\u00c9dition st\u00e9r\u00e9otype en\u00a04 volumes imprim\u00e9e selon le proc\u00e9d\u00e9 de Firmin Didot.<\/p>\n
EXEMPLAIRE DE FRANCES PARTRIDGE DONN\u00c9 PAR LYTTON STRACHEY.<\/strong><\/p>\n Frances Marshall Partridge L'une des derni\u00e8res artistes \u00e0 rejoindre le Bloomsbury group, Frances Marshall \u00e9pousa Ralph Partridge, proche de Lytton Strachey qui avait longtemps cohabit\u00e9 avec lui et sa premi\u00e8re femme Dora Carrington. Starchey, alors d\u00e9j\u00e0 c\u00e9l\u00e8bre comme l'auteur de Eminent Victorians<\/em>, confia au couple la pr\u00e9paration d'un projet d'\u00e9dition du journal intime de Charles Greville qu'il avait entrepris. The Greville Memoirs<\/em> parut en 1938, avec Starchey comme directeur \u00e9ditorial.<\/p>\n Les membres du Bloomsbury nourrissaient en effet un int\u00e9r\u00eat certain pour les modes de la confession et de l'autobiographie. On songe notamment au projet Memoir club, d\u00e9riv\u00e9 du Bloomsbury dans les ann\u00e9es 1920.\u00a0Sous l'influence de Strachey, le Bloomsbury group avait en outre reconnu Rousseau comme un pr\u00e9curseur du Romantisme et de la modernit\u00e9, la distance culturelle entre le philosophe et ses contemporains faisant \u00e9cho \u00e0 celle qui s'\u00e9tait cr\u00e9\u00e9e entre le groupe et la soci\u00e9t\u00e9 de l'\u00e9poque. Lytton \u00e9crit ainsi dans \"The Rousseau affair\" (Books and Characters<\/em>) :<\/p>\n \"As we see him now, in that long vista, Rousseau was not a wicked man; he was an unfortunate, a distracted, a deeply sensitive, a strangely complex, creature; and, above all else, he possessed one quality which cut him off from his contemporaries, which set an immense gulf betwixt him and them: he was modern. Among those quick, strong, fiery people of the eighteenth century, he belonged to another world\u2014to the new world of self-consciousness, and doubt, and hesitation, of mysterious melancholy and quiet intimate delights, of long reflexions amid the solitudes of Nature, of infinite introspections amid the solitudes of the heart. Who can wonder that he was misunderstood, and buffeted, and driven mad?<\/em>\"<\/p>\n Pr\u00e9cieux exemplaire de ce texte fondateur de \"l'\u00e9criture du soi\",\u00a0v\u00e9ritable\u00a0association copy de deux membres du Blomsbury Group, le biographe Starchey et la diariste Partridge.<\/strong><\/p>\n Les exemplaires, reli\u00e9s \u00e0 l'\u00e9poque en veau vert, furent tr\u00e8s consult\u00e9s et pr\u00e9sentent de nombreux d\u00e9fauts.<\/p>\n \"HJ Eaton, London 5 May 1852\" ex-libris manuscrit sur les quatre faux-titres<\/p>\n <\/p>\n FRANCES PARTRIDGE'S COPY, GIFTED BY LYTTON STRACHEY. Frances Marshall Partridge One of the last artists to join the Bloomsbury group, Frances Marshall was the wife of Ralph Patridge, a close friend of Lytton Starchey--the two of them, along with Partridge's first wife Dora Carrington, had famously lived under the same roof. Together, Frances Marshall and Ralph Partridge prepared an edition of Charles Greville's diary, a project which Starchey had started. The Greville Memoirs<\/em> were published in 1938, with Starchey as editorial director.<\/p>\n The Bloomsbury's interest na the modes of confession and autobiography (one may recall the 1920s Memoir club project) found an echo in Rousseau's Confessions; <\/em>in addition, the Bloomsbury group, under Starchey's impulsion, had come to recognize Rousseau as a a fundamentally \"modern\" figure, a proto-Romantic whose distance from his contemporaries mirrored that which existed between the Bloosmbury and society at large. In \"The Rousseau affair\"\u00a0(Books and Characters<\/em>), Lytton wrote:<\/p>\n \"As we see him now, in that long vista, Rousseau was not a wicked man; he was an unfortunate, a distracted, a deeply sensitive, a strangely complex, creature; and, above all else, he possessed one quality which cut him off from his contemporaries, which set an immense gulf betwixt him and them: he was modern. Among those quick, strong, fiery people of the eighteenth century, he belonged to another world\u2014to the new world of self-consciousness, and doubt, and hesitation, of mysterious melancholy and quiet intimate delights, of long reflexions amid the solitudes of Nature, of infinite introspections amid the solitudes of the heart. Who can wonder that he was misunderstood, and buffeted, and driven mad?\"<\/p>\n That a copy of this seminal book on \"the writing of the self\" passed from biographer Lytton's hands to those of memoir-author Frances Partridge is then both significant and moving.<\/p>\n \"JLK[??] Eaton, London 5 May 1852\" ex-libris in ink on all four half-titles.<\/p>\n Contemporary green calf binding, raised bands and gilt decor on the spine with red title piece, double blind frame on the boards, gilt border on the spines, inner blind border, combed egdes. COPY OF FRANCES PARTRIDGE GIVEN BY LYTTON STRACHEY.
\ngiven me by
\nLytton Strachey<\/p><\/blockquote>\n
\nAutograph ex-libris and note by F. Partrige on the first volume:<\/p>\n
\ngiven me by
\nLytton Strachey<\/p><\/blockquote>\n
\nSpines discolored, some rubbing, joints scuffed and loose with upper joint split on vol. 1, title piece missing on vol. 3, lacks on headcaps, corners rubbed. Foxing.<\/p>\n","protected":false},"excerpt":{"rendered":"
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