Monday, March 1, 2010

More on Open Drawers. Nana 1882 edition


A nice illustration from Chapter 5 of....

Titre : Nana
Auteur : Zola, Émile (1840-1902
Éditeur : C. Marpon et E. Flammarion ([Paris)
Date d'édition : 1882

http://gallica.bnf.fr/ark:/12148/bpt6k103343f.r=Nana+Zola.langFR


Here' the French text....
Chapter Five

".....Et il but d'un trait. Le comte Muffat et le marquis de Chouard l'avaient imité. On ne plaisantait plus, on était à la cour. Ce monde du théâtre prolongeait le monde réel, dans une farce grave, sous la buée ardente du gaz. Nana, oubliant qu'elle était en pantalon, avec son bout de chemise, jouait la grande dame, la reine Vénus, ouvrant ses petits appartements aux personnages de l'Etat. A chaque phrase, elle lâchait les mots d'Altesse Royale, elle faisait des révérences convaincues, traitait ces chienlits de Bosc et de Prullière en souverain que son ministre accompagne. Et personne ne souriait de cet étrange mélange, de ce vrai prince, héritier d'un trône, qui buvait le champagne d'un cabotin, très à l'aise dans ce carnaval des dieux, dans cette mascarade de la royauté, au milieu d'un peuple d'habilleuses et de filles, de rouleurs de planches et de montreurs de femmes. Bordenave, enlevé par cette mise en scène, songeait aux recettes qu'il ferait, si Son Altesse avait consenti à paraître comme ça, au second acte de la Blonde Vénus....."

...and the English translation.

"....Then he drank it off. Count Muffat and the Marquis de Chouard had followed his example. There was no more jesting now--the company were at court. Actual life was prolonged in the life of the theater, and a sort of solemn farce was enacted under the hot flare of the gas. Nana, quite forgetting that she was in her drawers and that a corner of her shift stuck out behind, became the great lady, the queen of love, in act to open her most private palace chambers to state dignitaries. In every sentence she used the words "Royal Highness" and, bowing with the utmost conviction, treated the masqueraders, Bosc and Prulliere, as if the one were a sovereign and the other his attendant minister. And no one dreamed of smiling at this strange contrast, this real prince, this heir to a throne, drinking a petty actor's champagne and taking his ease amid a carnival of gods, a masquerade of royalty, in the society of dressers and courtesans, shabby players and showmen of venal beauty. Bordenave was simply ravished by the dramatic aspects of the scene and began dreaming of the receipts which would have accrued had His Highness only consented thus to appear in the second act of the Blonde Venus...."

Some more...

"...Cette fois, Nana ne se retourna point. Elle avait pris la patte de lièvre, elle la promenait légèrement, très attentive, si cambrée au-dessus de la toilette, que la rondeur blanche de son pantalon saillait et se tendait, avec le petit bout de chemise. Mais elle voulut se montrer sensible au compliment du vieillard, elle s'agita en balançant les hanches...."

...and the translation.

"...This time Nana did not turn round. She had taken up the hare's-foot and was lightly manipulating it. All her attention was concentrated on this action, and she bent forward over her toilet table so very far that the white round contour of her drawers and the little patch of chemise stood out with the unwonted tension. But she was anxious to prove that she appreciated the old man's compliment and therefore made a little swinging movement with her hips...."

2 comments:

  1. Hi, I came across this etching which looked like it belonged in your collection:

    http://www.twolia.com/blogs/kitsch-slapped/files/2009/11/french-corset-humor.jpg

    I don't know about specific date or publication. Hope you enjoy.

    ReplyDelete
  2. That's a famous one! Thank you. I was surprised by the caption which in English implies her infidelity because that her corset was laced differently than than the husband in the picture had laced it for his wife earlier. I think it's 1840s by an artist called "Cham."

    ReplyDelete