The Mysterious Sketch
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Erckmann-Chatrian
Erckmann-Chatrian Description de cette image, également commentée ci-après Émile Erckmann et Alexandre Chatrian par Pierre Petit. Données clés Nom de naissance Émile Erckmann Alexandre Chatrian Données clés modifierConsultez la documentation du modèle Erckmann-Chatrian est le pseudonyme collectif utilisé de 1847 à 1887 par deux écrivains français : Émile Erckmann (né le 21 mai 1822 à Phalsbourg et mort le 14 mars 1899 à Lunéville) et Alexandre Chatrian (né le 18 décembre 1826 à Soldatenthal et mort le 3 septembre 1890 à Villemomble). Ils ont également écrit sous leurs patronymes respectifs. Nés tous deux en Meurthe (actuelle Moselle) et amis, ils ont écrit un grand nombre de romans nationalistes d'inspiration régionale exaltant le sentiment patriotique. Dans leur oeuvre, le réalisme rustique, influencé par les conteurs de la Forêt-Noire, se transfigure en une sorte d'épopée populaire.
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The Mysterious Sketch - Erckmann-Chatrian
The Project Gutenberg eBook, The Mysterious Sketch, by Emile Erckmann, et al, Translated by Michael John Wooff
This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org
** This is a COPYRIGHTED Project Gutenberg eBook, Details Below ** ** Please follow the copyright guidelines in this file. **
Title: The Mysterious Sketch
Author: Emile Erckmann
Release Date: May 2, 2011 [eBook #36013]
Language: English
***START OF THE PROJECT GUTENBERG EBOOK THE MYSTERIOUS SKETCH***
Copyright (C) 2011 by Michael John Wooff
The mysterious sketch
by Emile Erckmann (1822-1899) and Alexandre Chatrian (1826-1890)
I
Opposite the Saint Sebaldus Chapel in Nuremberg rises up a little inn, tall and narrow, with a jagged gable, dusty windows and a plaster cast of Our Lady on top of its roof. It was here that I spent the unhappiest days of my life. I had gone to Nuremberg to study the old German masters, but, due to a lack of liquidity, I had to paint portraits…and what portraits they were! Fat purveyors of tittle-tattle with a cat on their knees, aldermen in wigs, burgomasters wearing a three-cornered hat and the whole thing set off by luminous ochre and cinnabar by the bucketful.
From portraits I descended to sketches and from sketches to outlines.
Nothing can be worse, believe me, than to constantly have on your back a head steward, tight-lipped, shrill, impudent-looking, who comes to you every day with: So then! How soon will you be paying, sir? Have you any idea how much your bill is now? No. It doesn't bother you, does it?… Sir eats, drinks and sleeps as he pleases… Does not our heavenly Father feed even the birds of the air? Sir's bill comes to four hundred schillings and ten kreuzer… It's hardly worth mentioning, I know.
Those who have not heard this scale being sung can have no concept of it - love of art, imagination, a sacred passion for the beautiful all dry up under the withering breath of such a browbeater… You grow gauche and timid, all your energy dissipated along with any feeling of personal dignity.
One night, penniless as usual, and threatened with debtor's prison by that worthy steward Rap, I decided I would thwart his hopes of payment by slitting my throat. With this