367:, castrati regularly played the parts of women. The tradition of the castrati never extended to France, and when Sarrasine arrives in Italy and meets Zambinella, he does not know about it. Because Zambinella has the voice of a woman Sarrasine assumes La Zambinella is a woman. La Zambinella suggests that her womanhood might be in question, but Sarrasine is too enthralled with Zambinella as the perfect woman to pay any attention. When Sarrasine finally learns Zambinella is a castrato, he first denies the possibility, then tries to kill Zambinella, upon which he is himself killed. Critics point out that Sarrasine may fear a kind of contagion of castration, or may feel that manhood in general or the division between men and women is threatened by possibility of castration. The novella ends with Mme de Rochefide and the narrator's condemning the castrato tradition as barbaric.
269:. After one of Sarrasine's sculptures wins a competition, he heads to Rome where he sees a theatre performance featuring Zambinella. He falls in love with her, going to all of her performances and creating a clay mold of her. After spending time together at a party, Sarrasine attempts to seduce Zambinella. She is reticent, suggesting some hidden secret or danger of their partnership. Sarrasine becomes increasingly convinced that Zambinella is the ideal woman. Sarrasine develops a plan to abduct her from a party at the French embassy. When Sarrasine arrives, Zambinella is dressed as a man. Sarrasine speaks to a cardinal, who is Zambinella's patron, and is told that Zambinella is a
291:– Ernest-Jean Sarrasine is the main protagonist of the story. The story is a narration of his falling in love with Zambinella. He is described as passionate and artistic. The only son of a rich lawyer who, rather than following in his father's path as the family wants, becomes an artist, eventually having his talent as a sculptor recognized by Bouchardon. He is generally more interested in art than in women, but on a trip to Italy falls in love with the opera star, La Zambinella, who serves as the model for his most perfect statue. When he learns that Zambinella is a castrato, he tries to kill Zambinella and is himself killed instead.
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enters it stands out as the mark of opposition. "If I look at him again, I shall believe that death itself has come looking for me," says one beautiful young woman. The most significant opposite in the entire novella is male versus female. The story contemplates what it means to be a man and what it means to be a woman, and the degree to which those stand in opposition. The story also touches on oppositions between the generations, as
Sarrasine himself is opposite to his father, on oppositions between the art world and the political world, on oppositions between France and Italy, and on oppositions between the ideal and the real.
385:, we meet Zambinella, a seemingly beautiful woman whom Sarrasine admires, but who turns out to be castrato. Sarrasine, who took Zambinella to be his ideal woman, is deeply distressed when he learns this and tries to kill Zambinella. One possible explanation for Sarrasine's extreme reaction is that he fears that his love of La Zambinella is a mark of homosexuality. Sarrasine's reaction, then, can be seen as an attempt to protect his heterosexuality. Zambinella does, in fact, have a partner: the cardinal. In
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to emphasize only its good or bad qualities. Realism also strove to represent life as it was experienced in its more mundane details by imperfect men and women rather than idealized characters in idealized situations. Realism tends to describe middle or lower class milieux in order to paint a picture of the regular life of a majority of the population at the time the literature was written. From the people to the places, Realism strove to present everything in an undramatic and "true" manner.
273:. Sarrasine refuses to believe it and leaves the party, seizing Zambinella. Once they are at his studio, Zambinella confirms that she is a castrato. Sarrasine is about to kill him as a group of the cardinal's men barge in and stab Sarrasine. The narrator then reveals that the old man around the household is Zambinella, Marianina's maternal great uncle. The story ends with Mme de Rochefide's expressing her distress about the story she has just been told.
200:(1831). As his career began to take off and his publications began to accumulate, Balzac developed increasingly lavish living habits and frequently made impulsive purchases (such as new furniture for his apartment and a hooded white cashmere gown designed to be worn by a monk, which he wore at night while writing), likely to distance himself from his family's prior debt, which had resulted from his business as an editor and printer's liquidation.
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309:– The de Lanty's sixteen-year-old daughter who is strikingly beautiful, educated and witty. Also described as sweet and modest, she could bring the same level purity of sound, sensibility, rightness of movement and pitch, soul and science, correctness, and feeling as the sultan's daughter in the Magic Lamp.
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the family was oddly devoted, and who frightened and intrigued the partygoers. When the man sits next to the narrator's guest, Beatrix de
Rochefide, she touches him, and the narrator rushes her out of the room. The narrator says he knows who the man is and says he will tell her his story the next evening.
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Zambinella can be praised, adored, or treated as if he doesn't belong. The novella doesn't romanticize the relationship between
Zambinella and Sarrasine, either. The author depicts real and imperfect emotions between the two characters, from love to vengeance. Though Realism in literature was usually
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and was the predominant artistic movement in France until
Realism. Realism was widely appreciated by people who opposed the inflated ideas of passion and drama that mark Romanticism. Those in the Realist movement wanted instead to portray the truth in every situation, avoiding exaggerating a scenario
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Around midnight during a ball the narrator is sitting at a window, out of sight, admiring the garden. He overhears the conversations of passers-by regarding the origins of the wealth of the mansion's owner, Monsieur de Lanty. There is also the presence of an unknown old man around the house, to whom
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and the myth of
Pygmalion is a vital one, as it establishes the tragedy of misconception: Sarrasine creates a statue of the "female" La Zambinella, only to discover later that his subject wasn't a real "woman" as Sarrasine—that "a real woman is born from the statue". Furthermore, the replication of
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to Mme de
Rochefide, his guest at a ball. They come into close contact with a mysterious old man and see a beautiful painting. The narrator promises to tell Mme de Rochefide the story of the painting and the old man. The body of the novella and the framed story that the narrator relates to Mme de
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is marked by oppositions. The story opens with a description of the extremes of inside and out, day and night, beauty and ugliness, age and youth, male and female that prevail in French high society and at the de Lanty's ball. Whereas the ball is young and full of life, the mysterious old man who
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became the first operatic superstars, earning enormous fees and hysterical public adulation. However, many did not survive the surgery, or did not last very long after it. Castrati developed many health problems, as testosterone is needed for healthy growth in boys, and without the glands that
315:– Marianina's brother and Count de Lanty's son. He is handsome with skin of olive complexion, defined eyebrows, and fire of velvet eyes, and is often considered an ideal partner to many girls and mothers finding husbands for their daughters. He is also described as a walking image of
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325:– The wealthy owner of the mansion hosting the ball. He is small, ugly, and pock-marked, a complete contrast to his wife and children. He is dark skinned, dull as a banker, and compared to a politician because he is cold and reserved.
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in both common opera and in religious tradition. Catholicism in Italy dictated that there could be no female singers, and the high voice parts were usually sung by either prepubescent boys or castrati. In order to become a
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used for portraying the activities of middle and lower-class people, it was sometimes used in situations like this, and indeed often focused on characters and situations that might otherwise be socially marginalized.
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were common later in life. The story of
Sarrasine is made much more believable by the fact that, due to their severe hormonal imbalance, castrati often developed real breast tissue, a condition called
451:, a boy had to give up his "manhood", i.e., have his testes removed at a very early age. Because of the popularity of Italian opera throughout 18th-century Europe (except France), castrati such as
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Petrey, Sandy. "Castration, Speech Acts, and the
Realist Difference: S/Z versus Sarrasine" Vol. 102, No. 2 (Mar., 1987), pp. 153–165, Published by: Modern Language Association
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The next evening, the narrator tells Mme de
Rochefide about Ernest-Jean Sarrasine, a passionate, artistic boy, who after having trouble in school became a protégé of the sculptor
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supply the majority of testosterone during a critical period of development, the body does not grow correctly. Besides the only wanted side effect (the lack of lengthening the
297:– A star of the Roman opera and the object of Sarrasine's affection. Sarrasine is convinced that La Zambinella is the ideal woman. La Zambinella is in fact a castrato.
429:: the framed story takes place many years earlier than it is related, and a few times the narrator jumps to the present and then returns to telling the framed story.
285:– The narrator tells the story of Sarrasine to Madame Rochefide, as a way to seduce her. He is a member of Paris' upper class and regularly frequents its grand balls.
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Roland
Barthes identifies castration as one of the novella's main concerns. Zambinella is a castrato. Because women were not allowed on stage in most of the
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Sprenger, Scott. "Sarrasine de Balzac ou l'archéologie du moi moderne," La Plume et la pierre : l'écrivain et le modèle archéologique au
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Rochefide are about Ernest Jean Sarrasine and his unusual relationship with Zambinella. Balzac also employs
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in 1830. Although he had steadily produced work for over a decade (without commercial success),
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is an artistic movement originated in France in the 19th century by people who rejected both
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In 2014, Rachel Tapley translated into English Maria Rusana Mulesan's libretto for
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the statue into marble, and into two separate portraits (Adonis, and Girodet's
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makes many references and allusions to other sources, often to literature (
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Madness and Civilization: A History of Insanity in the Age of Reason
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was published, Balzac experienced great success with another work,
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was among his earliest publications to appear without a pseudonym.
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The first volume of La Comédie humaine went on sale in July 1842.
712:"Sarrasine | Premiere | Göttingen International Handel Festival"
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635:. New York City: New York University Press. pp. vii–xvi.
780:. Trans. Richard Howard. New York: Vintage Books, 1988.
769:. Trans. Robert Hurley. New York: Vintage Books, 1990.
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442:Sarrasine gives us a closer look at the role of
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16:1831 novella by Honoré de Balzac
1030:Mémoires de deux jeunes mariées
1686:Armorial de la Comédie Humaine
568:. The intertextuality between
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1448:Scènes de la vie de campagne
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1145:Scènes de la vie de province
946:La Maison du chat-qui-pelote
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787:. New York: Oxford UP, 2001.
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1233:Scènes de la vie Parisienne
878:public domain audiobook at
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627:Bertault, Philippe (1963).
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1438:Une passion dans le désert
1423:Scènes de la vie militaire
1385:Un Ă©pisode sous la Terreur
1370:Scènes de la vie politique
596:On May 10, 2024, an opera
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1639:La Physiologie du mariage
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767:: An Introduction, Vol. I
581:Renditions in other media
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1600:Sur Catherine de MĂ©dicis
1495:La Recherche de l'absolu
765:The History of Sexuality
647:The Tenor of "Sarrasine"
593:after Balzac and Scève.
521:Allusions and intertexts
61:Alcide Théophile Robaudi
1677:Related works by others
1516:Le Chef-d'Ĺ“uvre inconnu
1502:JĂ©sus-Christ en Flandre
1283:La Duchesse de Langeais
1209:Le Cabinet des Antiques
938:Scènes de la vie privée
805:, Balzac, and Barthes'
792:The Tenor of "Sarrasine
1586:L'Elixir de longue vie
1456:Le MĂ©decin de campagne
1392:Madame de la Chanterie
1378:Une ténébreuse affaire
1290:La Fille aux yeux d'or
1248:Un prince de la bohème
1195:La Muse du département
1044:La Femme de trente ans
19:For the pipevine, see
1480:Études philosophiques
1216:Le Lys dans la vallée
1188:L'illustre Gaudissart
1079:Le Contrat de mariage
538:Jean-Jacques Rousseau
1360:Les Petits Bourgeois
1086:Un début dans la vie
1009:Autre Ă©tude de femme
839:Bertault, Philippe.
470:erectile dysfunction
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215:La Cronique de Paris
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1558:Le RĂ©quisitionnaire
1255:Un homme d’affaires
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719:. Retrieved
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554:Michelangelo
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502:18th century
488:
474:gynecomastia
466:osteoporosis
441:
426:
418:first person
413:
408:'s use of a
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365:Papal States
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283:The Narrator
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257:Plot summary
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211:high society
204:
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176:
172:
167:
164:Introduction
155:
142:
141:
140:
130:
117:
39:
1470:Les Paysans
1431:Les Chouans
1339:Facino Cane
967:La Vendetta
665:Mayo Clinic
498:Romanticism
462:vocal cords
410:frame story
251:hermeneutic
150:written by
119:Facino Cane
58:Illustrator
38:Image from
1702:Categories
1565:El Verdugo
1544:Les Marana
1065:Le Message
721:2024-05-11
697:2024-06-23
540:), music (
530:Lord Byron
359:Castration
335:Bouchardon
295:Zambinella
277:Characters
267:Bouchardon
228:Commentary
27:Sarrasine
1621:Séraphîta
1406:Z. Marcas
1332:Sarrasine
1167:Pierrette
960:La Bourse
875:Sarrasine
858:Sarrasine
681:, p. 208.
604:Sarrasine
599:pasticcio
591:Sarrasine
589:'s opera
570:Sarrasine
566:Pygmalion
526:Sarrasine
510:Sarrasine
453:Farinelli
427:Sarrasine
414:Sarrasine
387:Sarrasine
383:Sarrasine
352:Sarrasine
347:Opposites
307:Marianina
289:Sarrasine
237:Sarrasine
222:Sarrasine
192:Sarrasine
177:Sarrasine
173:Sarrasine
143:Sarrasine
86:Publisher
40:Sarrasine
1399:L'Initié
1276:Ferragus
1107:Honorine
880:LibriVox
803:Castrati
575:Endymion
562:Endymion
550:Endymion
514:castrati
494:Idealism
457:Senesino
449:castrato
444:castrati
317:Antinous
271:castrato
66:Language
1668:Vautrin
1656:Related
1530:Gambara
1100:BĂ©atrix
1072:Gobseck
733:Sources
602:called
546:Girodet
490:Realism
485:Realism
313:Filippo
148:novella
558:Adonis
406:Balzac
395:mignon
391:mignon
342:Themes
233:Balzac
184:salons
169:Balzac
134:
121:
108:France
76:Series
70:French
48:Author
1551:Adieu
829:Lacan
614:Notes
146:is a
796:PMLA
564:and
496:and
468:and
99:1831
920:by
861:at
821:XIX
809:."
807:S/Z
794:".
744:S/Z
679:S/Z
548:'s
508:In
425:in
246:S/Z
235:'s
1704::
753:.
741:.
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663:.
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560:,
552:,
536:,
532:,
476:.
160:.
908:e
901:t
894:v
724:.
700:.
667:.
649:.
319:.
42:.
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
