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.

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. a b c Garzanti, Aldo (1974) [1972]. Enciclopedia Garzanti della letteratura (in Italian). Milan: Garzanti. p.874. LaPointe, Leonard L. (2012). Paul Broca and the Origins of Language in the Brain. San Diego, CA: Plural Publishing. p.135. ISBN 978-1-59756-604-9. 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 ]​a b Nemo, August (2020). Essential Novelists - Stendhal: modern consciousness of reality. Tacet Books. ISBN 978-3-96799-211-3. In the years leading up to the July Revolution of 1830, Julien Sorel lives in Paris as an employee of the de la Mole family. Despite his sophistication and intellect, Julien is condescended to as an uncouth plebeian by the de la Moles and their friends. Meanwhile, Julien is acutely aware of the materialism and hypocrisy that permeate the Parisian elite and that the counterrevolutionary temper of the time renders it impossible for even well-born men of superior intellect and aesthetic sensibility to participate in the nation's public affairs. Al volver a París en octubre de 1658, protegido por Felipe I de Orleans, hermano del rey, interpretó ante Luis XIV una tragedia de Corneille, Nicomedes, [7 ]​ que aburrió, y una farsa escrita e interpretada por él mismo, El doctor enamorado, [8 ]​ que divirtió, pero no se ha conservado. Molière lucía un gran talento cómico y su voz y mímica desencadenaron las risas. Pronto la compañía alcanzó una reputación inigualable en lo cómico con El desengaño amoroso y sobre todo con la primera de las grandes comedias de Molière, Las preciosas ridículas ( Les précieuses ridicules, 1659), que consiguió un éxito enorme y confirmó el favor del joven rey Luis XIV hasta el punto de que este los instaló en un teatro estable en el Petit-Bourbon, en donde actuaban alternándose con la compañía italiana Scaramouche, así llamada por el tópico personaje cómico italiano vestido de negro. Angela Pietragrua is cited twice: during their first meeting in 1800; and when he fell in love with her in 1811. Stendhal's character presentation alternates omniscient analysis and interior monologue. Both methods are characterized by transitional omissions, which betoken Stendhal's "pudeur," his refusal to be penetrated by another consciousness, and by sudden, seemingly spontaneous, affective reactions that startle the characters themselves as much as the reader, and that demonstrate realistically the autonomy of the emotions. These sudden jolts experienced by the characters as they discover themselves and Stendhal's rapid narration create an air of tension that intrigues the reader.

Perhaps the most remarkable aspect of The Charterhouse of Parma is its highly sophisticated psychology. Rejecting traditional notions of a fixed and determined psychological makeup, Stendhal never defines his characters and instead depicts individuals in the process of becoming. His literary devices (his authorial comments, the improvisational tone of his narration) seem to grant his characters the freedom to discover themselves. Various forms of freedom are Stendhal’s ultimate preoccupation, which probably explains why he repeatedly explores the ambiguities of the prison image. True freedom, in the world of Stendhal, reveals itself in the context of the cell, once confinement becomes the symbol of the inner world of dreams and longings. His novels thus illustrate metaphorically the fundamental conflict between the demands of society and those of the individual. Another film adaptation of the novel was released in 1954, directed by Claude Autant-Lara. It stars Gérard Philipe, Antonella Lualdi, and Danielle Darrieux. It won the French Syndicate of Cinema Critics award for the best film of the year. Stendhal: definition of Stendhal in Oxford dictionary (American English) (US)". Oxforddictionaries.com. 2014-01-23. Archived from the original on March 26, 2013 . Retrieved 2014-01-28.Conozco el arte de eliminar escrúpulos. En efecto, el Cielo prohíbe ciertos deleites; pero se pueden encontrar arreglos con él. (Está hablando un criminal.) Según las diferentes necesidades, existe una ciencia que enseña a relajar el rigor de la conciencia y a corregir lo malo de los actos con la pureza de la intención. Ya os instruiremos en esos secretos; basta por ahora que os dejéis guiar. Satisfaced mi deseo y no tengáis temor. Yo respondo de todo y tomo el mal para mí [...] El mal reside únicamente en la publicidad que se le da. El escándalo público es el que ofende al Cielo, y pecar en silencio es como no pecar [...] Vuestro marido es un Juan Lanas (Molière, Tartufo, acto IV, escena quinta). The last few chapters show Julien in prison, reconsidering all of his actions over the three years during which the story takes place and considering his place in the world and the nature of society. Mme. de Rênal forgives Julien, and she and Mathilde both attempt to bribe and cajole local officials to overturn Julien’s death sentence. Julien’s affections, meanwhile, have returned to Mme. de Rênal. The novel closes with Julien’s execution; Mme. de Rênal, who pledged to Julien that she would not take her own life and that she would care for Mathilde’s baby, dies three days later, most likely of grief. Johnson, Michael (11 September 2008). "Opinion | Stendhal at his best: A 'worthless' historian". The New York Times. ISSN 0362-4331 . Retrieved 5 January 2022. La muerte del cardenal Mazarino vuelve más fuerte el poder del Rey. El 20 de febrero de 1662 Molière se casó con Armande Béjart, hija de Madeleine, quien tenía unos veinte años menos que él. El mismo año abordó un tema poco corriente en su época: la condición de la mujer, y La escuela de las mujeres ( L'École des femmes) fue un gran éxito. Pero el partido dévote o devoto y sobre todo su sociedad secreta, la Compañía del Santo Sacramento, protegida por la reina madre Ana de Austria, consideraban a Molière un libertino o descreído y temían la influencia que podría ejercer sobre el rey, sobre todo después de que Molière representara en Versalles entre el 8 y el 14 de mayo de 1662 y el 26 de diciembre La escuela de las mujeres, por lo que declararon obscena e irreligiosa esta obra. Además, la protección del Rey había despertado los celos en otras compañías teatrales y se chismorrea interesadamente, por ejemplo, que su esposa Armande no es sino la hija que tuvo con Madeleine Béjart. [10 ]​

a b Times, The New York (2011). The New York Times Guide to Essential Knowledge: A Desk Reference for the Curious Mind. New York: St. Martin's Publishing Group. p.1334. ISBN 978-0-312-64302-7. Stendhal returned to his consular post in Italy in 1839, where he began his last novel, Lamiel, destined never to be completed. Instead of a hero, here he presents a heroine, Lamiel, who further differs from Stendhal's previous protagonists in that she is driven only by an avid curiosity and meets with success by yielding to the expression of spontaneity. She is the most successful adventurer of Stendhal, the most primitive of his protagonists in her amorality, rising from the peasant class to become the queen of Paris. 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.

In complete editions, the first book ("Livre premier", ending after Chapter XXX) concludes with the quotation "To the Happy Few" from The Vicar of Wakefield by Oliver Goldsmith, parts of which Stendhal had memorized in the course of teaching himself English. In The Vicar, "the happy few" read the title character's obscure and pedantic treatise on monogamy—alone. [7] Plot [ edit ] Le Rouge et le Noir is the Bildungsroman of Julien Sorel, the intelligent and ambitious protagonist. He comes from a poor family [1] and fails to understand much about the ways of the world he sets out to conquer. He harbours many romantic illusions, but becomes mostly a pawn in the political machinations of the ruthless and influential people about him. The adventures of the hero satirize early 19th-century French society, accusing the aristocracy and Catholic clergy of being hypocritical and materialistic, foretelling the radical changes that will soon depose them from their leading roles in French society. Lubrich, Naomi (2015). «Wie kleidet sich ein Künstler?», in: KulturPoetik 14:2, 2014, 182–204; Naomi Lubrich, Die Feder des Schriftstellers. Mode im Roman des französischen Realismus. Aisthesis. p.200.

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: No descansaban los detractores de Molière. En 1670 se estrena la comedia de un ilustre desconocido, Le Boulanger de Chalussay, tal vez un pseudónimo, destinada a difamar la vida privada de Molière y sus actores, Élomire Hypocondre, ou Les médecins vengués, donde el nombre del comediógrafo es fácilmente reconocible en forma de anagrama. [17 ]​ Pero, como el poder del Rey se ha fortalecido, Molière, en comandita con el compositor Jean-Baptiste Lully, pasa a ser el proveedor de espectáculos para la Corte. Los amantes magníficos se estrena el cuatro de febrero de 1670 en Saint-Germain y El burgués gentilhombre el catorce de octubre en la Sala de los guardas del primer piso del Castillo de Chambord. Se trata de una comedia-ballet con música de Lully, donde se ridiculiza al rico e ingenuo comerciante Monsieur Jourdain, que aspira a ser recibido en la corte y es timado por un desaprensivo que lo embauca con falsas promesas, de forma que el futuro e ignorante caballero se prepara para ser recibido tomando clases de música, baile, esgrima y filosofía; se hizo tópica la escena en que monsieur Jourdain averigüa que está hablando en prosa sin saberlo. Después, el 24 de mayo de 1671, estrenó Los enredos de Scapin / Les Fourberies de Scapin. Comedias intrascendentes y apresuradas, como La condesa de Escarbagnas, y Psyché (escrita a causa de las prisas en colaboración con Pierre Corneille y Philippe Quinault) preparan Las mujeres sabias, una alta comedia de las mejores del autor, estrenada en 1672. Pero fallece la que todo lo fue para Molière (amiga, amante, socia fundadora antes que resignada suegra): Madeleine Béjart, y además muere a los pocos días de nacer su segundo hijo. [18 ]​ El enfermo imaginario de Honoré Daumier Wood, Michael (March 5, 2015). "What is concrete?". The London Review of Books. 37 (5): 19–21 . Retrieved July 24, 2015. Bamforth, Iain (2010-12-01). "Stendhal's Syndrome". The British Journal of General Practice. 60 (581): 945–946. doi: 10.3399/bjgp10X544780. ISSN 0960-1643. PMC 2991758.Henry Brulard is just one of the dozens of pseudonyms that Stendhal adopted and discarded during his life. The work investigates his early life through adolescence and was prompted by his need to know himself. It is the antithesis of Rousseau's Confessions in that Stendhal, typically rigorously self-demanding, is frank and truthful to the point of deprecating himself. He reconstitutes his intellectual and emotional formation in Grenoble. Although the work is full of historical inaccuracies, it presents an accurate account of the psychological reactions of the child and adolescent. Ese mismo año Molière concluyó su Tartufo / Tartuffe, donde denunciaba la hipocresía religiosa; Tartufo aparecía vestido de cura y con cilicio. El escándalo que se levantó entre los beatos fue de tal calibre que el rey prohibió durante cinco años la obra. A pesar de ello, Molière llevó a cabo algunas representaciones privadas y reescribió la obra dos veces al menos para sortear los reparos; esta pieza cuenta, pues, con un abundante subtexto.