10
" Spring, in Brittany, is milder than spring in Paris, and bursts into flower three weeks earlier. The five birds that herald its appearance—the swallow, the oriole, the cuckoo, the quail, and the nightingale—arrive with the breezes that refuge in the bays of the Armorican peninsula.[28] The earth is covered over with daisies, pansies, jonquils, daffodils, hyacinths, buttercups, and anemones, like the wastelands around San Giovanni of Laterano and the Holy Cross of Jerusalem in Rome. The clearings are feathered with tall and elegant ferns; the fields of gorse and broom blaze with flowers that one may take at first glance for golden butterflies. The hedges, along which strawberries, raspberries, and violets grow, are adorned with hawthorn, honeysuckle, and brambles whose brown, curving shoots burst forth with magnificent fruits and leaves. All the world teems with bees and birds; hives and nests interrupt the child’s every footstep. In certain sheltered spots, the myrtle and the rose-bay flourish in the open air, as in Greece; figs ripen, as in Provence; and every apple tree, bursting with carmine flowers, looks like the big bouquet of a village bride. "
― François-René de Chateaubriand , Mémoires d'Outre-Tombe
11
" Cette société, que j'ai remarquée la première dans ma vie, est aussi la première qui ait disparu à mes yeux. J'ai vu la mort entrer sous ce toit de paix et de bénédiction, le rendre peu à peu solitaire, fermer une chambre et puis une autre qui ne se rouvrait plus. J'ai vu ma grand'mère forcée de renoncer à son quadrille, faute des partners accoutumés; j'ai vu diminuer le nombre de ces constantes amies, jusqu'au jour où mon aïeule tomba la dernière. Elle et sa sœur s'étaient promis de s'entre-appeler aussitôt que l'une aurait devancé l'autre; elles se tinrent parole, et madame de Bedée ne survécut que peu de mois à mademoiselle de Boisteilleul.
Je suis peut-être le seul homme au monde qui sache que ces personnes ont existé. Vingt fois, depuis cette époque, j'ai fait la même observation; vingt fois des sociétés se sont formées et dissoutes autour de moi. Cette impossibilité de durée et de longueur dans les liaisons humaines, cet oubli profond qui nous suit, cet invincible silence qui s'empare de notre tombe et s'étend de là sur notre maison, me ramènent sans cesse à la nécessité de l'isolement.
Toute main est bonne pour nous donner le verre d'eau dont nous pouvons avoir besoin dans la fièvre de la mort. Ah! qu'elle ne nous soit pas trop chère! car comment abandonner sans désespoir la main que l'on a couverte de baisers et que l'on voudrait tenir éternellement sur son cœur? "
― François-René de Chateaubriand , Mémoires d'Outre-Tombe
13
" The Memoirs from Beyond the Grave have come to be considered a classic of French literature as much for the elegiac beauty of their language as for the way they capture an age. If they are the recollections of a sometime ambassador, a part-time politician, and a onetime celebrity, they are also the masterwork of an artist in consummate control of his prose. The person who writes that, on the day of his birth, his mother “inflicted” life on him, who makes up a meeting with George Washington and has the gall to declare that the first president “resembled his portraits,” has picked up the plume for more complicated reasons than the urge to compose a record of his times. The seductiveness of the Memoirs’ style—what Barthes calls the “vivid, sumptuous, desirable seal of Chateaubriand’s writing”—makes questions of factual authenticity seem piddling. The voice of the Memoirs is the voice of the private man behind the public façade, the grown-up boy who left home out of fear and in search of the Northwest Passage, the death-haunted exile, the solitary writer at his desk at night, who knew that he had to imagine himself and his world into being, as if everywhere were America, a second space and a dominion of dreams. "
― François-René de Chateaubriand , Mémoires d'Outre-Tombe
15
" Although quick to become bored by everything, I am always patient with the smallest details: I am endowed with the fortitude to face every impediment and, even when I grow weary of my object, my persistence is always greater than my boredom. I have never abandoned any project worth the trouble of completing. There are many things in my life that I have pursued for fifteen or twenty years with as much ardor on the last day as the first. My supple intelligence has extended itself to secondary matters also. I was deft at chess, skilled at billiards, hunting, and fencing, and I was a passable draughtsman. I would have sung well, too, if my voice had been trained. All this, combined with my unusual education and my experience as a soldier and a traveler, explains why I have never been a pedant, nor ever displayed the dull conceit, awkwardness, and slovenliness of the literary men of the last century, nor the arrogant self-assurance, the vain and envious braggadocio, of the new authors. "
― François-René de Chateaubriand , Mémoires d'Outre-Tombe
16
" These Memoirs have been composed at different dates and in different countries. For this reason, I have been obliged to add some prefatory passages which describe the places that I had before my eyes and the feelings that were in my heart when the thread of my narrative was resumed. The changing forms of my life are thus intermingled. It has sometimes happened that, in my moments of prosperity, I have had to speak of times when I was poor, and in my days of tribulation, to retrace days when I was happy. My childhood entering into my old age, the gravity of experience weighing on the lightness of youth, the rays of my sun mingling and merging together, from its dawn to its dusk, have produced in my stories a kind of confusion, or, if you will, a kind of ineffable unity. "
― François-René de Chateaubriand , Mémoires d'Outre-Tombe
18
" Men of the trident have some games handed down to them by their ancestors: when you cross the Line, you must be “baptized.” The same ceremony takes place in the Tropics as on the banks of Newfoundland, and, whatever the locale, the leader of the masquerade is always “the Old Man of the Tropics.” Tropical and dropsical are synonymous to sailors: the Old Man of the Tropics therefore has an enormous paunch. Even under the tropical sun, he is outfitted in all the sheepskins and fur coats that the crew can find. He sits crouching on the maintop, bellowing from time to time like a wild animal. Everyone stares up at him. Then he starts climbing down the shrouds, heavy as a bear and staggering like Silenus. When he lands on deck, he roars some more, leaps, seizes a pail, fills it with water from the sea, and pours it over the head of anyone who has never crossed the Line or reached the icy latitude. You may flee below deck, leap onto the hatches, or shinny up the masts, but Old Man Tropic is always after you. It all ends with the sailors getting a large sum of drink money. "
― François-René de Chateaubriand , Mémoires d'Outre-Tombe