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Updated: June 15, 2025
On this proposition, combined with a second one, namely, that even as France as a nation will be the first to discard Christianity, so she will be the first to promulgate a new faith based on reason, science and the teachings of life, is founded the whole argument of M. Zola's Trilogy. Having thus dealt with the Trilogy's religious aspects, I would now speak of "Paris," its concluding volume.
His struggles suggest various passages in 'Lourdes' and 'Rome. In fact, in writing those works, M. Zola must have had his earlier creation in mind. There are passages in 'La Faute de l'Abbe Mouret' culled from the writings of the Spanish Jesuit Fathers and the 'Imitation' of Thomas a Kempis that recur almost word for word in the Trilogy of the Three Cities.
From the latter year until 1876, when the trilogy was produced at Baireuth, he gave himself wholly to the work of completing it and preparing it for the stage. Prior to the production of the completed work, separate parts of it were given, though Wagner strongly opposed it.
The subjects of the three tragedies might be separated by a wide interval of time, or follow close upon one another. The three pieces which form the trilogy of Aeschylus, are the Agamemnon, the Choephorae or, we should call it, Electra, and the Eumenides or Furies. The subject of the first is the murder of Agamemnon by Clytemnestra, on his return from Troy.
It was in the later Trilogy of the cities that, using a broader formula, he came into full expression of what was in him; during the last years of his life he was moving, both as man and artist, in the right direction.
WITH the present work M. Zola completes the "Trilogy of the Three Cities," which he began with "Lourdes" and continued with "Rome"; and thus the adventures and experiences of Abbe Pierre Froment, the doubting Catholic priest who failed to find faith at the miraculous grotto by the Cave, and hope amidst the crumbling theocracy of the Vatican, are here brought to what, from M. Zola's point of view, is their logical conclusion.
'Let us then restore the ancient glories of the Greek drama. Let us give them a trilogy of Aeschylus or Sophocles. 'Too calm, my dear madam. The Eumenides might do certainly, or Philoctetes, if we could but put Philoctetes to real pain, and make the spectators sure that he was yelling in good earnest. 'Disgusting! 'But necessary, like many disgusting things. 'Why not try the Prometheus?
Wagner now took up his plan of the Nibelung Trilogy, that is the three operas and a prologue. Early in 1853 the poem in its new form was complete, and in February he sent a copy to Liszt, who answered: "You are truly a wonderful man, and your Nibelung poem is surely the most incredible thing you have ever done!"
Between the years 1852 and 1856 the composer wrote the music of the "Rhinegold" and the whole of "The Valkyrie;" and then, as he says himself, wishing to keep up his active connection with the stage, he interrupted the progress of the main scheme, and wrote "Tristan and Isolde," which occupied him from 1856 to 1859. During its composition, however, he did not entirely forsake the trilogy.
From the first pages of "Lourdes," many readers will have divined that Abbe Froment was bound to finish as he does, for, frankly, no other finish was possible from a writer of M. Zola's opinions. Taking the Trilogy as a whole, one will find that it is essentially symbolical.
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