The Pleasures of the Enchanted Island: 2nd day, May 7, 1664: representation of the ballet comedy of Molière and Lulli "The Princess of Elis" on the green theater set up in the middle of the royal alley 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. Jefferson, Ann. Reading Realism in Stendhal (Cambridge Studies in French). Cambridge University Press, 1988. Ford Madox Ford, in The English Novel, asserts that to Diderot and Stendhal "the Novel owes its next great step forward...At that point it became suddenly evident that the Novel as such was capable of being regarded as a means of profoundly serious and many-sided discussion and therefore as a medium of profoundly serious investigation into the human case." [38]

Stendhal was a dandy and wit about town in Paris, as well as an obsessive womaniser. [16] His genuine empathy towards women is evident in his books; Simone de Beauvoir spoke highly of him in The Second Sex. [17] She credited him for perceiving a woman as just a woman and simply a human being. [17] [18] Citing Stendhal's rebellious heroines, she maintained that he was a feminist writer. [19] One of his early works is On Love, a rational analysis of romantic passion that was based on his unrequited love for Mathilde, Countess Dembowska, [20] whom he met while living at Milan. Later, he would also suffer "restlessness in spirit" when one of his childhood friends, Victorine got married. In a letter to Pauline, he described her as the woman of his dreams and wrote that he would have discovered happiness if he became her husband. [21] This fusion of, and tension between, clear-headed analysis and romantic feeling is typical of Stendhal's great novels; he could be considered a Romantic realist.

Summary

Scott, Virginia (2000). Molière, A Theatrical Life. Cambridge University Press. ISBN 9780192115461. It was in his novels above all, and in his autobiographical writings (the interchange between these two literary activities remains a constant feature in his case), that Stendhal’s thoughts are expressed most fully. But even these texts remain baffling. Their prosaic and ironic style at first glance hides the intensity of Stendhal’s vision and the profundity of his views. Le Misanthrope ou L'Atrabilaire amoureux (4 June 1666)— The Misanthrope, or, the Cantankerous Lover Contemporary readers did not fully appreciate Stendhal's realistic style during the Romantic period in which he lived. He was not fully appreciated until the beginning of the 20th century. He dedicated his writing to "the Happy Few" (in English in the original). This can be interpreted as a reference to Canto 11 of Lord Byron's Don Juan, which refers to "the thousand happy few" who enjoy high society, or to the "we few, we happy few, we band of brothers" line of William Shakespeare's Henry V, but Stendhal's use more likely refers to The Vicar of Wakefield by Oliver Goldsmith, parts of which he had memorized in the course of teaching himself English. [27] In 1807, Stendhal stayed near Stendal, where he fell in love with a woman named Wilhelmine, whom he called Minette, and for whose sake he remained in the city. "I have no inclination, now, except for Minette, for this blonde and charming Minette, this soul of the north, such as I have never seen in France or Italy." [23] Stendhal added an additional "H" to make the Germanic pronunciation more clear.

a b Nemo, August (2020). Essential Novelists - Stendhal: modern consciousness of reality. Tacet Books. ISBN 978-3-96799-211-3.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. In Lyon, Mademoiselle Du Parc, known as Marquise, joined the company. Marquise was courted, in vain, by Pierre Corneille and later became the lover of Jean Racine. Racine offered Molière his tragedy Théagène et Chariclée (one of the early works he wrote after he had abandoned his theology studies), but Molière would not perform it, though he encouraged Racine to pursue his artistic career. It is said that soon thereafter Molière became angry with Racine when he was told that he had secretly presented his tragedy to the company of the Hôtel de Bourgogne as well. Cronyn, Hume (1991). A Terrible Liar: A Memoir. New York: Morrow. p.275. ISBN 9780688128449 . Retrieved 1 November 2009.

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. Voyage dans le midi de la France (1838; though first published posthumously in 1930) ( Travels in the South of France) The incongruous yet always harmonious combination of lyricism and high comedy, of realism and dreamlike atmosphere, of The Charterhouse of Parma allows the author to caricaturize the petty tyranny of post-Napoleonic Europe, to question public morality, and to assert the prerogatives of love’s follies. There are subtly drawn portraits of the naive and idealistic young Fabrice del Dongo (notably at the Battle of Waterloo); of his courageous and passionate aunt, the Duchess de Sanseverina; of her lover, the benevolent Machiavellian statesman Count Mosca; and of the young and innocent Clélia Conti, the daughter of Fabrice’s jailer, who falls in love with the handsome prisoner. Passion in all its forms is the novel’s recurrent theme. And once again, the young hero learns the deeper lessons of spirituality, love, and freedom within the liberating confines of a prison cell.For partners and peer institutions seeking information about standards, project requests, and our services.

Ranum, Patricia M. (2004). Portraits around Marc-Antoine Charpentier. Baltimore: Patricia M. Ranum. "Molière", pp.141–49. ISBN 9780966099737. Chic interiors and glamourous salons, in an unbeatable central location, Molière and Stendhal are old neighbours! My argument is that there exists soHartnoll, p. 554. "Author of some of the finest comedies in the history of the theater", and Roy, p. 756. "...one of the theatre's greatest comic artists". Simone de Beauvoir uses Stendhal as an example of a feminist author. In The Second Sex de Beauvoir writes "Stendhal never describes his heroines as a function of his heroes: he provides them with their own destinies." [41] She furthermore points out that it "is remarkable that Stendhal is both so profoundly romantic and so decidedly feminist; feminists are usually rational minds that adopt a universal point of view in all things; but it is not only in the name of freedom in general but also in the name of individual happiness that Stendhal calls for women's emancipation." [41] Yet, Beauvoir criticises Stendhal for, although wanting a woman to be his equal, her only destiny he envisions for her remains a man. [41] 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. In 1666, Le Misanthrope was produced. It is now widely regarded as Molière's most refined masterpiece, the one with the highest moral content, but it was little appreciated at its time. It caused the "conversion" of Donneau de Visé, who became fond of his theatre. But it was a commercial flop, forcing Molière to immediately write Le médecin malgré lui ( The Doctor Despite Himself), a satire against the official sciences. This was a success despite a moral treatise by the Prince of Conti, criticizing the theatre in general and Molière in particular. In several of his plays, Molière depicted the physicians of his day as pompous individuals who speak (poor) Latin to impress others with false erudition, and know only clysters and bleedings as (ineffective) remedies.