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THE HUMAN QUEST FOR LITERARY QUEST: BALZAC AND THE" SEARCH OF THE ABSOLUTE "

Alchemy and Spirituality: subtle kinship between two worlds in pursuit of a purity not found. And God conspicuously absent, which makes up the Absolute. Balthazar Claes, Flemish bourgeois family, chasing the unreachable star of his wildest dreams: decompose to produce carbon the purest diamond.

decompose But, is it create? ... A question that applies in conjunction with creative writing. Metaphor fruitful for Balzac manages to close its new while Balthazar does his own grail that supreme moment of his disappearance.

The great novelist of the nineteenth always showed empathy for the characters above, large misunderstood symbols of romantic imagery. A real lesson lies behind these metaphysical texts of desire that burns souls like the body: "The glory is the sun of the dead" .

Josephine Claes, Balthazar's wife, ugly woman, a "beautiful ugliness" (oxymoron Balzac), certainly has the beauty of dedication, intelligence, sympathy. But Can a rival cons like science? ... It must be reduced to the misfortune of her husband in the spoiling.

As "unknown masterpiece" (1831), Balzac celebrates painting thought in the narrative. The pictorial narration of a feeds "lukewarm Flemish" which spreads the passion of gold digger (another oxymoron). Lights and Shadows, the house Claes is depicted in the manner of a Vermeer. Tribute to all the Dutch culture: the paradigm of painting gives the novelist a zone of neutrality which may unfold over time stretched - almost thirty years - the quest suspension, and finally a utopia which admits torture.

Gradually, Balthazar collapses, burns, turns off, the image of time running away. Excluded from everywhere and by everyone, he leads his family into ruin. And it is art itself is sacrificed to his passion: the great paintings of the family are sold on behalf of the devouring flame.

While old painter Frenhofer the "unknown masterpiece" was engaged in a frenzied dissection of life, Claes, conversely, materializes, "chemicalization" feelings in modern fiction of the "Mad Scientist ". Between Prometheus and Faust Franckenstein, Balzac puts Western man's religious challenge to the scientific challenge. Runaway in the world and done this, the learned monomaniac is felt as pleasant or disturbing, as it is, by its delay, distraction unbreakable. Balthazar Claes misunderstood genius: the ambiguity is at the heart of Balzac's fiction.

Also the much desired victory coincides she with the ultimate defeat. The finest achievements of the writer Balzac is primarily the story of a failed quest. But a failure that does not drown in pessimism is still in a dynamic. By blowing the truth does not exist, the novelist is never where one expects.
"Between the yardstick of Savant and vertigo du Fou, he writes, is emerging space fascinating and risky of all possible existential and poetic" .

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" The Fugitive ": THE DESIRE INCARNATE IN PROUST

"In Search of Lost Time" : the greatest book of all time. Each figure has its epiphany and nourishes the subtle links between the narrator and the author, in a game with three always renewed. This applies lorsqu'Albertine and the narrator seem to share a moment of happiness to own lovers. Albertine character floating enigmatic, slowly embodied in the flow of time. This chameleon-girl, whom he met at Balbec, suggests a hoarse voice, quasi-villainous. A few gulps of cider enough to wake her the intensity of a pleasure, privilege of female pleasure. A pleasure that does not mean possession. Albertine purrs like a kitten sneaky. It is the desire of the other, feminine strategy.

Possession embodied when desire dies. Love, like a lost cause, is deadlocked if it is limited to the enjoyment. Are we in love trance? ... Passion is always triggered by desire, the desire by the lack and failure by anxiety. Love like waiting and suffering the people "Search" Proust.

What fascinates the narrator - and beyond the writer himself - is the body floating in Albertine enjoyment inaccessible to humans. In the background is also speaking of Proust's work as his child. A work he intends to own and why he feels the pangs of parturition. Albertine, awake or asleep, for it remains a puzzle that opens onto infinity, similar to this artwork, the mystery of the Stradivarius. Proust's creative writing students here the rank of a summit of strangeness, poetry.

The distance is great between the narrator's dream of owning that object. Cruising girls blossom in the Norman countryside, he feels the need to become intimate for them unforgettable. Possess, obsess here, capturing their attention. It is haunting the hearts, souls to enter secretly participate in these lives known. Possession is the psychological substitute for physical love.

Albertine comes off gradually in the mind of the narrator. Her blue eyes are for him the sea withdrew and sailing, his breath the rocking waves. It is entire cruise infinity. Albertine is the nymph, goddess of the fluid element. She does not want it enjoys. She is beatitude in sensuality, like the body of the mother and child. Before the narrator always frustrated, beautiful embodies the mystery of a perfect pleasure, the full enjoyment of her own.

Sleep Albertine has the softness of a caress, the ocean, the matrix of all life. Viewer frozen, ecstatic, the narrator imagines that put the beautiful kimono houses probably the letters of her lover (e) s. He may be right there in the responses to his jealousy. He gets up, tried, although no search. For Albertine is the pleasure principle and jealousy. Proust, jealousy is the cause of love and not the other way: as a subtle game which the narrator engages with himself for reassurance and finally rejoice at not having ... to fear.

The jealous and artist seem to share is that refusal of the truth. The narrator addresses Albertine, enjoying animal, like a work of art. He loves his jealousy as Proust saw his work: in the throes of a vocation.

The smooth flesh of the cheek of Albertine embodies the mystery of living flesh. The beautiful fugitive is turbulence on the river time. Algae, water lily, it is this mollusk secretes cerebral romantic. The mystery itself encrypted in the act of creation.

Proust watercolorist penetrating the passions at work.

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DANIEL Arass: A SONG OF THE NARRATOR IN CLOTH

Like literature, cinema or theater, the painting has its great storytellers. Daniel Arasse is one of those. "Knowledge transcended by emotional literacy is delegable," Roland Barthes wrote . Daniel Arasse describes painting as this fascinating art "which can not explain why key Or why the work you "calls" . Citing

Delacroix affected by the "silent power of the painting," says Arasse correctly that if you usually think in words, a painting, she thinks so "nonverbal" . Thus, questioning "The Lock" bright and libertine (1770/1778) Fragonard, the narrator shows that the left half of the table is occupied by ... nothing. And this nothing, only made of folds of linen, wrinkles, as is hinted after that tells the web. That the painter wants to master a project inspired shape puzzle and work makes sense.

Then, before the sketch for "The Dance" by Matisse is blue, the blue-there tone invented by Matisse, which affects Arasse. Upset, he says he left the museum in tears ... before discovering that this quality blue hides red, and that's what red, since blue apparent call. Surprise, shock visual colorist here.

layers of meaning, the accumulation of thoughts, meditations entrusted to the painter's canvas, are revealed to those who stop there. The painting, by raising successive segments of meaning, like the layers of material, raises gradually the intimacy that it was sealed. Emotion shock at the colors, to the density of thought given to the painting. Arasse entrusts his modesty face this "bottomless pit" through materials, shapes, there "something that thinks" and "I have only words to report" .

What upsets the amateur front "The Sistine Madonna" by Raphael is the presence of two little angels at the bottom of the table. Arasse sees them as the Christian figure of the cherubim guarding the temple veil in the Jewish religion. The god became visible before dying, and this tragedy is given to adult children's faces. "The Sistine Madonna " to "lift" the viewer into the extraordinary power of this symbol.

As ephemeral and enigmatic smile of "Mona Lisa" by Leonardo da Vinci , Arasse as it detects the transition from chaos to the timeless landscape of this fleeting time and grace. What fascinates him is what deeply connects the figure of the model landscape background. That smile symbolizes first to Leonardo's portrait recalls the fertile woman and the attraction and fear of the artist with respect to the body feminine. Eye, perpendicular to the plane of the stage, looking directly at us, wherever we found ourselves in relation to the portrait. From the bottom of the table until the next part of the silhouette twist that makes us fix it.

And what about this landscape that stands out in the background on each side of the face model? ... That's Tuscany appears to us in its topography timeless, timeless, after reflection mapping and geological scientist Leonard. A river connects Lake Trasimeno in Val d'Arno, as the smile of the Mona Lisa joins the two parts of this landscape backgrounds. The artist writes itself his canvas and the bridge over the Arno that is the symbol of passing time. Table dense, sober, Time ever returning the gaze ... the eye.

Web-mirror secret joy and timelessness congealing.