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Usbek for his part is troubled by religious contrasts. Though it never occurs to him to cease being a Muslim , and while he still wonders at some aspects of Christianity the Trinity , communion , he writes to austere authorities to inquire, for example, why some foods are considered to be unclean letters 15—17 [16—18]. He also assimilates the two religions and even all religions with respect to their social utility.
Certain sequences of letters by a single author develop more fully a particular subject, such as letters 11—14 from Usbek to Mirza on the Troglodytes, letters — — from Usbek to Rhedi on demography , letters — — from Rica on his visit to the library at Saint-Victor. While Usbek appreciates the freer relations among men and women in the West, he remains, as master of a seraglio, a prisoner of his past.
His wives play the role of languorous and lonely lovers, he the role of master and lover, with no true communication and without revealing much about their true selves. Knowing, moreover, from the outset that he is not assured of a return to Persia, Usbek is also already disabused about their attitude letters 6 and 19 [20].
The seraglio is a hothouse from which he increasingly distances himself, trusting his wives no more than his eunuchs Letter 6. Everything cascades in the final letters — [—] , thanks to a sudden analepse of more than three years with respect to the preceding letters. From letter 69 71 to letter — chronologically from to — not a single letter from Usbek relates to the seraglio, which is unmentioned in any guise from letter 94 to and even in the edition of from supplementary letter 8 97 to Moreover, all the letters from to are from Rica, which means that for about fifteen months from 4 August to 22 October Usbek is completely silent.
Although he has in the meantime received letters, the reader does not learn of them until the final series, which is more developed after the addition of supplementary letters 9—11 , , of Although Usbek has learned as early as October that "the seraglio is in disorder" letter 63 [65].
As the spirit of rebellion advances, he decides to act, but too late; with delays in the transmission of letters and the loss of some, the situation is beyond remedy. A dejected Usbek is apparently resigned to the necessity of returning, with little hope, to Persia; on 4 October he laments: He nevertheless does not do so: To a lesser degree, he drew on the Voyages of Jean-Baptiste Tavernier and Paul Rycaut , not to mention many other works which his vast library afforded him.
Everything having to do with contemporary France or Paris, on the other hand, comes from his own experience, and from conversations of anecdotes related to him. The Lettres persanes was an immediate success and often imitated, but it has been diversely interpreted over time. No one had the notion of attaching it to the novelistic genre. The Persian side of the novel tended to be considered as a fanciful decor, the true interest of the work lying in its factitious "oriental" impressions of French society, along with political and religious satire and critique.
In the s began a new era of studies based on better texts and renewed perspectives. Beginning about it is religion Kra and especially politics Ehrard, Goulemot, Benrekassa which predominate in studies on Lettres persanes , with a progressive return to the role of the seraglio with all its women and eunuchs Delon, Grosrichard, Singerman, Spector or the cultural cleavage of Orient and Occident. The American philosopher Marshall Berman devotes several chapters in his book The Politics of Authenticity to the radical humanism of the Persian Letters.
The Jewish Letters of Boyer d'Argens were published in , composed in a total of letters that originally spanned 30 volumes.
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Although they are certainly an imitation of the Persian Letters, they are not considered plagiarism due to the distinction of content between the two works. Although he titled himself as the work's "translator", he is most ascribed as the work's author. There have been numerous English translations, usually under the title The Persian Letters:. From Wikipedia, the free encyclopedia.
Le Pavillon des Lettres
For letters of the Persian alphabet, see Persian alphabet. This article does not cite any sources. Please help improve this article by adding citations to reliable sources.