Molière Jugé par Stendhal (Classic Reprint)

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Temporarily abandoning fiction, Stendhal turned again to biography, Vie de Napoléon (1839), to tragic adventure stories, Chroniques italiennes (1837-39), and to another travelogue, Mémoires d'un touriste (1839). The latter is a satire of customs and mores of provincial French life.

Jean-Baptiste Poquelin ( París; 15 de enero de 1622- ibidem; 17 de febrero de 1673), [1 ]​ llamado Molière, fue un dramaturgo, actor y poeta francés, ampliamente considerado como uno de los mejores escritores de la lengua francesa y la literatura universal. Sus trabajos existentes incluyen comedias, farsas, tragicomedias, comédie-ballets y más. Sus obras se han traducido a todas las lenguas vivas principales. Considerado el padre de la Comédie Française, perteneciente al Gran Siglo francés, maestro del Clasicismo imperante en la Francia del siglo XVII, sus trabajos se interpretan con más frecuencia que los de cualquier otro dramaturgo actual. Cementerio del Père-Lachaise, Cementerio de San José de París, Museo de los Monumentos Franceses y Molière's tomb Molière contraatacó ridiculizando a sus adversarios en La crítica de la escuela de las mujeres ( La Critique de l’École des femmes), representada en agosto de 1663, y en el Impromptu de Versalles ( L'Impromptu de Versailles), que lo fue en octubre. La guerra entre Molière y sus detractores devotos ha empezado y el Rey, de momento, pese a su favorable inclinación hacia el cómico, no interviene todavía. Por entonces ya estaba fraguando su Tartufo, y en 1663 representó los tres primeros actos ante el rey. A passage describing Julien Sorel's sexual indifference is deployed as the epigraph to Paul Schrader's screenplay of American Gigolo, whose protagonist is named Julien: "The idea of a duty to be performed, and the fear of making himself ridiculous if he failed to perform it, immediately removed all pleasure from his heart." [9]Henri Beyle (Stendhal) was born in 1783, in Grenoble, into a respectable, middle-class family. Chérubin Beyle, Stendhal's father, a reactionary in politics, was an industrious, narrow-minded bourgeois, whom Henri detested and to whom he later referred as the "bâtard." Stendhal loved his mother tenderly, but this delightful woman, whose origin Stendhal liked to think was Italian, died when he was only seven. Later, he idealized her memory just as he exaggerated the mediocrity of his father. Of a fiery and rebellious nature, Stendhal declared himself early to be an atheist and "jacobin," or liberal — an expression of revolt, no doubt, against his father. Fue Dom Juan, tras Tartufo, la comedia más censurada y perseguida de Molière. La obra no se repuso hasta 1677, y solamente en una versión expurgada y versificada por Thomas Corneille. En cuanto a su edición, hizo falta esperar al año 1683 para que un librero de Ámsterdam publicara el texto íntegro. En vez de "Dios" se ponía la palabra "Cielo" y en vez de "Iglesia", "templo". Sin embargo, la compañía recibe por fin el apoyo del rey, quien concede una pensión de 7000 libras a sus cómicos y la autoriza a llamarse "Compañía Real". El 14 de diciembre de 1665 estrena una farsa tradicional, El amor médico, pero Molière cae gravemente enfermo. [12 ]​ In Jean-Paul Sartre's play Les Mains sales (1948), the protagonist Hugo Barine suggests pseudonyms for himself, including Julien Sorel, whom he resembles. Stendhal: definition of Stendhal in Oxford dictionary (British & World English) (US)". Oxforddictionaries.com. 2014-01-23. Archived from the original on September 25, 2013 . Retrieved 2014-01-28.

Fabrice del Dongo follows somewhat the pattern of the Stendhalian hero — he seeks happiness — but in his adventurous pursuit, he is joined and protected by three other chosen creatures. Fabrice does not, therefore, know the social solitude of Julien. He is loved by his aunt, Sanseverina, and protected by her husband, Count Mosca. While imprisoned, Fabrice falls in love with the jailor's daughter, Clélia, and it is this love that changes him profoundly, as it does the other "elect." Fabrice does not repeat the projected denouement of Lucien, however, by an idyllic marriage. Like Julien, Fabrice is allowed but a glimpse of happiness on this earth and then dies young. In Fabrice's separation from Clélia, there is glory and the hope that a final union beyond this life will occur. Rather than being a creature of egotism, such as is Julien, Fabrice is a more generous soul. Even though society is opposed to Stendhal's ideal of individualism, the forceful alliance of these four exceptional beings — Fabrice, Clélia, La Sanseverina, and Mosca — would seem to represent a sort of triumph over society. Balzac commented that this novel could only be truly appreciated by the diplomat, statesman, or man of the world, so intricate are its political innuendos.Within a period of two months at the end of 1839, Stendhal improvised his second masterpiece in the novel, The Charterhouse of Parma. The source was again historical, an old Italian chronicle narrating the life of Alexandre Farnèse. Although the action of Stendhal's novel is placed during the first third of the nineteenth century, the violent passions and fierce individualism of the Italian Renaissance motivate the characters. Love is the theme of Charterhouse, as it had been the major preoccupation of Stendhal's life, although political intrigue and heroic adventures abound. A disciple of the eighteenth-century materialists and a precursor, in this respect, of the determinism of Naturalism, Stendhal conceived the formation of mind and character of man as resulting from experiences he undergoes with external reality. He puts his characters, therefore, in typical situations of everyday life and watches them react.

When we are in Bologna, we are entirely indifferent; we are not concerned to admire in any particular way the person with whom we shall perhaps one day be madly in love; even less is our imagination inclined to overrate their worth. In a word, in Bologna "crystallization" has not yet begun. When the journey begins, love departs. One leaves Bologna, climbs the Apennines, and takes the road to Rome. The departure, according to Stendhal, has nothing to do with one's will; it is an instinctive moment. This transformative process actuates in terms of four steps along a journey: Stendhal died on 23 March 1842, a few hours after collapsing with a seizure in the street in Paris. He is interred in the Cimetière de Montmartre. During Stendhal’s lifetime, his reputation was largely based on his books dealing with the arts and with tourism (a term he helped introduce in France), and on his political writings and conversational wit. His unconventional views, his hedonistic inclinations tempered by a capacity for moral and political indignation, his prankish nature and his hatred of boredom—all constituted for his contemporaries a blend of provocative contradictions. But the more authentic Stendhal is to be found elsewhere, and above all in a cluster of favourite ideas: the hostility to the concept of “ideal beauty,” the notion of modernity, and the exaltation of energy, passion, and spontaneity. His personal philosophy, to which he himself gave the name of “ Beylisme” (after his real family name, Beyle) stressed the importance of the “pursuit of happiness” by combining enthusiasm with rational skepticism, lucidity with willful surrender to lyric emotions. “Beylisme,” as he understood it, meant cultivating a private sensibility while developing the art of hiding and protecting it.Book II chronicles Julien’s time in Paris with the family of M. de la Mole. Julien tries to participate in the high society of Paris, but the nobles look down on him as something of a novelty — a poor-born intellectual. Julien, meanwhile, finds himself torn between his ambitions to rise in society and his disgust at the base materialism and hypocrisy of the Parisian nobility. Kurtz, Howard (12 September 2000). "A Moment of Clarity on Candidates' Status". The Washington Post . Retrieved 10 June 2022. Nietzsche, Friedrich Wilhelm (1 January 2004). Twilight of the Idols and the Antichrist. Translated by Common, Thomas. Courier Corporation. ISBN 978-0-486-43460-5.

In Auerbach's view, in Stendhal's novels "characters, attitudes, and relationships of the dramatis personæ, then, are very closely connected with contemporary historical circumstances; contemporary political and social conditions are woven into the action in a manner more detailed and more real than had been exhibited in any earlier novel, and indeed in any works of literary art except those expressly purporting to be politico-satirical tracts." [40] a b Nemo, August (2020). Essential Novelists - Stendhal: modern consciousness of reality. Tacet Books. ISBN 978-3-96799-211-3. Stendhal - Definition and More from the Free Merriam-Webster Dictionary". Merriam-webster.com. 2012-08-31 . Retrieved 2014-01-28. Perdió a su madre a la edad de 10 años (1632) y, aunque no parece haber sido particularmente afecto a su padre, vivió con él en un piso alto del Pavillon des Singes, en la calle Saint-Honoré, sita en un barrio pudiente de París; su padre se volvió a casar y enviudó de nuevo en 1636. Molière había iniciado estudios en 1633, a los once años, en el colegio jesuita de Clermont, actual liceo Louis-le-Grand, donde se codeó con la levantisca nobleza francesa, sometida con mano de hierro por el cardenal Richelieu, valido de Luis XIII, hasta 1639. Estudia derecho en Orleáns entre 1640 y 1642 y, una vez licenciado, se colegia, aunque solo durante seis meses. [3 ]​ Por entonces frecuenta el círculo libertino del filósofo epicúreo Pierre Gassendi, Claude-Emmanuel Luillier, llamado Chapelle, Cyrano de Bergerac y Charles Coypeau de Assoucy. [4 ]​ Sustituye entonces a su padre ( 1642) en el oficio de tapicero del rey Luis XIII, y se relaciona con la familia de comediantes Béjart. In Mensonge romantique et vérité romanesque ( Deceit, Desire and the Novel, 1961), philosopher and critic René Girard identifies in Le Rouge et le Noir the triangular structure he denominates as "mimetic desire"; that is, one desires a person only when he or she is desired by someone else. Girard's proposition is that a person's desire for another always is mediated by a third party. This triangulation thus accounts for the perversity of the Mathilde–Julien relationship, which is most evident when Julien begins courting the widow Mme de Fervaques to pique Mathilde's jealousy, and it accounts for Julien's fascination with and membership in the high society he simultaneously desires and despises. To help achieve a literary effect, Stendhal wrote most of the epigraphs—literary, poetic, historic quotations—that he attributed to others.At the age of forty-four, Stendhal wrote his first novel, Armance, which neither his friends nor the public acclaimed. It was intended as a psychological study of Octave, an impotent who ultimately commits suicide. Octave's physical anomaly prefigures and is symbolic of the Stendhalian hero's inability to accept life as offered by Restoration society. The Stendhalian theme of the pursuit of individual happiness is already apparent, but Octave is unsuccessful in his search, preferring suicide to compromise as a solution to his dilemma. Stendhal's own reserve and the prevailing mores prevented him from clarifying the nature of Octave's affliction for the reader, and the resulting ambiguity was the reason that the public found the hero enigmatic. The society that Octave opposes with such violence is not minutely described by the novelist, therefore the social dimension of the novel is unconvincing. Jefferson, Ann. Reading Realism in Stendhal (Cambridge Studies in French). Cambridge University Press, 1988. a b c Auerbach, Erich (May 2003). Mimesis: The Representation of Reality in Western Literature. Princeton, NJ: Princeton University Press. pp. 454–464. ISBN 069111336X.