Reading Guide

The Lost Estate (Le Grand Meaulnes)

The Lost Estate (Le Grand Meaulnes)


Translator:
Introduction by: Adam Gopnik

INTRODUCTION

For François Seurel, the fifteen-year-old narrator of The Lost Estate, life with his schoolteacher parents in the rural French village of Sainte-Agathe is simple and uneventful—until the arrival of seventeen-year-old Augustin Meaulnes. With his prepossessing smile and his gift for finding slightly daring kinds of fun, Meaulnes captivates François and quickly becomes the most popular boy in town, known to his peers as “the great Meaulnes.” Yet Meaulnes, so sure of his path toward the affections of others, soon literally loses his way on a solitary excursion through the countryside. By accident, he happens upon a partly ruined manor house where a strange but enchanting wedding celebration is underway. As the party progresses, he meets Yvonne de Galais, a girl of otherworldly beauty. Abruptly, the party breaks up, and Meaulnes returns in confusion to Sainte-Agathe, only to discover that he cannot retrace the route to the manor house, which he now associates with perfect happiness.

Disoriented by his experience and still fascinated by Yvonne, Meaulnes resolves to somehow find her. In the deeply symbolic and elegiac tale that emerges from these peculiar events, Meaulnes and François begin an absorbing quest in which they seek not only to find the lost estate, but also to preserve their fleeting innocence, to rediscover themselves, and, if they can, to find a transcendent, purifying love.

Interwoven in their quest, however, is a haunting, unspoken awareness that searches for perfection are fated to fall short of their goal; friendship can lead to betrayal; idealized passion can end in sordid, fleshly reality; and the purest dreams of charmed youth can be contorted by the cruel force of experience. Written only a brief time before the Great War that would forever change European civilization—and which would kill Alain-Fournier—The Lost Estate can be read as a final backward glance not only at the ebbing childhoods of its characters, but also at a world of delicacy and grace fated for destruction.

A narrative that stands at the tipping point between youth and adulthood, fantasy and reality, a simpler time and onrushing modernity, The Lost Estate is a poignant evocation of the evanescence of one’s most dearly held visions. Characterized by piercing insight and a mood of almost unutterable yearning, it stands as one of literature’s greatest stories of unfulfilled desire. Alain-Fournier’s novel captures the ache of adolescence and the torment of vanishing memories and reveals in moving fashion the simultaneous necessity and impossibility of finding one’s dreams.

 

ABOUT HENRI ALAIN-FOURNIER

The son of a country schoolmaster, Henri Alban Fournier was born in La Chapelle-d’Angillon, France, in 1886. He eventually adopted the pen name Alain-Fournier to distinguish himself from an admiral who shared his name. In his youth, he became well acquainted with the ways of the French peasantry, which he later lovingly evoked in his fiction. His early exposure to Symbolist works like Debussy’s Pelléas et Mélisande also influenced him powerfully. At eighteen, he briefly met an enchanting young woman named Yvonne de Quièvrecourt, with whom he became obsessed and whom he was later to immortalize as Yvonne de Galais in The Lost Estate. Published in 1913, The Lost Estate was to be Alain-Fournier’s only finished novel. The following year, Alain-Fournier was killed in action less than two months after the beginning of World War I. His body remained missing until the early 1990s.

 

DISCUSSION QUESTIONS

  1. The Lost Estate is one of many great novels—Moby-Dick and The Great Gatsby are other examples—in which the story of a charismatic hero is narrated by an awestruck, somewhat lesser figure. Why do you think Alain-Fournier chose to tell the story of Meaulnes principally through the eyes of François Seurel? What might he have gained—or lost—by having Meaulnes tell his own story?
     
  2. Is François capable of being objective about Meaulnes? How does his love for his friend affect our ability as readers to judge him for ourselves?
     
  3. A handful of scenes in the novel are narrated by Meaulnes, through his letters and journal. How does the impression of his personality created by these passages differ from François’s view of him?
     
  4. Although Meaulnes spends much of the novel seeking to rediscover the site of the strange party that has transformed his life, it may be argued that he is really seeking something less tangible. What, on a deeper level, is Meaulnes looking for? What is the possibility that he will actually find it?
     
  5. Alain-Fournier was a devoted reader of Edgar Allan Poe mysteries and the Sherlock Holmes stories of Conan Doyle. What artistic or thematic similarities do you notice between The Lost Estate and the work of these early masters of the mystery tale?
     
  6. Some readers have seen The Lost Estate as two novels in one—the first half dreamlike and surreal and the second half almost painful in its realism. Do you agree with this view? Assuming that it is correct, does the dual nature of the novel undermine its feeling of unity, or, to the contrary, does it create a sense of balance and symmetry?
     
  7. For Alain-Fournier’s story to work, his main characters must be young enough to embrace ideas of innocent fantasy, but old enough to marry. How does Fournier attempt to blur the distinction between childhood and adulthood, and does he succeed?
     
  8. How are Alain-Fournier’s characters harmed by their unwillingness to relinquish their childhoods? Are there any positive aspects to this refusal?
     
  9. How do the various main characters of The Lost Estate (Meaulnes, François, Frantz, and Yvonne) understand the meaning of love? Is there some defect in each one’s understanding?
     
  10. Evaluate Monsieur de Galais as a father. Should he have raised Frantz and Yvonne differently? How?
     
  11. The Lost Estate makes continual references to the weather and the change of seasons. How does Alain-Fournier use these details to illustrate and enrich the mood of his novel?
     
  12. In Chapter 11 of Part Two, François tries to explain the strange fete at Les Sablonnières to Boujardon and Delouche, only to discover that they cannot grasp its mythic significance. How is it that the fete can transform the consciousness of Meaulnes and François, while leaving others totally unaffected? Does the fact that they are so affected make Meaulnes and François superior or inferior to their peers?
     
  13. In The Lost Estate, is Alain-Fournier more concerned with discovering the truth about human nature or with escaping it behind a veil of fantasy? What relation can and does such a fantastic story have with truth?
     
  14. Unlike the heroes of many quest tales, Meaulnes appears to achieve his desire; he finds and marries Yvonne. Why, then, does their marriage fail? What are the reasons, in addition to his involvement with Valentine, he cannot hang on to the happiness he finds with Yvonne?
     
  15. Both François and Meaulnes are deeply attracted to ideas of “purity.” How does their concern with purity influence their ability to understand and embrace mature sexuality?
     
  16. Alain-Fournier insisted that The Lost Estate was not “un livre du moral”—a book about ethics—but rather “un livre vivant”—a living book. Nevertheless, can moral messages be discovered in The Lost Estate? What might they be?
     
  17. Alain-Fournier wrote The Lost Estate at a time when all of Europe was nearing a calamitous loss of innocence in World War I. How do you think the yearnings of the novel’s characters reflected the larger political and social moods of 1913?
     

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