Panoramascener i Pappa Goriot och Röda Rummet

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Mörte Alling, AnnikaLund University,Lunds universitet,Franska,Avdelningen för franska, rumänska och italienska,Sektion 3,Språk- och litteraturcentrum,Institutioner,Humanistiska och teologiska fakulteterna,French Studies,Division of French Studies, Italian Studies, and Romanian Studies,Section 3,Centre for Languages and Literature,Departments,Joint Faculties of Humanities and Theology (author)

The article treats panorama scenes in the novels Father Goriot (1837–1843) by Honoré de Balzac and The Red Room (1879) by August Strindberg. My observations focus on the main characters Eugène de Rastignac and Arvid Falk, and the emotions that the capital arise in them where they stand in their high positions in front of Paris and Stockholm respectively; Rastignac on the hill of the Père Lachaise Cemetery at the end of Father Goriot, and Arvid on Mosebacke at the beginning of The Red Room. The strategic position of these scenes, in the beginning and end of the novels enhance the importance of the characters’ emotions, and so does their solitude at that moment. Balzac’s novel contributes to a certain conception of the capital as an important novel topos, while Strindberg departs from it. Nonetheless, in Father Goriot there are very few descriptions of Paris as it is known, and there is in general an accentuation on the locality and particularity of places within the capital.

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