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Adolphe

Adolphe is a semi-autobiographical novella written by the Swiss-French author and political thinker Benjamin Constant between 1806 and 1807 and first published in 1816.^[1] The work recounts the emotional turmoil of its protagonist, a young aristocrat named Adolphe, who initiates a passionate affair with Ellénore, an older woman and the mistress of a powerful Polish count, only to become ensnared in a relationship marked by intense love, dependency, and eventual despair.^[2] Drawing directly from Constant's own tumultuous relationship with the writer Germaine de Staël, the narrative explores the psychological depths of romantic entanglement in a modern, disenchanted world.^[1] Benjamin Constant (1767–1830), born Henri-Benjamin de Constant de Rebecque in Lausanne, Switzerland, was a prominent figure in French intellectual and political circles during the Revolutionary and Napoleonic eras.^[3] Educated across Europe and influenced by Enlightenment thinkers, he became a defender of liberal principles, advocating for constitutional monarchy and individual freedoms in works like De la religion and his political essays.^[4] Adolphe, his only completed novel, stands apart from his political writings as a introspective psychological study, written in a lucid, classical style that emphasizes analytical self-examination over dramatic action.^[1] The novella's significance lies in its pioneering portrayal of modern alienation and the conflict between personal passion and societal expectations, themes that resonate with the Romantic movement while critiquing Enlightenment rationalism's emotional toll.^[1] Structured as a confessional manuscript discovered after Adolphe's death, with editorial prefaces adding layers of irony, it delves into motifs of isolation, the impossibility of authentic connection, and the destructive power of unrequited emotional needs.^[2] Widely regarded as a literary masterpiece, Adolphe has influenced subsequent French literature and remains a key text for understanding early 19th-century explorations of the self.^[4]

Background

Authorship and Inspiration

Adolphe is the only novel by Henri-Benjamin Constant de Rebecque, a Swiss-born French political writer and intellectual born on October 25, 1767, in Lausanne.^[5] Constant, who acquired French citizenship in 1798, drew upon his cosmopolitan education—shaped by Scottish, German, and French influences—to craft a work rooted in eighteenth-century classical traditions.^[5] He began composing the novel in 1806 during a period of personal and political turmoil under Napoleonic rule, working on it intermittently for about two years before setting it aside.^[6] Constant revised the manuscript multiple times between 1806 and 1811, finalizing it while in exile in London, where it was published anonymously in 1816 by publisher Henry Colburn.^[7] The novel's semi-autobiographical nature stems from Constant's own romantic entanglements, particularly his intense, on-again-off-again relationship with the writer Germaine de Staël, which lasted from 1794 until their separation around 1808.^[6] De Staël, an older and more established intellectual figure, inspired the character of Ellénore, the passionate Polish countess whose devotion mirrors the sacrifices and emotional demands Constant experienced in his affair with de Staël.^[7] This relationship, marked by intellectual collaboration, exile together during the Napoleonic era, and eventual heartbreak, infused Adolphe with explorations of love's psychological complexities, indecision, and the conflict between personal freedom and emotional bonds.^[6] Constant's 1808 marriage to Charlotte von Hardenberg, a younger Prussian aristocrat who brought him emotional stability after the turmoil with de Staël, also indirectly shaped the novel's completion and themes of domestic harmony versus destructive passion.^[7] Though Hardenberg more directly influenced Constant's later autobiographical work Cécile, her presence in his life during the revisions provided a counterpoint to the novel's portrayal of relational entrapment.^[7] Broader literary inspirations include French moralists like La Rochefoucauld and Pascal, whose introspective styles informed Constant's analytical depiction of inner conflict, as well as Madame de Lafayette's La Princesse de Clèves, a precursor to the psychological novel form.^[5]

Composition and Publication

Adolphe was composed by Benjamin Constant between 1806 and 1807, during the height of the Napoleonic era, a time when Constant was deeply engaged in political writing and personal reflection amid his tumultuous relationship with Madame de Staël.^[1] The manuscript drew from Constant's own experiences of romantic entanglement and emotional conflict, though he later framed it as a found narrative to distance it from autobiography.^[1] Publication was significantly delayed, with the novel not appearing until 1816, primarily due to Constant's political opposition to Napoleon, which had already led to censorship of his earlier works like De l'esprit de conquête et de l'usurpation in 1813.^[1] The prudential hesitation stemmed from the regime's suppression of liberal ideas, as well as the sensitive, semi-autobiographical nature of the content, which risked personal and social repercussions.^[8] By 1816, after Napoleon's defeat and the Bourbon Restoration, the political climate had shifted, allowing Constant to release the work anonymously. The first edition emerged in June 1816, with simultaneous printings in London and Paris; the London edition is dated June 7, while Paris variants followed shortly after, resulting in three distinct editions that year, all presented as an "anecdote found among the papers of an unknown person."^[9] A second edition appeared in July 1816 with a new preface by Constant, in which he defended the novel's psychological depth and disavowed direct autobiographical intent.^[10] Subsequent editions in 1824 restored censored passages, reflecting ongoing refinements amid growing literary interest.

Content

Plot Summary

The novel Adolphe is presented as a manuscript discovered among the papers of an unknown person, narrated in the first person by the titular protagonist, a young man reflecting on his emotional entanglements. Adolphe, a 22-year-old recent graduate from the University of Göttingen, arrives in the city of D***, where he encounters Ellénore, the beautiful and intelligent Polish mistress of the Comte de P***, a powerful figure connected to Adolphe's family. Initially driven by vanity and a desire to test his persuasive powers, Adolphe begins a subtle pursuit of Ellénore, who is ten years his senior and deeply devoted to the Comte. Despite her initial resistance, Adolphe's persistent declarations of passion lead to a clandestine affair; Ellénore, torn between loyalty and her growing affection, eventually confesses her love and leaves the Comte, abandoning her social position, reputation, and even limited access to her children from a previous relationship.^[11] As the relationship intensifies over nearly two years, Adolphe and Ellénore relocate to the countryside near Caden and later to Poland, where Ellénore's family provides some support following the death of her father. Adolphe experiences a profound but fleeting passion, which gradually gives way to doubt, boredom, and a sense of entrapment, exacerbated by Ellénore's increasing jealousy, possessiveness, and emotional dependence. He struggles with his waning feelings, unable to muster the resolve to end the liaison due to pity for her sacrifices and fear of causing her pain; meanwhile, external pressures mount, including interventions from Adolphe's father and the Baron T*****, a family friend who urges him to pursue a diplomatic career and sever ties with Ellénore. The Comte de P***, ever magnanimous, offers Ellénore half his fortune to leave Adolphe, but she refuses, deepening her commitment despite the growing strain.^[11] The conflict reaches its climax when Adolphe, after repeated failed attempts to confide his indifference, finally writes a letter explicitly stating his desire to part ways, devastating Ellénore and triggering a severe illness marked by fever and decline. In her weakened state, she alternates between forgiveness and reproach, ultimately forgiving Adolphe on her deathbed while expressing the profound suffering he inflicted. Ellénore dies shortly thereafter, leaving behind a letter that underscores her unwavering love and the agony of his abandonment. Adolphe, freed from the relationship but consumed by remorse and isolation, wanders aimlessly, reflecting on the destructive consequences of his indecision and the hollowness of his independence.^[11]

Characters

The novel Adolphe centers on a limited ensemble of characters whose interactions drive the exploration of love, duty, and personal freedom. The protagonist, Adolphe, narrates his own story in a confessional mode, revealing the internal conflicts that define his relationships. His lover, Ellénore, serves as the emotional counterpoint, embodying intense devotion amid societal constraints. Supporting figures, including Adolphe's father and the Polish count, represent external pressures from family and social norms, while minor characters like Baron de T*** highlight the isolating effects of public opinion. Adolphe is the introspective young protagonist and unreliable narrator, a nobleman's son in his early twenties who arrives in Silesia seeking glory but becomes entangled in a passionate affair. He is characterized by his timidity, self-doubt, and inability to commit fully, oscillating between genuine affection and a desire for independence that leads to Ellénore's emotional ruin. Adolphe's reflective nature manifests in his constant analysis of his motives, as seen when he admits, "I was astonished myself at the violent, indomitable pain that tore my heart," highlighting his emotional detachment despite moments of fervor. Scholarly analysis portrays him as a product of Enlightenment rationality, marked by irony and self-observation that prevent spontaneous passion, rendering him a "double and enigmatic being" trapped in post-Revolutionary paralysis. His egoism and vanity exacerbate his indecision, ultimately causing him to abandon Ellénore, after which he reflects on his freedom as burdensome: "Naguère toutes mes actions avaient un but… combien elle me pesait, cette liberté que j'avais tant regrettée!"^[12]^[1] Ellénore, a beautiful and intelligent Polish woman in her thirties, is Adolphe's devoted lover and the tragic figure whose sacrifices underscore the novel's themes of unrequited love and social ostracism. As the mistress of the Polish count before meeting Adolphe, she renounces her secure position to follow him into exile, enduring public scorn and financial hardship while clinging to their bond with fervent loyalty. Her personality is defined by pride, emotional intensity, and self-sacrifice, as evidenced by her plea: "Adolphe, you do not know the harm you are doing; you will learn it one day, you will learn it from me, when you have cast me into the grave." In contrast to Adolphe's rationality, Ellénore symbolizes pre-modern passion and unity, her "excessive sentiment" and faith in love functioning as a "culte" that clashes with his skepticism, leading to her decline and death from a broken heart.^[12]^[1] Adolphe's father, a high-ranking minister and Prussian official, embodies paternal authority and societal expectations, providing financial support while urging his son toward ambition and away from emotional entanglements. Reserved and ironic in demeanor, he disapproves of Adolphe's liaison with Ellénore, viewing it as a wasteful distraction, and writes letters pressing for separation: "You consume uselessly the best years of your youth." His noble yet distant character reinforces the novel's critique of conventional duty over personal fulfillment.^[12] The Polish count (referred to as M. de P****), Ellénore's former protector and a wealthy, authoritative figure, represents the stability she forfeits for Adolphe. Generous and trusting initially, he maintains a decade-long relationship with her before suspicions arise, eventually offering her half his fortune to leave Adolphe: "He offered her half his fortune... on condition that she would leave the ungrateful and perfidious man who had separated them." His role highlights themes of gratitude and betrayal in romantic rivalries.^[12] Baron de T*, a diplomat and friend of Adolphe's father, acts as a pragmatic advisor, introducing Adolphe to society and bluntly critiquing his situation: "There is, between you and all kinds of success, an insurmountable obstacle, and that obstacle is Ellénore." His frankness underscores the external judgments that amplify the protagonists' isolation. Minor figures, such as Adolphe's unnamed friends and society gossips, serve as catalysts for conflict, inspiring his initial pursuit of Ellénore or amplifying the couple's scandal through rumor and exclusion.^[12]

Analysis

Themes

One of the central themes in Adolphe is the destructive power of love when driven by egoism and vanity rather than genuine emotion, leading to emotional isolation and tragedy for both protagonists. Adolphe's initial seduction of Ellénore, a Polish noblewoman and the mistress of the Count, stems from a desire to prove his seductive prowess, but it evolves into a burdensome attachment that erodes their happiness and culminates in her despair and death. This portrayal contrasts with healthier romantic ideals in literature, emphasizing how passion, unchecked by reason, fosters dependency and suffering.^[13] The novel explores the profound conflict between individual passion and societal obligations, highlighting how social conventions corrupt natural feelings and impose paralyzing duties. Adolphe grapples with his desire for freedom and career ambitions against the demands of his relationship with Ellénore, who sacrifices her social standing for him, only to face rejection due to external pressures. Constant illustrates this tension through Adolphe's realization that "les intérêts de la vie commune ne se laissent pas plier arbitrairement à tous nos désirs," underscoring the incompatibility of personal desires with communal expectations in a post-Revolutionary society wary of unstable attachments.^[14] Self-analysis and internal division emerge as key motifs, reflecting the modern individual's fragmented psyche and ironic detachment from authentic experience. Adolphe's narrative, presented as a confessional diary, reveals his habitual introspection as both a source of insight and paralysis, where enthusiasm for love quickly yields to skeptical irony: "un mélange d’enthousiasme et d’ironie." This self-observation prevents genuine commitment, embodying Constant's critique of Enlightenment rationality, which diminishes passion and fosters a "nerveless sensibility" in the face of societal anomie.^[14]^[1] The theme of legitimacy in love further complicates these dynamics, as Adolphe seeks a sense of destiny or necessity in his bond with Ellénore to justify its endurance amid doubt. Yet, the novel portrays love as ambivalent and illusory, often mistaken for pity or habit rather than true unity: "vous croyez avoir de l’amour, et vous n’avez que de la pitié." This quest mirrors broader post-Revolutionary anxieties about choice in personal and political spheres, where individuals yearn for an "être que la nature avait destiné pour nous" but confront the absence of such predestined harmony.^[14] Finally, Adolphe critiques the malaise of modernity, marked by the erosion of belief, enthusiasm, and communal bonds in favor of isolated reflection and skepticism. Constant depicts a world where "we no longer know how to love, or believe, or will," with Adolphe's emotional fatigue arising from perpetual self-scrutiny and societal calculations that undermine vitality. This theme ties into the protagonist's broader struggle for individual freedom within interdependent social structures, advocating a balance that the narrative ultimately deems elusive.^[7]^[1]

Style and Narrative Technique

Adolphe employs a first-person retrospective narrative, in which the protagonist, an older Adolphe, reflects on his youthful experiences, creating a layered structure that juxtaposes past actions with present introspection. This autodiegetic approach, where the narrator is also the central character, allows for deep psychological exploration, highlighting the inconsistencies between Adolphe's intentions and outcomes. The narrative framework includes editorial prefaces and notes that frame the story as a found manuscript, adding a meta-layer that distances the reader while emphasizing the confessional tone.^[1] The style is characterized by lucid, elegant prose with a steady, almost hypnotic voice that maintains a classical restraint, avoiding ornate flourishes in favor of precise emotional analysis. Constant's language underscores the novel's concision, blending simplicity of outline with complexity of effect through iterative descriptions of recurring emotional states and diachronic changes over time, such as the evolution of Adolphe's relationship with Ellénore. This technique employs mixed analepsis, beginning the story before key encounters and extending to later reflections, which reinforces themes of regret and self-deception without overt dramatic tension.^[15] Narrative techniques further include self-reflective irony, where Adolphe simultaneously narrates, judges, and defends his actions, creating a multi-voiced introspection that critiques modern disillusionment. The omniscient yet consistent point of view remains internal to Adolphe, presenting events through his conflicted perspective and culminating in tragic finality, as seen in the desolate imagery of isolation. This approach prioritizes conceptual depth over external plot, making the novel a seminal example of introspective Romantic fiction.^[1]^[15]

Reception

Contemporary Reception

Upon its publication in June 1816 in both London and Paris, Adolphe achieved a succès de scandale, drawing significant attention due to private readings Constant had given in Parisian and London salons, where listeners speculated on its autobiographical elements, particularly the resemblance between the character Ellénore and Germaine de Staël.^[16] Constant, already known for his political writings, faced accusations that the novel thinly veiled his own past affair with de Staël, prompting him to publish a disclaimer in the Morning Chronicle on 24 June 1816, denying any personal basis and emphasizing the story's negative portrayal of the protagonist as incompatible with autobiography.^[17] Despite de Staël's public claim that the work contained no allusions to her, contemporaries like Albertine de Broglie expressed irritation, criticizing the Byronic qualities of Adolphe and perceiving echoes of Constant's own traits, while Anna Lindsay reacted with fury to the perceived personal exposures.^[16] Reviews in the French press were mixed, reflecting surprise at Constant's shift from political philosophy to introspective fiction on love and passion. The Gazette de France on 14 July 1816 praised the novel's emotional depth, suggesting Constant's talent lay in exploring romantic themes and urging him to pursue them further: "M. Benjamin de Constant écrit avec tant de succès sur l’amour, qu’il n’aurait jamais dû traiter d’autre sujet pour son bonheur et pour notre plaisir."^[17] In contrast, the Journal de Paris on 19 July 1816 dismissed it as a frivolous detour, imploring Constant to return to serious political and philosophical pursuits: "Que M. Benjamin Constant ne s’abaisse plus jusqu’aux romans, qu’il retourne dans les hauteurs de sa politique et de sa philosophie."^[17] Critics often highlighted the work's blend of classical analytical clarity with emerging romantic excesses, such as metaphors of "orages" and "mystères," viewing it as an awkward hybrid that unsettled expectations of Constant's oeuvre.^[18] De Staël herself critiqued Adolphe in conversations around its release, describing it to the duchesse de Duras as emblematic of vain men's emotional detachment and a "death of feeling," though no lasting rift occurred between her and Constant despite his fears.^[16] Overall, the novel received limited acclaim in 1816, often overlooked or faulted for its introspective style amid the post-Napoleonic era's focus on political literature, with broader appreciation emerging only later in the century.^[17]

Modern Interpretations

In the twentieth and twenty-first centuries, scholars have increasingly interpreted Benjamin Constant's Adolphe as a prescient exploration of modern individualism and emotional paralysis, reflecting the tensions between personal freedom and societal constraints. Tzvetan Todorov, in his 1999 analysis, positions the novel as a key text in understanding the "misery of the human heart," where love is depicted as an unstable interplay of egoism, fusion, and desire fueled by obstacles, ultimately leading to isolation in a democratic age that prioritizes autonomy over communal bonds.^[7] This reading aligns Adolphe with Constant's broader liberal thought, emphasizing how excessive self-analysis weakens genuine passion and contributes to moral fatigue characteristic of post-Revolutionary Europe.^[7] Feminist critics have reexamined the novel's gender dynamics, highlighting its portrayal of power imbalances in romantic relationships as a critique—or inadvertent reinforcement—of patriarchal structures. Madelyn Gutwirth's work on Constant's sexual politics interprets Adolphe through the lens of his real-life relationships with women like Germaine de Staël, arguing that the protagonist's emotional impotence reveals broader male anxieties about female agency and dependency in love.^[19] Similarly, a 2016 feminist analysis in Lilith: A Feminist Journal frames Adolphe alongside de Staël's Corinne as narratives of a "war between the sexes," where romantic entanglements mirror political struggles for independence, with Ellénore's sacrifices underscoring women's limited autonomy under Napoleonic-era constraints.^[20] Structuralist and post-structuralist approaches, such as Joshua Landy's 2009 examination, emphasize irony and internal disunity as central to the novel's modernist appeal. Landy argues that Adolphe's confessional narrative fails due to his divided self and ironic maxims, which expose self-deception and a post-Revolutionary crisis of legitimacy in personal commitments, paralleling broader doubts about unity in politics and religion.^[14] Lionel Gossman, in a 2004 lecture, extends this to critique modern sensibility's ironic detachment, where Adolphe's nerveless passion exemplifies the erosion of authentic emotion in a rationalized world, linking the novel to Constant's warnings about liberty's isolating effects.^[1] The revival of interest in Constant since the late twentieth century has further solidified Adolphe's status as a touchstone for democratic theory. Helena Rosenblatt and others note how interpreters like Isaiah Berlin and François Furet draw on the novel to illustrate modernity's fears of totalitarianism and the fragility of negative liberty, portraying Adolphe's indecision as emblematic of the individual's struggle against overwhelming social forces.^[4] These readings underscore the work's enduring relevance, transforming it from a mere autobiographical sketch into a foundational critique of modern alienation.^[4]

Adaptations and Legacy

Film Adaptations

The primary film adaptation of Benjamin Constant's Adolphe is the 2002 French drama directed by Benoît Jacquot, which faithfully follows the novel's narrative of a young man's obsessive affair with an older, married woman.^[21] Starring Stanislas Merhar as Adolphe and Isabelle Adjani as Ellénore, the film is set at the turn of the 19th century and emphasizes the psychological torment and emotional impasse central to the story, with Jacquot's screenplay co-written by Fabrice Roger-Lacan.^[22] It premiered at the 2002 Venice Film Festival and received praise for its restrained direction and Adjani's performance, though some critics noted its deliberate pacing as a reflection of the source material's introspective style.^[21] The production utilized period-accurate costumes and locations to evoke the novel's era, underscoring themes of passion and regret without modern alterations.^[23] An earlier, more loosely inspired adaptation is Adolphe, ou l'âge tendre (1968), directed by Bernard Toublanc-Michel, which transposes the novel's core dynamic—a youthful infatuation with an older woman—into a contemporary setting involving a young filmmaker attempting to adapt Constant's work.^[24] Featuring Ulla Jacobsson as Hélène and Jean-Claude Dauphin as Henri, the film blends meta-elements with romantic drama, exploring the challenges of artistic creation alongside personal entanglements.^[25] Produced as a Franco-German co-production, it runs 103 minutes and received limited distribution, with reviews highlighting its tender portrayal of emotional vulnerability but critiquing its uneven integration of the literary source.^[26] No other major cinematic adaptations of Adolphe have been produced, though the novel's themes have influenced broader discussions of literary-to-film transitions in French cinema. These two films represent the limited but notable screen interpretations, prioritizing the work's exploration of unrequited love over expansive visual spectacle.

Influence on Literature and Culture

Adolphe by Benjamin Constant has exerted a profound influence on the development of the psychological novel, serving as a pioneering work in the in-depth exploration of inner emotional conflicts and the complexities of human relationships. Published in 1816, the novel's analytical dissection of love—portraying it as a mix of devotion, vanity, and disillusionment—marked a shift from romantic idealism toward a more introspective and realistic portrayal of personal turmoil, influencing subsequent French literature by emphasizing psychological depth over external action.^[27] This approach anticipated the character studies in the works of later 19th-century novelists, where societal constraints amplify internal struggles.^[27] The novel's themes of alienation, egoism, and the destructive power of unfulfilled desire resonated widely, earning admiration from key literary figures including Johann Wolfgang von Goethe, Alexander Pushkin, Stendhal, and Victor Hugo, who recognized its "extreme truth" in capturing modern emotional fatigue and moral ambiguity.^[7] Stendhal, in particular, praised its unflinching honesty, which contributed to the evolution of Romanticism by bridging émigré literature's reaction against Enlightenment rationalism with a focus on individual isolation in a post-revolutionary society.^[7] Culturally, Adolphe critiqued the erosion of spontaneous passion under modern civilization's demands, influencing perceptions of love as a source of inevitable suffering and self-division, themes echoed in later works like Gustave Flaubert's portrayals of inauthentic experiences.^[1] In broader literary trends, Adolphe established a model for the "French tragedy novel," aligning with predecessors like La Princesse de Clèves and Manon Lescaut while innovating through its emphasis on private life's inevitable misfortunes and the anti-heroic vulnerability of modern protagonists.^[7] Its legacy extends to 20th-century narratives of unbalanced relationships, such as Camillo Boito's Senso and Carson McCullers' The Ballad of the Sad Café, where ego-driven love leads to tragedy, reinforcing cultural understandings of emotional interdependence as a pathway to isolation.^[13]

References

[1]
[PDF] BETWEEN PASSION AND IRONY - Princeton University
Constant, Paris: Corrêa, 1946, p.29. Benjamin Constant is well known to students of French literature as the author of the flawless novella Adolphe. As ...
[2]
Adolphe - Miami University Online Bookstore
Summary. Adolphe enjoys all the advantages of a noble birth and an intellectual ability, yet he is haunted by the meaninglessness of life. Thus, he merely ...
[3]
Benjamin Constant: A Biography - Miami University Online Bookstore
During his lifetime, Benjamin Constant was known as a political theorist, a courageous defender of liberal causes and a notable historian of the religious ...
[4]
[PDF] Why Constant? A Critical Overview of the Constant Revival
Constant's novel Adolphe and erroneously equated Constant with its fictional protagonist. Why such a skeptic and pessimist should dedicate himself to a life ...Missing: summary | Show results with:summary
[5]
Biographical background (Chapter 1) - Constant: Adolphe
The author of a novel shot through with multiple skeins of irony and paradox, Benjamin Constant has seemed to many to be himself a tissue of paradoxes. Adolphe, ...Missing: inspiration | Show results with:inspiration
[6]
Benjamin Constant Liberty and Private Life - FEE.org
The novel wasn't published until 1816. By then, Constant had married Charlotte von Hardenberg, who offered him the closest thing to domestic harmony he would ...Missing: relationships | Show results with:relationships
[7]
[PDF] Benjamin Constant by Tzvetan Todorov - Monoskop
Thus, we will consider at the same time Constant's political writings and his works about religion, and his novel and his autobiographical texts, and we will ...Missing: semi- | Show results with:semi-
[8]
The Authority of Pain in "Adolphe" - jstor
Yet, it also confirms the source of that anxiety: Adolphe's belief that the harmful results of action confound ordinary expectations about the proportionality ...Missing: summary | Show results with:summary
[9]
Benjamin Constant's Adolphe and the Power of Destructive Love
Mar 2, 2014 · Adolphe is a sorrowful classic novella by Benjamin Constant, first published in London and Paris in 1816. The book has captivated numerous ...Missing: composition | Show results with:composition
[10]
CONSTANT (Benjamin). Adolphe. Anecdote found in... - Lot 1471
The London edition, dated June 7, 1816, is said to be the first, and this one, published only a few days later, the second, closely followed by a second ...
[11]
Adolphe And The Red Note-book : Constant Benjamin
Jan 21, 2017 · English. Item Size: 329.6M. Book Source: Digital Library of India ... FULL TEXT download · download 1 file · HOCR download · download 1 file.
[12]
https://www.gutenberg.org/ebooks/13861
[13]
Benjamin Constant's "Adolphe" and the Power of Destructive Love
It highlights Constant's autobiographical connections and his reflections on emotional vulnerability and the dynamics of seduction.
[14]
[PDF] Legitimacy, Unity, and Irony in Constant's Adolphe1 - PhilArchive
Benjamin Constant's Adolphe, written in 1806 and published twelve years later, has often been read as a fictionalized confession, or at the least as an ...Missing: authorship | Show results with:authorship
[15]
[PDF] Narrative Discourse - an Essay in Method
voice means own individual style. "Verbal features of character" emerge in Balzac ... Constant, Benjamin: Adolphe, 186, 230. Cooper, James Fenimore, 257.<|control11|><|separator|>
[16]
Germaine de Staël and Benjamin Constant 9780300176247
The publication of his novella, Adolphe, on May 8, 1816, was a succès de scandale. He had given many private readings from it in the salons in Paris and ...
[17]
Adolphe (roman de Benjamin Constant) - Institut Coppet
May 13, 2022 · [La réception par la presse contemporaine] En juin 1816, fort d'une double parution, à Paris et à Londres, le roman Adolphe entend conquérir la ...
[18]
Adolphe : la paradoxale postérité d'un roman singulier - Fabula
Oct 31, 2016 · Dès sa parution en 1816, Adolphe, anecdote trouvée dans les papiers d'un inconnu n'a cessé d'être lu, récrit, traduit, adapté et célébré ...
[19]
Reinterpreting "Adolphe": The Sexual Politics of Benjamin Constant
relationships with both Isabelle de Charriere and Madame de Stael. Adolphe is proof not of Constant's unmanly character and pathetic relationships with women, ...
[20]
‘War Between the Sexes’: Germaine de Staël’s 'Corinne' and Benjamin Constant’s ' Adolphe' ; Lilith: A Feminist Journal V.22 (2016) Australia: 66-77.
### Key Points from Feminist Analysis of *Corinne* and *Adolphe*
[21]
Adolphe - Variety
Sep 17, 2002 · Directed by Benoit Jacquot. Screenplay, Jacquot, Fabrice Roger-Lacan, adapted from the novel by Benjamin Constant. Crew: Camera (color), Benoit ...
[22]
Adolphe (2002) - IMDb
Rating 6/10 (431) The action takes place at the turn of the 19th Century. Adolphe (Stanislas Merhar) is a carefree, somewhat jaded 22-year-old, scion of a preeminent ...Missing: adaptations | Show results with:adaptations
[23]
Adolphe - Film 2002 - AlloCiné
Rating 3.1 (113) Benoit Jacquot adapte ici le roman de Benjamin Constant de manière fidèle en soulignant un amour inextricable entre deux personnes ..Il met en scène de manière ...
[24]
Adolphe, ou l'âge tendre (1968) - IMDb
Rating 6.8/10 (23) Henri wants to adapt the novel Adolphe by Benjamin Constant for the cinema. He finds the filming locations and asks Hélène to play in the film.Missing: adaptations | Show results with:adaptations
[25]
The Tender Age (1968) | MUBI
Adolphe, ou l'âge tendre. Directed by Bernard Toublanc-Michel. Poland, West Germany, 1968. Drama, Romance. 103. Synopsis. Henri wants to adapt Benjamin ...
[26]
Adolphe, ou l'âge tendre - Where to Watch and Stream - TV Guide
Watchlist. Henri wants to adapt the novel Adolphe by Benjamin Constant for the cinema. He finds the filming locations and asks Hélène to play in the film.
[27]
Main Currents in Nineteenth Century Literature - Project Gutenberg
Oct 24, 2024 · ... Benjamin Constant's Adolphe. Adolphe is a love story which, in its presentment of the relations of the individual to society, takes a quite ...