Salammbo: Historiallinen Romaani
1862
A historical novel written in the mid-19th century. The book delves into the tensions and conflicts in ancient Carthage, focusing on a grand feast held to commemorate a military victory, showcasing the lavishness and cultural dynamics of the time. The narrative primarily centers around Salammbo, the daughter of the Carthaginian general Hamilcar, whose heritage and choices intertwine with the fate of the city and its soldiers. At the start of the novel, readers are introduced to a vibrant celebration taking place in the gardens of Hamilcar, marking the anniversary of a significant battle. The atmosphere is charged, as diverse soldiers gather, indulging in rich feasts and revelry, while underlying tensions simmer regarding unpaid wages and the political climate following the war. Amidst the festivities, voices of discontent rise, hinting at unrest among mercenaries and setting the stage for conflict. Salammbo's presence is felt as a celestial figure among soldiers, and her complex relationship with her father and the turbulent emotions surrounding their circumstances hint at a deeply layered and unfolding narrative.
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“Through the forest he pursued the she-monster whose tail coiled over the dead leaves like a silver stream; and he came to a meadow where women, with the hindquarters of dragons, stood around a great fire, raised on the tips of their tails. The moon shone red as blood in a pale circle and their scarlet tongues, formed like fishing harpoons, stretched out, curling to the edge of the flame.””
— Gustave Flaubert
“C'était à Mégara, faubourg de Carthage, dans les jardins d'Hamilcar.””
— Gustave Flaubert
“Les âmes des morts, disait-il, se résolvent dans la lune comme les cadavres dans la terre. Leurs larmes composent son humidité: c’est un séjour obscur plein de fange, de débris et de tempêtes.””
— Gustave Flaubert
“Les Grecs alignèrent sur des rangs parallèles leurs tentes de peaux; les Ibériens disposèrent en cercle leurs pavillons de toile; les Gaulois se firent des baraques de planches; les Libyens des cabanes de pierres sèches, et les Nègres creusèrent dans le sable avec leurs ongles des fosses pour dormir. Beaucoup, ne sachant où se mettre, erraient au milieu des bagages [...]””
— Gustave Flaubert
“Her hair, which was powdered with violet sand, and combined into the form of a tower, after the fashion of the Chanaanite maidens, added to her height. Tresses of pearls were fastened to her temples, and fell to the corners of her mouth, which was as rosy as a half-open pomegranate. On her breast was a collection of luminous stones, their variegation imitating the scales of the murena. Her arms were adorned with diamonds, and issued naked from her sleeveless tunic, which was starred with red flowers on a perfectly black ground. Between her ankles she wore a golden chainlet to regulate her steps, and her large dark purple mantle, cut of an unknown material, trailed behind her, making, as it were, at each step, a broad wave which followed her.””
— Gustave Flaubert
