Stendhal: Contemporary Themes in Le Rouge et le Noir PDF

Stendhal – Le Rouge et le Noir

Beyle de son côté

Le rouge et le noir

LE ROUGE. ET. LE NOIR. CHRONIQUE DU XIX^ SIÈCLE. DE STENDHAL. ÉDITION COMPLÈTE. REVUE ET CORRIGÉE. PARIS. LIBRAIRIE GARNIER FRÈRES. 6 RUB DES SAINTS-PÈRES

Le Rouge et le Noir

le maire a dû faire bien des démarches auprès du vieux Sorel paysan dur et entêté ; il a dû lui compter de beaux louis d'or pour obtenir qu'il transportât son

Power and Identity in Stendhals Le Rouge et le noir

Stendhal's Le Rouge et le noir old Sorel. With Julien sitting five or six feet above the ground with a book strad- dling a rafter of the family sawmill

STENDHAL AND THE USES OF READING: LE ROUGE ET LE NOIR

its many readers. Reading is a major preoccupation of the text and in his. 'Projet d'un Article sur Le Rouge et le Noir1 Stendhal defines his novel.

Stendhal: Contemporary Themes in Le Rouge et le Noir

SCOPE AND CONTENTS: This is a study of contemporary themes to be found in Stendhal 's attitude tO'lards the individual and Boel.ety in. Le Rouge et le Noir

Nietzsche and Le Rouge et le noir

Nietzsche and Le Rouge et le noir. WILLIAM R. GOETZ. When Henri Beyle (Stendhal) speculated as to the year when his ticket in the "lottery" of literary fame

Le monologue intérieur dans Le Rouge et le noir de Stendhal

10 ????. 2015 ?. Cohn entre le monologue intérieur qu'elle appelle autonome assimilé à un genre ou à un type narratif

Colour Symbolism in Le Rouge et le Noir

Colour Symbolism in 'Le Rouge et le Noir' on the symbolic colours of the coat of arms which Stendhal is thought of as inventing for Julien.

Stendhal and the Self: A Study in the Sociology of Literature

Some relationships between literature and society in a single novel and a single facet of personality are explored; the novel is Le Rouge et le noir by

STENDHAL: IN

LE ROUG1L ET ..

by B.A. ft 'l'hesis to the Scho01 of m.'aduate in Partial of the Mas

STENDHAL: IN

LE ROUGE ET LE

MASTER (1970)

, (Romance Languages)

McHASTER

Contemporary Themes in Le Rouge et le Noir.

Mary Elaine Jenkins, (University of Hull)

SUPERVISOR: Dr. E. Knight

Nill1BER Oli' PAGES: 68

SCOPE AND CONTENTS: This is study of contemporary themes to be found in Stendhal 's attitude the individual and Boel.ety in

Le Rouge et le Noir.

l ta acknO\-Jledge the aid and advice of Dr. E. Knight and Hl'. B. l'louis in the preparation of tbis thesis. iii

INTRODUCTION

°CONCLUSIon

TABLE OF

IN LE ROUGE EToLE NOIR

1 S TREATMEN'I' OF

IN LE ROUGE ET LE NOIR

iv l 4 37
65
67
In recent years, there has been a revaluation of Stendhal's on the part of many critics, who have come te regard him as as great a novelist as Balzac.. It \lJould saeDl that Stendhal's work has a· certain relevance in today's world. In this theaia, shall con- ourselves with le Noir, and ahal1 attemptto es-cablish people in the second half of the Al though many traces can be found in of the great

1iterary movements of the nineteenth and aJthough true

that the roots of this novaI are deeply embedded in the France of the

1820's, yet it is impossible ta into any particular

of nia or ta see in his novf.:l 8. mare of the French societ.y of the tlme, to be read out of historical interest, but with no particular today .• A careful ·reading of the 11ove1 ·"rUl to the reader the of mueh that is ta found in contemporary French novels, many critics failed ta not.ice this, special attention

It 8e0ms incontestable "las directly

oÎ fâ:!.J<...2_l![lf',t COi1lïlî.on ta bath novels!

It Îf:; not the man. •••

df:mns~ but incleed this kind of mOl1i'Oter ,,,iho to ent.er the g[In his novel, struggle of an against a hostile, hypocritical society It may at first. appear that it is the individual in \-iho the for it :L6 ...,ith 2 of the jury dccla.re Julien ta be gu:Llty. careful considera.tion the l'cader that it in fact, the

FIor it is Julien who chooses to die? to plea.d

for hic 1 and at his utterly re;jects the of his time 1 in \"Ihich

2.nd in which he côn no longer bear ta Li.ven

It ia rebellious attitude ta societY1 and

in his for the fate oi individual, in .. that he jûin,s 'flit.h contemporary French authors, the other of his tin);;, far 's conceptior. of his to that of serions t.ers. 1I/ords, spoker:. by

Albert of artistic creation, befm

spoken by Stendha.l: de l'art, l'idee la plus Je le trop CDl1Sent:ix à à rien l)GS 't !"'J .,.... ..... . aes !OrmBS d J.,'eCI"'J.VHll1 se ccmm9t doute ttne Glen (tic",", G0 \ J. ~ .. t)',. est une autre d'ignorer les problèmes sociaux du siècle ••• Et, du l'este, cette fui.te serait parfaitement vaine: tournez le dos a la Gorgone, elle se met en marche ••• Quel est, en somme, l'objet de tout artiste créateur? Peindre les passions de Bon temps. Au XVIIe les passions de l'amour é'taient au premier plan des preoc'cupations des gens. Mais aujourd'hui, les passions du siècle sont les passions collectives parce que la societé est en - La création artistique, loin de nous du drame de notre époque, est un des moyens de l'approcher qui nous sont

Les totalitaires le savent bien, puisqu'ils

nous considèrent comme 1eur>$ premiers 'ennemis ••• 2 We shall devote the first chapter of the the sis to society, to de termine , first of aIl, why it was that Stendhal felt such hostility tO\ofards Restoration society, and then proceeding to an examination of his portrayal of that society in I,e The second chapter we shall dcvote to the individual, examining the four major characters in and the relationship that exists them and the society in \!!hich they live. l'ü:l D' Aubarède, lIRencontre Albert

Nouvelles littéraires

i la :Ln Albert '.,. --_.--. ...... ---

R. ~ text8G etablis et annDtés R. Qu:Llliot

L. Faucon. 9 1965)

CHAPTER 1 ATTITUDE TOHARDS SOCIE'rY

ROUGE ET LE NOIR

It \'Ias during the Restoration period in France t beginning in 1814, that Stendhal first seems to have of the close relationship that exists between and the individualo He came to reaJ.ize that: No individual destiny can be detached from the even,ts and currents that victimize it·. He realized thRt an :i.ndividual is necesse.rily he thought thàt, if a man f s cha:l'acter by environrIlent t on the other for a man' 0 This i6 not to say however, that in Ro~ Stendhal con- sidered the spokesman of any purticular group. Stendhal an individualist and a "solitaire" and did not belong any group, literary His novel a very of his OVIn experience, and expressing his 01o!i1 thoughts and for eXélniple, a great in the history of French ]j.ter"EI.l:Ure Romanticism,,' it. la many traits of thiB are to be in his IIJork. on the whole he despised the Hm:w.nt.ics their spinelessness, for the way they· gave p.". cdited by V. • EnglevlOod 1962)} p. "le mal du this feeling of despair they all experienced before life in general.: Stendhal, too, was overcome by a feeling of despair he contemplatedthe contemporary situation, but he was not content merely to bewail lot, like the Romantics, and his novel, is Stendhal's protest against the society which· produced in him feelings of anger, contem:pt and hopelessnegs. It would seern as if 'vias perfectly content with the things were France and had no quarrel at aIl with scciety before 1814. Born in 1783, six yea.rs before the outbreak of the Revolut.ion, he died in 1842, six years before the revolution of 181t8. He therefore 1ived through a period in Fr·ench history of intense up" . heaval and instabili ty, and great social change. The Revolution period ... a chaotic time, the values and bases of French society 5 were overturned. The \'lork begun at tillle tO\va:rds the reorgD.nisation of French society 'lias completed by Napoleon! who became First Consul in 1799 when his fellO\'l-conspirators replaced the Directory wi th the Consu1ate by él. coup d'éta.t, had himself crowned of the in 1804

Under the help of his influential cousin

Daru, V!û.S a.ble ta secure good position, which he forced to abdicate, {lnd the Bourbons reinstated to throne by the in' Eovi\:lYer, Stendhal "'ws so staunch a Bonapartist that he ',ms unable to see faul ts of this man who \v2.s great ganera1 but V/ho by becoming a dictator. the ne\>! though Stendhal no longzr of Daru; \01':;'.8 nev€l'theless influential friends, and could doubtless have sccured another good position$ he vias so disillusioned by, and disappointed in, the nevl reg:i.me, that he left France in' disgust and went into voluntary exile in Italy, where he found "la bonhomie et la simplicité" which were so lacking in France at the tirne, in Stendhal's eyes at least. 'Maurice Barclèch e comments: Comment ni vu le mépris le dégoût qu'il a ,----.----mis. dans cette derniere ligne de Rome t ,Na.,JJ1es et_ Florence, cette signature énigmatique et cinglante de IJédition de

1817 ••• : 'L'auteur, depuis

t .. "t es . a un serVJ_ce e ;rEù1ger Stendhal realized that the reactionary of the Restora·- tion vIas in no \'my to deal wi th tlw of .... Jhat. 1;las happening ta French society. He saw that the class "/hich had been st:..'uggling for centuries itself on society as a force to be reckoned with, finall.y reô.chiDg the zenith of its power. This V!aS the bourgeoisie, of Hl'cB nouveaux riches ll \>Iho on the \o{hole, industrialists and busir.essmen "La the motivating force of this class, vlho and unscrupulous in their desire for material gain. The final 6 of the bourg:8 1 in f'Dct.; in i.830, [U}d the bourgeoi.s WOl1'.l.l:'chy· of ip:")",,

The nob:i..lity

to combat this US'!.l.:t'p"it:LOn. of by Theil' position Wa.t1 vmak, that the 2 '-

Il ';}

F{ondü, p. 78"

repeat itself, they were divided as ta hm ta prevent 'rhe ch in Yrance the Restoration J asui anù. pO\>lerful. that the fel t insecure during the Restoration, would readily change its allegiance to EJuppcrt party and thuE strengthcn position. 7 So' that ,-le see Hv the representative of the bourgeoisie Rt?~fitl, under protection of the l'ocal Jesuit party. 'l'hey were kept firmly in their place and inculcated, as in his a deep respect for the arder of things in society, and for money 8.l1d

Stendhal, the regime in France

tion oppressive, concerned fate of the in Bueh }i'or uaH that of the future (If society in France no for he realizod be c:ontrolled by the no tho'-!ght to persoll.nl in~ dividuaJ. they were by an desire for matûrial his novel his strongly cri tical Vie\'ls on French society, for the future, and h:l.s effect such a s0ciety has on the

He it ia before proceeding

ë. detailed of Stendhal f s of sociBty ..

to consicler t.he in his to depict society and, indeed, ê 8.

· J!:'i ters

Stendhal reveals his conception of t.he particular forrn artistic creation, which is the novel, in the follO\'ling passage! Et, monsieur, un roman est un miroir qui se proméne sur une grande route. ·il a vos yeux l'azur des cieux, la fange des bourbiers de la routee Et l'homme qui porte le miroir dans sa hotte sera par vous accuse immoral! Accusez bien plut6t le grand chemin est le bourbier, et plus encore l'inspecteur des routes qui laisse l'eau croupir et le bourbier se former. 3 The· first two sentences "lOuId us ta conclude that Stendhal-thought of the novel as an objective, impartial art form •

Hm'/ever, says next leads us to a very diffel'ent

for he talks of "1 'homme qui porte le and vIe realize that Stendhal sees the novel in the hauds of the author as a mirror in the hands of a man. As the rnirror will refleét what it is pointed at, the novel vlill reflect aspects of reality the author Hishes it ta reflect. The personal .element becomes app"-,,rent is true that subjectivity iB indeed the feature of Stendhal's style 8

Neve!', in :Ls ta the reade!' objectively,

but ahmys from a subjective viewpoint. 'l'he author is the irony \.,rhich is the domj.l"2ant tone of the \'/h010 noveL At times, he intervenes in the first person 1 ta register 8. comment.. however, Stendh3.1 \ as masks ta expre,,;s reaJ.:i. ty This last technique has many advantages, for it enables the l'eader get. right. character through l'eality being presented ta

S Rouge

. _ .. ....... -"' __ (France: Ed.itions Gallimard et

IJJ. G~~quotesdbs_dbs46.pdfusesText_46

[PDF] Stendhal: Contemporary Themes in Le Rouge et le Noir

STENDHAL: IN

LE ROUG1L ET ..

STENDHAL: IN

LE ROUGE ET LE

MASTER (1970)

McHASTER

Contemporary Themes in Le Rouge et le Noir.

Mary Elaine Jenkins, (University of Hull)

SUPERVISOR: Dr. E. Knight

Nill1BER Oli' PAGES: 68

Le Rouge et le Noir.

INTRODUCTION

°CONCLUSIon

TABLE OF

IN LE ROUGE EToLE NOIR

1 S TREATMEN'I' OF

IN LE ROUGE ET LE NOIR

1iterary movements of the nineteenth and aJthough true

1820's, yet it is impossible ta into any particular

It 8e0ms incontestable "las directly

It Îf:; not the man. •••

FIor it is Julien who chooses to die? to plea.d

2.nd in which he côn no longer bear ta Li.ven

It ia rebellious attitude ta societY1 and

Albert of artistic creation, befm

Les totalitaires le savent bien, puisqu'ils

Nouvelles littéraires

R. ~ text8G etablis et annDtés R. Qu:Llliot

L. Faucon. 9 1965)

CHAPTER 1

ATTITUDE TOHARDS SOCIE'rY

ROUGE ET LE NOIR

Under the help of his influential cousin

1817 ••• : 'L'auteur, depuis

The nob:i..lity

Il ';}

F{ondü, p. 78"

Stendhal, the regime in France

He it ia before proceeding

ë. detailed of Stendhal f s of sociBty ..

· J!:'i ters

Hm'/ever, says next leads us to a very diffel'ent

Neve!', in :Ls ta the reade!' objectively,

S Rouge

IJJ. G~~quotesdbs_dbs46.pdfusesText_46