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The Temptation of St. Anthony, by Gustave Flaubert
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Flaubert's story is based on the legends surrounding the monastic hermit St. Anthony (who lived during the second half of the third century AD) and the various temptations that he faced. The story is written in a prose-play form the reader has the "scenes" described at length, before the prose dialogue hits like a thunderclap. In the opening scene there is a very detailed picture of the desolate desert and in Saint Anthony's opening "monologue" some of the disaffection that will serve as the conduit by which the various temptations sent by Satan shall reach him during the course of the night to follow. Later in the story, Anthony goes into his hut and reads passages of how the Most High exalted his believers upon even the most puissant of monarchs. Stories of how the faithful overcame great obstacles and temptations, from avarice to lust to hubris to each of the other Seven Capital Sins. As Saint Anthony falls asleep, Satan himself materializes out of the desert air and his devils begin a bit of mischief that leads to Anthony awakening and being confronted first by the lust-filled "Queen of Sheba," whom he can barely resist. Next, Satan assumes the form of a fellow hermit, Saint Hilarion, in order to tempt Anthony to committing the grave sin of heresy. And so it continues, each temptation building upon each other, Saint Anthony assailed more and more with each sharp thrust. The scenes continue to be highly charged and imaginative in how these temptations are portrayed in both symbolic and literal forms. By the end of the book, Saint Anthony is brought to the cusp of collapsing into concupiscence, only to be granted a last minute reprieve...perhaps.
- Sales Rank: #12197598 in Books
- Published on: 1936
- Number of items: 1
- Binding: Hardcover
- 169 pages
Most helpful customer reviews
1 of 4 people found the following review helpful.
The Really Unreadable Flaubert
By reading man
SALAMMBO was declared unreadable by Cyril Connolly, but I think TENTATION has it beat by a long shot.
The fruit of Flaubert's early romantic obsession and, even more clearly, his masochistic side, I don't see how any English reader could take this seriously as literature, though as a self-revealing document it's interesting.
I wonder why Penguin decided to publish this translation by a woman with a Russian name (don't have the text in front of me, her first name is Kitty) instead of at least assigning the job to Baldick, Tannock, Kreilewhatshisname, their regular cadre of French translators. I expect they thought it wasn't worth the cost when Kitty had already done the job and the book would only appeal to Flaubert completists.
5 of 5 people found the following review helpful.
avoid the kindle translation
By J. Paul
I am a big fan of the work itself, but wanted to throw in a recommendation for the Penguin Classics edition. By all means, avoid the Kindle translation, as it is crazy bad. Certain passages read strangely while a majority of them are just wrong. I'm no scholar; I just bought both versions and it's remarkable how much better the Penguin Classics edition is. This is a shame, but as the kindle is very convenient. However, the poetry and energy of Flaubert's writing comes through much better in the other translations. Trust me; you'll be glad you paid more for the print copy.
50 of 53 people found the following review helpful.
A Metatext
By Bruce Kendall
This is a work that should not be neglected by those interested in Flaubert or by lovers of French Literature. It's format resembles an old-fashioned cyclorama, which was basically a revolving canvas, portraying various interpretive images to an audience that would be seated in the middle of a room. Or it may recall the same period's "magic lantern" which would produce a similar effect, projecting a series of images on a flat wall, the precursor of modern cinema.
Flaubert ushered in an entirely new sensibility to the world of letters. He reinvented the concept of the literary artist as word-and world shaper. The word is the world and vice-versa. No writer ever engaged in such a Herculean struggle to shape every word, every sentence, every image, every assonance or consonance to perfectly conform to his intention.
Flaubert engaged in a kind of ascetisism his entire adult life, which is hardly news, but is central to an understanding of this work and to his attraction towards St. Anthony for a protagonist. Flaubert was for many years a kind of hermit in his study at Croisset, where he retired to his study to read books and write novels. He had contact with his mother and adopted niece and wrote letters to a mistress (Louise Collet, and later to George Sand) along with a few male friends. He would make brief sojourns into Paris, but for the most part, stayed to himself in his provincial hideaway. What he dreamt of there, besides his most famous works (Madame Bovary and L'Education Sentimentale) were reveries such as this novel and Salammbo, another book set in the Near-East and equally evocative in terms of his treatment of that region's sensual and Byzantine richness.
"The Temptation" sparkles with some of Flaubert's most carefully and lovingly constructed imagery. It is the author's own homage to the fertility of his imagination. He never fathered a child literally that we know of, but this work and Salammbo were his ways of saying that he was fertile in all other respects. Each passing personage or creature is a seed sewn by this father of imagery.
One of the most senseless and ill-informed utterances in the annals of criticism is Proust's comment that Flaubert never created one memorable metaphor. Flaubert's entire cannon is one vast metaphor. They are evident in every sentence and every passage of every novel he ever wrote. This is particularly true in this work, as any informed reader will no doubt conclude after reading it.
One other area of recommendation extends to students of Gnosticism. Flaubert encapsulates much of the central theories of the early Gnostic Fathers and Apostles in a few well-delineated characterisations and brush strokes. I would also recommend the Penguin edition, edited and translated by Kitty Mrosovsky, for her introduction and notes. The only drawback I have with her is that she portrays Henry James as denigrating Flaubert's work, where in fact he generally effusively praises it. To those who can read it in its original text, I can only say I envy you and wish I were there.
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