By William Makepeace Thackeray
Quittant l’Irlande à l. a. suite d’un duel qui tourne mal, Redmond Barry s’enrôle dans l’armée anglaise alors en guerre contre los angeles Prusse. Après avoir été fait prisonnier par l’ennemi, il sera contraint d’espionner un definite chevalier de Balibari pour le compte des Allemands. Coup de théâtre : celui-ci n’est autre que son oncle ! Tous deux prennent alors l. a. fuite et deviennent, avec succès et moyennant quelques tricheries, joueurs de cartes professionnels.
Ambitieux, Redmond parvient à se marier avec los angeles comtesse Lyndon, une riche veuve. Mais leur relation se révèle houleuse. En plus de dépenser sa fortune, Barry se comporte en mari tyrannique. Jeune arriviste débauché, libertin, il est l’archétype de l’opportuniste à los angeles recherche de los angeles gloire et de l’argent…
Dans un sort grinçant, le narrateur des pretend Mémoires de Barry Lyndon décrit avec ironie les travers de los angeles haute société cosmopolite d’un XVIIIe siècle décadent.
En 1975, Stanley Kubrick healthy de cette oeuvre, qu’il tira d’un relatif oubli, une magistrale model cinématographique.
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And Strindberg, like Shakespeare, takes up the mantle of national poet by writing a series of historical plays that, in Strindberg’s case, chart the course of the Swedish nation, a series Strindberg begins in his early twenties, and which are discussed elsewhere in this Companion. Clearly Strindberg put himself on the path to becoming the national poet, although in his later years, after he had returned from exile, he realized that that kind of ofﬁcial recognition from the establishment would never be his.
So Strindberg, unfortunately for the Swedes, is an uncomfortable and unruly national icon, not as invariably awe-inspiring as Shakespeare or as solidly respectable as Goethe or as avuncular as America’s Mark Twain. Even most English speakers, who remain unfamiliar with much of Strindberg’s œuvre, know that Strindberg was a difﬁcult character. So what do we know of Strindberg, or what do we think we know? Near the conclusion of Ingmar Bergman’s family epic, Fanny and Alexander, one of the characters proposes that the theatre she directs should stage a new play by August Strindberg: A Dream Play.
In his preface to A Dream Play Strindberg describes a model that could account for the authorial ﬁgure in all of his writing: ‘The characters divide, double, evaporate, condense, ﬂoat away, coalesce. 55University on Sun Apr 07 14:45:05 WEST 2013. 001 Cambridge Companions Online © Cambridge University Press, 2013 linda haverty rugg (SV46, p. 7; MJoP, p. 176). The many ﬁgures of his dream play, then, are indeed meant to be understood as emanations of a single consciousness, and Strindberg called To Damascus his earlier dream play, indicating that we can understand the Stranger as a representative of the dreamer, with the other characters in the drama acting as subﬁgures to the protagonist.