Molière Jugé par Stendhal (Classic Reprint)

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Molière Jugé par Stendhal (Classic Reprint)

Molière Jugé par Stendhal (Classic Reprint)

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Wood, Michael (March 5, 2015). "What is concrete?". The London Review of Books. 37 (5): 19–21 . Retrieved July 24, 2015.

Juventud [ editar ] Molière en el papel de César en La muerte de Pompeyo, por Nicolas Mignard (1658). In 1799, the teenage Stendhal got his wish, traveling to Paris, ostensibly to pursue an academic career in mathematics. His diaries show, however, that he had been nursing a secret plan to become a playwright. He dreamed of become a "modern Jean-Baptiste Moliere," but his plans were soon interrupted by some wealthy relatives, who had him appointed second lieutenant in the French army stationed in Italy. In Italy, Stendhal discovered Lombardy, Milan, and the culture of the Italian people with whom he fell in love. His Italian experiences would dramatically shape the rest of his career. Stendhal’s autobiographical writings, Souvenirs d’égotisme (1892; Memoirs of an Egotist) and Vie de Henri Brulard (1890; The Life of Henri Brulard), are among his most original achievements. Behind their vivacity and charming digressions, they reveal the uneasiness of a tender-hearted and fundamentally insecure human being wearing various masks. The Life of Henri Brulard in particular is a masterpiece of ironic self-searching and self-creation, in which the memories of childhood are closely interwoven with the liberating joy of writing. Temporarily abandoning fiction, Stendhal turned again to biography, Vie de Napoléon (1839), to tragic adventure stories, Chroniques italiennes (1837-39), and to another travelogue, Mémoires d'un touriste (1839). The latter is a satire of customs and mores of provincial French life.

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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 A disciple of the eighteenth-century materialists and a precursor, in this respect, of the determinism of Naturalism, Stendhal conceived the formation of mind and character of man as resulting from experiences he undergoes with external reality. He puts his characters, therefore, in typical situations of everyday life and watches them react.

Markham, J. David (April 1997). "Following in the Footsteps of Glory: Stendhal's Napoleonic Career". Napoleonic Scholarship: The Journal of the International Napoleonic Society. 1 (1) . Retrieved July 22, 2015.

Book contents

Wikipedia articles incorporating a citation from the 1911 Encyclopaedia Britannica with Wikisource reference In The Vicar of Wakefield, "the happy few" refers ironically to the small number of people who read the title character's obscure and pedantic treatise on monogamy. [27] As a literary critic, such as in Racine and Shakespeare, Stendhal championed the Romantic aesthetic by unfavorably comparing the rules and strictures of Jean Racine's classicism to the freer verse and settings of Shakespeare, and supporting the writing of plays in prose. Vladimir Nabokov was dismissive of Stendhal, in Strong Opinions calling him "that pet of all those who like their French plain". In the notes to his translation of Eugene Onegin, he asserts that Le Rouge et le Noir is "much overrated", and that Stendhal has a "paltry style". In Pnin Nabokov wrote satirically, "Literary departments still labored under the impression that Stendhal, Galsworthy, Dreiser, and Mann were great writers." [42]

Stendhal (1975). "Chapter V". Memoirs of an Egotist. Translated by Ellis, David. Horizon. pp. 63. ISBN 9780818002243. 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] A los ocho días de su prohibición, representose ante la corte una obra titulada Scaramouche ermitaño . Al salir díjole el Rey al gran príncipe de marras: "Me gustaría saber por qué se escandaliza tanto la gente con la comedia de Molière y no dice nada de la de Scaramouche ". a lo cual respondió el príncipe: "La causa consiste en que la comedia de Scaramouche se burla del Cielo y de la religión, cosa que a esos caballeros les importa muy poco, mientras que la de Molière se burla de ellos, y esto es lo que no pueden sufrir". [16 ]​Stendhal's unsuccessful love affair with Méthilde Dembowski inspired him to write the autobiographical treatise De l'Amour (1822). Méthilde served as a model for various of Stendhal's subsequent heroines. The treatise analyzes the mechanism of love as Stendhal had observed it operating in himself. The second part of the work is a pseudo-sociological study purporting to show how rational temperament influences and modifies the love mechanism. Stendhal was forced to leave Milan in 1821 because of his liberal political beliefs. Angela Pietragrua is cited twice: during their first meeting in 1800; and when he fell in love with her in 1811. 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.

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: Meanwhile, the Marquis's languorous daughter, Mathilde de la Mole, has become emotionally torn between her romantic attraction to Julien for his admirable personal and intellectual qualities and her revulsion at becoming sexually intimate with a lower-class man. At first Julien finds her unattractive, but his interest is piqued by her attentions and the admiration she inspires in others; twice, she seduces and rejects him, leaving him in a miasma of despair, self-doubt, and happiness (for having won her over her aristocratic suitors). Only during his secret mission does he learn the key to winning her affections: a cynical jeu d'amour (game of love) taught to him by Prince Korasoff, a Russian man-of-the-world. At great emotional cost, Julien feigns indifference to Mathilde, provoking her jealousy with a sheaf of love-letters meant to woo Madame de Fervaques, a widow in the social circle of the de la Mole family. 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.En During his time with the consulate, Stendhal uncovered records of crimes of passion and frightful executions during the time of the Renaissance which would become an inspiration for a series of short stories he published during this period. It was not until 1836, however, when Stendhal at last returned to Paris, that he had the stamina to resume serious intellectual work. In 1839 he published his second masterpiece, Le Chartreuse de Parme ("The Charterhouse of Parma"). He began work on a third major work, but died of a stroke in 1842 before it was completed. 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. Sartre, Jean-Paul (September–October 2009). "War Diary". New Left Review (59): 88–120 . Retrieved July 22, 2015.



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