By Benjamin Constant
Adolphe is a privileged and subtle younger guy, bored through the stupidity he perceives on the planet round him. After a few meaningless conquests, he eventually encounters Ellenore, a gorgeous and passionate older girl. Adolphe is enraptured and progressively wears down her resistance to his declarations of affection. yet as they embark on an excessive and tortured affair, Ellenore offers strategy to a flood of emotion that in basic terms serves to repel her more youthful lover - but he can't deliver himself to depart her and his procrastination can merely carry tragedy. in part encouraged through Constant's personal stormy affair with Madame de Staël, Adolphe (1816) is a penetrating mental depiction of affection that plumbs the depths of the passions, explanations and inconsistencies of the human personality.
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Extra info for Adolphe (Penguin Classics)
The large lady and the clerk having compromised on fifty words, Lois took a blank and wrote her telegram. And there were no overtones to the finality of her decision. It’s just destiny—she thought—it’s just the way things work out in this damn world. If cowardice is all that’s been holding me back there won’t be any more holding back. So we’ll just let things take their course, and never be sorry. M. ” “Fifty-four cents,” said the clerk admiringly. And never be sorry—thought Lois—and never be sorry—— II Trees filtering light onto dappled grass.
So we’ll just let things take their course, and never be sorry. M. ” “Fifty-four cents,” said the clerk admiringly. And never be sorry—thought Lois—and never be sorry—— II Trees filtering light onto dappled grass. Trees like tall, languid ladies with feather fans coquetting airily with the ugly roof of the monastery. Trees like butlers, bending courteously over placid walks and paths. Trees, trees over the hills on either side and scattering out in clumps and lines and woods all through eastern Maryland, delicate lace on the hems of many yellow fields, dark opaque backgrounds for flowered bushes or wild climbing gardens.
The growing darkness of mood in the Tarleton stories foreshadows the approaching end of Fitzgerald’s flapper stories. When an interviewer reminded him in 1921 that he had brought the customs of the flapper to the attention of the older generation, Fitzgerald responded that “My new novel will, I hope, be more mature. ”16 In those dreamy months during the winter of 1919 and spring of 1920 during which Fitzgerald was creating his early flappers and securing his reputation as the flapper’s historian, he was having difficulty making progress toward a novel that would follow This Side of Paradise.