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. La vida de Molière se documentó desde muy pronto; ya Voltaire le escribió una temprana biografía, que acompañó con comentarios a cada una de sus obras. [2 ]​ Hijo del tapicero real Jean Poquelin y de Marie Cressé, se atribuye a sus tíos (sin que esto sea seguro) la razón de su interés por el teatro, ya que a menudo lo llevaban a ver piezas representadas. 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. Stendhal's brief memoir, Souvenirs d'Égotisme ( Memoirs of an Egotist), was published posthumously in 1892. Also published was a more extended autobiographical work, thinly disguised as the Life of Henry Brulard.

Juventud [ editar ] Molière en el papel de César en La muerte de Pompeyo, por Nicolas Mignard (1658). Martin Brian Joseph. Napoleonic Friendship: Military Fraternity, Intimacy, and Sexuality in Nineteenth- Century France. UPNE, 2011, p. 123 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.

CLICK to LISTEN & SEE all programmes, images, clips & features from 2017's festival

Julien Sorel, the ambitious son of a carpenter in the fictional village of Verrières, in Franche-Comté, France, would rather read and daydream about the glorious victories of Napoleon's long-disbanded army than work in his father's timber business with his brothers, who beat him for his intellectual pretensions. [1] He becomes an acolyte of the Abbé Chélan, the local Catholic prelate, who secures for Julien a job tutoring the children of Monsieur de Rênal, the mayor of Verrières. Although representing himself as a pious, austere cleric, Julien is uninterested in religious studies beyond the Bible's literary value and his ability to use memorized Latin passages to impress his social superiors. Book II chronicles Julien’s time in Paris with the family of M. de la Mole. Julien tries to participate in the high society of Paris, but the nobles look down on him as something of a novelty — a poor-born intellectual. Julien, meanwhile, finds himself torn between his ambitions to rise in society and his disgust at the base materialism and hypocrisy of the Parisian nobility. Molière era un gran lector; el inventario de su biblioteca menciona unos ciento ochenta volúmenes de historia y literatura, de los cuales cuarenta son comedias francesas, italianas y españolas. [21 ]​ Los argumentos de Molière son a menudo poco originales, algo de lo que también se podría acusar a Shakespeare; a menudo las toma de algún autor menor. L'Étourdi, por ejemplo, es una imitación de L'Inavertito de Niccolò Barbieri (Turin, 1628). Le Dépit amoureux se inspira en Nicolo Secchi, L'Interesse (1581). Ya se ha hablado de cómo el Dom Juan viene de Tirso de Molina a través de Le Festin de pierre ou le Fils criminel (1659) de Dorimond, pero de los Adelfos de Terencio se toman algunos elementos de L'École des maris y de su Phormion la estructura de las Fourberies de Scapin. Dom Garcie de Navarre ou le Prince jaloux es además una adaptación de Le gelosie fortunate del principe Rodrigo de Giacinto Andrea Cicognini, mientras que La Princesse d'Élide lo es de una pieza de Agustín Moreto. L'École des maris combina una comedia española de Antonio Hurtado de Mendoza con una farsa italiana; L'École des femmes contamina una novela de Paul Scarron (por cierto, gran plagiador de hispanos) con una farsa italiana; el Tartuffe toma sobre todo de Flaminio Scala, Vital d'Audiguier y Antoine Le Métel d'Ouville, así como, más accesoriamente, de otra novela de Scarron, Les Hypocrites, que contamina con los scenari italianos y, según algunos, con la pieza de Pietro Aretino Lo ipocrito. En Les Précieuses ridicules, Molière explota muy particularmente una obra de Charles Sorel sobre Les Lois de la galanterie, pero tomando la trama de L'Héritier ridicule (1649) de Scarron. Para Le Misantrophe el propio Molière admitió haberse inspirado en los fragmentos conservados de la obra homónima de Menandro, el gran autor de la comedia nueva griega. Estrena en 1666 dos obras maestras, El misántropo ( Le Misanthrope) y El médico a palos / Le Médecin malgré lui. En El misántropo expresa su amargura tras separarse de Armande e introduce un nuevo tipo de necio, un hombre de elevados principios morales que critica constantemente la debilidad y estulticia de los demás y, sin embargo, es incapaz de ver los defectos de Célimène, la muchacha de la que se ha enamorado y que encarna a esa sociedad que él condena. [13 ]​ Las últimas obras [ editar ] Estatua de Molière, en la esquina de la Rue de Richelieu y la Rue Molière en París, Francia. Tumba de Molière, en el cementerio de Père Lachaise, París. Today, Stendhal's works attract attention for their irony and psychological and historical dimensions. Stendhal was an avid fan of music, particularly the works of the composers Domenico Cimarosa, Wolfgang Amadeus Mozart and Gioacchino Rossini. He wrote a biography of Rossini, Vie de Rossini (1824), now more valued for its wide-ranging musical criticism than for its historical content. He also idealized aristocracy, noting its antiegalitarianism but appreciating how it is liberal in its love of liberty. [30]

a b Starobinski, Jean (1989). "Pseudononimous Stendhal". The Living Eye. Translated by Arthur Goldhammer. Harvard University Press. ISBN 0-674-53664-9. Clarke, Stephen (2015). How the French Won Waterloo - or Think They Did. Random House. ISBN 978-1-4735-0636-7. The first book introduces Julien, a romantic youth who spends his time with his nose in books or daydreaming about being in Napoleon’s (by then defunct) army rather than working with his carpenter father and brothers, who beat him for his pseudo-intellectual tendencies. Julien ends up becoming an acolyte for the local Catholic Abbé, who later secures him a post as tutor for the children of the Mayor of Verrières, M. de Rênal. Julien acts as a pious cleric, but in reality has little interest in the Bible beyond its literary value and the way he can use memorized passages to impress important people. Over time, Julien begins an affair with the wife of M. de Rênal, one that ends badly when the affair is exposed throughout the town by a servant, Eliza, who had designs of her own on Julien. M. de Rênal then banishes Julien, who moves on to a seminary that he finds cliquish and stifling. The director of the seminary, M. Pirard, takes a liking to Julien, and when M. Pirard leaves the seminary in disgust at the political machinations of the Church’s hierarchy, he recommends Julien as a candidate for secretary to the diplomat and reactionary M. de la Mole. 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.Brombert, Victor (2018). Stendhal: Fiction and the Themes of Freedom. Chicago: University of Chicago Press. p.11. ISBN 978-0-226-53829-7. In Jean-Paul Sartre's play Les Mains sales (1948), the protagonist Hugo Barine suggests pseudonyms for himself, including Julien Sorel, whom he resembles.