By Michel Chaillou
'Il sentit que cela venait d'une manière ou d'une autre mais que cela venait. Il était assis. Combien de fois ne s'était-il pas assis devant cette fenêtre? Le jour avait perdu une partie de sa clarté et lui était désormais trop las pour réagir, aller voir de près si los angeles végétation l'apostrophait aussi durement qu'aux premières heures. N'était-il pas un corps étranger? Quelqu'un d'ailleurs? Pourquoi cette haute demeure l'accepterait-elle illico sans autres pourparlers préalables avec ses ombres?'
Et si los angeles cuisinière n'était pas vraiment endormie? Et si le model de bois paraissait trop réveillé pour rester de bois? Et si lui-même, Charles-André, n'avait pas grandi? Et si los angeles maison qu'il habite en était une autre? Et si sa tante était sa mère? Et si l. a. mer était...
About Michel Chaillou
Michel Chaillou est né à Nantes le 15 juin 1930. Enfance bretonne assez mouvementée, sera quelque temps employé aux écritures dans une épicerie en gros. Professeur, il travaille à l. a. télévision scolaire où il écrit des scénarios pour enfants et devient par los angeles suite maître-assistant à l'Université Paris-Nord. Il est actuellement à los angeles retraite. Il a publié une abondante œuvre romanesque pour adultes et pour l. a. jeunesse. Pour Michel Chaillou, 'écrire, c'est lire un livre qui n'existe pas… encore'
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Additional info for L'hypothèse de l'ombre
But it is probable that satyr plays did not provide specific parody of the preceding material; rather, they characteristically presented, in the words of Dana Sutton, ‘a famous mythological character in a grotesque situation rich in comic possibilities’ (Sutton, 1980:13). Thus Cyclops provides a structural parody of the Cyclops episode in the Odyssey: Odysseus arrives in Sicily, the home for the purposes of the play of various Cyclops, where he finds Silenus and his troop of satyrs already imprisoned by Polyphemus; he eventually escapes in the prescribed manner (blinding of the Cyclops’s one eye with pointed stick), but only after a couple of his men have provided a gorily described meal for his host.
Or open ones. Since we have many parodic works which come from both such situations, we must conclude, not that there is no relation between literary modes and social situation, but that the nature of that relationship needs to be specified. In subsequent chapters I will consider some of these parodic forms in more detail: the medieval parodia sacra, as well as the parodic practices of ancient Greeks and modern novelists and playwrights. For now we can simply recognise that parody will play very different roles in these differing APPROACHES TO PARODY situations, perhaps reinforcing community norms in a monastery or private boarding school, and being interpretable as an act of piety in both, while at the same time serving to overturn and discredit the discourses of authority in the Early Modern world of Rabelais and Shakespeare.
Yeats’s famous poem from the 1890s, ‘The Lake Isle of Innisfree’: I will arise and go now, and go to Innisfree, And a small cabin build there, of clay and wattles made: APPROACHES TO PARODY Nine bean-rows will I have there, a hive for the honey-bee, And live alone in the bee-loud glade. And I shall have some peace there, for peace comes dropping slow, Dropping from the vales of the morning to where the cricket sings; There midnight’s all a glimmer, and noon a purple glow, And evening full of the linnet’s wings.