Sting & Paul Simon Concert Schedule & Tickets at Palace Of Auburn Hills on Wed, Feb 26 2014 in Detroit, Michigan For Sale

Sting & Paul Simon Tickets
Use Discount Code: BPDC5 For Additional Savings At Checkout.
In order to reply to these paradoxes, where shall we go in search of our arguments? We can go to George Sand herself. A few years later, during her intercourse with Lamennals, she wrote her famous Lettres a Marcie for Le Monde. She addresses herself to an imaginary correspondent, to a woman supposed to be suffering from that agitation and impatience which she had experienced herself."You are sad," says George Sand to her, "you are suffering, and you are bored to death." We will now take note of some of the advice she gives to this woman. She no longer believes that it belongs to human dignity to have the liberty of changing. "The one thing to which man aspires, the thing which makes him great, is permanence in the moral state. All which tends to give stability to our desires, to strengthen the human will and affections, tends to bring about the reign of God on earth, which means love and the practice of truth." She then speaks of vain dreams. "Should we even have time to think about the impossible if we did all that is necessary? Should we despair ourselves if we were to restore hope in those people who have nothing left them but hope?" With regard to feminist claims, she says: "Women are crying out that they are slaves: let them wait until men are free! . . . In the mean time we must not compromise the future by our impatience with the present. . . . It is to be feared that vain attempts of this kind and unjustifiable claims may do harm to what is styled at present the cause of women. There is no doubt that women have certain rights and that they are suffering injustice. They ought to lay claim to a better future, to a wise independence, to a greater participation in knowledge, and to more respect, interest and esteem from men. This future, though, is in their own hands."This is wisdom itself. It would be impossible to put it more clearly, and to warn women in a better way, that the greatest danger for their cause would be the triumph of what is called by an ironical term--feminism.These retractions, though, have very little effect. There is a certain piquancy in showing up an author who is in contradiction with himself, in showing how he refutes his own paradoxes. But these are striking paradoxes which are not readily forgotten. What I want to show is that in these first novels by George Sand we have about the whole of the feminist programme of to-day. Everything is there, the right to happiness, the necessity of reforming marriage, the institution, in a more or less near future, of free unions. Our feminists of to-day, French, English, or Norwegian authoresses, and theoricians like Ellen Key, with her book on Love and Marriage, all these rebels have invented nothing. They have done nothing but take up once more the theories of the great feminist of xxxx, and expose them with less lyricism but with more cynicism.George Sand protested against the accusation of having aimed at attacking institutions in her feminist novels. She was wrong in protesting, as it is just this which gives her novels their value and significance. It is this which dates them and which explains the enormous force of expansion that they have had. They came just after the July Revolution, and we must certainly consider them as one of the results of that. A throne had just been overturned, and, by way of pastime, churches were being pillaged and an archbishop's palace had been sack-aged. Literature was also attempting an insurrection, by way of diversion. For a long time it had been feeding the revolutionary ferment which it had received from romanticism. Romanticism had demanded the freedom of the individual, and the writers at the head of this movement were Chateaubriand, Victor Hugo and Dumas. They claimed this freedom for Rene, for Hermann and for Antony, who were men. An example had been given, and women meant to take advantage of it. Women now began their revolution.Under all these influences, and in the particular atmosphere now created, the matrimonial mishap of Baronne Dudevant appeared to her of considerable importance. She exaggerated and magnified it until it became of social value. Taking this private mishap as her basis, she puts into each of her heroines something of herself. This explains the passionate tone of the whole story. And this passion could not fail to be contagious for the women who read her stories, and who recognized in the novelist's cause their own cause and the cause of all women.This, then, is the novelty in George Sand's way of presenting feminist grievances. She had not invented these grievances. They were already contained in Madame de Stael's books, and I have not forgotten her. Delphine and Corinne, though, were women of genius, and presented to us as such. In order to be pitied by Madame de Stael, it was absolutely necessary to be a woman of genius. For a woman to be defended by George Sand, it was only necessary that she should not love her husband, and this was a much more general thing.George Sand had brought feminism within the reach of all women. This is the characteristic of these novels, the eloquence of which cannot be denied. They are novels for the vulgarization of the feminist theory.George Sand did not have to wait long for success. She won fame with her first book. With her second one she became rich, or what she considered rich. She tells us that she sold it for a hundred and sixty pounds! That seemed to her the wealth of the world, and she did not hesitate to leave her attic on the Quay St. Michel for a more comfortable flat on Quay Malaquais, which de Latouche gave up to her.There was, at that time, a personage in Paris who had begun to exercise a sort of royal tyranny over authors. Francois Buloz had taken advantage of the intellectual effervescence of xxxx to found the Revue des Deux Mondes. He was venturesome, energetic, original, very shrewd, though apparently rough, obliging, in spite of his surly manners. He is still considered the typical and traditional review manager. He certainly possessed the first quality necessary for this function. He discovered talented writers, and he also knew how to draw from them and squeeze out of them all the literature they contained. Tremendously headstrong, he has been known to keep a contributor under lock and key until his article was finished. Authors abused him, quarrelled with him, and then came back to him again. A review which had, for its first numbers, George Sand, Vigny, Musset, Merimee, among many others, as contributors, may be said to have started well. George Sand tells us that after a battle with the Revue de Paris and the Revue des Deux Mondes, both of which papers wanted her work, she bound herself to the Revue des Deux Mondes, which was to pay her a hundred and sixty pounds a year for thirty-two pages of writing every six weeks. In xxxx the Revue des Deux Mondes published Lelia, and on January 1, xxxx, it finished publishing the Tour de Percemont. This means an uninterrupted collaboration, extending over a period of forty-three years.The literary critic of the Revue des Deux Mondes at that time was a man who was very much respected and very little liked, or, in other words, he was universally detested. This critic was Gustave Planche. He took his own role too seriously, and endeavoured to put authors on their guard about their faults. Authors did not appreciate this. He endeavoured, too, to put the public on guard against its own infatuations. The public did not care for this. He sowed strife and reaped revenge. This did not stop him, though, for he went calmly on continuing his executions. His impassibility was only feigned, and this is the curious side of the story. He suffered keenly from the storms of hostility which he provoked. He had a kindly disposition at bottom and tender places in his heart. He was rather given to melancholy and intensely pessimistic. To relieve his sadness, he gave himself up to hard work, and he was thoroughly devoted to art. In order to comprehend this portrait and to see its resemblance, we, who knew our great Brunetiere, have only to think of him. He, too, was noble, fervent and combative, and he sought in his exclusive devotion to literature a diversion from his gloomy pessimism, underneath which was concealed such kindliness. It seemed with him, too, as though he took a pride in making a whole crowd of enemies, whilst in reality the discovery of every fresh adversary caused him great suffering.When Lelia appeared, the novel was very badly treated in L'Europe litteraire. Planche challenged the writer of the article, a certain Capo de Feuillide, to a duel. So much for the impassibility of severe critics. The duel took place, and afterwards there was a misunderstanding between George Sand and Planche. From that time forth critics have given up fighting duels for the sake of authors.About the same time, George Sand made use of Sainte-Beuve as her confessor. He seemed specially indicated for this function. In the first place, he looked rather ecclesiastical, and then he had a taste for secrets, and more particularly for whispered confessions. George Sand had absolute confidence in him. She considered that he had an almost angelic nature. In reality, just about that time, the angelic man was endeavouring to get into the good graces of the wife of his best friend, and was writing his Livre d'Amour, and divulging to the world a weakness of which he had taken advantage. This certainly was the most villainous thing a man could do. But then he, too, was in love and was struggling and praying. George Sand declares her veneration for him, and she constituted herself his penitent.She begins her confession by an avowal that must have been difficult for her. She tells of her intimacy with Merimee, an intimacy which was of short duration and very unsatisfactory. She had been fascinated by Merimee's art."For about a week," she says, "I thought he had the secret of happiness." At the end of the week she was "weeping with disgust, suffering and discouragement." She had hoped to find in him the devotion of a consoler, but she found nothing but cold and bitter jesting."[16] This experiment had also proved a failure.Such were the conditions in which George Sand found herself at this epoch. Her position was satisfactory; she might have been calm and independent. Her inner life was once more desolate, and she was thoroughly discouraged. She felt that she had lived centuries, that she had undergone torture, that her heart had aged twenty years, and that nothing was any pleasure to her now. Added to all this, public life saddened her, for the horizon had clouded over. The boundless hopes and the enthusiasm of xxxx were things of the past. "The Republic, as it was dreamed of in July," she writes, "has ended in the massacres of Warsaw and in the holocaust of the Saint-Merry cloister. The cholera has just been raging. Saint Simonism has fallen through before it had settled the great question of love."[17]Depression had come after over-excitement. This is a phenomenon frequently seen immediately after political convulsions. It might be called the perpetual failure of revolutionary promises.It is absolutely impossible to give an analysis of Lelia. There really is no subject. The personages are not beings of flesh and blood. They are allegories strolling about in the garden of abstractions. Lelia is a woman who has had her trials in life. She has loved and been disappointed, so that she can no longer love at all. She reduces the gentle poet Stenio to despair. He is much younger than she is, and he has faith in life and in love. His ingenuous soul begins to wither and to lose its freshness, thanks to the scepticism of the beautiful, disdainful, ironical and world-weary Lelia. This strange person has a sister Pulcherie, a celebrated courtesan, whose insolent sensuality is a set-off to the other one's mournful complaints. We have here the opposition of Intelligence and of the Flesh, of Mind and Matter. Then comes Magnus, the priest, who has lost his faith, and for whom Lelia is a temptation, and after him we have Trenmor, Lelia's great friend, Trenmor, the sublime convict. As a young man he had been handsome. He had loved and been young. He had known what it was to be only twenty years of age. "The only thing was, he had known this at the age of sixteen" (!!) He had then become a gambler, and here follows an extraordinary panegyric on the fatal passion for gambling. Trenmor ruins himself, borrows without paying back, and finally swindles "an old millionaire who was himself a defrauder and a dissipated man" out of a hundred francs. Apparently the bad conduct of the man Trenmor robs, excuses the swindling. He is condemned to five years of hard labour. He undergoes his punishment, and is thereby regenerated. "What if I were to tell you," writes George Sand, "that such as he now is, crushed, with a tarnished reputation, ruined, I consider him superior to all of us, as regards the moral life. As he had deserved punishment, he was willing to bear it. He bore it, living for five years bravely and patiently among his abject companions. He has come back to us out of that abominable sewer holding his head up, calm, purified, pale as you see him, but handsome still, like a creature sent by God."We all know how dear convicts are to the hearts of romantic people. There is no need for me to remind you how they have come to us recently, encircled with halos of suffering and of purity. We all remember Dostoiewsky's Crime and Punishment and Tolstoi's Resurrection. When the virtue of expiation and the religion of human suffering came to us from Russia, we should have greeted them as old acquaintances, if certain essential works in our own literature, of which these books are the issue, had not been unknown to us.The last part of the novel is devoted to Stenio. Hurt by Lelia's disdain, which has thrown him into the arms of her sister Pulcherie, he gives himself up to debauch. We find him at a veritable orgy in Pulcherie's house. Later on he is in a monastery at Camaldules, talking to Trenmor and Magnus. In such books we must never be astonished. . . . There is a long speech by Stenio, addressed to Don Juan, whom he regrets to have taken as his model. The poor young man of course commits suicide. He chooses drowning as the author evidently prefers that mode of suicide. Lelia arrives in time to kneel down by the corpse of the young man who has been her victim. Magnus then appears on the scene, exactly at the right moment, to strangle Lelia. Pious hands prepare Lelia and Stenio for their burial. They are united and yet separated up to their very death.The summing up we have given is the original version of Lelia. In xxxx, George Sand touched up this work, altering much of it and spoiling, what she altered. It is a pity that her new version, which is longer, heavier and more obscure, should have taken the place of the former one. In its first form Lelia is a work of rare beauty, but with the beauty of a poem or an oratorio. It is made of the stuff of which dreams are composed. It is a series of reveries, adapted to the soul of xxxx. At every different epoch there is a certain frame of mind, and certain ideas are diffused in the air which we find alike in the works of the writers of that time, although they did not borrow them from each other. Lelia is a sort of summing up of the themes then in vogue in the personal novel and in lyrical poetry. The theme of that suffering which is beneficent and inspiring is contained in the following words: "Come back to me, Sorrow! Why have you left me? It is by grief alone that man is great." This is worthy of Chateaubriand. The theme of melancholy is as follows:
&#xxxx; Location: Detroit, Concert on Wed, Feb 26 xxxx
&#xxxx; Post ID: xxxxxxxx detroit
&#xxxx; Other ads by this user:
Jason Aldean, Florida Georgia Line & Tyler Farr Concert Schedule & Tickets at Van Andel Arena on 2/2 (Concert on 2/20/xxxx) buy, sell, trade: tickets for sale
Arctic Monkeys Tour Schedule & Tickets at The Fillmore - Detroit on Wed, Feb 12 xxxx (Concert on Wed, Feb 12 xxxx) buy, sell, trade: tickets for sale
Skillet & Third Day Concert Schedule & Tickets at EMU Convocation Center on 2/1/xxxx (Concert on 2/1/xxxx) buy, sell, trade: tickets for sale
Lady Gaga Concert Schedule & Tickets at Joe Louis Arena on 5/17/xxxx (Concert on 5/17/xxxx) buy, sell, trade: tickets for sale
//
//]]>
Email this ad
Play it safe. Avoid Scammers.
Most of the time, transactions outside of your local area involving money orders, cashier checks, wire transfers or shipping (especially overseas shipping) are scams or frauds.
Report all scam attempts to abuse@backpage.com.
//
//]]>
Account Login | Affiliate Program | Promote Us | Help | Privacy Policy | Terms of Use | User Safety | backpage.com  © Copyright xxxx
detroit.backpage.com is an interactive computer service that enables access by multiple users and should not be treated as the publisher or speaker of any information provided by another information content provider.
Sting & Paul Simon
Palace Of Auburn Hills
Auburn Hills, MI
Wednesday
2/26/xxxx
8:00 PM
View Best Sting & Paul Simon Tickets
Our Customer Service department can help anyone looking for that special ticket for one fan or assist in Large Group sales for those wanting to attend the concerts with friends. We are Event Tickets Specialists you can trust!
Don't want to miss The Sting & Paul Simon in concert? See The Sting & Paul Simon in concert by using the link below for an updated tour schedule. The Sting & Paul Simon may add more dates to the tour in the future:
Sting & Paul Simon xxxx Tour Dates & Tickets Info
Sting & Paul Simon
Toyota Center - TX
Houston, TX
Saturday
2/8/xxxx
8:00 PM
View Best Sting & Paul Simon Tickets
Sting & Paul Simon
American Airlines Center
Dallas, TX
Sunday
2/9/xxxx
8:00 PM
View Best Sting & Paul Simon Tickets
Sting & Paul Simon
Pepsi Center - Denver
Denver, CO
Tuesday
2/11/xxxx
8:00 PM
View Best Sting & Paul Simon Tickets
Sting & Paul Simon
The Forum - CA
Inglewood, CA
Saturday
2/15/xxxx
8:00 PM
View Best Sting & Paul Simon Tickets
Sting & Paul Simon
Honda Center
Anaheim, CA
Sunday
2/16/xxxx
8:00 PM
View Best Sting & Paul Simon Tickets
Sting & Paul Simon
SAP Center
San Jose, CA
Monday
2/17/xxxx
8:00 PM
View Best Sting & Paul Simon Tickets
Sting & Paul Simon
Key Arena
Seattle, WA
Wednesday
2/19/xxxx
8:00 PM
View Best Sting & Paul Simon Tickets
Sting & Paul Simon
Rogers Arena
Vancouver, Canada
Thursday
2/20/xxxx
8:00 PM
View Best Sting & Paul Simon Tickets
Sting & Paul Simon
Xcel Energy Center
Saint Paul, MN
Sunday
2/23/xxxx
8:00 PM
View Best Sting & Paul Simon Tickets
Sting & Paul Simon
United Center
CITYS
Tuesday
2/25/xxxx
8:00 PM
View Best Sting & Paul Simon Tickets
Sting & Paul Simon
Palace Of Auburn Hills
Auburn Hills, MI
Wednesday
2/26/xxxx
8:00 PM
View Best Sting & Paul Simon Tickets
Sting & Paul Simon
Centre Bell
Montreal, Canada
Friday
2/28/xxxx
8:00 PM
View Best Sting & Paul Simon Tickets
Sting & Paul Simon
Air Canada Centre
Toronto, Canada
Saturday
3/1/xxxx
8:00 PM
View Best Sting & Paul Simon Tickets
Sting & Paul Simon
TD Garden
Boston, MA
Monday
3/3/xxxx
8:00 PM
View Best Sting & Paul Simon Tickets
Sting & Paul Simon
Madison Square Garden
New York, NY
Tuesday
3/4/xxxx
8:00 PM
View Best Sting & Paul Simon Tickets
Sting & Paul Simon
Madison Square Garden
New York, NY
Thursday
3/6/xxxx
TBD
View Best Sting & Paul Simon Tickets
Sting & Paul Simon
Wells Fargo Center - PA
Philadelphia, PA
Friday
3/7/xxxx
8:00 PM
View Best Sting & Paul Simon Tickets
Sting & Paul Simon
Giant Center
Hershey, PA
Sunday
3/9/xxxx
TBD
View Best Sting & Paul Simon Tickets
Sting & Paul Simon
Verizon Center - DC
Washington, DC
Thursday
3/13/xxxx
8:00 PM
View Best Sting & Paul Simon Tickets
Sting & Paul Simon
BB&T Center
Sunrise, FL
Saturday
3/15/xxxx
8:00 PM
View Best Sting & Paul Simon Tickets
Sting & Paul Simon
Amway Center
Orlando, FL
Sunday
3/16/xxxx
8:00 PM
View Best Sting & Paul Simon Tickets