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Hadrianuksen muistelmat

– tekijä: Marguerite Yourcenar

Muut tekijät: Katso muut tekijät -osio.

JäseniäKirja-arvostelujaSuosituimmuussijaKeskimääräinen arvioMaininnat
4,4981051,855 (4.14)192
Both an exploration of character and a reflection on the meaning of history, "Memoirs of Hadrian" has received international acclaim since its first publication in France in 1951. In it, Marguerite Yourcenar reimagines the Emperor Hadrian's arduous boyhood, his triumphs and reversals, and finally, as emperor, his gradual reordering of a war-torn world, writing with the imaginative insight of a great writer of the twentieth century while crafting a prose style as elegant and precise as those of the Latin stylists of Hadrian's own era.… (lisätietoja)
  1. 61
    Minä, Claudius (tekijä: Robert Graves) (bertilak)
  2. 20
    Itselleni : keisarin mietteitä elämästä (tekijä: Marcus Aurelius) (foehnwind)
  3. 20
    Der Tod des Vergil (tekijä: Hermann Broch) (chrisharpe)
  4. 20
    Julian (tekijä: Gore Vidal) (spiralsheep)
  5. 00
    Valtamarski Belisarius (tekijä: Robert Graves) (nessreader)
    nessreader: Literary historical fiction, about the later roman empire, the decline and fall. sumptuously written.
  6. 00
    SPQR: A History of Ancient Rome (tekijä: Mary Beard) (stevereads)
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Näyttää 1-5 (yhteensä 105) (seuraava | näytä kaikki)
Published in 1951 after more than 26 years in conception Yourcenar's book is a tour de force. It takes the form of imagining that Roman Emperor Hadrien (Hadrian) 76AD - 138AD had written a letter to his chosen successor giving him the benefit of his experiences of over 20 years in power. It therefore takes the form of an autobiography as it included his rise to power and his thoughts on the state of the Empire. It could be compared to the memoirs of a contemporary politician, especially as Yourcenar tries to put into words the thoughts of the Emperor. It is a sympathetic portrait, but not a panegyric, but the reader does see events from Hadrians point of view.

Hadrian towards the end of his reign campaigned against a Jewish rebellion in what is known as the Bar Kokhba revolt. He was approaching 60 and the the tribulations of living in an army encampment during a long siege had an effect on his health and by the time he got back to Rome he was an ill man. He started writing his letter and nearly finished it on his death bed: his last words are 'Tâchons d'entrer dans la mort les yeux ouverts...........' His letter tells us the story of his life in chronological sequence, starting with his early upbringing in the Roman Province of Spain, the death of his parents and his schooling in Rome. His tutor had considerable political influence and the intelligent and able Hadrian found himself conscripted into the entourage of the Emperor Trajan. He campaigned with Trajan and numbered among his chosen acolytes, forming a lasting friendship with Plotine; Trajans influential wife. When Trajan died campaigning till the last, he had not got round to publicly naming Hadrian as his successor and there was a sort of palace coup back in Rome to ensure the enemies of Hadrian were summarily despatched. Trajan had looked forward to coming back to Rome as a conquering hero, but Hadrian typically refused all honoured titles on his triumphant entry into the city.

Hadrian was a different animal to Trajan who was a man who had lived to conquer the known world. Hadrian saw the advantages of consolidation, of drawing back to defensible borders and negotiating peace with the barbarians. He wanted to celebrate the glory and the artistic achievements of the Roman world and make some improvements. He had become disgusted by the atrocities committed by both sides in the wars and wanted to achieve a lasting peace. He was secure in his position as Emperor and sought to make changes: changes that we might think progressive, for example improving the financial position of women and putting an end to some of the atrocities committed against the slaves. Writing about these to his chosen successor with his thoughts on progress for the Empire was of course an attempt at laying down a blueprint for the future.

The letter is much more than a guide to his successor because Hadrian clearly wanted to give his side to the story of his life. He was passionate about the classical civilisation of Greece, the fount of all knowledge and artistic creation; he seems to have wanted to make Rome more like Greece particularly Athenian Greece. During his 20 years as Emperor he spent eight of those outside Rome, he loved to travel mixing business with pleasure fascinated by ancient Greece and ancient Egypt. In Greece he met and fell in love with Antinous a fourteen year old Greek boy who became his lover and constant companion for six years. This was perfectly acceptable in Roman times and Yourcenar has Hadrian writing candidly about the love of his life. Antinous committed suicide when he was 20 and the idyllic relationship was over, but Hadrian never got over it. He made statues, he had the body mummified in the Egyptian tradition and even built a city in his honour. Hadrian wonders what part he played in Antinous suicide, because the pair had sought the wisdom of a soothsayer and the prognostication had not been good; so did Antinous sacrifice himself for Hadrian? did he fear that Hadrian was losing interest in him? What is clear is that Hadrian saw himself as protector of the Roman Empire and his love affair with Antinous and ancient Greece was proving a distraction, even if he could not admit to that himself. Hadrian unflinchingly sets this all out in his letter as a mixture of golden memories and some regrets. He is proud of some of his achievements and is in conflict about others. In the final short chapter on his death bed he thinks about the past and the human condition, it is a touching portrait.

Yourcenar put off writing her book until she felt mature enough to do justice to her subject. There are a series of extracts from her notebooks included at the end of the book containing information pertinent to her methods of working and notes on her research. She took pains to make the book as historically accurate as possible. Of course she did not know Hadrians thought process, but this is the art of the novelist to convince her readers that he could have thought along these lines. In my opinion she does an excellent job of creating the milieu of Rome and the empire, at the beginning of the second century; in some parts it feels like a travelogue around an ancient civilisation, however it is the characterisation of Hadrian that is the crowning achievement. We have evidence that Hadrian was a lover of the arts and a poet himself and there are other commentaries about him. Yourcenar has taken the opening line from one of his poems written at the end of his life: Animula, vagula, blandula as the title of her first chapter; her translation of the poem is:

Little soul, gentle and drifting, guest and companion of my body, now you will dwell below in pallid places, stark and bare; there you will abandon your play of yore. But one moment still, let us gaze together on these familiar shores, on these objects which doubtless we shall not see again… Let us try, if we can, to enter into death with open eyes…

A moving portrait of a grand homme and an excellent book and one in which for the most part Yourcenar avoids the trap of putting 20th century contemporary thoughts into the head of a Roman Emperor. A five star read. ( )
3 ääni baswood | Apr 11, 2021 |
This book is dense, and at times difficult to read. It is all told from the perspective of Roman Emperor Hadrian, as a sort of letter to his successor, Marcus Aurelius. As such, it is 300 pages of internal monologue.

But inside this monologue is a fascinating fictional glimpse into the mind of one of the Five Good Emperors and the times of the second century of the current era. There is also timeless advice about how to live, and reflections on the human condition.

"He had reached that moment in life, different for each one of us, when a man abandons himself to his demon or to his genius, following a mysterious law which bids him either to destroy or outdo himself." There is wit and wisdom like this found on just about every page, albeit often buried within pages-long paragraphs. ( )
  evenlake | Mar 23, 2021 |
PB-5
  Murtra | Jan 13, 2021 |
OB-4
  Murtra | Dec 14, 2020 |
OB-1
  Murtra | Dec 4, 2020 |
Näyttää 1-5 (yhteensä 105) (seuraava | näytä kaikki)
'La mayoría de los hombres gusta resumir su vida en una fórmula, a veces jactanciosa o quejumbrosa, casi siempre recriminatoria; el recuerdo les fabrica, complaciente, una existencia explicable y clara. Mi vida tiene contornos menos definidos. Como suele suceder, lo que no fui es quizá lo que más ajustadamente la define: buen soldado pero en modo alguno hombre de guerra; aficionado al arte, pero no ese artista que Nerón creyó ser al morir; capaz de cometer crímenes, pero no abrumado por ellos. Pienso a veces que los grandes hombres se caracterizan precisamente por su posición extrema; su heroísmo está en mantenerse en ella toda la vida. Son nuestros polos o nuestros antípodas'.
lisäsi Pakoniet | muokkaaLecturalia
 

» Lisää muita tekijöitä (20 mahdollista)

Tekijän nimiRooliTekijän tyyppiKoskeeko teosta?Tila
Yourcenar, MargueriteTekijäensisijainen tekijäkaikki painoksetvahvistettu
Bailey, PaulJohdantomuu tekijäeräät painoksetvahvistettu
Calderaro, MarthaKääntäjämuu tekijäeräät painoksetvahvistettu
Creus, JaumeKääntäjämuu tekijäeräät painoksetvahvistettu
Duquesnoy, TheodorKääntäjämuu tekijäeräät painoksetvahvistettu
Frick, GraceKääntäjämuu tekijäeräät painoksetvahvistettu
Hakamies, ReinoKääntäjämuu tekijäeräät painoksetvahvistettu
Hornelund, KarlKääntäjämuu tekijäeräät painoksetvahvistettu
Jaffé, FritzÜbersetzermuu tekijäeräät painoksetvahvistettu
Sandfort, J.A.Kääntäjämuu tekijäeräät painoksetvahvistettu
Storoni Mazzolani, LidiaKääntäjämuu tekijäeräät painoksetvahvistettu
Tuin, JennyKääntäjämuu tekijäeräät painoksetvahvistettu
Vallquist, GunnelKääntäjämuu tekijäeräät painoksetvahvistettu
Sinun täytyy kirjautua sisään voidaksesi muokata Yhteistä tietoa
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Teoksen muut nimet
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Alkuperäinen julkaisuvuosi
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Tärkeät paikat
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Tärkeät tapahtumat
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Kirjaan liittyvät elokuvat
Palkinnot ja kunnianosoitukset
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Animula vagula, blandula, hospes comesque corporis, quae nunc abibis in loca pallidula, rigida, nudula, nec, ut soles, dabis iocos ... P. Aelius Hadrianus, Imp.
Omistuskirjoitus
Ensimmäiset sanat
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
My dear Mark,
Today I went to see my physician Hermogenes, who has just returned to the Villa from a rather long journey in Asia.
Sitaatit
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
I am trusting to this examination of facts to give me some definition of myself, and to judge myself, perhaps, or at the very least to know myself better before I die.
Thus from each art practiced in its time I derive a knowledge which compensates me in part for pleasures lost. I have supposed, and in my better moments think so still, that it would be possible in this manner to participate in the existence of everyone; such sympathy would be one of the least revocable kinds of immortality.
Grammar, with its mixture of logical rule and arbitrary usage, proposes to a young mind a foretaste of what will be offered to him later on by law and ethics, those sciences of human conduct, and by all the systems whereby man has codified his instinctive experience.
natura deficit, fortuna mutatur, deus omnia cernit
Viimeiset sanat
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(Napsauta nähdäksesi. Varoitus: voi sisältää juonipaljastuksia)
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Julkaisutoimittajat
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Alkuteoksen kieli
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Englanninkielinen Wikipedia (2)

Both an exploration of character and a reflection on the meaning of history, "Memoirs of Hadrian" has received international acclaim since its first publication in France in 1951. In it, Marguerite Yourcenar reimagines the Emperor Hadrian's arduous boyhood, his triumphs and reversals, and finally, as emperor, his gradual reordering of a war-torn world, writing with the imaginative insight of a great writer of the twentieth century while crafting a prose style as elegant and precise as those of the Latin stylists of Hadrian's own era.

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