❞ رواية Eugénie Grandet ❝ ⏤ Honoré de Balzac

هذا القسم يحتوي علي العديد من القصص والروايات باللغة الإنجليزية

(Stories and novels) القصص والروايات
الرواية هي سرد نثري طويل يصف شخصيات خيالية أو واقعية وأحداثاً على شكل قصة متسلسلة، كما أنها أكبر الأجناس القصصية من حيث الحجم وتعدد الشخصيات وتنوع الأحداث، وقد ظهرت في أوروبا بوصفها جنساً أدبياً مؤثراً في القرن الثامن عشر، والرواية حكاية تعتمد السرد بما فيه من وصف وحوار وصراع بين الشخصيات وما ينطوي عليه ذلك من تأزم وجدل وتغذيه الأحداث
A novel is a relatively long work of narrative fiction, normally written in prose form, and which is typically published as a book. The present English word for a long work of prose fiction derives from the Italian novella for "new", "news", or "short story of something new", itself from the Latin novella, a singular noun use of the neuter plural of novellus, diminutive of novus, meaning "new". Walter Scott made a distinction between the novel, in which (as he saw it) "events are accommodated to the ordinary train of human events and the modern state of society" and the romance, which he defined as "a fictitious narrative in prose or verse; the interest of which turns upon marvellous and uncommon incidents". However, many such romances, including the historical romances of Scott, Emily Brontë's Wuthering Heights and Herman Melville's Moby-Dick, are also frequently called novels, and Scott describes romance as a "kindred term". This sort of romance is in turn different from the genre fiction love romance or romance novel
A short story is a piece of prose fiction that typically can be read in one sitting and focuses on a self-contained incident or series of linked incidents, with the intent of evoking a "single effect" or mood.

A dictionary definition is "an invented prose narrative shorter than a novel usually dealing with a few characters and aiming at unity of effect and often concentrating on the creation of mood rather than plot."

The short story is a crafted form in its own right. Short stories make use of plot, resonance, and other dynamic components as in a novel, but typically to a lesser degree. While the short story is largely distinct from the novel or novella (a shorter novel), authors generally draw from a common pool of literary techniques.

Eugénie Grandet    

There are houses in certain provincial towns whose aspect inspires
melancholy, akin to that called forth by sombre cloisters, dreary
moorlands, or the desolation of ruins. Within these houses there is,
perhaps, the silence of the cloister, the barrenness of moors, the
skeleton of ruins; life and movement are so stagnant there that a
stranger might think them uninhabited, were it not that he encounters
suddenly the pale, cold glance of a motionless person, whose
half-monastic face peers beyond the window-casing at the sound of an
unaccustomed step.
Such elements of sadness formed the physiognomy, as it were, of a
dwelling-house in Saumur which stands at the end of the steep street
leading to the chateau in the upper part of the town. This street--now
little frequented, hot in summer, cold in winter, dark in certain
sections--is remarkable for the resonance of its little pebbly
pavement, always clean and dry, for the narrowness of its tortuous
road-way, for the peaceful stillness of its houses, which belong to
the Old town and are over-topped by the ramparts. Houses three
centuries old are still solid, though built of wood, and their divers
aspects add to the originality which commends this portion of Saumur
to the attention of artists and antiquaries.
It is difficult to pass these houses without admiring the enormous
oaken beams, their ends carved into fantastic figures, which crown
with a black bas-relief the lower floor of most of them. In one place
these transverse timbers are covered with slate and mark a bluish line
along the frail wall of a dwelling covered by a roof _en colombage_
which bends beneath the weight of years, and whose rotting shingles
are twisted by the alternate action of sun and rain. In another place
blackened, worn-out window-sills, with delicate sculptures now
scarcely discernible, seem too weak to bear the brown clay pots from
which springs the heart's-ease or the rose-bush of some poor
working-woman. Farther on are doors studded with enormous nails, where
the genius of our forefathers has traced domestic hieroglyphics, of
which the meaning is now lost forever. Here a Protestant attested his
belief; there a Leaguer cursed Henry IV.; elsewhere some bourgeois has
carved the insignia of his _noblesse de cloches_, symbols of his
long-forgotten magisterial glory. The whole history of France is there.
 

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