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L'Auberge Rouge

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Dans une auberge au bord du Rhin sont réunis par le hasard deux jeunes Français et un riche négociant allemand qui passent une agréable soirée avant d'aller se coucher. Au petit matin, on retrouve le négociant décapité... Dans les brumes de l'Allemagne romantique, l'inspecteur Balzac mène l'enquête !


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Dans une auberge au bord du Rhin sont réunis par le hasard deux jeunes Français et un riche négociant allemand qui passent une agréable soirée avant d'aller se coucher. Au petit matin, on retrouve le négociant décapité... Dans les brumes de l'Allemagne romantique, l'inspecteur Balzac mène l'enquête !

30 review for L'Auberge Rouge

  1. 4 out of 5

    Το Άθχημο Γατί Καρολίνα

    Το διήγημα με τίτλο "L'Auberge rouge" (Το κόκκινο πανδοχείο) δημοσιεύτηκε για πρώτη φορά στο περιοδικό Revue de Paris (Επιθεώρηση των Παρισίων), σε δύο συνέχειες στις 21 και 28 Αυγούστου 1831 και την επόμενη χρονιά στη συλλογή διηγημάτων Nouveaux contes philosophiques εκδ. C. Gosselin (που περιελάμβανε επίσης το Maître Cornélius, Madame Firmiani και το Louis Lambert). αρχή του διηγήματος 21 Αυγούστου 1831 περιοδικό Revue de Paris: πρώτη σελίδα του διηγήματος από τις Nouveaux contes Το διήγημα με τίτλο "L'Auberge rouge" (Το κόκκινο πανδοχείο) δημοσιεύτηκε για πρώτη φορά στο περιοδικό Revue de Paris (Επιθεώρηση των Παρισίων), σε δύο συνέχειες στις 21 και 28 Αυγούστου 1831 και την επόμενη χρονιά στη συλλογή διηγημάτων Nouveaux contes philosophiques εκδ. C. Gosselin (που περιελάμβανε επίσης το Maître Cornélius, Madame Firmiani και το Louis Lambert). αρχή του διηγήματος 21 Αυγούστου 1831 περιοδικό Revue de Paris: πρώτη σελίδα του διηγήματος από τις Nouveaux contes philosophiques 1832: Ο διαχωρισμός των κεφαλαίων είναι ενδεικτικός των προθέσεων του συγγραφέα, καθώς τιτλοφορεί το τρίτο και τέταρτο μέρος ως Les deux Justices (Οι δύο δικαιοσύνες) και το πέμπτο μέρος ως Le Cas de Conscience (Το ζήτημα της συνείδησης). Αργότερα (και αυτό είναι ενδεικτικό της αμφισημίας την οποία επιθυμεί να προσδώσει στο έργο αυτό ο Balzac) το κείμενο θα καταλήξει να διαχωριστεί σε δύο μόνο μέρη: L'idée et le fait (Η ιδέα και το γεγονός ή πράξη) και Les deux Justices (Οι δύο δικαιοσύνες): περιεχόμενα πρώτης έκδοσης Nouveaux contes philosophiques 1832: Πηγή: gallica.bnf.fr Η πιο σημαντική διαφορά ανάμεσα σε αυτές τις δύο πρώτες δημοσιεύσεις και στις μεταγενέστερες είναι το όνομα του τραπεζίτη Mauricey όπου αργότερα προκειμένου να ενταχθεί οργανικά το κείμενο στο σύνολο της Ανθρώπινης Κωμωδίας γίνεται Taillefer. Αρχικό: "— Comment se nomme le fournisseur?.... demandai-je à ma complaisante voisine. — Mauricey !.... me répondit-elle". Τελικό: "— Comment se nomme l’ancien fournisseur, demandai-je à ma complaisante voisine. — Taillefer, me répondit-elle". Εδώ λοιπόν έχουμε ένα κείμενο που συνεχώς κινείται σε δύο διαφορετικά επίπεδα. Στο πρώτο μέρος έχουμε μια διήγηση που λαμβάνει χώρα σε ένα Παρισινό σουαρέ, στο σπίτι ενός πλούσιου τραπεζίτη, στα 1830 όπου ένας Γερμανός καλεσμένος ονόματι Hermann ξεκινάει την εξιστόρηση μιας αλλόκοτης και μυστηριώδους υπόθεσης που συνέβη στο παρελθόν, το Οκτώβρη του 1799, στο Κόκκινο Πανδοχείο, στις όχθες του Ρήνου, κοντά στο Andernach της Γερμανίας, όπου δύο νεαροί Γάλλοι στρατιωτικοί χειρούργοι κι ένας Γερμανός έμπορος ονόματι Wahlenfer βρίσκουν προσωρινό κατάλυμα. Τα περιστατικά που συμβαίνουν μέσα στη διήγηση του Hermann στα 1799 και εκείνα που παρατηρεί ο ανώνυμος αφηγητής κατά τη διάρκεια του σουαρέ στα 1830, αρχίζουν να περιπλέκονται και σχηματίζουν μια τρίτη ιστορία η οποία αποτελεί το περιεχόμενο του δεύτερου μέρους, όπου στην ουσία πρόκειται για ένα debate, μια αντιπαράθεση επιχειρημάτων γύρω από ένα ηθικό δίλημμα. Κι αν αξίζει να διαβαστεί για κάποιο λόγο αυτή η ιστορία είναι ακριβώς γι' αυτό: Για να δώσει ο καθένας τη δική του απάντηση, για το πώς θα έπραττε αν βρισκόταν στη θέση του αφηγητή. Για παράδειγμα προσωπικά θα έπραττα ως εξής: (view spoiler)[ Εφόσον δεν είμαστε σε θέση να πούμε με βεβαιότητα πως ο Frederic, της ιστορίας του 1799 είναι ο Mauricey/Taillefer της ιστορίας του 1830, δεν υπάρχει κατά την άποψή μου ηθικό δίλημμα. Ακόμα κι υπήρξε αδίκημα, αυτό παραγράφεται εφόσον ο ύποπτος δεν βρίσκεται καν στη ζωή προκειμένου να υπερασπιστεί τον εαυτό του. Και για ποιο λόγο η ενοχή να κληροδοτηθεί στην κόρη και στους απογόνους της; Αν ήμουν λοιπόν στη θέση του αφηγητή θα παντρευόμουν χωρίς δεύτερη σκέψη την κοπέλα, αλλά θα κρατούσα ως ηθική υπενθύμιση στο νου μου πως κανένας δεν πλούτισε με τον σταυρό στο χέρι και πως τα πολλά χρήματα διαφθείρουν ακόμα και τον πιο ηθικό άνθρωπο και θα εστίαζα περισσότερο στο να προσφέρω στην οικογένειά μου παιδεία, μόρφωση και ικανότητες σύμφωνα με τις κλίσεις και τα ταλέντα τους, ώστε να τους εξασφαλίσω μια άνετη και δημιουργική ζωή και όχι απλώς μια έτοιμη περιουσία για να την ξοδέψουν. Άλλωστε έτσι ερμηνεύω και την τελική φράση του κειμένου: "Imbécile, pourquoi lui as-tu demandé s’il était de Beauvais!" (Ανόητε γιατί τον ρώτησες αν κατάγεται από το Beauvais). Κατά τη γνώμη μου αυτή η φράση ισοδυναμεί με το "μη τα σκαλίζεις" και " Ό,τι έγινε, έγινε". Στην προκειμένη περίπτωση, εφόσον δεν μπορούμε με βεβαιότητα να βρούμε την αλήθεια, δεν έχει νόημα να βασανιζόμαστε και να ματαιοπονούμε. Όμως, αν ήμουν στη θέση του ανώνυμου αφηγητή, επειδή αγαπώ τη δικαιοσύνη με πάθος και απεχθάνομαι την αδικία (καίτοι όπως προανέφερα δεν έχει νόημα να βασανιζόμαστε από ενοχές από τις πράξεις τρίτων) θα έκανα το εξής: Όντας πλούσιος, θα προσλάμβανα τον καλύτερο δικηγόρο και τον καλύτερο ιδιωτικό ντετέκτιβ της Γαλλίας και, όταν θα προέκυπτε κάποια παρόμοια αλλόκοτη και μπερδεμένη υπόθεση στον μέλλον, θα τους έστελνα να τη διερευνήσουν και να τη λύσουν. Έπειτα θα κατέγραφα τις υποθέσεις αυτές σε βιβλία ή θα έβαζα έναν ταλαντούχο συγγραφέα να τις γράψει και θα τις δημοσίευα προς παραδειγματισμό όλων. Τα κέρδη από τις πωλήσεις θα πήγαιναν στον αθώο της κάθε υπόθεσης! Editions Ethiques! Προς γνώσιν και συμμόρφωσιν! (hide spoiler)]

  2. 4 out of 5

    محمد نجابتی

    مجموعه پانوراما کتابای کمحجمی رو شامل میشه که سعی دارن اوقات مُردۀ ما رو با ادبیات پر کنن در ضمن یه تمامنما هم از هر نویسنده ارائه بدن. مسافرخانۀ سرخ به معنی واقعی کلمه پانورامای آثار بالزاک محسوب میشه. توجه به خُلقیّات ناپسند آدمها و زشتیهایی که در ظاهر زندگی اجتماعی پنهان شدن مضمون کلی آثار بالزاک رو تشکیل میدن شخصیتها معمولاً یا حسودن یا خسیس یا دغلکار یا زیادی سادهدل عاشقومعشوقها اغلب هزارویک مانع سر راهشون سبز میشه و... مسافرخانۀ سرخ همۀ این موارد رو در خودش جا داده. در ضمن چند داستان بلند مجموعه پانوراما کتابای کم‌حجمی رو شامل میشه که سعی دارن اوقات مُردۀ ما رو با ادبیات پر کنن، در ضمن، یه «تمام‌نما» هم از هر نویسنده ارائه بدن. مسافرخانۀ سرخ به معنی واقعی کلمه «پانورامای» آثار بالزاک محسوب میشه. توجه به خُلقیّات ناپسند آدم‌ها و زشتی‌هایی که در ظاهر زندگی اجتماعی پنهان شدن مضمون کلی آثار بالزاک رو تشکیل می‌دن؛ شخصیت‌ها معمولاً یا حسودن، یا خسیس، یا دغل‌کار، یا زیادی ساده‌دل؛ عاشق‌ومعشوق‌ها اغلب هزارویک مانع سر راهشون سبز میشه و... مسافرخانۀ سرخ همۀ این موارد رو در خودش جا داده. در ضمن، چند داستان بلند و یک رمان بالزاک رو می‌تونیم جز آثار پلیسی-جنایی محسوب کنیم که مسافرخانۀ یکی از این آثار به‌حساب میاد و با خوندنش با بالزاک پلیسی‌نویس هم مواجه میشین که در نوع خودش تازگی داره. از طرف دیگه، مشهوره که بالزاک به دلیل اینکه همیشه بدهکار بوده داستان‌هاش رو تا جای ممکن کِش می‌داده تا از ناشر پول بیشتری بگیره، به نظرم، مسافرخانۀ سرخ از این مسئله هم مستثنی نیست و بخش آخر کتاب کاملاً در همین جهت نوشته شده. خلاصه، اگر می‌خواین شروع به خوندن آثار بالزاک بکنین مسافرخانۀ سرخ قطعاً مقدمۀ خوبی خواهد بود؛ اگر هم فرصت خوندن رمان‌های حجیمش رو ندارین می‌تونین فقط همین اثر کم‌حجم رو بخونین و تاحدی با حال‌وهوای آثار بالزاک آشنا بشین.

  3. 4 out of 5

    Mohammad

    مجموعه پانورامای ققنوس شامل کتاب های کم حجم میشود. مجموعه ی با ارزشی است از آن جهت که میانگین کتابخوانی مملکت اسف بار و بیشترین بهانه برای کتاب نخواندن کمبود وقت و حوصله است. ممنونم از محمد نجابتی که اگر ترجمه از او نبود شاید هیچوقت با این اثر بالزاک آشنا نمیشدم. ابایی ندارم که بگویم خیلی بیشتر از باباگوریو دوستش داشتم. داستان تم جنایی داشت برایم جذاب بود و باعث شد واداردم کند در مورد ذات بشر فکر کنم و خودم را جای راوی داستان بگذارم. این برای من بس است. در زمینه ترجمه خیلی رک هستم ترجمه خیلی خوب مجموعه پانورامای ققنوس شامل کتاب های کم حجم میشود. مجموعه ی با ارزشی است از آن جهت که میانگین کتابخوانی مملکت اسف بار و بیشترین بهانه برای کتاب نخواندن کمبود وقت و حوصله است. ممنونم از محمد نجابتی که اگر ترجمه از او نبود شاید هیچوقت با این اثر بالزاک آشنا نمیشدم. ابایی ندارم که بگویم خیلی بیشتر از باباگوریو دوستش داشتم. داستان تم جنایی داشت برایم جذاب بود و باعث شد واداردم کند در مورد ذات بشر فکر کنم و خودم را جای راوی داستان بگذارم. این برای من بس است. در زمینه ترجمه خیلی رک هستم، ترجمه خیلی خوب و روان بود. از پانویس ها مشخص بود که وقت گذاشته شده بود تا کامل در جریان داستان قرار بگیری و از این بابت متشکرم آقای نجابتی.

  4. 5 out of 5

    پدرام عسکری

    روایت کتاب به نظرم میومد که درباره یک داستان جنایی باشه ولی در اصل باید بیشتر به روابط انسانیای که پشت هر موضوعی توی این کتاب بود توجه کرد. روایت کتاب به نظرم میومد که درباره یک داستان جنایی باشه ولی در اصل باید بیشتر به روابط انسانی‌ای که پشت هر موضوعی توی این کتاب بود ، توجه کرد.

  5. 4 out of 5

    Phil

    This was okay. When I began my long and slow task of reading Balzac's Human Comedy, I didn't realise quite how many very run of the mill short stories I'd have to scrap through. This, however, is one of the better ones - although not exactly high quality. The story is a tale within a tale, which is an interesting conceipt. Travellers meet up in an inn (the Red Inn of the title) and a German tells a story of a prisoner he'd met during the French revolution years, wrongly accused of murder. There's This was okay. When I began my long and slow task of reading Balzac's Human Comedy, I didn't realise quite how many very run of the mill short stories I'd have to scrap through. This, however, is one of the better ones - although not exactly high quality. The story is a tale within a tale, which is an interesting conceipt. Travellers meet up in an inn (the Red Inn of the title) and a German tells a story of a prisoner he'd met during the French revolution years, wrongly accused of murder. There's a (slight) twist in the tale - especially as it explains the ill-acquired fortune of one of the families in Pere Goriot - and it kept my interest for its relatively short length - although I'm glad it was no longer. Have to say that I'm glad that Balzac's work is available for free on Kindle, or I'd be seriously considering shelving this Human Comedy marathon.

  6. 5 out of 5

    Kaveh

    مهمانسرای سرخ. بسیار هیجانانگیز است اما چفت و بست داستان خوب نبود. مهمانسرای سرخ. بسیار هیجان‌انگیز است اما چفت و بست داستان خوب نبود.

  7. 4 out of 5

    Niloofar Sarvesahi

    از اولش خیلی جالب شروعشد کتاب یه حالت داستان تو داستان داشت ولی اخرش خیلی یهویی به نظرم تموم شد از خوندنش تا حدودی لذت بردم. از اولش خیلی جالب شروع‌شد، کتاب یه حالت داستان تو داستان داشت، ولی اخرش خیلی یهویی به نظرم تموم شد ، از خوندنش تا حدودی لذت بردم.

  8. 4 out of 5

    آوانامه - کتاب های صوتی

    link: دانلود کتاب صوتی مسافرخانه سرخ از سایت آوانامه link: دانلود کتاب صوتی مسافرخانه سرخ از سایت آدیولیب

  9. 5 out of 5

    Omid Milanifard

    یک قصه جنایی کوتاه و یک دو راهی اخلاقی.. یک زمانی دنبال کتاب کمدی انسانی بالزاک بودم دوست بسیار عزیزی که فهمید این کتاب رو میخام گشت و برام خرید و هدیه آورد. البته کمدی انسانی سارویان بود! خلاصه که قسمت نشد از بالزاک بخونم تا الان که مسافرخانه سرخ رو خوندم. یک قصه جنایی کوتاه و یک دو راهی اخلاقی.. یک زمانی دنبال کتاب کمدی انسانی بالزاک بودم، دوست بسیار عزیزی که فهمید این کتاب رو میخام گشت و برام خرید و هدیه آورد. البته کمدی انسانی سارویان بود! خلاصه که قسمت نشد از بالزاک بخونم تا الان که مسافرخانه سرخ رو خوندم.

  10. 4 out of 5

    Ben

    This review has been hidden because it contains spoilers. To view it, click here. The secret of a great success for which you are at a loss to account is a crime that has never been found out, because it was properly executed." -- Vautrin in Père Goriot L'auberge rouge (1831) is a fascinating story in Balzac's La Comédie humaine. Published roughly 4 years before Père Goriot it tells the backstory of two characters that we encounter in the latter work, Jean-Frederic Taillefer and his daughter, Victorine. This work is set in "I know not what year," but it takes place sometime The secret of a great success for which you are at a loss to account is a crime that has never been found out, because it was properly executed." -- Vautrin in Père Goriot L'auberge rouge (1831) is a fascinating story in Balzac's La Comédie humaine. Published roughly 4 years before Père Goriot it tells the backstory of two characters that we encounter in the latter work, Jean-Frederic Taillefer and his daughter, Victorine. This work is set in "I know not what year," but it takes place sometime after the events of Goriot, which is set in 1819 Paris. In Père Goriot Victorine is one of the boarders at Madame Vauquer's pension, the disowned daughter of the wealthy Jean-Frederic Taillefer. Her cruel father plans to remove her from his will in favor of Victorine's brother, Frederic. Victorine is sad but pretty (the Romantic heroine that she is) and could potentially, if Fate turns in her favor, become one of the richest women in all of Paris. Meanwhile, Eugene Rastignac, a young law student at the boarding house, becomes enamored with the greedy daughters of Père Goriot, considered very fine women in society. Due to his low status, Eugene finds it difficult to penetrate high society, and relies on the connection of his rich, celebrated cousin, Mme. de Beauséant, also pleading with his family for money to help him rise like the cream he supposes he is. Vautrin, one of the first homosexual characters in French literature, has an eye for Rastignac, but also sees something of himself in the young student, both possessing a desire to make it to the top no matter the cost. The scheming criminal Vautrin, a Mephistophelean character, tries to appeal to Eugene's ambition, encouraging him to woo Victorine, potential heiress of a great fortune, and he (Vautrin) will arrange that Victorine's brother is killed in a duel (all unbeknownst to Victorine). Eugene is swayed by Vautrin's vision, but his youthful conscience and idealism are too strong. He resists Vautrin, though the criminal still sees the death of Victorine's brother through, establishing her as a very well-to-do figure in Parisian society. In The Red Inn Victorine is heiress to her father's fortune and she and her father are no longer estranged. In fact, she dotes on him -- and why not? He's the man to whom she owes her wealth and status. The father meanwhile still struggles with the death of his son. The father, a very minor character in Goriot is here a central character. Part of the beauty of Balzac's Human Comedy is that we not only find different characters at different points of their lives, but they are viewed through different lenses, here respectable there a scoundrel, here a minor character and there a major character. It is one of the most admirable qualities of the Human Comedy, and something 19th century and early 20th century writers (like Marcel Proust) most appreciated in Balzac. By changing the perspective through which we see various characters, bringing them back and sending them away again, we recognize them as having more depth than would be the case if we had them with us for 300 pages and then never encountered them again. It is for this reason that some of Balzac's characters feel -- as Proust posits -- more real than many real-life people. Like Balzac's Sarrasine, The Red Inn is a frame story. A Parisian banker, worldly because his occupation leads him to do business with people in other corners of the world (globalization in 19th century literature), is having a dinner party at which he entertains, among other guests "a stout worthy German, a man of taste and erudition, above all a man of pipes. . . . the type of the sons of that pure and noble Germany, so fertile in honorable natures, whose peaceful manners and morals have never been lost, even after seven invasions." With a stroke of humor, found everywhere in Balzac, he proceeds to tell us that the German man's "name was Hermann, which is that of most Germans whom authors bring upon their scene." A young girl, familiar with the tales of Hoffman and the stories of Walter Scott (a Balzac favorite) encourages Monsieur Hermann to tell the guests a frightening story, and so he tells a tale about two young medical students, one of whom he became familiar with when incarcerated in Germany sometime around the year 1799. Before the German begins his tale the narrator's attention is seized by a strange, enigmatic man, a man who becomes increasingly agitated (to no one's notice but the narrator's) as the German's story unfolds. Not unlike "Sarrasine" again, the reader is drawn in to learn more about this mysterious character. We learn about him both through the narrator's observations and the German's story about murder and ill-gotten fortunes. Drawing on the true story of a former army surgeon whose friend had been wrongly executed, with the drama of the story-within-the-story developing at a place called "L'auberge rouge" -- the setting of various murders (possibly including rape and cannibalism, perpetrated by the owners and one of their employees), which was in the headlines at the end of 1831 -- Balzac used current events to add to the realism of his tale. Though his Red Inn in this story was set in Germany, just the name The Red Inn was sure to inspire fear and intrigue in his audience. This story has elements of Poe (though pre-Poe), to be certain, but the themes are entirely Balzacian. As in Sarrasine and Goriot, it matters not from where a fortune comes from so long as one is rich. It is a world of corruption, of everyone for his/herself. It is the way that Balzac and many others saw the Paris of that day. And if one were to tweak it, it could very well be the story of 21st century America or any other major city. Once it's been made, the means of acquiring one's fortune matter not. Young and relatively inexperienced like Balzac's Rastignac, the narrator of this story is a man of virtue yet to be corrupted by the corrupt society in which he finds himself. When he falls in love with Victorine he must decide whether or not he wants the family's blood money on his hands. His contemporaries who he turns to for advice are not so concerned with ethics as the narrator, and all that glitters in their eyes is gold. "Like Virtue's self," one of the narrator's capitalist friends says, encouraging the narrator in his pursuit of Victorine (and her fortune) "a crime has its degrees."

  11. 4 out of 5

    Nc

    به احتمال مجرم بودن پدر بر سر آن که آیا دامن پاک کسی را دستهای آلوده (احتمالا البته) پدر دختری که قرار است به همسری بگیرد و خود روحش خبردار نیست به بحث و نظرسنجی میشود آنهم با کسانی که خیلی هایشان را نمیشناسد.

  12. 4 out of 5

    sherri oberholtzer

    Beautifully Written Tale A young man finds himself in love with a young woman whose father, he is determined to believe, has evil in his heart. At a dinner party, a tale is told of two young men who are the best of friends. They stay at The Red Inn one night. While dining together at the inn, a rich merchant joins them. During the night the unthinkable happens. And many years later, the man in love with the woman finds himself facing a moral dilemma.

  13. 4 out of 5

    Mike

    Mario Puzo begins The Godfather with an epigraph attributed to Balzac: Behind every great fortune there is a crime. Its possibly a paraphrase of a line from Père Goriot (there is a little debate about this), but the Balzac story that perhaps most illustrates the line is "The Red Inn." The narrator grapples with his love of a young woman whose family fortune, he discovers quite accidentally one night, was due to a horrible crime committed by her father. In having this knowledge, would the Mario Puzo begins The Godfather with an epigraph attributed to Balzac: “Behind every great fortune there is a crime.” It’s possibly a paraphrase of a line from Père Goriot (there is a little debate about this), but the Balzac story that perhaps most illustrates the line is "The Red Inn." The narrator grapples with his love of a young woman whose family fortune, he discovers quite accidentally one night, was due to a horrible crime committed by her father. In having this knowledge, would the narrator be complicit in marrying the young woman and inheriting her fortune? Should he even tell the daughter, who doesn’t know the crime, and stain the image of her father forever? Are the inheritors of an ill-gained fortune also morally tainted, and should they shoulder the burden of the crime since they are the beneficiaries? Balzac doesn’t directly answer the questions, but he strongly hints what his answers might be. A memorable and thought-provoking story.

  14. 4 out of 5

    Michal Čop

    Príbeh sa začína na bankete, kde jeden z účastníkov hovorí príhodu o dvoch mladých lekároch z ktorých jeden spáchal vraždu a druhý bol za to nespravodlivo odsúdený. Po čase rozprávač prichádza na to, že skutočný vrah sedí v miestnosti, ba čo viac, že je otcom dievčiny do ktorej je sám zaľúbený. Rozprávač po smrti vraha rieši, či si má vziať jeho dcéru za ženu, a čo by mal po prípadnej svadbe spraviť s jej majetkom, keďže ten jej otec získal pravdepodobne vďaka spomínanej vražde. Poviedka sa Príbeh sa začína na bankete, kde jeden z účastníkov hovorí príhodu o dvoch mladých lekároch z ktorých jeden spáchal vraždu a druhý bol za to nespravodlivo odsúdený. Po čase rozprávač prichádza na to, že skutočný vrah sedí v miestnosti, ba čo viac, že je otcom dievčiny do ktorej je sám zaľúbený. Rozprávač po smrti vraha rieši, či si má vziať jeho dcéru za ženu, a čo by mal po prípadnej svadbe spraviť s jej majetkom, keďže ten jej otec získal pravdepodobne vďaka spomínanej vražde. Poviedka sa končí otázkou či by nebolo lepšie, keby sa to radšej ani nebol dozvedel.

  15. 4 out of 5

    Florian Covelli

    Deux Français s'arrêtent dans une auberge en Allemagne. Un négociant arrive en bateau, cache son trésor à son chevet et se fait décapiter dans la nuit. Prosper Magnan est accusé à tort et fusillé. Le véritable assassin vit avec sa culpabilité toute sa vie et finit par en être affecté profondément. Il est présent le soir où l'hôte raconte cette histoire et s'en trouve au plus mal à mesure que le récit avance.

  16. 5 out of 5

    Danielle

    One of those boring stories.

  17. 5 out of 5

    Lisa

    This review has been hidden because it contains spoilers. To view it, click here. This is one of those well-plotted short stories that make me enjoy Balzac's La Comedie Humaine so much. It's another story-within-a-story, told (as they so often are) in the afterglow of a fine dinner as an amusing anecdote to frighten the ladies. This time the original story-teller is a German merchant called Hermann but his tale is retold by the narrator, who makes occasional snide remarks about the German's style and accuracy. Despite what he says in his opening remarks, the Frenchman This is one of those well-plotted short stories that make me enjoy Balzac's La Comedie Humaine so much. It's another story-within-a-story, told (as they so often are) in the afterglow of a fine dinner as an amusing anecdote to frighten the ladies. This time the original story-teller is a German merchant called Hermann but his tale is retold by the narrator, who makes occasional snide remarks about the German's style and accuracy. Despite what he says in his opening remarks, the Frenchman certainly doesn't trust Germans not if his narky remarks are anything to go by: He was the type of the sons of that pure and noble Germany, so fertile in honorable natures, whose peaceful manners and morals have never been lost, even after seven invasions. (Kindle location 6) His story is about two young French doctors who in 1799 during the Republic serve as medicos in the war rather than as conscripts in the army. They make their way to The Red Inn where overcrowding necessitates that they share their meal and lodging with a stranger, a German factory owner called Walhenfer. Later on when he's had too much to drink, Walhenfer reveals to these young men whom he trusts because of their honest faces, that he has brought a great deal of money with him: 100,000 francs in gold and diamonds! One of these young men, Prosper Magnum, finds that he can't sleep because he keeps thinking about the stranger's money. He 'builds castles in the air', fantasises about buying some land that his mother wants, and dreams of marrying a young lady beyond the reach of his current financial status. Tempted, he prepares an exit through a barred window, and gets his surgical instruments ready to cut the man's throat. But at the last moment his better nature reasserts itself and he flees out into the woods, eventually returning to sleep, exhausted and with bad dreams, on his mattress on the floor. To Prosper's horror, when he wakes, Walhenfer is dead. Prosper and his instruments are covered in blood. He fears he did the deed in his sleep, and of course he is arrested, tried, and sentenced to death. Hermann (the merchant-storyteller), was a member of the German Resistance against Napoleon at the time and so it was in the same prison-cell that he met up with Prosper and heard his tale. Hermann believed in Prosper's innocence and when he gets his pardon he goes to tell Prosper's mother but she dies before he gets there. He thinks that the other young man, Frederic, was responsible... Now while this story is being told, one of the dinner-guests, a man called Taillefer, has attracted attention because he is clearly bothered by the mention of Prosper's name. He is the wealthy father of the beautiful Victorine, with whom the narrator is in love. When his Christian name turns out to be Frederic, the narrator draws his own conclusions, and challenges Taillefer to admit that he had once been at Beauvais where these events took place. Shortly after Taillefer admits it, he dies of a mysterious ailment that afflicts him at this same time every year. The narrator's love for Victorine (which is mutual) presents the narrator with a moral dilemma, for which he seeks advice. He wants to marry her, but this knowledge about her father's ill-gotten gains threatens to poison the relationship. He feels he cannot taken advantage of wealth from the proceeds of crime, and would like to make restitution somehow. But Prosper's mother is dead, and he had no heirs. And why should Victorine suffer from the loss of a comfortable lifestyle because of what her father did? An Englishmen, a cynic has the last word. He asks the Narrator why he had asked Taillefer if he came from Beauvais...

  18. 4 out of 5

    Ida Aasebøstøl

    opulence, honey, you're it.

  19. 5 out of 5

    Narendra Jussien

    C'est un r��cit de r��cit. L'auteur du r��cit, qui est amoureux du tr��s riche Taillefer, entend, au dessert, et racont��e par un an��f Allemand, l'histoire d'un crime dont l'auteur est rest�� incoonu. Quelques r��actions de Taillefer lui font supposer que ce banquier est l'assassin. Quelques perfides questions mettent la chose hors de doute. Et cela fait d��j�� un sombre drame, et un cas de conscience pour celui qui n'aime pas moins les millions que la fille. Ce drame ne fait qu'entourer C'est un r��cit de r��cit. L'auteur du r��cit, qui est amoureux du tr��s riche Taillefer, entend, au dessert, et racont��e par un an��f Allemand, l'histoire d'un crime dont l'auteur est rest�� incoonu. Quelques r��actions de Taillefer lui font supposer que ce banquier est l'assassin. Quelques perfides questions mettent la chose hors de doute. Et cela fait d��j�� un sombre drame, et un cas de conscience pour celui qui n'aime pas moins les millions que la fille. Ce drame ne fait qu'entourer l'autre, comme un cadre. Et l'autre drame, celui que raconte le bon Allemand, va bien plus avant dans l'homme. Il s'agit d'un crime d'intention, m��dit�� au d��tail, et cojnduit jusqu'au seuil de l'ex��cution ; �� ce pont-l��, mouvement d'horreur, long repentir, soupir de satisfaction, pri��re, profond sommeil. Au r��veil, il se trouve que le crime est par son camarade mais il n'a point laiss�� de trace; et tout accuse l'innocent, et lui-m��me n'est pas bien s��r d'��tre innocent, car il a ��t�� tent��, car il n'a ��t�� sauv�� que par une sorte de convulsion involontaire. Est-ce vertu �� Est-ce innocence �� Si les pens��es tuaient, que de crimes ! Ce th��me a souvent ��t�� d��velopp��. Ici, l'��motion est au comble, par la pr��sence du bon Allemand qui raconte ce qu'il a vue; et la terreur est redoubl��e par la pr��sence, certes non attendes, du meurtrier lui-m��me. Notre regard va d'un drame �� l'autre, et cette oscillation renouvelle et rafra��chit l'effet de surprise en d��pla��ant le frisson.

  20. 4 out of 5

    Yves

    Lorsque j'ai commencé à lire ce livre, j'ai immédiatement pensé que c'était un roman policier. Je me suis vite rendu compte que ce roman était plus profonds qu'un simple roman policier. Je dirais que le livre est plutôt sur la conscience. Il y a plusieurs cas de conscience dans cette histoire. Il y a le principal accusé, le compagnon de cellule de l'accusé, le vrai meurtrier et l'homme qui tombe amoureux de la fille du meurtrier. Ce sont tous ces cas de conscience qui rendent L'Auberge Rouge Lorsque j'ai commencé à lire ce livre, j'ai immédiatement pensé que c'était un roman policier. Je me suis vite rendu compte que ce roman était plus profonds qu'un simple roman policier. Je dirais que le livre est plutôt sur la conscience. Il y a plusieurs cas de conscience dans cette histoire. Il y a le principal accusé, le compagnon de cellule de l'accusé, le vrai meurtrier et l'homme qui tombe amoureux de la fille du meurtrier. Ce sont tous ces cas de conscience qui rendent L'Auberge Rouge vraiment intéressant. C'est ce genre de roman qui fait que j'adore Balzac et qui fait de lui un grand auteur.

  21. 4 out of 5

    Dagny

    A famous Parisian banker is entertaining a German business acquaintance. A member of the party asks that the guest of honor relate "another dreadful, thrilling German story." He tells them the true story of two French soldiers who were in a small town on the Rhine at the time of an unsolved murder. Although the visitor doesn't realize the fact, the story has a direct bearing on M. Taillefer and his fortune. In Pere Goriot Vautrin mentions that there is something shady behind every fortune. This A famous Parisian banker is entertaining a German business acquaintance. A member of the party asks that the guest of honor relate "another dreadful, thrilling German story." He tells them the true story of two French soldiers who were in a small town on the Rhine at the time of an unsolved murder. Although the visitor doesn't realize the fact, the story has a direct bearing on M. Taillefer and his fortune. In Pere Goriot Vautrin mentions that there is something shady behind every fortune. This is the particular incident to which he was referring.

  22. 4 out of 5

    Mazel

    Au cours d'un dîner, Hermann raconte une histoire à faire peur : en 1799, dans une auberge sur les bords du Rhin, se rencontrent par hasard deux jeunes français et un riche négociant allemand. Au matin le négociant est découvert mort, gisant dans une mare de sang à côté de son instrument de chirurgie. Ce texte est une sorte d'emboîtement de récits dont l'intérêt est lié à une grande force de séduction par ces deux histoires interactives (celle de Prosper Magnan et celle de Frédéric Taillefer) Au cours d'un dîner, Hermann raconte une « histoire à faire peur » : en 1799, dans une auberge sur les bords du Rhin, se rencontrent par hasard deux jeunes français et un riche négociant allemand. Au matin le négociant est découvert mort, gisant dans une mare de sang à côté de son instrument de chirurgie. Ce texte est une sorte d'emboîtement de récits dont l'intérêt est lié à une grande force de séduction par ces deux histoires interactives (celle de Prosper Magnan et celle de Frédéric Taillefer) et à son caractère philosophique, qui met en avant les causes autant que les effets.

  23. 4 out of 5

    Pedro Aquino

    "Nous ne connaissons point d'homme qui se soit encore attristé pendant la digestion d'un bon dîner. Nous aimons alors à rester dans je ne sais quel calme, espèce de juste milieu entre la rêverie du penseur et la satisfaction des animaux ruminants, qu'il faudrait appeler la mélancolie matérielle de la gastronomie."

  24. 5 out of 5

    Mariah

    Just enough moral and religious thematic content to make me feel okay about reading this on my phone during Sunday school . . . .

  25. 5 out of 5

    Steve

    This was a clever story and tied in to Father Goriot.

  26. 5 out of 5

    Ernesto I. Ramirez

    Half a crime story, half a sotry about honor and decadence... and why you should not look into your beloved family tree.

  27. 4 out of 5

    Emma L

    This was decent. Not very good, but not bad either.

  28. 4 out of 5

    Yann

    mouais, pas mal.

  29. 5 out of 5

    Sharon Bautista

    This would make a great Dogme 95 film, a suspenseful, it-doesn't-really-matter-whodunnit.

  30. 5 out of 5

    DC

    Why DID he have to ask so? Idiot.

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