Molière Jugé par Stendhal (Classic Reprint)

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The Stendhalian hero without insuperable obstacles would no longer be a hero, nor for that matter, would he be worthy of portrayal through analysis at all. Since the Stendhalian ideal of the superior man engaged in the elaboration of an art of living to assure him happiness is only conceivable in a negative posture of revolt, society presents itself quite naturally in the role of the obstacle. Julien has not only the exterior world as an obstacle, he is likewise endowed with a contradictory nature that compounds his dilemma. His extreme sensibility, virtue, and generosity will prevent him from succeeding like the unscrupulous, calculating bourgeois parvenu, Valenod. Jones, Daniel (2011). Roach, Peter; Setter, Jane; Esling, John (eds.). Cambridge English Pronouncing Dictionary (18thed.). Cambridge University Press. ISBN 978-0-521-15255-6. On L'Étourdi and his theatrical accomplishments in this and other early plays, see e.g. Stephen C. Bold, “‘Ce Noeud Subtil’: Molière’s Invention of Comedy from L’Étourdi to ‘'Les Fourberies de Scapin ", " The Romanic Review 88/1(1997): 67-85; David Maskell, Moliere's L'Etourdi : Signs of Things to Come", French Studies 46/1 (1992): 13-25; and Philip A. Wadsworth, "Scappino & Mascarille," in Molière and the Comedy of Intellect (Berkeley: University of California Press, 1962), 1-7. The result wittily reminded us that Molière’s work was anchored in popular tradition with Verma deploying Kathak dance and Khayal music. But he retained Molière’s plot: the duped Parisian bourgeois, Orgon, became a brocaded Mogul and Tartuffe, wonderfully played by Nizwar Karanj, a lecherous, shaven-headed guru in a saffron dhoti. Far from being mangled Molière, this was proof of the play’s classic status.

In Les Fourberies de Scapin, Act II, scene 7, Géronte is asked for ransom money for his son, allegedly held in a galley. He repeats, "What the deuce did he want to go into that galley for?" ("Que diable allait-il faire dans cette galère?") The phrase "to go into that galley" is used to describe unnecessary difficulties a person has sought. Berthet's story, reduced to this pattern, is the story of Julien Sorel, hero of the novel. The three successive stages in Julien's adventure have their counterparts in Berthet's life. Few details about the third phase of Berthet's life were available from the Grenoble trial records, and Stendhal was forced to stray from the facts in his creation of Julien's experiences with Mathilde in the Mole episode. Critics still debate as to how successfully Stendhal extricated himself from the dilemma resulting from the implicit divergence in the careers of Julien and Antoine in the third phase. 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.Chic interiors and glamourous salons, in an unbeatable central location, Molière and Stendhal are old neighbours! Richard F. Hardin, Plautus and the English Renaissance of Comedy (London: Rowman & Littlefield, 2017), esp. 73 and 134; ISBN 1683931297 Stendhal identified with the nascent liberalism and his sojourn in Italy convinced him that Romanticism was essentially the literary counterpart of liberalism in politics. [14] When Stendhal was appointed to a consular post in Trieste in 1830, Metternich refused his exequatur on account of Stendhal's liberalism and anti-clericalism. [15] List of the women that he had loved, inserted in Life of Henry Brulard, in 1835: "I dreamed deeply of these names, and of the astonishing stupidities and stupidities they did to me." (From left to right: Virginie Kubly, Angela Pietragrua, Adèle Rebuffel, Mina de Griesheim, Mélanie Guilbert, Angelina Bereyter, Alexandrine Daru, Angela Pietragrua, [b] Matilde Dembowski, Clémentine Curial, Giulia Rinieri, Madame Azur-Alberthe de Rubempré) Molière plays a small part in Alexandre Dumas's novel The Vicomte of Bragelonne, in which he is seen taking inspiration from the muskeeter Porthos for his central character in Le Bourgeois gentilhomme.

The 2000 film Le Roi Danse ( The King Dances), in which Molière is played by Tchéky Karyo, shows his collaborations with Jean-Baptiste Lully, as well as his illness and on-stage death. Hippolyte Taine considered the psychological portraits of Stendhal's characters to be "real, because they are complex, many-sided, particular and original, like living human beings." Émile Zola concurred with Taine's assessment of Stendhal's skills as a "psychologist", and although emphatic in his praise of Stendhal's psychological accuracy and rejection of convention, he deplored the various implausibilities of the novels and Stendhal's clear authorial intervention. [35] Au, Susan (2002). Ballet and Modern Dance - Second Edition. London: Thames & Hudson LTD. p.26. ISBN 978-0-500-20352-1. 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.

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In June 1643, when Molière was 21, he decided to abandon his social class and pursue a career on the stage. Taking leave of his father, he joined the actress Madeleine Béjart, with whom he had crossed paths before, and founded the Illustre Théâtre with 630 livres. They were later joined by Madeleine's brother and sister. In 1672, Madeleine Béjart died, and Molière suffered from this loss and from the worsening of his own illness. Nevertheless, he wrote a successful Les Fourberies de Scapin ("Scapin's Deceits"), a farce and a comedy in five acts. His following play, La Comtesse d'Escarbagnas, is considered one of his lesser works. 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. a b c d e Au, Susan (2002). Ballet and Modern Dance - Second Edition. London: Thames & Hudson LTD. p.23. ISBN 978-0-500-20352-1. a b Nemo, August (2020). Essential Novelists - Stendhal: modern consciousness of reality. Tacet Books. ISBN 978-3-96799-211-3.