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Saratchandra Chattopadhyay (1876–1938)

Autor(a) de Devdas

84+ Works 355 Membros 8 Críticas 1 Favorited

About the Author

Séries

Obras por Saratchandra Chattopadhyay

Devdas (2002) 91 exemplares, 1 crítica
Parineeta (2005) 47 exemplares, 2 críticas
Sreekanta (1997) 28 exemplares
Palli Samaj: The Homecoming (2001) 12 exemplares, 1 crítica
The Saratchandra Omnibus (2005) 12 exemplares
Devdas and Other Stories (1996) 11 exemplares, 1 crítica
Datta: A Novel Translated from Bengali (2003) 9 exemplares, 1 crítica
Final Question (2010) 8 exemplares
Srikanta (1985) 8 exemplares
গৃহদাহ 5 exemplares
Stories from Saratchandra: Innocence and Reality (2018) 4 exemplares, 1 crítica
Classic Saratchandra Vol 1 (2011) 4 exemplares
Badi Didi (Hindi Edition) (2021) 4 exemplares
মহেশ 4 exemplares
Brahmin Ki Beti (Hindi Edition) (2022) 3 exemplares
বড়দিদি 2 exemplares
Vipradas (2016) 2 exemplares
বড়দিদি 2 exemplares
Sesh Prashna (1995) 2 exemplares, 1 crítica
House Ablaze 2 exemplares
Pather Dabi 1 exemplar
Vipradas (Bangla) 1 exemplar
Mejdidi 1 exemplar
Sarat Rachanabali 1 exemplar
ছবি 1 exemplar
NISHKRITI 1 exemplar
Mahesh et autres nouvelles (1988) 1 exemplar
হরিচরণ 1 exemplar
মন্দির 1 exemplar
স্বামী 1 exemplar
বিলাসী 1 exemplar
Bordidi ( Bengali Edition ) (2018) 1 exemplar
Dehati Samaj (2022) 1 exemplar

Associated Works

Found in Translation (2018) — Contribuidor, algumas edições38 exemplares

Etiquetado

Conhecimento Comum

Membros

Discussions

1914 - Saratchchandra Chattopadhyay em Literary Centennials (Janeiro 2014)

Críticas

This is a collection of short stories by an early 20th-century Bengali writer who I consider inexcusably unknown outside of India. I recently discovered his writing and was so impressed that I immediately ordered several more volumes of his writings. Fortunately, a fair amount of his work—both stories and novels—have been translated into English. Unfortunately, those translations are not of equal quality. And while I was fortunate to discover him in excellent translations, this recent (2018) collection simply doesn’t meet the standard of fluid English prose, notwithstanding the translator’s excellent academic credentials. All too often, people who are mostly fluent in two languages indulge their passion by deciding that they can translate beloved literary works. Unfortunately for them (and for readers) translation is a profession for good reason. High quality literary translations is an art and it demands skills that mere fluency does not confer. It is not enough to know two languages thoroughly because, as here, what often results is a slavish or too-literal translation where the result may be technically, literally accurate but lacks all life, all soul. I imagine the translator here could justify every choice she made, every word, every phrase. But the stories are mostly dead on the page; she has simply failed to bring any energy, any vitality, to the characters, to the story lines, or what Chatterji was writing about. What a missed opportunity.… (mais)
 
Assinalado
Gypsy_Boy | Jun 3, 2024 |
One of the joys of reading is discovering writers who are new to us whose work we quickly discover we enjoy enormously. Although the works of many Bengali authors have especially resonated with me for many years, I had never heard of Sarat Chandra Chatterji. I happened to find a copy of a selection of his works in a used bookstore and was intrigued by the contents: excerpts from his two most famous novels and a selection of short stories. Devdas, probably his best-known work, is a love story about childhood sweethearts. Devdas refuses to marry Parvati when she proposes to him because he is unable to overcome his parents’ objections. They go their separate ways but the self-destructive Devdas spends the rest of his (often dissipated) life, regretting his decision. He develops a relationship with another woman but is unable to forget Parvati and continues making poor choices, eventually returning one last time to see her in as heart-breaking a final scene as I can recall. The story has been the subject of nearly two dozen film versions throughout India (beginning in 1928 as a silent film and continuing up through 2019) and is said to be the most filmed non-epic story in Indian history. Given the uniformly high quality of his writing in the two novels contained here as well as the several stories, I can only wonder how sad it is that his name is so little known in the West.… (mais)
 
Assinalado
Gypsy_Boy | Mar 8, 2024 |
Mais elle me revient à l’esprit… Comme tout est allé de travers en un clin d’œil ! En un instant elle s’est éloignée de moi… et quant à moi, quelle vie déplorable j’ai choisi de mener maintenant ! Un ivrogne invétéré et cette femme-ci, une pros… Ah ! Bon, qu’il en soit ainsi ! Pas d’espoir, ni foi, ni joie, ni désirs… Bah ! Très brillant !
(p. 109-110, Chapitre 11).


Devdas, publié en 1917, est le roman le plus connu de Sarat Chandra Chatterjee, souvent présenté comme le [Roméo et Juliette] indien, ce qui est à mon avis un peu réducteur. Il est question, certes, des amours contrariés de Devdas et de Parvati, sa voisine, séparés par les conventions sociales : Parvati est d’une caste inférieure, moins riche, et puis fille de voisins (je ne sais pas pourquoi, mais cette proximité semble un empêchement au mariage, il me manque des clefs pour comprendre pourquoi). Parvati épouse alors un autre homme, choisi par ses parents (principalement pour laver l’affront de ce mariage désiré mais impossible) et Devdas tombe dans la déchéance : l’alcoolisme (pour une caste qui probablement ne se donne pas la permission de boire) et la débauche. Il devient dépendant d’une prostituée qu’il méprise mais qui tombe amoureuse de lui (justement à cause du mépris qu’il lui oppose…).
Un banal amour contrarié, donc, mais traité à la mode indienne du début du XXème siècle. C’est un livre très difficile à décoder, car les personnages, et surtout Devdas, ne me semblent pas toujours très cohérents et parce que le récit comporte des ellipses de parfois plusieurs années qui ne permettent pas de vraiment comprendre la douleur et la déchéance de Devdas. Il faut, je suppose, accepter de se défaire de ses réflexes de lecteur occidental (qui plus est du XXIème siècle) pour réussir à se plonger dans cette lecture, cet atmosphère, ces non-dits. Devdas apparaît alors comme un être déchiré entre la tradition (l’obéissance à ses parents, la conformité à l’ordre social et notamment aux attentes liées à sa caste) et sa liberté individuelle. Mais c’est aussi un être sans grande consistance (est-il vraiment amoureux de Paro ? C’est quand on lui dit qu’il ne peut l’épouser qu’il semble se rendre compte que somme toute il l’aime), irréfléchi (ou du moins qui réfléchit après avoir agi ou parlé, et qui prend alors le contre-pied de sa parole ou de son action) et faible. Pas vraiment un Roméo qui fait rêver les midinettes occidentales, donc. Ajoutons à cela une bonne dose de misogynie (dans le livre et dans la société dont il émane, Devdas n’est ici que le pur produit de son environnement et se comporte d’une façon choquante à nos yeux d’ici et de maintenant, mais ce n’était probablement pas le cas là-bas et alors). Et nous voilà avec un livre dépaysant mais qui met aussi très mal à l’aise.
Je crois que le fait d’avoir vu avant de lire ce livre l’adaptation cinématographique qu’en a fait Sanjay Leela Bhansali en 2002 m’a aidée à combler les ellipses de la narration et à donner une certaine cohérence aux personnages, mais le mot « adaptation » n’est pas là pour rien et ce film diffère beaucoup du roman, il dramatise la relation entre les deux amants contrariés, il crée une relation entre Parvati et Chandramuki qui n’est pas dans le livre mais qui dessine le troisième côté du triangle amoureux qui gagne ainsi en équilibre.
Le dernier paragraphe du livre, qui est aussi la quatrième de couverture (à chacun de décider s’il veut la lire ou non…), plaint Devdas pour la vie lamentable qu’il a vécue et la mort ignominieuse (surtout, encore une fois, au vu de sa caste…). Pourtant, cet homme a été aimé bien au-delà de ce qu’il méritait (si tant est que l’amour se mérite). Devdas, c’est un Roméo qui a broyé dans son poing deux Juliette, et qui ne sera même pas incinéré correctement.
… (mais)
 
Assinalado
raton-liseur | Jun 25, 2022 |
I was very young when I read this novel and so am very sure this review will be marred by the obvious romanticizing the past. What I remember of this book would be the ferocious personality of Kamal. I warn you before hand that this book will be all about her. She was unapologetic , clear headed and so so powerful and also a sexual being. I remember I was awed by this lady and her point of view , not being from a very conservative background myself ; I was not shocked at her liaisons but what shocked me was the ease with which she collected her broken heart and moved forward. Being a teen , I was still under the shroud of "true love" and I think this was a bit uncomfortable for me.
Another important and really nice feeling about this book was the representation of the Bengali community.
The only complain I think I had of this book was the physical appearance of the lady. She was extremely attractive and to quote the entry I wrote in my diary about her was , "While reading this novel, I wondered why inorder to show a strong and clear headed woman , the writer chose a beautiful (physically) woman. I really am curious to see the impact would be if instead of her an average or even an ugly woman was chosen." So, I think this esteemed writer (who I don't think I am even capable of criticizing) , as a lot of other , did fail in this aspect .
… (mais)
 
Assinalado
__echo__ | May 11, 2021 |

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Associated Authors

Sreejata Guha Translator

Estatísticas

Obras
84
Also by
1
Membros
355
Popularidade
#67,468
Avaliação
4.0
Críticas
8
ISBN
47
Línguas
5
Marcado como favorito
1

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