Western culture has appreciated the socio-moral depth of the novel. “Demons” by Fyodor Mikhailovich Dostoevsky had a huge influence on the philosophical literature of the turn of the 19th-20th centuries, of which Nietzsche and Camus were famous representatives .

The attitude towards “Demons” in the post-Soviet space has changed quite recently. Contemporaries understood the prophecy of Dostoevsky’s ideas, his desire to show the world the danger of radical revolutionary and atheistic ideas. The writer expressed the depth of alienation towards his characters in the title and epigraph, taken from Pushkin ‘s poem of the same name . Who is the main “demon” in the work?

Initially, “Demons” was supposed to become part of a single epic novel, but due to financial problems, the author could not realize his plan and his publisher Katkov set strict conditions for the work of the writer. So instead of a big novel, the author released five books: “Teenager”, “Crime and Punishment”, “Demons”, “The Brothers Karamazov”, “Idiot”.

Also, in the novel, you can find references to real people. as example, Dostoevsky ridiculed I.S. Turgenev with whom he didn’t agree on the liberal-Western ideology , using the image of Karamzinov. The prototype of Stavrogin is the head of the Petrashevsky circle, for participation in which the young Dostoevsky was almost executed. One more thing is the removal of the chapters (“At Tikhon’s”), where Stavrogin tells the elder about the molestation of the girl. It was banned in Russia and removed from the novel by the publisher himself. However, it is there that Stavrogin’s worldview clashes with Tikhon’s Christian morality, and the reader sees the defeat of the “demonic personality.” 

You can read it on our site in French, English , or Russian as well as in our bilingual section (Russian/English)

Fyodor Mikhailovich Dostoevsky

Extract of the book:

Chapter 1

IN UNDERTAKING to describe the recent and strange incidents in our town, till lately wrapped in uneventful obscurity, I find myself forced in absence of literary skill to begin my story rather far back, that is to say, with certain biographical details concerning that talented and highly-esteemed gentleman, Stepan Trofimovitch Verhovensky. I trust that these details may at least serve as an introduction, while my projected story itself will come later.

I will say at once that Stepan Trofimovitch had always filled a particular rôle among us, that of the progressive patriot, so to say, and he was passionately fond of playing the part—so much so that I really believe he could not have existed without it. Not that I would put him on a level with an actor at a theatre, God forbid, for I really have a respect for him. This may all have been the effect of habit, or rather, more exactly of a generous propensity he had from his earliest years for indulging in an agreeable day-dream in which he figured as a picturesque public character. He fondly loved, for instance, his position as a “persecuted” man and, so to speak, an “exile.” There is a sort of traditional glamour about those two little words that fascinated him once for all and, exalting him gradually in his own opinion, raised him in the course of years to a lofty pedestal very gratifying to vanity. In an English satire of the last century, Gulliver, returning from the land of the Lilliputians where the people were only three or four inches high, had grown so accustomed to consider himself a giant among them, that as he walked along the streets of London he could not help crying out to carriages and passers-by to be careful and get out of his way for fear he should crush them, imagining that they were little and he was still a giant. He was laughed at and abused for it, and rough coachmen even lashed at the giant with their whips. But was that just? What may not be done by habit? Habit had brought Stepan Trofimovitch almost to the same position, but in a more innocent and inoffensive form, if one may use such expressions, for he was a most excellent man.

I am even inclined to suppose that towards the end he had been entirely forgotten everywhere; but still it cannot be said that his name had never been known. It is beyond question that he had at one time belonged to a certain distinguished constellation of celebrated leaders of the last generation, and at one time—though only for the briefest moment—his name was pronounced by many hasty persons of that day almost as though it were on a level with the names of Tchaadaev, of Byelinsky, of Granovsky, and of Herzen, who had only just begun to write abroad. But Stepan Trofimovitch’s activity ceased almost at the moment it began, owing, so to say, to a “vortex of combined circumstances.” And would you believe it? It turned out afterwards that there had been no “vortex” and even no “circumstances,” at least in that connection. I only learned the other day to my intense amazement, though on the most unimpeachable authority, that Stepan Trofimovitch had lived among us in our province not as an “exile” as we were accustomed to believe, and had never even been under police supervision at all. Such is the force of imagination! All his life he sincerely believed that in certain spheres he was a constant cause of apprehension, that every step he took was watched and noted, and that each one of the three governors who succeeded one another during twenty years in our province came with special and uneasy ideas concerning him, which had, by higher powers, been impressed upon each before everything else, on receiving the appointment. Had anyone assured the honest man on the most irrefutable grounds that he had nothing to be afraid of, he would certainly have been offended. Yet Stepan Trofimovitch was a most intelligent and gifted man, even, so to say, a man of science, though indeed, in science … well, in fact he had not done such great things in science. I believe indeed he had done nothing at all. But that’s very often the case, of course, with men of science among us in Russia.

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Que savez-vous du roman “Démons” de Fiodor Mikhaïlovitch Dostoïevski

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Le sixième roman de Fyodor Mikhailovich Dostoevsky “Démons” également appelé “Les Possédés”  a été écrit en 1872. C’est l’une des œuvres les plus politisées de l’écrivain, qu’il a écrite sous l’impression des activités des mouvements terroristes et révolutionnaires émergents en Russie. Le roman est devenu une sorte d’avertissement sur une catastrophe sociale, qui conduira à des méthodes cruelles pour réaliser l’idée du bonheur universel et le principe « la fin justifie les moyens ».

Cover of the first edition of “Demons” by Fyodor Mikhailovich Dostoevsky

Dostoïevski n’a rien prévu de grandiose: il a voulu s’exprimer sur le thème de l’émergence du «néchaevisme» et de phénomènes politiques similaires sur plusieurs pages. Le travail n’a même pas été conçu dans un style artistique, mais le résultat a été qu’un roman de prédiction est sorti de sous sa plume, et celui-ci n’a pas perdu sa pertinence aujourd’hui.

La société russe a plutôt froidement accepté le nouveau roman, et certains critiques ont même qualifié l’œuvre de “calomnie” et “d’absurdité”. Au fil du temps, la situation a peu évolué. La plupart des partisans du mouvement révolutionnaire russe ont perçu les « démons » comme une caricature vicieuse de leurs idées. Une telle réputation a empêché la grande popularité de l’œuvre.

Contrairement à la Russie, la culture occidentale a apprécié la profondeur socio-morale du roman. Les “Démons” de Fiodor Mikhaïlovitch Dostoïevski ont eu une énorme influence sur la littérature philosophique du tournant des XIXe et XXe siècles, dont Nietzsche et Camus étaient des représentants célèbres.

L’attitude envers les “Démons” dans l’espace post-soviétique a changé assez récemment. Les contemporains ont compris la prophétie des idées de Dostoïevski, son désir de montrer au monde le danger des idées radicales révolutionnaires et athées. L’écrivain a exprimé la profondeur de l’aliénation envers ses personnages dans le titre et l’épigraphe, tirés du poème de Pouchkine du même nom. 

Initialement, «Démons» était censé faire partie d’un seul roman épique, mais en raison de problèmes financiers, l’auteur n’a pas pu réaliser son plan et son éditeur Katkov a imposé des conditions strictes au travail de l’écrivain. Ainsi, au lieu d’un grand roman, l’auteur a publié cinq livres: «Adolescent», «Crime et châtiment», «Démons», «Les frères Karamazov», «Idiot».

De plus, dans le roman, vous pouvez trouver des références à de vraies personnes. à titre d’exemple, Dostoïevski a ridiculisé I.S. Tourgueniev avec qui il n’était pas d’accord sur l’idéologie libérale-occidentale, utilisant l’image de Karamzinov. Le prototype de Stavroguine est le chef du cercle Petrashevsky, pour sa participation dans laquelle le jeune Dostoïevski a failli être exécuté. Une dernière chose est la suppression des chapitres («Chez Tikhon»), où Stavrogin raconte à l’aîné l’agression de la fille. Il a été interdit en Russie et retiré du roman par l’éditeur lui-même. Cependant, c’est là que la vision du monde de Stavroguine se heurte à la morale chrétienne de Tikhon, et le lecteur voit la défaite de la « personnalité démoniaque ». 

Vous pouvez le lire sur notre site en français , anglais ou russe ainsi que dans notre rubrique bilingue (russe/anglais)

Fyodor Mikhailovich Dostoevsky

Extrait du livre :

Chapitre 1

Pour raconter les événements si étranges survenus dernièrement dans notre ville, je suis obligé de remonter un peu plus haut et de donner au préalable quelques renseignements biographiques sur une personnalité distinguée: le très-honorable Stépan Trophimovitch Verkhovensky. Ces détails serviront d’introduction à la chronique que je me propose d’écrire.

Je le dirai franchement: Stépan Trophimovitch a toujours tenu parmi nous, si l’on peut ainsi parler, l’emploi de citoyen; il aimait ce rôle à la passion, je crois même qu’il serait mort plutôt que d’y renoncer. Ce n’est pas que je l’assimile à un comédien de profession: Dieu m’en préserve, d’autant plus que, personnellement, je l’estime. Tout, dans son cas, pouvait être l’effet de l’habitude, ou mieux, d’une noble tendance qui, dès ses premières années, avait constamment poussé à rêver une belle situation civique. Par exemple, sa position de «persécuté» et d’»exilé» lui plaisait au plus haut point. Le prestige classique de ces deux petits mots l’avait séduit une fois pour toutes; en se les appliquant, il se grandissait à ses propres yeux, si bien qu’il finit à la longue par se hisser sur une sorte de piédestal fort agréable à la vanité.

Je crois bien que, vers la fin, tout le monde l’avait oublié, mais il y aurait injustice à dire qu’il fut toujours inconnu. Les hommes de la dernière génération entendirent parler de lui comme d’un des coryphées du libéralisme. Durant un moment, — une toute petite minute, — son nom eut, dans certains milieux, à peu près le même retentissement que ceux de Tchaadaïeff, de Biélinsky, de Granovsky et de Hertzen qui débutait alors à l’étranger. Malheureusement, à peine commencée, la carrière active de Stépan Trophimovitch s’interrompit, brisée qu’elle fût, disait-il par le «tourbillon des circonstances». À cet égard, il se trompait. Ces jours-ci seulement j’ai appris avec une extrême surprise, — mais force m’a été de me rendre à l’évidence, — que, loin d’être en exil dans notre province, comme chacun le pensait chez nous, Stépan Trophimovitch n’avait même jamais été sous la surveillance de la police. Ce que c’est pourtant que la puissance de l’imagination! Lui-même crut toute sa vie qu’on avait peur de lui en haut lieu, que tous ses pas étaient comptés, toutes ses démarches épiées, et que tout nouveau gouverneur envoyé dans notre province arrivait de Pétersbourg avec des instructions précises concernant sa personne. Si l’on avait démontré clair comme le jour au très-honorable Stépan Trophimovitch qu’il n’avait absolument rien à craindre, il en aurait été blessé à coup sûr. Et cependant c’était un homme fort intelligent…

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Twenty thousand leagues under the sea

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“Twenty thousand Leagues Under the Sea” is an adventure novel by Jules Verne which was published in 1869-1870 and recounts the journey of three shipwrecked people saved by Captain Nemo. It was the fifth most translated book in the world and has been subject to many adaptations. It is now part of our bilingual book library.

Vingt mille lieues sous les mers de Jules Vernes

The idea of writing “Twenty thousand Leagues Under the Sea” dated from 1865 and the novel was written in his villa “La Solitude” in Crotoy in the department of the Somme in France.

“Twenty Thousand Leagues Under the Sea” begins with the appearance of a monstrous beast in several seas around the globe. After having caused several shipwrecks, the hunting of the beast begins. A scientist named Pierre Aronnax and his faithful servant joined the hunt on the flagship of the American Navy after being asked by the French secretary of the navy to represent France. On board they meet Ned Land who is a harpooner from Quebec.

After sailing for months they finally find the monster, but the ship is damaged and during the battle between the monster and the ship Pierre Aronnax and Ned Land are thrown overboard. Seeing this Conseil who is Pierre Aronnax servant jumps in the water to rescue his master.

They end up on top of the monster which is none other than a reinforced sheet metal submarine.

They are rescued from the sea but prisoner of the submarine and begin exploring many seas with Captain Nemo who decided to undertake a world tour of the depths.

The first allusion to the novel by Jules Verne is in August 1866 and the definitive title found in the spring of 1868. At first Jules Verne hesitated between “Journey Under Water”, “Twenty thousand Leagues Under Water”, “Twenty five Thousand Leagues Under the Oceans”, “One thousand Leagues Under the Oceans”, but he finally settled with ‘Twenty Thousand Leagues Under the Seas”. To write his book, Jules Verne relied on the scientific knowledge of his time to describe the marine environment, but also worked to anticipate by imagining the possibility of descending to depth still unexplored.

In his novel he also anticipated from the technology of the time by describing a submarine more advanced than those of his time. Effectively the first submarine using a mixed propulsion of stream engine and electricity appeared thirty years after the publication of his novel

They were many adaptations of his novel, in cinema, theater, music, comic books, animation and even attractions and video games.

You can read this book on our site if you want to:


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Vingt mille lieues sous les mers

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« Vingt mille lieues sous les mers » est un roman d’aventures de Jules Verne publié en 1869-1870 et qui raconte le voyage de trois naufragés sauvés par le capitaine Nemo. C’était le cinquième livre le plus traduit au monde et a fait l’objet de nombreuses adaptations. Ce livre fait maintenant partie de notre bibliothèque de livres bilingues.

Vingt mille lieues sous les mers de Jules Vernes

L’idée d’écrire « Vingt mille lieues sous les mers » date de 1865 et le roman a été écrit dans sa villa « La Solitude » au Crotoy dans le département de la Somme en France.

“Vingt Mille Lieues Sous Les Mers” commence par l’apparition d’une bête monstrueuse dans plusieurs mers du monde. Après avoir causé plusieurs naufrages, la chasse à la bête commence. Un scientifique du nom de Pierre Aronnax et son fidèle serviteur rejoignent la chasse sur le vaisseau amiral de la marine américaine, après avoir été sollicités par le secrétaire français de la marine, pour représenter la France. À bord, ils rencontrent Ned Land qui est un harponneur de Québec.

Après avoir navigué pendant des mois, ils trouvent enfin le monstre, mais le navire est endommagé et lors de la bataille entre le monstre et le navire, Pierre Aronnax et Ned Land sont jetés par-dessus bord. Voyant cela, Conseil qui est le serviteur de Pierre Aronnax, saute à l’eau pour secourir son maître.

Ils se retrouvent au sommet du monstre qui n’est autre qu’un sous-marin en tôle renforcée.

Ils sont sauvés de la mer mais prisonniers du sous-marin et commencent à explorer de nombreuses mers avec le capitaine Nemo qui décide d’entreprendre un tour du monde des profondeurs.

La première allusion au roman de Jules Verne se situe en août 1866 et le titre définitif est trouvé au printemps 1868. Jules Verne hésite d’abord entre « Voyage Sous l’Eau », « Vingt Mille Lieues Sous l’Eau », « Vingt Cinq Mille Lieues Sous l’Eau », « Vingt Cinq Mille Lieues Sous Les Océans », « Mille Lieues Sous Les Océans », mais il s’est finalement installé avec « Vingt Mille Lieues Sous Les Mers ». Pour écrire son livre, Jules Verne s’est appuyé sur les connaissances scientifiques de son temps pour décrire le milieu marin, mais a également travaillé à anticiper en imaginant la possibilité de descendre à des profondeurs encore inexplorées.

Dans son roman, il a également anticipé sur la technologie de l’époque en décrivant un sous-marin plus avancé que ceux de son temps. En effet le premier sous-marin utilisant une propulsion mixte de moteur fluvial et d’électricité est apparu trente ans après la publication de son roman.

Il y a eu de nombreuses adaptations de son roman, au cinéma, au théâtre, en musique, en bande dessinée, en animation et même en attractions et jeux vidéo.

Vous pouvez lire ce livre sur notre site si vous souhaitez :


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Facts and translation of I Remember a Wonderful Moment (Kern) by Alexander Pushkin

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< < < Je me souviens de la mer avant la tempête (Ru/Fr) / I remember the sea before the storm (Ru/Eng) / Я помню море пред грозою (Рус/Анг.) (Рус/ Фра.)
Ma Muse (Ru/Fr) / My Muse (Ru/Eng) / Муза (Рус/Анг.) / (Рус/ Фра.) > > >


“I remember a wonderful moment” is one of the most famous lyrical works of Alexander Pushkin who devoted many of his poems to women.

He wrote this poem in 1825, during his exile in Mikhailovsky after his second meeting with A. P. Kern. Their first meeting dated from 1819 and she had captured his imagination.

In just a few stanzas, Alexander Pushkin unfolds before our eyes a long history of his relationship with A. Kern, and his admiration of the woman.

Alexander Pushkin
Я помню чудное мгновенье (Керн) Александр Пушкин I Remember a Wonderful Moment (Kern) by Alexander Pushkin
Translated by Akirill.com
05/31/2022
К КернKern
Я помню чудное мгновенье;I remember the marvelous moment;
Передо мной явилась ты,You appeared before me,
Как мимолётное виденье,Like a fleeting vision,
Как гений чистой красотыLike a genius of pure beauty
В Томленьях грусти безнадёжной,In the languor of hopeless sadness,
В тревогах шумной суеты,In the anxieties of noisy bustle,
Звучал мне долго голос нежныйA gentle voice sounded to me for a long time
И снились милые черты.And of sweet features I dreamed.
Шли годы. Бурь порыв мятежныйYears passed. Storms rebellious, impulse
Рассеял прежние мечты,Scattered former dreams,
И я забыл твой голос нежный,And I forgot your gentle voice,
Твои небесные черты.Your heavenly features.
В глуши, во мраке заточеньяIn the wilderness, in the darkness of confinement
Тянулись тихо дни моиMy days dragged on quietly
Без божества, без вдохновенья,Without a deity, without inspiration,
Без слёз, без жизни, без любви.Without tears, without life, without love.
Душе настало пробужденье:The soul has awakened:
И вот опять явилась ты,And here again you appeared,
Как мимолётное виденье,Like a fleeting vision,
Как гений чистой красоты.Like a genius of pure beauty.
И сердце бьется в упоенье,And the heart beats in rapture,
И для него воскресли вновьAnd for him resurrected again
И божество, и вдохновенье,And the deity, and inspiration,
И жизнь, и слёзы, и любовь.And life, and tears, and love.

< < < Je me souviens de la mer avant la tempête (Ru/Fr) / I remember the sea before the storm (Ru/Eng) / Я помню море пред грозою (Рус/Анг.) (Рус/ Фра.)
Ma Muse (Ru/Fr) / My Muse (Ru/Eng) / Муза (Рус/Анг.) / (Рус/ Фра.) > > >


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Faits et traduction de Je me Souviens d’un Moment Merveilleux (Kern) d’Alexandre Pouchkine

Livres bilinguesRead in EnglishNous contacter
Littérature américaineLittérature françaiseLittérature russe

< < < Je me souviens de la mer avant la tempête (Ru/Fr) / I remember the sea before the storm (Ru/Eng) / Я помню море пред грозою (Рус/Анг.) (Рус/ Фра.)
Ma Muse (Ru/Fr) / My Muse (Ru/Eng) / Муза (Рус/Анг.) / (Рус/ Фра.)  > > >


«Je me souviens d’un moment merveilleux» est l’une des œuvres lyriques les plus célèbres d’Alexandre Pouchkine qui a consacré nombre de ses poèmes aux femmes.

Il a écrit ce poème en 1825, lors de son exil à Mikhailovsky après sa deuxième rencontre avec A.P. Kern. Leur première rencontre datait de 1819 et elle avait captivé son imagination.

En quelques strophes seulement, Alexandre Pouchkine fait defilé sous nos yeux la longue histoire de sa relation avec A. Kern, et de son admiration pour la femme.

Alexandre Pouchkine

Я помню чудное мгновенье (Керн) – Александр ПушкинJe me Souviens d’un Moment Merveilleux (Kern) – Alexandre Pouchkine
К Керн Kern
Traduit par Akirill.com
05/31/2022
Я помню чудное мгновенье;Je me souviens d’un moment merveilleux;
Передо мной явилась ты,Tu es apparu devant moi,
Как мимолётное виденье,Comme une vision fugace,
Как гений чистой красотыComme un génie de pure beauté
В Томленьях грусти безнадёжной,Dans la langueur d’une tristesse sans espoir,
В тревогах шумной суеты,Dans les angoisses d’une agitation bruyante,
Звучал мне долго голос нежныйUne douce voix m’a longtemps résonné
И снились милые черты.Et de doux traits je rêvai.
Шли годы. Бурь порыв мятежныйLes années ont passé. Tempêtes d’élans rebels
Рассеял прежние мечты,Éparpillèrent d’anciens rêves,
И я забыл твой голос нежный,Et j’oubliai ta douce voix,
Твои небесные черты.Tes traits célestes.
В глуши, во мраке заточеньяDans le désert, dans les ténèbres de l’enfermement
Тянулись тихо дни моиMes jours s’éternisaient tranquillement
Без божества, без вдохновенья,Sans divinité, sans inspiration,
Без слёз, без жизни, без любви.Sans larmes, sans vie, sans amour.
Душе настало пробужденье:L’âme s’est éveillée :
И вот опять явилась ты,Et ici encore tu es apparue,
Как мимолётное виденье,Comme une vision fugitive,
Как гений чистой красоты.Comme un génie de pure beauté.
И сердце бьется в упоенье,Et le cœur bat dans le ravissement,
И для него воскресли вновьEt pour lui ressuscité de nouveau
И божество, и вдохновенье,Et la divinité, et l’inspiration,
И жизнь, и слёзы, и любовь.Et la vie, et les larmes, et l’amour.

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< < < Je me souviens de la mer avant la tempête (Ru/Fr) / I remember the sea before the storm (Ru/Eng) / Я помню море пред грозою (Рус/Анг.) (Рус/ Фра.)
Ma Muse (Ru/Fr) / My Muse (Ru/Eng) / Муза (Рус/Анг.) / (Рус/ Фра.)  > > >



© 2022 Akirill.com – All Rights Reserved

Crime et Châtiments

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Crime et châtiments est un excellent livre de Fiodor Dostoïevski dans lequel il soulève de nombreuses questions sur la moralité humaine, la conscience et le droit de tuer.

Un ami m’a dit un jour que pour comprendre l’esprit Russe, il fallait lire Dostoïevski et je dois admettre qu’il avait raison.

Le thème central du livre Crime et Châtiments est la conscience humaine, grace à laquelle les gens peuvent analyser leurs actions et tirer les bonnes conclusions qui aident à se repentir et s’améliorer.

Les évenèments se déroulent dans les annees 60 du XIXe siecle, à Saint Pétersbourg. Notre héro, Rodion est un jeune homme, ancien étudiant, à l’esprit philosophique. Il est sensible à la souffrance de son entourage et il est prêt à tout moment à venir en aide de manière tout à fait désinteressée a un autre.

Raskolnikov est obsédé par l’idée folle qu’il a parfaitement le droit de débarrasser le monde d’un vieux prêteur sur gages méchant et inutile. Il ne veut pas seulement venger tous les pauvres humiliés, il veut s’élever au-dessus de ceux qui subissent l’injustice toute leur vie. 

Raskolnikov complote un meurtre cruel, mais sa conscience est silencieuse. Et puis quelque chose se produit qui sortira finalement Raskolnikov de son état insensé de surdité spirituelle. Elisabeth apparaît. C’est elle qui devient un symbole de la conscience du protagoniste. Ayant tué la sœur inoffensive de la vieille femme, Raskolnikov ne peut plus se justifier.

En même temps le roman parle du sacrifice que font les femmes au nom du bien être de leurs familles. Par example, sa soeur Dounia va se marrier avec un homme qui apprécie sa position de mendiante plutôt que d’avoir des sentiments pour elle. Sonia qui est la fille d’un ivrogne rencontrée dans un bar, se prostitue pour nourir sa famille bien que très croyante.

Les remords de conscience sont toujours terribles, ils ne peuvent pas être noyés, ils rendent fou ou vous aident à vous relever, à devenir meilleur.

Qu’avendra-t’il de Rodion, sa soeur et Sonia est pour vous à découvrir?

De plus vous pouvez joindre l’utile a l’agréable car Crime et Châtiments fait désormé parti de notre collection de livres bilingues Anglais/Français, ce qui vous facilitera l’apprentissage de l’anglais si c’est ce que vous souhaitez.

Sinon vous pouvez simplement le lire en Français

Crime et Chatiment

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