Scarlet and black stendhal online dating

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I was around 17 when I first read Stendhal's novel 'Le Rouge et le Noir' ('Scarlet and Black'), and the powerful effect it had on me can only be. The Red and the Black (). Le Rouge et . Release Date: Version of Scarlet and Black () See more» The best screen version of Stendhal' s novel. Running Time: ; Zip file size: MB; Catalog date: ; Read by: Online text The Red and the Black, Volume I. STENDHAL ( - ). Stendhal - a German pen-name for a French writer who hated the English.

Honor is discussed in great detail throughout the book, but is revealed as a chimera when pride or money are being threatened.

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Julien rises with the help of Father Pirard to private secretary for Marquis de la Mole. His office is to be the library. So no one would come to him, excited as he was, he hid himself in a dark corner. The books speak to me stirring up fond memories of when words become images, scents become detectable, and fictional characters become flesh and bone. The tactile feeling of individual books, unique in typeface, paper, and design are an important part of the reading experience for me.

Books are more than just words to me, but a form of art. I love the idea that more people are reading books because of the evolution of ereaders, but for me the experience that Julien has in that library is what I want.

In fact he finds her annoying in so many ways. You could say the daylight goes right through it! And what arrogance, when she greets people, when she just looks at them! She holds herself, she moves, like a queen!

He has unsustainable ideas of honor ruled more by passion than any real sense of established decorum. It wasn't in him. It was painful for him to be in Paris which he had known "as part of Napoleon's Court". He had made enemies, too. Offered in the post of food controller of Paris, by the Chief of Police, he refused.

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The man who accepted became rich in four or five years "without stealing". He reports here on the financial morals of the time in two words. This brevity is Stendhal's immediately recognisable characteristic, as a writer. Or this, which could be the synopsis for a novel.

Pain and passion

To be without passion: Stendhal could not say anything worse. He might laud Paris as an antidote to Grenoble, but he did not like the French, whom he saw as full of artifice, insincerity, and lacking in passion.

This definition reaches heights of smiling insolence towards his peers and towards the regime. In Italy he had been suspected of being a spy; I don't see how he could have avoided being in the police files in Paris. His trip to England was to defeat his low spirits, and to see the plays of Shakespeare, which he read, often, and which he had written about, together with Racine. The absolute contrast must have pleased him. He saw Kean in Othello, and was astonished that in France and in England they used different gestures to express the same emotions; he also was impressed that Kean spoke his words as if thinking of them for the first time.

He was charmed by Richmond. He disliked descriptions of nature, tried to keep his prose unadorned, like a military dispatch, but Richmond tempted him to forget his austerities.

The Red and the Black, Volume I

There he was, wandering around London, going to the theatre, but he omitted to court that hostess who would have done him the most good. Instead he was taken to a little house where three poor shy girls with chestnut hair - whores - were kind, and had good hearts. Stendhal loved women, to use that word not as he did in On Love, but as a sentiment of general empathy. He had learned understanding of women with his much-loved sister Pauline, who was something of a madcap and rebel perhaps inspired by her brother's contempt for the ways of society?

She wrote to him of an escapade where she had dressed as a man and gone out to see the sights one evening. His letter to her says everything about the situation of women then. He implored her never to do such a thing again.

If she were caught, or even if there were rumours, then no one would marry her, and she would be doomed to a convent or to spinsterhood. Get yourself a husband at whatever cost, he told her, and then, once married, you can do as you like. Married women are free; unmarried girls slaves.

Doris Lessing on the pain and passion of Stendhal | Books | The Guardian

He was under no illusions about "the cost". Yet he is not a bad man, certainly desirable as a husband. Women's helplessness in the face of convention has never been written about more tenderly, but what could be more coldly sensible than that letter? In The Charterhouse of Parma he merely records, coldly, that a certain society lady had brought her husband as a dowryfrancs, and was allowed by him 80 a month for expenses. No wonder women adored him, though he was not good-looking.

He did not want to sully his memories of her. But it could serve as an introduction to the great novels: There is also his autobiography, La Vie de Henri Brulard - he used dozens of pseudonyms: That book is less revealing than Memoirs, written when he was raw and bleeding.

Consequently, Mathilde sincerely falls in love with Julien, eventually revealing to him that she carries his child; nevertheless, while he is on diplomatic mission in England, she becomes officially engaged to Monsieur de Croisenois, an amiable and wealthy young noble, heir to a duchy.

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  • The Red and the Black

Learning of Julien's liaison with Mathilde, the Marquis de la Mole is angered, but he relents before her determination and his affection for Julien and bestows upon Julien an income-producing property attached to an aristocratic title as well as a military commission in the army. Yet Sorel is determined to die, for the materialistic society of Restoration France has no place for a low-born man, whatever his intellect or sensibilities. Meanwhile, the presumptive dukeMonsieur de Croisenois, one of the fortunate few of Bourbon France, is killed in a duel over a slur upon the honour of Mathilde de la Mole.

Her undiminished love for Julien, his imperiously intellectual nature and romantic exhibitionism render Mathilde's prison visits to him a duty to endure and little more. After he is guillotined, Mathilde de la Mole reenacts the cherished 16th-century French tale of Queen Margotwho visited her dead lover, Joseph Boniface de La Moleto kiss the lips of his severed head.

Mathilde then erects a shrine at Julien's tomb in the Italian fashion. Structure and themes[ edit ] Le Rouge et le Noir is set in the latter years of the Bourbon Restoration —30 and the days of the July Revolution that established the Kingdom of the French — Julien Sorel's worldly ambitions are motivated by the emotional tensions between his idealistic Republicanism and his nostalgic allegiance to Napoleonand the realistic politics of counter-revolutionary conspiracy by Jesuit -supported legitimistsnotably the Marquis de la Mole, whom Julien serves for personal gain.

Presuming a knowledgeable reader, Stendhal only alludes to the historical background of Le Rouge et le Noir—yet did subtitle the novel Chronique de "Chronicle of ". Stendhal repeatedly questions the possibility and the desirability of "sincerity," because most of the characters, especially Julien Sorel, are acutely aware of having to play a role to gain social approval.

In that 19th-century context, the word "hypocrisy" denoted the affectation of high religious sentiment; in The Red and the Black it connotes the contradiction between thinking and feeling. Girard's proposition is that a person's desire for another is always 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 also accounts for Julien's fascination with and membership in the high society he simultaneously desires and despises.