By P. D. James
Rien ne semble devoir troubler l'existence ordonnée et protégée de Pemberley, le domaine ancestral de los angeles famille Darcy, dans le Derbyshire, ni perturber le bonheur conjugal de los angeles maîtresse des lieux, Elizabeth Darcy. Elle est l. a. mère de deux charmants bambins; sa soeur préférée, Jane, et son mari, Bingley, habitent à moins de trente kilomètres de là; et son père adulé, Mr Bennet, vient régulièrement en visite, attiré par l'imposante bibliothèque du château. Mais cette félicité se trouve soudain menacée lorsque, à l. a. veille du bal d'automne, un drame contraint les Darcy à recevoir sous leur toit l. a. jeune soeur d'Elizabeth et son mari, que leurs frasques passées ont rendu indésirables à Pemberley. Avec eux s'invitent los angeles mort, l. a. suspicion et los angeles résurgence de rancunes anciennes.
Dans La mort s'invite à Pemberley, Phyllis Dorothy James associe sa longue ardour pour l'oeuvre de Jane Austen à son expertise d'auteur de romans policiers pour imaginer une suite à Orgueil et Préjugés et camper avec brio une intrigue à suspense. Elle allie une grande fidélité aux personnages d'Austen au plus pur variety de ses romans policiers, ne manquant pas, selon son habitude, d'aborder les problèmes de société - ici, ceux de l'Angleterre du début du XIXe siècle.
Un roman qui enchantera les nombreux admirateurs de Jane Austen et comblera ceux de P.D. James.
Née en 1920, Phyllis Dorothy James a exercé des fonctions à los angeles part criminelle du domestic place of work avant de se consacrer entièrement à l'écriture. Mélange d'understatement britannique et de sadisme, d'analyse sociale et d'humour, ses romans lui ont valu d'être sacrée «nouvelle reine du crime»
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Sample text
What has given rise to singing here is not alcohol but spiritual experience, though this is left out of the narrative. It is as if such a tender moment is so alien to the men’s lives that even the narrating voice cannot find words to utter it. In retrospect the characters are so embarrassed to have revealed so much, they could not admit it happened. In the context of A Child of the Jago, neither the hymn (as a genre) nor the voice are in themselves signifiers of spirituality. But at that moment spiritual experience is articulated by means of religious song.
In a Latin sonnet written in honour of the singer Leonora Baroni, Milton tells her: ‘The music of your voice bespeaks the presence of God. 27 For Hegel in 1830, the best and highest way of expressing inner sentiments was by means of singing, wailing and moaning – all sustained vocal sounds that allow the soul to rid itself of feelings that are causing irritation. 29 This small number of examples suggests that symbolically, experiences of vocal meaning which lie beyond speech might be read in profoundly mystical ways over extensive historical periods.
30 The singing voice, then, has been in a unique musical position to merge different worlds of meaning: self-authority, human emotion, and the most slippery of them all, the soul itself. 32 However, they are set apart from other working-class fictional characters by their ability to sing. 33 Unlike middle and upper-class singers, Thyrza and Margaret perform simple songs in public houses and damp rooms. These locations are associated with poverty, and differ significantly from comfortable drawing rooms and concert halls – spaces that function as shrines to High Art.