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The Counterfeiters (novel) : ウィキペディア英語版
The Counterfeiters (novel)

''The Counterfeiters'' (French: ''Les faux-monnayeurs'') is a 1925 novel by French author André Gide, first published in ''Nouvelle Revue Française''. With many characters and crisscrossing plotlines, its main theme is that of the original and the copy, and what differentiates them – both in the external plot of the counterfeit gold coins and in the portrayal of the characters' feelings and their relationships.
''The Counterfeiters'' is a novel-within-a-novel, with Edouard (the alter ego of Gide) intending to write a book of the same title. Other stylistic devices are also used, such as an omniscient narrator who sometimes addresses the reader directly, weighs in on the characters' motivations or discusses alternate realities. Therefore, the book has been seen as a precursor of the ''nouveau roman''. The structure of the novel was written to mirror "Cubism," in that it interweaves between several different plots and portrays multiple points of view.
The novel features a considerable number of bisexual or gay male characters – the adolescent Olivier and at least to a certain unacknowledged degree his friend Bernard, in all likeliness their schoolfellows Gontran and Philippe, and finally the adult writers Comte de Passavant (who represents an evil and corrupting force) and the benevolent Edouard. An important part of the plot is its depiction of various possibilities of positive and negative homoerotic or homosexual relationships.
Initially received coldly on its appearance, perhaps because of its homosexual themes and its unusual composition, ''The Counterfeiters'' has gained reputation in the intervening years and is now generally counted among the Western Canon of literature.
The making of the novel, with letters, newspaper clippings and other supporting material, was documented by Gide in his 1927 ''Journal of The Counterfeiters''.〔http://www.gallimard.fr/Catalogue/GALLIMARD/L-Imaginaire/Journal-des-faux-monnayeurs〕
==Plot summary==

The plot revolves around Bernard – a schoolfriend of Olivier's who is preparing for his ''bac'' – discovering he is a bastard and taking this as a welcome pretext for running away from home. He spends a night in Olivier's bed (where Olivier describes a recent visit to a prostitute and how he did not find the experience very enjoyable). After Bernard steals the suitcase belonging to Edouard, Olivier's uncle, and the ensuing complications, he is made Edouard's secretary. Olivier is jealous and ends up in the hands of the cynical and downright diabolical Comte de Passavant, who travels with him to the Mediterranean.
Eventually, Bernard and Edouard decide they do not fit as well together as anticipated, and Bernard leaves to take a job at a school, then finally decides to return to his father's home. Olivier is now made Edouard's secretary, and after an eventful evening on which he embarrasses himself grossly, Olivier ends up in bed together with Edouard, finally fulfilling the attraction they have felt for each other all along but were unable to express.
Other plotlines are woven around these elements, such as Olivier's younger brother Georges and his involvement with a ring of counterfeiters, or his older brother Vincent and his relationship with Laura, a married woman, with whom he has a child. Perhaps the most suspenseful scene in the book revolves around Boris, another illegitimate child and the grandson of La Pérouse, who commits suicide in front of the assembled class when dared by Ghéridanisol, another of Passavant's cohorts.
In some regards, such as the way in which the adolescents act and speak in a way beyond their years and the incompetence of the adults (especially the fathers), as well as its motives of developing and confused adolescent sexuality, the novel has common ground with Frank Wedekind's (at the time scandalous) 1891 drama ''Spring Awakening''. ''The Counterfeiters'' also shares with that play the vision of homosexual relationships as under certain conditions being "better" than heterosexual ones, with the latter ones leading inevitably to destructive outcomes in both works.

抄文引用元・出典: フリー百科事典『 ウィキペディア(Wikipedia)
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