ENTRAÎNEMENT À PARTIR DE SUJETS ENS
Entraînement vacances de la Toussaint
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Session 2018
Edith Wharton, House of Mirth, 1905
Rapport du jury :
Un autre extrait de Wharton afin de s'entraîner avec davantage d'expertise. (Ceux qui auraient déjà travaillé House of Mirth peuvent passer directement à celui-ci).
Edith Wharton, The Age of Innocence, 1920
On a January evening of the early seventies, Christine Nilsson was singing in Faust at the Academy of Music in New York.
Though there was already talk of the erection, in remote metropolitan distances "above the Forties," of a new Opera House which should compete in costliness and splendour with those of the great European capitals, the world of fashion was still content to reassemble every winter in the shabby red and gold boxes of the sociable old Academy. Conservatives cherished it for being small and inconvenient, and thus keeping out the "new people" whom New York was beginning to dread and yet be drawn to; and the sentimental clung to it for its historic associations, and the musical for its excellent acoustics, always so problematic a quality in halls built for the hearing of music.
It was Madame Nilsson's first appearance that winter, and what the daily press had already learned to describe as "an exceptionally brilliant audience" had gathered to hear her, transported through the slippery, snowy streets in private broughams, in the spacious family landau, or in the humbler but more convenient "Brown coupe." To come to the Opera in a Brown coupe was almost as honourable a way of arriving as in one's own carriage; and departure by the same means had the immense advantage of enabling one (with a playful allusion to democratic principles) to scramble into the first Brown conveyance in the line, instead of waiting till the cold-and-gin congested nose of one's own coachman gleamed under the portico of the Academy. It was one of the great livery-stableman's most masterly intuitions to have discovered that Americans want to get away from amusement even more quickly than they want to get to it.
When Newland Archer opened the door at the back of the club box the curtain had just gone up on the garden scene. There was no reason why the young man should not have come earlier, for he had dined at seven, alone with his mother and sister, and had lingered afterward over a cigar in the Gothic library with glazed black-walnut bookcases and finial-topped chairs which was the only room in the house where Mrs. Archer allowed smoking. But, in the first place, New York was a metropolis, and perfectly aware that in metropolises it was "not the thing" to arrive early at the opera; and what was or was not "the thing" played a part as important in Newland Archer's New York as the inscrutable totem terrors that had ruled the destinies of his forefathers thousands of years ago.
The second reason for his delay was a personal one. He had dawdled over his cigar because he was at heart a dilettante, and thinking over a pleasure to come often gave him a subtler satisfaction than its realisation. This was especially the case when the pleasure was a delicate one, as his pleasures mostly were; and on this occasion the moment he looked forward to was so rare and exquisite in quality that-well, if he had timed his arrival in accord with the prima donna's stage-manager he could not have entered the Academy at a more significant moment than just as she was singing: "He loves me-he loves me not-HE LOVES ME!-" and sprinkling the falling daisy petals with notes as clear as dew.
She sang, of course, "M'ama!" and not "he loves me," since an unalterable and unquestioned law of the musical world required that the German text of French operas sung by Swedish artists should be translated into Italian for the clearer understanding of English-speaking audiences. This seemed as natural to Newland Archer as all the other conventions on which his life was moulded: such as the duty of using two silver-backed brushes with his monogram in blue enamel to part his hair, and of never appearing in society without a flower (preferably a gardenia) in his buttonhole.
Entraînement vacances de Noël
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Session 2013
John Steinbeck, The Grapes of Wrath, 1939
Rapport du Jury :
Un autre extrait de Steinbeck afin de s'entraîner avec davantage d'expertise. (Ceux qui auraient déjà travaillé The Grapes of Wrath peuvent passer directement à celui-ci).
John Steinbeck , Of Mice and Men,1937
A few miles south of Soledad, the Salinas River drops in close to the hillside bank and runs deep and green. The water is warm too, for it has slipped twinkling over the yellow sands in the sunlight before reaching the narrow pool. On one side of the river the golden foothill slopes curve up to the strong and rocky Gabilan Mountains, but on the valley side the water is lined with trees - willows fresh and green with every spring, carrying in their lower leaf junctures the debris of the winter's flooding; and sycamores with mottled, white, recumbent limbs and branches that arch over the pool. On the sandy bank under the trees the leaves lie deep and so crisp that a lizard makes a great skittering if he runs among them. Rabbits come out of the brush to sit on the sand in the evening, and the damp flats are covered with the night tracks of 'coons, and with the spreadpads of dogs from the ranches, and with the split-wedge tracks of deer that come to drink in the dark.
There is a path through the willows and among the sycamores, a path beaten hard by boys coming down from the ranches to swim in the deep pool, and beaten hard by tramps who come wearily down from the highway in the evening to jungle-up near water. In front of the low horizontal limb of a giant sycamore there is an ash pile made by many fires; the limb is worn smooth by men who have sat on it.
Evening of a hot day started the little wind to moving among the leaves. The shade climbed up the hills toward the top. On the sand banks the rabbits sat as quietly as little gray sculptured stones. And then from the direction of the state highway came the sound of footsteps on crisp sycamore leaves. The rabbits hurried noiselessly for cover. A stilted heron labored up into the air and pounded down river. For a moment the place was lifeless, and then two men emerged from the path and came into the opening by the green pool.
They had walked in single file down the path, and even in the open one stayed behind the other. Both were dressed in denim trousers and in denim coats with brass buttons. Both wore black, shapeless hats and both carried tight blanket rolls slung over their shoulders. The first man was small and quick, dark of face, with restless eyes and sharp, strong features. Every part of him was defined: small, strong hands, slender arms, a thin and bony nose. Behind him walked his opposite, a huge man, shapeless of face, with large, pale eyes, and wide, sloping shoulders; and he walked heavily, dragging his feet a little, the way a bear drags his paws. His arms did not swing at his sides, but hung loosely.
The first man stopped short in the clearing, and the follower nearly ran over him. He took off his hat and wiped the sweat-band with his forefinger and snapped the moisture off. His huge companion dropped his blankets and flung himself down and drank from the surface of the green pool; drank with long gulps, snorting into the water like a horse. The small man stepped nervously beside him.
"Lennie!" he said sharply. "Lennie, for God' sakes don't drink so much." Lennie continued to snort into the pool. The small man leaned over and shook him by the shoulder. "Lennie. You gonna be sick like you was last night."
Lennie dipped his whole head under, hat and all, and then he sat up on the bank and his hat dripped down on his blue coat and ran down his back. "That's good," he said. "You drink some, George. You take a good big drink." He smiled happily.
George unslung his bindle and dropped it gently on the bank. "I ain't sure it's good water," he said. "Looks kinda scummy."
Lennie dabbled his big paw in the water and wiggled his fingers so the water arose in little splashes; rings widened across the pool to the other side and came back again. Lennie watched them go. "Look, George. Look what I done."
"Tried and tried," said Lennie, "but it didn't do no good. I remember about the rabbits, George."
"The hell with the rabbits. That's all you ever can remember is them rabbits. O.K.! Now you listen and this time you got to remember so we don't get in no trouble. You remember settin' in that gutter on Howard Street and watchin' that blackboard?"
Lennie's face broke into a delighted smile. "Why sure, George. I remember that.... but.... what'd we do then? I remember some girls come by and you says.... you says...."
"The hell with what I says. You remember about us goin' in to Murray and Ready's, and they give us work cards and bus tickets?"
"Oh, sure, George. I remember that now." His hands went quickly into his side coat pockets. He said gently, "George.... I ain't got mine. I musta lost it." He looked down at the ground in despair.
Entraînement vacances de février
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Session 2017
Benjamin Disraeli, Sybil, or the Two Nations, 1845
Rapport du Jury:
Thomas Hardy, Jude The obscure :
Rapport du Jury :
Entraînement vacances d'avril
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Session 2015
Julian Barnes, Staring at the Sun, 1986
Rapport du Jury
John Irving, A Prayer for Owen Meany, 1989
Rapport du Jury