Assaigs de Michel de Montaigne — complets
- Idioma:
- anglès
- Completesa:
- Obra completa
- Autoria:
- Escrita per l'autor
- Estat del text:
- Sense soroll d'escaneig detectat (mesura automàtica sobre tot el text, no revisada a mà)
- Extensió:
- ~540.000 paraules · 2.578 passatges
Cita aquesta obra
- APAMichel de Montaigne. (n.d.). Essays of Michel de Montaigne — Complete [Assaigs de Michel de Montaigne — complets]. Digital reproduction: SigPhi. https://sigphiai.com/ca/works/michel-de-montaigne/essays-of-michel-de-montaigne-complete
- MLAMichel de Montaigne. Essays of Michel de Montaigne — Complete [Assaigs de Michel de Montaigne — complets]. Digital reproduction, SigPhi, https://sigphiai.com/ca/works/michel-de-montaigne/essays-of-michel-de-montaigne-complete.
- ChicagoMichel de Montaigne. Essays of Michel de Montaigne — Complete [Assaigs de Michel de Montaigne — complets]. Digital reproduction, SigPhi. https://sigphiai.com/ca/works/michel-de-montaigne/essays-of-michel-de-montaigne-complete.
Referència de l’edició reproduïda. SigPhi és la reproducció digital, no l’editor. S’hi inclouen l’any, l’editorial i el traductor quan consten; «n.d.» indica que no consta l’any. La responsabilitat d’un pròleg o d’una nota es determina segons el passatge citat.
De què tracta
Poc més de cent assaigs sobre qualsevol cosa —la por, l'amistat, els caníbals, els cotxes, la mort— on l'autor s'examina a si mateix com a únic tema que coneix de prop.
Context i història
Montaigne es va retirar de la vida pública el 1571, als 38 anys, a la torre del seu castell, i hi va escriure durant vint anys mentre les guerres de religió assolaven França. Va inventar-hi la paraula «assaig» en el sentit de prova o temptativa: cap text no pretén concloure. Va anar afegint capes a les edicions successives sense esborrar el que ja hi havia, de manera que el llibre conserva les seves pròpies contradiccions a la vista.
Context editorial, no una font citable: a diferència dels passatges de l'obra, aquestes dades no es poden contrastar amb el corpus.
the ruins of so gigantic a structure must have commanded greater reverence-it was nothing but her sepulchre. The world, jealous of her, prolonged empire, had in the first place broken to pieces that admirable body, and then, when they perceived that the remains attracted worship and awe, had buried the very wreck itself.--[Compare a passage in one of Horace Walpole’s letters to Richard West, 22 March 1740 (Cunningham’s edit. i. 41), where Walpole, speaking of Rome, describes her very ruins as ruined.]--As to those small fragments which were still to be seen on the surface, notwithstanding the assaults of time and all other attacks, again and again repeated, they had been favoured by fortune to be some slight evidence of that infinite grandeur which nothing could entirely extingish. But it was likely that these disfigured remains were the least entitled to attention, and that the enemies of that immortal renown, in their fury, had addressed themselves in the first instance to the destruction of what was most beautiful and worthiest of preservation; and that the buildings of this bastard Rome, raised upon the ancient productions, although they might excite the admiration of the present age, reminded him of the crows’ and sparrows’ nests built in the walls and arches of the old churches, destroyed by the Huguenots. Again, he was apprehensive, seeing the space which this grave occupied, that the whole might not have been recovered, and that the burial itself had been buried. And, moreover, to see a wretched heap of rubbish, as pieces of tile and pottery, grow (as it had ages since) to a height equal to that of Mount Gurson,--[In Perigord.]--and thrice the width of it, appeared to show a conspiracy of destiny against the glory and pre-eminence of that city, affording at the same time a novel and extraordinary proof of its departed greatness.…