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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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] In June 1643, when Molière was 21, he decided to abandon his social class and pursue a career on the stage. Taking leave of his father, he joined the actress Madeleine Béjart, with whom he had crossed paths before, and founded the Illustre Théâtre with 630 livres. They were later joined by Madeleine's brother and sister.

Green, F. C. (1939). An Amharic Reader. Cambridge: Cambridge University Press. p.75. ISBN 978-1-107-60072-0. Shelley, Mary Wollstonecraft (1840). Lives of the Most Eminent French Writers. Philadelphia: Lea and Blanchard. p. 116. lives of the most eminent french writers.During Stendhal’s lifetime, his reputation was largely based on his books dealing with the arts and with tourism (a term he helped introduce in France), and on his political writings and conversational wit. His unconventional views, his hedonistic inclinations tempered by a capacity for moral and political indignation, his prankish nature and his hatred of boredom—all constituted for his contemporaries a blend of provocative contradictions. But the more authentic Stendhal is to be found elsewhere, and above all in a cluster of favourite ideas: the hostility to the concept of “ideal beauty,” the notion of modernity, and the exaltation of energy, passion, and spontaneity. His personal philosophy, to which he himself gave the name of “ Beylisme” (after his real family name, Beyle) stressed the importance of the “pursuit of happiness” by combining enthusiasm with rational skepticism, lucidity with willful surrender to lyric emotions. “Beylisme,” as he understood it, meant cultivating a private sensibility while developing the art of hiding and protecting it. 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.

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.The realistic note that runs through Stendhal's literary endeavors — fictional, biographical, documentary, critical, and journalistic — stems from his need to anchor himself solidly in reality as a point of departure. Everything he wrote begins in the realm of facts. He imposes his impressions and transforms reality, but it is a reality exterior to himself that furnishes the plot or subject matter. After the Mélicerte and the Pastorale comique, he tried again to perform a revised Tartuffe in 1667, this time with the name of Panulphe or L'Imposteur. As soon as the King left Paris for a tour, Lamoignon and the archbishop banned the play. The King finally imposed respect for Tartuffe a few years later, after he had gained more power over the clergy. The French 1978 film simply titled Molière directed by Ariane Mnouchkine and starring Philippe Caubère presents his complete biography. It was in competition for the Palme d'Or at Cannes in 1978. With Lully he again used music for Monsieur de Pourceaugnac, for Les Amants magnifiques, and finally for Le Bourgeois gentilhomme ( The Middle Class Gentleman), another of his masterpieces. It is claimed to be particularly directed against Colbert, the minister who had condemned his old patron Fouquet. The collaboration with Lully ended with a tragédie et ballet, Psyché, written in collaboration with Pierre Corneille and Philippe Quinault. Stendhal: definition of Stendhal in Oxford dictionary (British & World English) (US)". Oxforddictionaries.com. 2014-01-23. Archived from the original on September 25, 2013 . Retrieved 2014-01-28.

Wilson, Edmund (July 15, 1965). "The Strange Case of Pushkin and Nabokov". nybooks.com. The New York Review of Books . Retrieved July 24, 2015. Jones, Daniel (2011). Roach, Peter; Setter, Jane; Esling, John (eds.). Cambridge English Pronouncing Dictionary (18thed.). Cambridge University Press. ISBN 978-0-521-15255-6.Stendhal identified with the nascent liberalism and his sojourn in Italy convinced him that Romanticism was essentially the literary counterpart of liberalism in politics. [14] When Stendhal was appointed to a consular post in Trieste in 1830, Metternich refused his exequatur on account of Stendhal's liberalism and anti-clericalism. [15] List of the women that he had loved, inserted in Life of Henry Brulard, in 1835: "I dreamed deeply of these names, and of the astonishing stupidities and stupidities they did to me." (From left to right: Virginie Kubly, Angela Pietragrua, Adèle Rebuffel, Mina de Griesheim, Mélanie Guilbert, Angelina Bereyter, Alexandrine Daru, Angela Pietragrua, [b] Matilde Dembowski, Clémentine Curial, Giulia Rinieri, Madame Azur-Alberthe de Rubempré) The 2007 French film Molière was more loosely based on the life of Molière, starring Romain Duris, Fabrice Luchini and Ludivine Sagnier. Russian writer Mikhail Bulgakov wrote a semi-fictitious biography-tribute to Molière, titled Life of Mr. de Molière. It was written in 1932–1933 and first published 1962. Talty, Stephan (2 June 2009). The Illustrious Dead: The Terrifying Story of How Typhus Killed Napoleon's Greatest Army. Crown. ISBN 978-0-307-45975-6. Born into a prosperous family and having studied at the Collège de Clermont (now Lycée Louis-le-Grand), Molière was well suited to begin a life in the theatre. Thirteen years as an itinerant actor helped him polish his comedic abilities while he began writing, combining Commedia dell'arte elements with the more refined French comedy. [6]



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