MINISTRY OF EDUCATION AND SCIENCE
RUSSIAN FEDERATION
Federal State Budgetary Educational Institution
higher professional education
"Nizhny Novgorod State Linguistic University
them. ON THE. Dobrolyubova"
Department of Foreign Literature and Theory of Intercultural Communication
ABSTRACT
by discipline "
Foreign literature
»
THE IMAGE OF JULIEN SOREL IN STENDHAL'S NOVEL THE RED AND THE BLACK
Nizhny Novgorod
2011
Introduction………………………………………………………………3
Main part……………………………………………………..………………… …..5
Conclusion…………………………………………………………….15
List of references………….…………………………….16
Introduction.
Henri Bayle (1783-1842) came to literary creativity through the desire to know himself: in his youth he became interested in the philosophy of the so-called “ideologists” - French philosophers who sought to clarify the concepts and laws of human thinking.
The basis of Stendhal’s artistic anthropology is the opposition of two human types – “French” and “Italian”. The French type, burdened with the vices of bourgeois civilization, is distinguished by insincerity and hypocrisy (often forced); The Italian type attracts with its “barbaric” impulsiveness, frankness of desires, and romantic lawlessness. Stendhal's main works of art depict the conflict of the protagonist of the “Italian” type with the “French” way of society that constrains him; criticizing this society from the point of view of romantic ideals, the writer at the same time insightfully shows the spiritual contradictions of his heroes, their compromises with the external environment; Subsequently, this feature of Stendhal’s work forced him to be recognized as a classic of 19th-century realism.
In 1828, Stendhal came across a purely modern plot. The source was not literary, but real, which corresponded to the interests of Stendhal not only in its social meaning, but also in the extreme drama of the events. Here was what he had been looking for for a long time: energy and passion. The historical novel was no longer needed. Now we need something else: a truthful depiction of modernity, and not so much political and social events, but the psychology and mental state of modern people who, regardless of their own desires, are preparing and creating the future.
“Young people like Antoine Berthe (one of the prototypes of the main character of the novel “The Red and the Black”),” Stendhal wrote, “if they manage to get a good upbringing, they are forced to work and struggle with real need, which is why they retain the ability to have strong feelings and terrifying energy. At the same time, their pride is easily vulnerable.” And since ambition is often born from a combination of energy and pride. Once upon a time, Napoleon combined the same characteristics: a good upbringing, a passionate imagination and extreme poverty.
Main part.
The psychology of Julien Sorel (the main character of the novel "The Red and the Black") and his behavior are explained by the class to which he belongs. This is the psychology created by the French Revolution. He works, reads, develops his mental abilities, carries a gun to defend his honor. Julien Sorel shows daring courage at every step, not expecting danger, but preventing it.
So, in France, where reaction dominates, there is no scope for talented people from the people. They suffocate and die, as if in prison. Those who are deprived of privilege and wealth must, for self-defense and, especially, to achieve success, adapt. Julien Sorel's behavior is determined by the political situation. It links into a single and inextricable whole the picture of morals, the drama of experience, and the fate of the hero of the novel.
Julien Sorel is one of the most complex characters of Stendhal, who pondered him for a long time. The son of a provincial carpenter became the key to understanding the driving forces of modern society and the prospects for its further development.
Julien Sorel is a young man of the people. In fact, the son of a peasant who owns a sawmill must work at it, just like his father and brothers. By his social status, Julien is a worker (but not hired); he is a stranger in the world of the rich, well-mannered, educated. But even in his family, this talented plebeian with a “strikingly unique face” is like an ugly duckling: his father and brothers hate the “frail”, useless, dreamy, impetuous, incomprehensible young man. At nineteen he looks like a scared boy. And enormous energy lurks and bubbles within him - the power of a clear mind, proud character, unbending will, “fierce sensitivity.” His soul and imagination are fiery, and there is flame in his eyes. In Julien Sorel, imagination is subordinated to frantic ambition. Ambition in itself is not a negative quality. The French word "ambition" means both "ambition" and "thirst for glory", "thirst for honor" and "aspiration", "aspiration"; Ambition, as La Rochefoucauld said, does not exist with mental lethargy; in it there is “liveliness and ardor of the soul.” Ambition forces a person to develop his abilities and overcome difficulties. Julien Sorel is like a ship equipped for a long voyage, and the fire of ambition in other social conditions, providing scope for the creative energy of the masses, would help him overcome the most difficult voyage. But now the conditions are not favorable for Julien, and ambition forces him to adapt to other people's rules of the game: he sees that to achieve success, rigid selfish behavior, pretense and hypocrisy, bellicose distrust of people and gaining superiority over them are necessary.
But natural honesty, generosity, sensitivity, which elevate Julien above his environment, conflict with what ambition dictates to him under existing conditions. Julien's image is "truthful and modern." The author of the novel boldly, unusually clearly and vividly expressed the historical meaning of the topic, making his hero not a negative character, not a sneaky careerist, but a gifted and rebellious plebeian, whom the social system deprived of all rights and thus forced to fight for them, regardless of anything .
But many were confused by the fact that Stendhal consciously and consistently contrasted Julien’s outstanding talents and natural nobility with his “ill-fated” ambition. It is clear what objective circumstances determined the crystallization of the militant individualism of the talented plebeian. We are also convinced of how destructive the path turned out to be for Julien’s personality, to which he was driven by ambition.
The hero of Pushkin’s “Queen of Spades,” Herman, a young ambitious “with the profile of Napoleon and the soul of Mephistopheles,” he, like Julien, “had strong passions and a fiery imagination.” But internal struggle is alien to him. He is calculating, cruel and with all his being is directed towards his goal - the conquest of wealth. He really does not take anything into account and is like a naked blade.
Perhaps Julien would have become the same if he himself had not constantly appeared as an obstacle in front of him - his noble, ardent, proud character, his honesty, the need to surrender to immediate feeling, passion, forgetting about the need to be calculating and hypocritical. Julien's life is the story of his unsuccessful attempts to fully adapt to social conditions in which base interests triumph. The “spring” of drama in Stendhal’s works, whose heroes are young ambitious people, lies entirely in the fact that these heroes “are forced to rape their rich nature in order to play the vile role that they have imposed on themselves.” These words accurately characterize the drama of the internal action of “The Red and the Black,” which is based on the spiritual struggle of Julien Sorel. The pathos of the novel lies in the vicissitudes of Julien’s tragic combat with himself, in the contradiction between the sublime (Julien’s nature) and the base (his tactics dictated by social relations).
Julien was poorly oriented in his new society. Everything there was unexpected and incomprehensible, and therefore, considering himself an impeccable hypocrite, he constantly made mistakes. “You are extremely careless and reckless, although this is not immediately noticeable,” Abbot Pirard told him. “And yet, to this day, your heart is kind and even generous, and your mind is great.”
“All the first steps of our hero,” writes Stendhal on his own behalf, “who was quite confident that he was acting as carefully as possible, turned out, like the choice of a confessor, to be extremely reckless. Misled by the arrogance that characterizes imaginative people, he mistook his intentions for accomplished facts and considered himself a consummate hypocrite. "Alas! This is my only weapon! - he thought. “If this were a different time, I would earn my bread by doing things that would speak for themselves in the face of the enemy.”
Education was difficult for him because it required constant self-abasement. This was the case in Renal’s house, in the seminary, and in Parisian social circles. This affected his attitude towards the women he loved. His contacts and breaks with Madame de Renal and Mathilde de La Mole indicate that he almost always acted as the impulse of the moment told him, the need to show his personality and rebel against any real or perceived insult. And he understood every personal insult as a social injustice.
Julien's behavior is determined by the idea of nature, which he wanted to imitate, but in the restored monarchy, even with the Charter, this is impossible, so he has to “howl with the wolves” and act as others act. His “war” with society takes place hidden, and to make a career, from his point of view, means to undermine this artificial society for the sake of another, future and natural one.
Julien Sorel is a synthesis of two, seemingly directly opposite, directions - philosophical and political of the 19th century. On the one hand, rationalism combined with sensationalism and utilitarianism is a necessary unity, without which neither one nor the other could exist according to the laws of logic. On the other hand, there is the cult of feeling and naturalism of Rousseau.
He lives as if in two worlds - in the world of pure morality and in the world of rational practicality. These two worlds - nature and civilization - do not interfere with each other, because both together solve one problem, to build a new reality and find the right ways for this.
Julien Sorel strove for happiness. His goal was the respect and recognition of secular society, which he penetrated through his zeal and talents. Climbing the ladder of ambition and vanity, he seemed to be approaching his cherished dream, but he experienced happiness only in those hours when, loving Madame de Renal, he was himself.
It was a happy meeting, full of mutual sympathy and sympathy, without rationalistic and class barriers and partitions, a meeting of two people of nature - the kind that should exist in a society created according to the laws of nature.
Julien's double worldview manifested itself in relation to the mistress of the Renal house. Madame de Renal remains for him a representative of the rich class and therefore an enemy, and all his behavior with her was caused by class enmity and a complete misunderstanding of her nature: Madame de Renal completely surrendered to her feelings, but the home teacher acted differently - he was always thinking about your social position.
“Now for Julien’s proud heart to fall in love with Madame de Renal has become something completely unthinkable.” At night in the garden, it occurs to him to seize her hand - only to laugh at her husband in the dark. He dared to put his hand next to hers. And then he was overcome with trepidation; not realizing what he was doing, he showered the hand extended to him with passionate kisses.
Julien himself now did not understand what he felt, and apparently forgot about the reason that forced him to risk these kisses. The social meaning of his relationship with the woman in love disappears, and love that began long ago comes into its own.
What is civilization? This is what interferes with the natural life of the soul. Julien’s thoughts about how he should act, how others treat him, what they think about him are all far-fetched, caused by the class structure of society, something that contradicts human nature and the natural perception of reality. The activity of the mind here is a complete mistake, because the mind works in emptiness, without a solid foundation, without relying on anything. The basis of rational knowledge is a direct feeling, not prepared by any traditions, coming from the depths of the soul. The mind must examine sensations in their entirety, draw correct conclusions from them, and draw conclusions in general terms.
The story of the relationship between the plebeian conqueror and the aristocrat Matilda, who despises the spineless secular youth, is unparalleled in the originality, accuracy and subtlety of the drawing, in the naturalness with which the feelings and actions of the heroes are depicted in the most unusual situations.
Julien was madly in love with Matilda, but never for a minute forgot that she was in the hated camp of his class enemies. Matilda is aware of her superiority over the environment and is ready to do “madness” to rise above it.
JULIEN SOREL (French: Julien Sorel) is the hero of F. Stendhal’s novel “Red and Black” (1830). The subtitle of the novel is “Chronicle of the 19th Century.” Real prototypes - Antoine Berthe and Adrien Lafargue. Berthe is the son of a rural blacksmith, a pupil of a priest, a teacher in the bourgeois family of Mishu in the town of Brang, near Grenoble. Madame Mishou, Berthe's mistress, upset his marriage to a young girl, after which he tried to shoot her and himself in a church during a service. Both remained alive, but Berthe was tried and sentenced to death and executed (1827). Lafargue - a cabinetmaker who killed his mistress out of jealousy, repented and asked for the death penalty (1829). The image of J.S. - a hero who commits a criminal crime based on love passion and at the same time a crime against religion (since the attempted murder took place in a church), repented and was executed - was used by Stendhal to analyze the paths of social development.
Literary type Zh.S. characteristic of French literature of the 19th century. - a young man from the bottom, making a career relying only on his personal qualities, the hero of an educational novel on the theme of “loss of illusions.” Typologically Zh.S. is akin to the images of romantic heroes - “superior personalities” who in pride despise the world around them. Common literary roots can be observed in the image of the individualist from J.-J. Rousseau’s “Confessions” (1770), who declared a sensitive and capable of introspection personality (a noble soul) to be an “exceptional person” (1′homme different). In the image of J.S. Stendhal comprehended the experience of rationalistic philosophy of the 17th-18th centuries, showing that a place in society is gained at the cost of moral losses. On the one hand, J.S. is a direct heir to the ideas of the Enlightenment and the Great French Revolution, three key figures of the beginning of the “bourgeois century” - Tartuffe, Napoleon and Rousseau; on the other hand, an extrapolation of the moral wanderings of the romantics - his talent, individual energy, and intellect are aimed at achieving social position. At the center of Zh.S.’s image is the idea of “alienation”, opposition “against everyone” with the final conclusion about his absolute incompatibility with any way of life. This is an unusual criminal, who commits crimes every day to assert himself as an individual, defending the “natural right” to equality, education, love, who decides to kill in order to justify himself in the eyes of his beloved woman, who doubted his honesty and devotion, a careerist, guided by the idea of his chosenness . The psychological drama of his soul and life is a constant oscillation between a noble, sensitive nature and the Machiavellianism of his sophisticated intellect, between devilish logic and a kind, humane nature. The phenomenon of Zh.S.’s personality, emancipated not only from age-old social foundations and religious dogmas, but also from any principles, caste or class, reveals the process of the emergence of individualistic ethics with its egoism and egocentrism, with its neglect of means in achieving set goals. J.S. unable to kill his noble soul completely, he tries to live, guided by internal duty and the laws of honor, at the end of his odyssey coming to the conclusion that the idea of establishing “nobility of spirit” through a career in society is wrong, to the conclusion that earthly hell is worse than death . He renounces the desire to stand “above everyone” in the name of an unbridled feeling of love as the only meaning of existence. Image of J.S. had a huge influence on further understanding of the problem of the “exceptional personality” in literature and philosophy. Immediately after the release of the novel, critics called Zh.S. “monster”, guessing in him the type of future “plebeian with education”. J.S. became the classic ancestor of all the failed lonely conquerors of the world: Martin Eden of J. London, Clyde Griffith of T. Dreiser. Nietzsche has notable references to searches in the author J.S. “missing features” of a new type of philosopher, who declared the primacy of a certain “will to power” in the “supreme personality”. However, J.S. also served as a prototype for heroes experiencing catharsis and repentance. In Russian literature, his heir is F.M. Dostoevsky’s Raskolnikov. According to Nicolo Chiaromonte (Paradoxes of History, 1973), “Stendhal does not teach us the egocentrism that he proclaimed as his credo. He teaches us to give a merciless assessment of the errors of which our feelings are guilty, and all sorts of fables with which the world around us is full.” The famous performer of the role of J.S. the French film adaptation of the novel featured Gérard Philippe (1954).
Lit.: Fonvieille R. Le veritable Julien Sorel. Paris et Grenoble, 1971; Remizov B.G. Stendhal. L., 1978; Gorky A.M. Preface // Vinogradov A.K. Three colors of time. M., 1979; Timasheva O.V. Stendhal. M., 1983; Andrie R. Stendhal, or Masquerade Ball. M., 1985; Esenbaeva R.M. Stendhal and Dostoevsky: typology of the novels “Red and Black” and “Crime and Punishment.” Tver, 1991.
JULIEN SOREL
JULIEN SOREL (French: Julien Sorel) is the hero of F. Stendhal’s novel “Red and Black” (1830). The subtitle of the novel is “Chronicle of the 19th Century.” Real prototypes - Antoine Berthe and Adrien Lafargue. Berthe is the son of a rural blacksmith, a pupil of a priest, a teacher in the bourgeois family of Mishu in the town of Brang, near Grenoble. Madame Mishou, Berthe's mistress, upset his marriage to a young girl, after which he tried to shoot her and himself in a church during a service. Both remained alive, but Berthe was tried and sentenced to death and executed (1827). Lafargue - a cabinetmaker who killed his mistress out of jealousy, repented and asked for the death penalty (1829).
The image of J.S. - a hero who commits a criminal crime based on love passion and at the same time a crime against religion (since the attempted murder took place in a church), repented and was executed - was used by Stendhal to analyze the paths of social development. Literary type Zh.S. characteristic of French literature of the 19th century. - a young man from the bottom, making a career relying only on his personal qualities, the hero of an educational novel on the theme of “loss of illusions.” Typologically Zh.S. is akin to the images of romantic heroes - “superior personalities” who in pride despise the world around them. Common literary roots can be observed in the image of the individualist from J.-J. Rousseau’s “Confessions” (1770), who declared a sensitive and capable of introspection personality (a noble soul) to be an “exceptional person” (1"homme different).
In the image of J.S. Stendhal comprehended the experience of rationalistic philosophy of the 17th-18th centuries, showing that a place in society is gained at the cost of moral losses. On the one hand, J.S. is a direct heir to the ideas of the Enlightenment and the Great French Revolution, three key figures of the beginning of the “bourgeois century” - Tartuffe, Napoleon and Rousseau; on the other hand, an extrapolation of the moral wanderings of the romantics - his talent, individual energy, and intellect are aimed at achieving social position.
At the center of Zh.S.’s image is the idea of “alienation”, opposition “against everyone” with the final conclusion about his absolute incompatibility with any way of life. This is an unusual criminal, who commits crimes every day to assert himself as an individual, defending the “natural right” to equality, education, love, who decides to kill in order to justify himself in the eyes of his beloved woman, who doubted his honesty and devotion, a careerist, guided by the idea of his chosenness . The psychological drama of his soul and life is a constant oscillation between a noble, sensitive nature and the Machiavellianism of his sophisticated intellect, between devilish logic and a kind, humane nature.
The phenomenon of Zh.S.’s personality, emancipated not only from age-old social foundations and religious dogmas, but also from any principles, caste or class, reveals the process of the emergence of individualistic ethics with its egoism and egocentrism, with its neglect of means in achieving set goals. J.S. unable to kill his noble soul completely, he tries to live, guided by internal duty and the laws of honor, at the end of his odyssey coming to the conclusion that the idea of establishing “nobility of spirit” through a career in society is wrong, to the conclusion that earthly hell is worse than death . He renounces the desire to stand “above everyone” in the name of an unbridled feeling of love as the only meaning of existence.
Image of J.S. had a huge influence on further understanding of the problem of the “exceptional personality” in literature and philosophy. Immediately after the release of the novel, critics called Zh.S. “monster”, guessing in him the type of future “plebeian with education”. J.S. became the classic ancestor of all the failed lonely conquerors of the world: Martin Eden of J. London, Clyde Griffith of T. Dreiser. Nietzsche has notable references to searches in the author J.S. “missing features” of a new type of philosopher, who declared the primacy of a certain “will to power” in the “supreme personality”. However, J.S. also served as a prototype for heroes experiencing catharsis and repentance. In Russian literature, his heir is F.M. Dostoevsky’s Raskolnikov. According to Nicolo Chiaromonte (Paradoxes of History, 1973), “Stendhal does not teach us the egocentrism that he proclaimed as his credo. He teaches us to give a merciless assessment of the errors of which our feelings are guilty, and all sorts of fables with which the world around us is full.”
The famous performer of the role of J.S. the French film adaptation of the novel featured Gérard Philippe (1954).
Lit.: Fonvieille R. Le veritable Julien Sorel. Paris et Grenoble, 1971; Remizov B.G. Stendhal. L., 1978; Gorky A.M. Preface
//Vinogradov A.K. Three colors of time. M., 1979; Timasheva O.V. Stendhal. M., 1983; Andrie R. Stendhal, or Masquerade Ball. M., 1985; Esenbaeva R.M. Stendhal and Dostoevsky: typology of the novels “Red and Black” and “Crime and Punishment.” Tver, 1991.
L.G.Vyazmitinova
Literary heroes. - Academician. 2009 .
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2. The plot and composition of Stendhal’s novel “Red and Black”.
Stendhal's novels are characterized by an almost memoiristic, biographical description of the hero's life and, accordingly, the events taking place around him.
Composition of the novel.
In the center is the story of a young man. The story of character development, a person’s path up the social ladder. 4 stages:
1. provincial town
2. seminary
4. step towards death
Narration in "Red and Black" linear , it coincides with the life of the main character Julien Sorel, ending shortly after his head is buried by Mathilde, and Julien’s former lover dies after him.
Work contains several centers– attempts to build Julien’s career: tutor in the house of de Renal, student and teacher in the theological seminary, servant of de La Mole. Having achieved a lot at each level, Julien is forced either by suspicions of an affair with Madame de Renal, then by a change of management at the seminary, or by a letter from Madame de Renal - to abruptly change his position and move to a new ladder (except for the last time - to jail). Thanks to the “biographical” nature of the narrative, the author takes the main character through all the main spheres of life in French society, creating a genuine chronicle of the century.
Plot.
The narration itself begins not with the birth of the main character, but with the “start” - with Verrier’s exposition, like a “tourist atlas”, where the main attractions of the area are described to the reader, Mayor de Renal is depicted, the crowns of plane trees trimmed regularly on his orders, etc. – elements of the province. However, the hero’s story is given on the very first pages of the main narrative, and the main characters are also depicted there - Madame de Renal and her husband, Abbe Chelan and others.
If we talk about the very structure of the work, the task of which was to give a “Chronicle of the 19th century”, to show “The Truth, the Bitter Truth” (the epigraph of the work), then it is divided into two parts, the first contains 30 chapters, the second 45, most of which accompanied by a title and epigraph. Moreover, the epigraph is often from the works of Byron, or even a statement from one of the characters in the book, and sometimes the epigraph is simply repeated when the situation is similar (a date with Madame de Renal - a date with Matilda). The first part tells the story of Julien’s life from his arrival to Madame de Renal to his departure to de la Mole, the second part - from the beginning of Julien’s service to him until his unfortunate death, each part begins with a somewhat detached introduction (in the second part there is a conversation between those traveling from the provinces to the capital gentlemen).
The work concludes with the words that in order not to offend other cities, the author decided to move the scene to an imaginary location. The author is clearly being disingenuous in this conclusion: the second part of the work no longer takes place in Besançon, but in very real cities in France and even abroad, which makes it possible to give a broad “chronicle” - for it, included in Sorel’s life, is the plot of the work.
By the way, it is important to say that the basis for the plot of “Red and Black” was Stendhal took from the chronicle of the Grenoble newspaper, where there was a message about the court case of a certain Antoine Berthe. A young man sentenced to execution, the son of a peasant, who decided to make a career, became a tutor in the family of a local rich man, Mishu, but, caught in a love affair with the mother of his pupils, he lost his job. Failures awaited him later. He was expelled from the theological seminary, and then from service in the Parisian aristocratic mansion of de Cardonet, where he was compromised by his relationship with the owner’s daughter and especially by the letter of Madame Mishou, whom the desperate Berthe shot in the church and then tried to commit suicide.
Also, Stendhal also borrowed the story with Mathilde from another message, and Sorel’s speech in court was almost completely, without editing, copied from another court hearing. Stendhal put all this together and created a real Chronicle of the 19th century, which was completed back in 1830.
5. The image of Julien Sorel and the conflict of Stendhal’s novel.
Julien Sorel is part of the colossal human energy that was released by 1793 and the Napoleonic wars. But he was born too late and exists in conditions of timelessness: under Napoleon, Julien Sorel could have become a general, even a peer of France, now the limit of his dreams is a black cassock. However, Julien Sorel is ready to fight for the black cassock. He longs for a career, and most of all, self-affirmation. He is a stranger to the time, society, city. He is aloof and acts as a foundling. Instead of his mother, he is raised and instructed by the regimental doctor. Julien hides his name, he loves the cat even that. that he doesn't believe in God. Both of his loves come from vanity. This character gradually develops. He was one of thousands who was able to achieve what all the others could not achieve. This is a tragic novel because he makes an attempt on the life of the woman the cat loves most.
It would seem that Julien succeeds in almost everything. He makes Madame de Renal fall in love with him; he becomes necessary for the Marquis de La Mole; he turns his daughter's head, runs with her, becomes a chevalier and an officer, and in five minutes a groom. But every time the house of cards collapses, because, like a bad actor, he overacts or completely leaves the role. However, he is not a bad actor, he is an actor from a completely different play. He had to make Madame de Renal fall in love with him, but he himself fell madly in love with her; he had to subjugate Mathilde de La Mole, and he brought so much passion into this that he would have considered himself unhappy if he had not achieved her. He is generally too passionate, too impetuous, too ambitious, too proud.
To create the image of Sorel, Stendhal uses mainly internal monologues, “ancestor” of the stream of consciousness that entered literature later. Through them, the author seems to penetrate into the thoughts of the character, and thus it is possible to carry out the very analysis of the passions and thoughts of the character that Stendhal was striving for (remember how Sorel decides how he will “take the fortress” of his beloved).
Conflict the work becomes Julien's confrontation, which includes a complex of high aspirations, remarkable abilities and constant self-analysis, and environment– post-Napoleonic France, in which officers and generals, who rose to power from the ranks thanks to their abilities and courage, are replaced by new rulers - unprincipled profit hunters like Valno, and in the clergy the highest positions are given to intriguers and saints who are capable of cleaning the old bishop’s fish; At the same time, the novel also depicts the aristocracy, which was previously the basis of society, but Stendhal portrays the aristocratic youth as slackers without a grain of thought, obeying the laws of society - to repeat the same thing that is possible, and to remain silent about what is not customary to talk about. The old aristocracy in power is represented by ultra-monarchists, who at their secret meetings decide how to call up foreign troops to France in the event of a new popular uprising.
Julien serves all of them, pulling a mask of obsequiousness onto his face, and he restrains himself and courtes him falsely, for show - in order to excite Matilda, etc.; however, he opposes all the values of this society in his soul, and he discards them, in a moment of decisiveness, going to Besançon to get a revolver for Madame de Renal. And his opposition is reflected in his final speech in court, where Sorel tells the judges that they want him to be guilty because they, small shopkeepers and philistines, money bags, hate capable people who rise from the bottom thanks to their abilities. It is not for shooting Madame de Renal that he is sent to the guillotine. Julien's main crime lies elsewhere. The fact that he, a plebeian, dared to be outraged by social injustice and rebel against his pitiful fate, taking his rightful place in the sun.
7. Techniques and means of psychological analysis in Stendhal’s novels.
Stendhal is a great innovator who opened up new ways for the development of artistic prose. Brought understanding to literature the deepest connection of individual fate with the general course of history. Analyzed contradictions public life and internal human conflicts, the complexities of psychology. Hence the invention of psychological analysis.
Sorry, but Tolstoy himself learned to write about war from Stendhal’s “The Parma Monastery”!
The most important place in Stendhal's novels is occupied by analysis of the characters' inner lives. Not the study of permanent character traits and not the registration of successive states, namely analysis of psychological dynamics, developing under the constant influence of external factors.
Stendhal's techniques:
1. External description of circumstances, generating the reaction of the heroes. That is, events give rise to a reaction, either some kind of bodily or internal - for example, an internal monologue.
2. The hero's internal monologue. The transition from description to internal monologue is core Stendhal psychoanalysis. Stream of consciousness will be invented in the 20th century, but for now Stendhal has only an internal monologue. This is a way of orienting a person in the world. The hero himself analyzes his actions and feelings.
3 . At the same time, Stendhal strives to find reasons for actions. He is not afraid of definitions and harsh characteristics, but still conveys the smallest movements of feelings. So, for example, thanks to a subtle analysis, it turns out that Matilda’s love is born as perverted vanity.
4. Depiction of the world through the eyes of the hero. An example of the “correct” style is salon communication. Do not touch special things, do not argue, do not say “no”. Stendhal focuses on other forms of communication: information - a story about what he saw, and confessional, intimate communication. Emphasizes certain types of vocabulary in the speech of characters, for example, military speech in Sorel. Bakhtin insisted on polystylism as the main quality of the novel. The style of internal monologue, the style of confessing to oneself.
5 . Stendhal's novel is also built on what will later be called subtext. Both the entire novel and its individual parts are built on symbolic images and metaphors. Beginning with titles: scarlet is the color of passion and suffering. Scene with prophecy in the church. Every time the color red is present in the church as a symbol of what seems to be a holiday, but ultimately suffering. Black is the color of slavery, service, submission, death and mourning. (see more details about the color symbolism of ticket 9).
Metaphor cages, confinement, prisons- leitmotif in the novel.
Metonymy the author becomes metaphor. Description of a phenomenon through its part and allegory. The metaphorical style is a romantic style, and the metonymic style is realistic (through detail). Symbolism of nature, symbolism of the church, the image of Napoleon, symbolism of war, colors.
9. Female images of Stendhal’s novels.There is the main character and two loves, both forbidden ones. But all these loves have very different characters.
In "The Red and the Black" there are two main characters with whom Julien Sorel plays tricks: Louise de Renal And Mathilde de la Mole.
Julien ends up with Madame de Renal as a tutor. At first Madame de Renal is against it, because she loves her boys very much and is afraid that some bearded guy will beat them, but when she sees poor little Julien, the fear goes away. Gradually they fall in love with each other, and at the same time de Renal doesn't understand for a long time she in love; When he understands, he is immensely surprised. But she feels her sinfulness, and when her son falls ill, she believes that this is God’s punishment for her affair.
Madame de Renal - nature thin, solid- embodies moral ideal Stendhal. Her feelings for Julien naturally And purely. Behind the mask of an embittered ambitious man and a daring seducer, who once entered her house, as one enters an enemy fortress that needs to be conquered, she discovered the bright appearance of a young man - sensitive, kind, grateful, learning for the first time the selflessness and power of true love. Only with Louise de Renal did the hero allow himself to be himself, taking off the mask in which he usually appeared in society.
In general, it's a little naive and narrow-minded, but in general sincerely loving Julienne Madame. And at the end of the novel, Julien Sorel discovers the truth. In the face of death, vanity finally leaves his ardent soul. All that remains is love for Madame de Renal. Suddenly he realizes that his thorny road to the top is a mistake, that the vanity that has driven him for so many years has not allowed him to enjoy true life, or rather his love for Madame de Renal. He did not understand the main thing - that this was the only gift of fate for him, which he rejected, chasing the chimeras of vanity. The last meetings with Madame de Renal are moments of happiness, high love, where there is no place for vanity and pride.
Another thing is with the second heroine of the novel - Mathilde de la Mole. This is a brilliant aristocrat, whose marriage was supposed to confirm his position in high society. Unlike the image of Madame de Renal, the image of Matilda in the novel seems to embody Julien's ambitious ideal, in the name of which the hero was ready to make a deal with his conscience. A sharp mind, rare beauty and remarkable energy, independence of judgment and action, the desire for a bright life full of meaning and passion - all this undoubtedly raises Matilda above the world around her of dull, lethargic and faceless high-society youth, whom she openly despises. Julien appeared before her as an extraordinary person, proud, energetic, capable of great, daring, and perhaps even cruel deeds.
Immense vanity moves de La Mole. Her full name is Matilda-Marguerite - in honor of the French Queen Margot, whose lover was Boniface de La Mole, the famous ancestor of the La Mole family. He was beheaded as a conspirator on the Place de Greve on April 30, 1574. Queen Margot bought the head of Boniface La Mole from the jailer and buried it with her own hands. Since then, every year on April 30, Mathilde de La Mole mourned for Boniface de La Mole. In other words, her vanity has heroic roots.
Matilda falls in love in Julien Sorel too out of vanity me: he is a commoner and at the same time unusually proud, independent, intelligent, has remarkable willpower - in a word, he is sharply different from those seemingly brilliant and at the same time faceless aristocratic gentlemen who surround the beautiful Matilda. She thinks, looking at Julien, what will happen to him and her fans if the bourgeois revolution begins again.
The love of Mathilde de La Mole and Julien Sorel - struggle of vanities. Matilda falls in love with him because he doesn't love her. What right does he have not to love her if everyone else adore her?! Not loving at all, Julien climbs up the stairs into her room, mortally risking his life, because he is afraid of being branded “in her eyes the most despicable coward.” However, as soon as Julien truly fell in love with Matilda, her vanity tells her that she, in whose veins almost royal blood flows, gave herself up to a commoner, "to the first person you meet", and therefore meets her lover with fierce hatred, so that he, in turn, almost kills her with the ancient sword of La Moley, which again flatters Mathilde’s pride and again pushes her to Julien, only to soon reject him again and torment him with icy coldness.
Mathilde de La Mole, on the contrary, at this turning point gets the opportunity to indulge her vanity with all her might: while Julien Sorel is awaiting execution in the prison tower and is about to be beheaded, just like Mathilde’s hero Boniface de La Mole, she harbors a dream to save her loved one, bring such incredible things in the name of his salvation victims that everyone around her will be amazed and many decades later will begin to talk about her amazing love passion. Julien is executed - and Matilda, like Queen Margot, kisses his headless head, buries it in a cave with her own hands and scatters thousands of five-franc coins into the crowd of people. So the incredible Mathilde de La Mole's heroic vanity triumphs to be imprinted in people's memory forever.
In the novel "The Parma Monastery" the main female characters are Gina Pietranera And Clelia Conti.
Gina Pietranera (nee Sanseverina) in her time challenged her clan y, dissociating himself from the feudal nobility and forever being deprived of the inheritance due to her. Contrary to the wishes of the marquis's brother, she marries an impoverished nobleman Count Pietranera, participant in Napoleonic campaigns.
Relevant education gives she and her nephew Fabrizio, enthusiastically perceiving everything connected with Napoleon. She loves very much her nephew, constantly worries about him, helps him and wants to achieve high positions for him. Thanks to her husband, Count Mosca, she often saves t Fabrizio from all sorts of troubles (read the summary).
Gina - strong, bright personality, smart, charming, amazes everyone with her subtlety. Her home is the most hospitable and cheerful.
At the same time she tends to be guided not by reason, but by feelings and passions s of your actions.
So, in fact, she falls in love into a nephew, although she herself fears incest. Fabrizio understands this, but he I'm sure I'm not capable of strong love, and does not want to lose a friend in the countess.
The Countess understands all this, but at the same time she is jealous of Fabrizio towards other women, for example, when he pursues theater actress Marietta Valserra.
Another heroine of the "Parma Monastery" - Clelia Conti. Fabio Conti, her father, is the commandant of the fortress, belonging to the clique of the Marchesa Raversi, where Fabrizio ends up. There he meets Clelia and falls in love with her angelic appearance. Going up to his cell, he thinks only about her. Gradually they begin to communicate. They talk using the alphabet, Fabrizio drawing letters with charcoal on his palm. He writes long letters in which he tells Clelia about his love and, when darkness falls, he lowers them down on a rope. He spends three months in prison, but at the same time he feels the happiest person in the world. He believed that he did not know how to love, but in reality he just needed to meet Clelia.
Clelia - very clean, light character. She sincerely loves Fabrizio, all so beautiful, etc. fidgets with remorse, in general, something like Madame de Renal.
Wherein the girl is tormented by remorse, she realizes that by helping Fabrizio, she is betraying her father. But she must save Fabrizio, whose life is constantly in danger. She helps him escape, and at the same time makes a vow to Madonna: If Fabrizio manages to escape, she will never see him again, submit to her father's will and marry according to his choice. When the escape is successful, Fabrizio descends from a dizzying height and loses consciousness at the bottom. Gina takes him to Switzerland, they live secretly in Lugano. But Fabrizio does not share Gina's joy. She guesses that the reason for his constant sadness is separation from Clelia. The Duchess no longer loves Fabrizio as she did before, but this guess hurts her.
In the meantime, the sentence has not been overturned. Fabrizio is awaiting a judicial review of the case, but in the meantime he should be in prison. Without waiting for an official order, he returns voluntarily to the fortress, to his former cell. It is impossible to describe Clelia's horror when she sees Fabrizio again in the cell window. Her father considers Fabrizio's flight a personal insult and vows that this time he will not let him out alive. General Conti does not hide his intentions from Clelia. She knows that the lunch being brought to Fabrizio is poisoned. Pushing away the jailers, she runs into his cell and overturns the table on which lunch is already standing.
After the verdict was overturned, Fabrizio became chief vicar under the Archbishop of Parma Landriani, and after his death he himself received the rank of archbishop. His sermons are very moving and are a huge success. But he's deep unhappy. Clelia keeps her vow. Obeying the will of her father, she marries the Marquis Crescenzi, the richest man in Parma, but does not stop loving Fabrizio. Her only refuge is the hope of Madonna's help.
Fabrizio is in despair. Clelia understands how cruelly she is acting. She allows Fabrizio to come to her secretly, but she must not see him. Therefore, all their dates take place in complete darkness. This continues for three years. During this time, Clelia r son got dressed, little Sandrino. Fabrizio adores the child and wants him to live with him. But officially the boy’s father is considered to be the Marquis Crescenzi. Therefore, the child must be kidnapped and then a rumor about his death must be spread. This plan succeeds, but the baby soon dies. Following him, Clelia also dies, unable to bear the loss. Fabrizio is close to suicide. He renounces the rank of archbishop and retires to the Parma monastery.
Duchess Sanseverina marries Count Mosca and leaves Parma forever. All external circumstances turn out happily for her, but when, after spending only a year in the monastery, Fabrizio, whom she idolizes, dies, she was able to survive him for a very short time.
In general, this is such a forbidden love in which everyone is unhappy.
11. The role of internal monologue in Stendhal’s novels.
Stendhal builds the plot on the history of the hero's spiritual life, the formation of his character, presented in a complex and dramatic interaction with the social environment. The plot here is driven not by intrigue, but by internal action, transferred to the soul and mind of Julien Sorel, who each time strictly analyzes the situation and himself in it before deciding to take an action that determines the further development of events. Hence the special significance internal monologues, including the reader in the thoughts and feelings of the characters. “An accurate and penetrating depiction of the human heart” defines the poetics of “Red and Black” as an example of a socio-psychological novel in the world realistic literature of the 19th century.
Stendhal discovered something new in literature - an analysis of the inner life of a person, the dialectic of feelings. One of the most important artistic techniques in his work is dramatization. This is the desire to show the reader the subject as it is, without hiding either your opinion or your understanding of the characters. Stendhal allows his characters to speak independently - most of the text is represented by dialogues.
Stendhal shows the hero from 3 sides:
Outside observer;
A person who knows them;
- in front of oneself.
Stendhal developed a whole system of methods of psychological analysis. The main technique used for analysis is internal monologue. For the first time in the text of the novel “Red and Black,” Abbot Shelan’s internal remark about his fate is: “I am an old man, and they love me here, they won’t dare.” The main internal monologues are by Julien Sorel: “It would be cowardice on my part if I do not do something that can benefit me and counteract the slightly contemptuous arrogance with which this beautiful damsel must be treating the poor craftsman who has just left the saw.” For the first time, something similar to the inner life of a person: the internal monologue is primary, then thought, recognition. Stendhal's internal monologue is the path to spiritual life. An external stimulus appears - the thought doubles - then it is reassembled and formed into a complete one. (Although this is not as close to reality as postmodern stream of consciousness). Abbot Pirard also has internal monologues (impressions of Sorel): “This Shelan is a strange man! - thought Abbot Pirard. “Did he really give him this book to convince him that it should not be taken seriously?”, from Matilda, from the Marquis de La Mole.
The technique of internal monologue is a simplified and most commonly used technique in 19th-century literature. In addition to the internal monologue, Stendhal uses improperly direct speech(especially in the depiction of the inner world of Madame de Renal): “What! So wow, this tutor! She imagined a dirty slob-priest who would yell at her children and flog them with rods.”
Internal monologues, first of all, show the intellectual consciousness, the train of thought of the characters. In relation to different heroes, Stendhal uses different methods of penetration into the inner world.
Sorel formulates his own thoughts. He is not the author’s mouthpiece, but is endowed with thought and understanding of himself and duty to himself: “I told her that I would come to her at two o’clock,” he reasoned to himself, getting out of bed, “I can be an ignoramus and a rude person, as it is, Of course, that’s what a peasant’s son is supposed to do,” Madame Derville made this very clear to me, “but I will at least prove that I am not a nonentity.”
Madame de Renal– psychology of passion development. We see how she embellishes the object of her love. The internal remark is only once when she realizes her feeling: “Do I really love Julien? - she finally asked herself. The feeling came to her unexpectedly, Stendhal skillfully analyzes this. Her psychological state is often reflected physically - she gets sick from jealousy.
Other artistic features of the work are also associated with the internal monologue:
1). Stendhal's desire to find out the reasons for the behavior of his heroes every time. So, if it is clear why de Renal fell in love with Sorel (she never knew true love, the first person who was able to appreciate and understand it), then Matilda’s love can only be explained by perverted vanity, which she explains in her internal monologues: “Everything should be unusual in the fate of a girl like me!”
2). Depicting the world through the eyes of your heroes.
3). to show the character of the hero. For example, Sorel’s frequent remark “To arms!”
12. Depiction of the Battle of Waterloo in Stendhal’s novel “The Monastery of Parma”: basic storytelling techniques.
The main theme of the work is the image of great love, true passion. But what comes first in “The Monastery of Parma” is not the depiction of passions, but the immersion of the individual in modern life. What makes this novel different?
The main idea that Stendhal tried to express: a person’s character is directly related to the surrounding reality, to historical events and the social environment. A certain concept of a person is used - an extremely impulsive, passionate, adventurer, which is especially evident in the behavior of the main character - Fabrizio del Dongo - on the battlefield of Waterloo.
Stendhal had a controversial attitude towards the Battle of Waterloo, as well as towards Napoleon, who went from revolution to dictatorship. On the one hand, this is the fall of a tyrant, on the other, this is the fall of the republic. His defeat played a certain role in the fate of the heroes: Gina changes her political views, and Fabrizio is sent to prison for being in Napoleon’s army. Stendhal shows how the state powerfully invades the hero’s fate: revolution - freedom, on the other hand - the Parma state, counter-revolution.
The depiction of the Battle of Waterloo has all the features of realism, since Stendhal strives to show the war as it is - a monstrous disaster, the entire battlefield can be covered in this scene. It is no coincidence that Tolstoy relied specifically on the Battle of Waterloo in the “Parma Monastery” to depict battle scenes.
Stendhal's main installations:
A). Unity in diversity. The Battle of Waterloo involves many characters, the narrative develops in fits and starts, there is no logic: “Suddenly a dense crowd moving along the high road first quickened its pace, then rushed to the left, through a narrow roadside ditch, and rushed headlong across the field. "Cossacks! Cossacks"! - they shouted from all sides.” This “suddenly” occurs constantly, since what is happening changes every second, and the hero’s attention (the gaze through the hero’s eyes is constantly used) switches to the next scene. Stendhal rejects the concept of unity and integrity introduced by Aristotle in the Poetics, since integrity is not suitable for life. Only some finality is possible.
B). Teleology - sets itself the task of answering the question “why, for what purpose?” without analyzing the cause-and-effect relationship of phenomena. That is, improvisation is possible during the text, but the ending is known. Stendhal's installation destroyed the previous integrity of the work.
Important in the depiction of the Battle of Waterloo and in the novel:
A huge role of chance (For example, Fabrizio ended up in the 6th light regiment simply because a canteen brought him; during the battle he saw Napoleon and Marshal Ney, but could not see them - one due to alcohol intoxication, the other due to gunpowder smoke, on the battlefield he met his mother’s former lover, etc.)
Time is depicted in leaps and bounds;
Relying on accurate historical facts, but also distorting them if necessary for the narrative. For example: “About five o’clock in the morning he heard cannonade: the battle of Waterloo had begun. Historically, the Battle of Waterloo took place on June 18, 1815. In the novel, artillery preparation for battle begins at 5 o'clock. morning, in reality it began at 11:30 am. Napoleon waited for the ground to dry out after the rain.
Narration Techniques:
Dynamic, changeable narrative.
