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French novel by Stendhal

The Red and the Black

Henri Dubouchet's illustration for an 1884 edition of Le Rouge et le Noir, Paris: 50. Conquet
Author	Stendhal (Henri Beyle)
Original title	Le Rouge et le Noir
Country	France
Language	French
Genre	Bildungsroman
Publisher	A. Levasseur
Publication date	Nov 1830
Media type	Print (Hardback & Paperback)
Pages	ii vol.
ISBN	0-521-34982-6 (published before the ISBN system)
OCLC	18684539
Dewey Decimal	843/.vii 19
LC Class	PQ2435.R72 H35 1989
Original text	Le Rouge et le Noir at French Wikisource
Translation	The Red and the Blackness at Wikisource

Le Rouge et le Noir (French pronunciation: ​ [lə ʁuʒ east l(ə) nwaʁ]; pregnant The Red and the Black ) is a historical psychological novel in two volumes past Stendhal, published in 1830.^[ane] It chronicles the attempts of a provincial swain to rise socially beyond his pocket-size upbringing through a combination of talent, hard work, charade, and hypocrisy. He ultimately allows his passions to betray him.

The novel's full championship, Le Rouge et le Noir: Chronique du XIX^e siècle (The Red and the Blackness: A Chronicle of the 19th Century),^[ii] indicates its twofold literary purpose as both a psychological portrait of the romantic protagonist, Julien Sorel, and an analytic, sociological satire of the French social order nether the Bourbon Restoration (1814–xxx). In English, Le Rouge et le Noir is variously translated as Red and Black, Scarlet and Black, and The Red and the Black, without the subtitle.^[3]

The championship is taken to refer to the tension betwixt the clerical (black) and secular (reddish)^[4] interests of the protagonist. But it could also refer to the and then-pop bill of fare game "rouge et noir," with the carte game being the narratological leitmotiv of a novel in which chance and luck determine the fate of the master graphic symbol.^[5] There are other interpretations as well.^[vi]

Background [edit]

Le Rouge et le Noir is the Bildungsroman of Julien Sorel, the intelligent and ambitious protagonist. He comes from a poor family^[i] and fails to sympathise much about the ways of the world he sets out to conquer. He harbours many romantic illusions, but becomes by and large 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 Cosmic clergy of being hypocritical and materialistic, foretelling the radical changes that volition soon depose them from their leading roles in French society.

The beginning volume's epigraph, "La vérité, l'âpre vérité" ("The truth, the harsh truth"), is attributed to Danton, only similar nigh of the chapters' epigraphs it is actually fictional. The commencement chapter of each volume repeats the title Le Rouge et le Noir and the subtitle Chronique de 1830. The title refers to the contrasting uniforms of the army and the church. Early in the story, Julien Sorel realistically observes that nether the Bourbon Restoration it is impossible for a man of his plebeian social class to distinguish himself in the ground forces (as he might take done under Napoleon), hence just a church career offers social advancement and glory.

In complete editions, the first book ("Livre premier", catastrophe 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 form of teaching himself English. In The Vicar, "the happy few" read the title graphic symbol's obscure and pedantic treatise on monogamy—lonely.^[7]

Plot [edit]

In two volumes, The Red and the Black: A Relate of the 19th Century tells the story of Julien Sorel's life in French republic's rigid social structure restored subsequently the disruptions of the French Revolution and the reign of Napoleon Bonaparte.

Book I [edit]

Julien Sorel, the aggressive son of a carpenter in the fictional village of Verrières, in Franche-Comté, France, would rather read and fantasize about the glorious victories of Napoleon's long-disbanded army than work in his father'southward timber business concern with his brothers, who vanquish 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 every bit a pious, austere cleric, Julien is uninterested in religious studies beyond the Bible'southward literary value and his power to use memorized Latin passages to impress his social superiors.

He begins a love matter with Monsieur de Rênal'southward wife, which ends when her chambermaid, Elisa, who is also in love with Julien, makes it known to the hamlet. The Abbé Chélan orders Julien to a seminary in Besançon, which he finds intellectually stifling and populated past social cliques. The initially contemptuous seminary managing director, the Abbé Pirard, likes Julien and becomes his protector. When the Abbé, a Jansenist, leaves the seminary, he fears Julien will suffer for having been his protégé and recommends Sorel as private secretary to the diplomat Marquis de la Mole, a Catholic legitimist.

Book II [edit]

The 2d book of the 1831 edition of The Crimson and the Black.

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 composure and intellect, Julien is condescended to equally an uncouth plebeian past 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 fourth dimension renders it incommunicable for even well-born men of superior intellect and aesthetic sensibility to participate in the nation's public affairs.

Julien accompanies the Marquis de la Mole to a undercover meeting, and so is dispatched on a dangerous mission to communicate a letter from memory to the Duc d'Angoulême, who is exiled in England; merely the unconversant Julien is distracted by an unrequited dear matter and learns the message only by rote, missing its political significance as part of a legitimist plot. Unwittingly, he risks his life in service to the monarchists he most opposes; to himself, he rationalises these deportment equally merely helping the Marquis, his employer, whom he respects.

Meanwhile, the Marquis's languorous daughter, Mathilde de la Mole, has get 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-form human. 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, cocky-doubtfulness, 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 contemptuous jeu d'amour (game of love) taught to him by Prince Korasoff, a Russian human-of-the-world. At neat emotional cost, Julien feigns indifference to Mathilde, provoking her jealousy with a sheaf of honey-messages meant to woo Madame de Fervaques, a widow in the social circle of the de la Mole family. Consequently, Mathilde sincerely falls in honey with Julien, eventually revealing to him that she carries his child; yet, while he is on diplomatic mission in England, she becomes officially engaged to Monsieur de Croisenois, an affable and wealthy young noble, heir to a duchy.

Learning of Julien's liaison with Mathilde, the Marquis de la Mole is angered, just he relents before her conclusion and his amore for Julien and bestows upon Julien an income-producing property fastened to an aristocratic title as well as a military committee in the army. Although set to anoint their wedlock, the marquis changes his heed after receiving a character-reference letter nearly Julien from the Abbé Chélan, Julien's previous employer in Verrières. Written past Madame de Rênal at the urging of her confessor priest, the letter warns the marquis that Julien is a social-climbing cad who preys upon emotionally vulnerable women.

On learning that the marquis now withholds his blessing of his marriage, Julien Sorel returns with a gun to Verrières and shoots Madame de Rênal during Mass in the village church; she survives, simply Julien is imprisoned and sentenced to death. Mathilde tries to save him by bribing local officials, and Madame de Rênal, still in dear with him, refuses to bear witness and pleads for his amortization, aided by the priests who have looked after him since his early childhood. Yet Julien is determined to die, for the materialistic order of Restoration France has no place for a low-built-in human, whatsoever his intellect or sensibilities.

Meanwhile, the presumptive duke, Monsieur de Croisenois, one of the fortunate few of Bourbon France, is killed in a duel over a slur upon the honour of Mathilde de la Mole. Her undiminished love for Julien, his imperiously intellectual nature and romantic exhibitionism render Mathilde's prison visits to him a duty to suffer and little more.

When Julien learns that Madame de Rênal survived her gunshot wound, his authentic honey for her is resurrected, having lain fallow throughout his Parisian sojourn, and she continues to visit him in jail. Afterward he is guillotined, Mathilde de la Mole reenacts the cherished 16th-century French tale of Queen Margot, who visited her dead lover, Joseph Boniface de La Mole, to kiss the forehead of his severed head. Mathilde and so erects a shrine at Julien'southward tomb in the Italian way. Madame de Rênal, more quietly, dies in the arms of her children only three days subsequently.

Structure and themes [edit]

Le Rouge et le Noir is gear up in the latter years of the Bourbon Restoration (1814–30) and the days of the 1830 July Revolution that established the Kingdom of the French (1830–48). Julien Sorel's worldly ambitions are motivated past the emotional tensions between his idealistic Republicanism and his nostalgic fidelity to Napoleon, and the realistic politics of counter-revolutionary conspiracy by Jesuit-supported legitimists, notably the Marquis de la Mole, whom Julien serves for personal proceeds. Presuming a knowledgeable reader, Stendhal only alludes to the historical background of Le Rouge et le Noir—yet did subtitle the novel Chronique de 1830 ("Chronicle of 1830"). The reader who wants an exposé of the aforementioned historical groundwork might wish to read Lucien Leuwen (1834), one of Stendhal's unfinished novels, posthumously published in 1894.

Stendhal repeatedly questions the possibility and the desirability of "sincerity," considering nigh of the characters, especially Julien Sorel, are acutely aware of having to play a function to proceeds social blessing. In that 19th-century context, the word "hypocrisy" denoted the affectation of high religious sentiment; in The Red and the Black it connotes the contradiction between thinking and feeling.

In Mensonge romantique et vérité romanesque (Deceit, Want and the Novel, 1961), philosopher and critic René Girard identifies in Le Rouge et le Noir the triangular structure he denominates as "mimetic desire"; that is, ane desires a person only when he or she is desired by someone else. Girard's proposition is that a person's desire for some other is e'er mediated by a third party. This triangulation thus accounts for the perversity of the Mathilde–Julien relationship, which is most axiomatic when Julien begins courting the widow Mme de Fervaques to pique Mathilde's jealousy, and too accounts for Julien'south fascination with and membership in the high society he simultaneously desires and despises. To help achieve a literary effect, Stendhal wrote nigh of the epigraphs—literary, poetic, celebrated quotations—that he attributed to others.

Literary and disquisitional significance [edit]

André Gide said that The Red and the Black was a novel alee of its time, that it was a novel for readers in the 20th century. In Stendhal's time, prose novels included dialogue and omniscient narrator descriptions; Stendhal's great contribution to literary technique was the describing of the psychologies (feelings, thoughts, and interior monologues) of the characters. Equally a result, he is considered the creator of the psychological novel.

In Jean-Paul Sartre's play Les mains sales (1948), the protagonist Hugo Barine suggests pseudonyms for himself, including "Julien Sorel", whom he resembles.

In the afterword to her novel, them, Joyce Ballad Oates wrote that she had originally entitled the manuscript Love and Coin equally a nod to classic 19th-century novels, amid them, The Red and the Black, "whose form-witting hero Julien Sorel is less idealistic, greedier, and crueler than Jules Wendall just is clearly his spiritual kinsman."^[8]

A passage describing Julien Sorel'south sexual indifference is deployed as the epigraph to Paul Schrader's screenplay of American Gigolo, whose protagonist is too named Julien: "The idea of a duty to be performed, and the fear of making himself ridiculous if he failed to perform it, immediately removed all pleasure from his heart."^[9]

Translations [edit]

Le Rouge et le Noir, Chronique du XIX^e siècle (1830) was starting time translated into English ca. 1900; the best-known translation, The Ruddy and the Blackness (1926) by C. K. Scott Moncrieff, has been, similar his other translations, characterised as one of his "fine, spirited renderings, non entirely accurate on minor points of pregnant . . . Scott Moncrieff's versions have not really been superseded."^[x] The version past Robert K. Adams for the Norton Critical Editions serial is as well highly regarded; it "is more than vernacular; his edition includes an informative section on backgrounds and sources, and excerpts from disquisitional studies."^[11] Other translators include Margaret R. B. Shaw (every bit Scarlet and Blackness for Penguin Classics, 1953), Lowell Blair (Bantam Books, 1959), Lloyd C. Parks (New York, 1970), Catherine Slater (Oxford World'south Classics, first published 1991), and Roger Gard (Penguin Classics, 2002).

The 2006 translation by Burton Raffel for the Mod Library edition generally earned positive reviews, with Salon.com saying, "[Burton Raffel's] heady new translation of The Carmine and the Blackness blasts Stendhal into the twenty-first century." Michael Johnson, writing in The New York Times, said, "Now 'The Reddish and the Blackness' is getting a new lease on life with an updated English-language version by the renowned translator Burton Raffel. His version has all but replaced the decorous text produced in the 1920s past the Scottish-born author-translator C.K. Scott-Moncrieff".^[12]

Burned in 1964 Brazil [edit]

Post-obit the 1964 Brazilian insurrection d'état, Full general Justino Alves Bastos, commander of the Third Army, ordered, in Rio Grande exercise Sul, the called-for of all "subversive books." Among the books he branded as subversive was The Red and the Black.^[13]

Film adaptations [edit]

• Der geheime Kurier (The Secret Courier) is a silent 1928 German picture by Gennaro Righelli, featuring Ivan Mosjoukine, Lil Dagover, and Valeria Blanka.
• Il Corriere del re (The Courier of the King) is a black-and-white 1947 Italian movie adaptation of the story also directed past Gennaro Righelli. It features Rossano Brazzi, Valentina Cortese, and Irasema Dilián.
• Another film adaptation of the novel was released in 1954, directed past Claude Autant-Lara. It stars Gérard Philipe, Antonella Lualdi, and Danielle Darrieux. It won the French Syndicate of Movie theatre Critics honour for the best film of the year.
• Le Rouge et le Noir is a 1961 French made-for-TV film version directed past Pierre Cardinal, with Robert Etcheverry, Micheline Presle, Marie Laforêt, and Jean-Roger Caussimon.
• A BBC Goggle box miniseries in v episodes, The Scarlet and the Black, was fabricated in 1965, starring John Step, June Tobin, and Karin Fernald. It is unknown if the serial withal exists, every bit it has not been seen or documented in decades.
• Красное и чёрное (Krasnoe i čërnoe) (Ruby-red and Black) is a 1976 Soviet film version, directed by Sergei Gerasimov, with Nikolai Yeryomenko Ml, Natalya Bondarchuk, and Natalya Belokhvostikova.
• Some other BBC TV miniseries called Cherry and Blackness was kickoff broadcast in 1993, starring Ewan McGregor, Rachel Weisz, and Stratford Johns as the Abbé Pirard. A notable add-on to the plot was the spirit of Napoleon (Christopher Fulford), who advises Sorel (McGregor) through his rise and autumn.
• A made-for-TV film version of the novel called The Red and the Blackness was first broadcast in 1997 by Koch Lorber Films, starring Kim Rossi Stuart, Carole Bouquet, and Judith Godrèche; information technology was directed by Jean-Daniel Verhaeghe. This version is available on DVD.

See also [edit]

• Bildungsroman

References [edit]

1. ^ ^{a b c} Garzanti, Aldo (1974) [1972]. Enciclopedia Garzanti della letteratura (in Italian). Milan: Garzanti. p. 874.
2. ^ The Blood-red and the Black, by Stendhal, C. K. Scott-Moncrief, trans., 1926, p. xvi.
3. ^ Benét'southward Reader's Encyclopedia, Quaternary Edition, (1996) p. 859.
4. ^ "The Red and The Black". www.nytheatre.com. Archived from the original on 19 November 2016. Retrieved 5 February 2016.
5. ^ Lubrich, Naomi (2015). «Wie kleidet sich ein Künstler?», in: KulturPoetik 14:ii, 2014, 182–204; Naomi Lubrich, Die Feder des Schriftstellers. Mode im Roman des französischen Realismus. Aisthesis. p. 200.
6. ^ "Ruby-red and Blackness?"
7. ^ Martin Brian Joseph. Napoleonic Friendship: Military Fraternity, Intimacy, and Sexuality in Nineteenth- Century France. UPNE, 2011, p. 123
8. ^ Oates, Joyce Carol (21 Feb 2018). them. Random House Publishing Group. ISBN9780525512561.
9. ^ Schrader, Paul. Nerveless Screenplays one. Faber and Faber, 2002, p. 123.
10. ^ The Oxford guide to Literature in English translation, by Peter French republic, p. 276.
11. ^ Stendhal: the blood-red and the black, past Stirling Haig, Cambridge Academy Press, 1989. ISBN 0-521-34982-6, and ISBN 978-0-521-34982-vi.
12. ^ Johnson, Michael (11 September 2008). "Opinion | Stendhal at his best: A 'worthless' historian". The New York Times. ISSN 0362-4331. Retrieved 5 January 2022.
13. ^ E. Bradford Burns, A History of Brazil, Columbia Academy Printing, 1993, p. 451.

Bibliography [edit]

• Burt, Daniel S. (2003). The Novel 100 . Checkmark Books. ISBN0-8160-4558-5.

External links [edit]

• Le Rouge et Le Noir at Project Gutenberg
• Stendhal & Scott Moncrieff, C.K. (Translator). The Red and the Black. eBooks@Adelaide (University of Adelaide). Retrieved 4 June 2016. {{cite volume}}: CS1 maint: uses authors parameter (link)

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