Ensayos de Michel de Montaigne — completos
- Idioma:
- inglés
- Estado:
- Obra completa
- Autoría:
- Escrita por el autor
- Estado del texto:
- Sin ruido de escaneo detectado (medición automática sobre todo el texto, no revisada a mano)
- Extensión:
- ~540.000 palabras · 2578 pasajes
Cita esta obra
- APAMichel de Montaigne. (n.d.). Essays of Michel de Montaigne — Complete [Ensayos de Michel de Montaigne — completos]. Digital reproduction: SigPhi. https://sigphiai.com/es/works/michel-de-montaigne/essays-of-michel-de-montaigne-complete
- MLAMichel de Montaigne. Essays of Michel de Montaigne — Complete [Ensayos de Michel de Montaigne — completos]. Digital reproduction, SigPhi, https://sigphiai.com/es/works/michel-de-montaigne/essays-of-michel-de-montaigne-complete.
- ChicagoMichel de Montaigne. Essays of Michel de Montaigne — Complete [Ensayos de Michel de Montaigne — completos]. Digital reproduction, SigPhi. https://sigphiai.com/es/works/michel-de-montaigne/essays-of-michel-de-montaigne-complete.
Referencia de la edición reproducida. SigPhi es la reproducción digital. Se incluyen año, editorial y traductor cuando constan; «n.d.» indica que no consta el año.
De qué trata
Poco más de cien ensayos sobre cualquier cosa —el miedo, la amistad, los caníbales, los coches, la muerte— donde el autor se examina a sí mismo como único tema que conoce de cerca.
Contexto e historia
Montaigne se retiró de la vida pública en 1571, a los 38 años, a la torre de su castillo, y escribió allí durante veinte años mientras las guerras de religión asolaban Francia. Inventó la palabra «ensayo» en el sentido de prueba o tentativa: ningún texto pretende concluir. Fue añadiendo capas en las ediciones sucesivas sin borrar lo anterior, de modo que el libro conserva sus propias contradicciones a la vista.
Contexto editorial, no una fuente citable: a diferencia de los pasajes de la obra, estos datos no se pueden comprobar contra 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.…