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See also:MARIE See also:HENRI See also:BEYLE (1783-1842) , better known by his nom de plume of STENDHAL, See also:French author, was See also:born at See also:Grenoble on the 23rd of See also:January 1783 . With his See also:father, who was an avocat in the See also:parlement of Grenoble, he was never on See also:good terms, but his intractable disposition sufficiently explains his unhappy childhood and youth . Until he was twelve years old he was educated by a See also:priest, who succeeded in inspiring him with a lasting hatred of clericalism . He was then sent to the newly established 1 See also:cole Centrale at Grenoble, and in 1799 to See also:Paris with a See also:letter of introduction to the See also:Daru See also:family, with which the Beyles were connected . See also:Pierre Daru offered him a See also:place in the See also:ministry for See also:war, and with the See also:brothers Daru he followed See also:Napoleon to See also:Italy . Most of his See also:time in Italy was spent at See also:Milan, a See also:city for which he conceived a lasting See also:attachment . Much of his See also:Chartreuse de Parme seems to be autobiographical of this See also:part of his See also:life . He was a spectator of the See also:battle of See also:Marengo, and afterwards enlisted in a See also:dragoon See also:regiment . With rapid promotion he became See also:adjutant to See also:General See also:Michaud; but after the See also:peace of See also:Amiens in 1802 he returned to study in Paris . There he met an actress, Melanie See also:Guilbert, whom he followed to See also:Marseilles . His father cut off his supplies on See also:hearing of this escapade, and See also:Beyle was reduced to serving as clerk to a See also:grocer . Melanie Guilbert, however, soon abandoned him to marry a See also:Russian, and Beyle returned to Paris . Through the See also:influence of Daru he obtained a place in the See also:commissariat, which he filled with some distinction from 18o6 to 1814 . Charged with raising a See also:levy in See also:Brunswick of five million francs, he extracted seven; and during the See also:retreat from See also:Moscow he discharged his duties with efficiency . On the fall of Napoleon he refused to accept a place under the new regime, and retired to Milan, where he met Silvio See also:Pellico, See also:Manzoni, See also:Lord See also:Byron and other men of See also:note . At Milan he contracted a liaison with a certain Angelina P., ,whom he had admired f uitlessly during his earlier See also:residence in that city . In 1814 he published, under the See also:pseudonym of See also:Alexandre Cesar Bombet, his Lettres ecrites de See also:Vienne en Autriche sur le celebre compositeur, See also:Joseph See also:Haydn, suivies d'une See also:vie de See also:Mozart, et de considerations sur Metastase et l'etat See also:present de la musique en See also:Italic . His letters on Haydn were borrowed from the Haydini (1812) of Joseph Carpani, and the See also:section on Mozart had no greater claim to originality . The See also:book was reprinted (1817) as Vies de Haydn, Mozart et Metastase . His Histoire de la peinture en Italic (2 vols., 1817) was originally dedicated to Napoleon . His friendship with some See also:Italian patriots brought him in 1821 under the See also:notice of the See also:Austrian authorities, and he was exiled from Milan . In Paris he See also:felt himself a stranger, as he had never recognized French contemporary See also:art in literature, See also:music or See also:painting . He frequented, however, many See also:literary salons In Paris, and found some See also:friends in the " ideologues " who gathered See also:round Destutt de See also:Tracy . He was the most closely allied with Prosper See also:Merimee, a See also:dilettante and an ironist like himself .
He published at this time his Essai sur l'amour (1822), of which only seventeen copies were sold in eleven years, though it afterwards became famous, See also:Racine et See also:Shakespeare (1823-1825), Vie de See also:Rossini (1824), D'un nouveau complot contre See also:les industriels (1825), Promenades dans See also:Rome (1829), and his first novel, Armance, ou quelques scenes de Paris en 1827 (1827)
.
After the Revolution of 1830 he was appointed See also:consul at See also:Trieste, but the Austrian See also:government refused to accept him, and he was sent to Civita Vecchia instead
.
Le See also:Rouge et le noir, chronique du XIXe siecle (2 vols., 1830) appeared in Paris after his departure, but attracted
small notice
.
He had published in 1838 Memoires d'un touriste, and in 1839 La Chartreuse de Parme (2 vols.), which was the last of his publications, and the first to secure any popular success, though his earlier writings had been regarded as significant by a limited public
.
It was enthusiastically reviewed by See also:Balzac in his Revue Parisienne (184o)
.
Beyle remained at Civita Vecchia, discharging his duties as consul perfunctorily and with frequent intervals of See also:absence until his See also:death, which took place in Paris on the 23rd of See also: C . Stryienski, 1892), autobiography and unpublished letters . Stendhal's reputation practically rests on the two novels Le Rouge et le noir and La Chartreuse de Parme . In the former of these he borrowed his See also:plot from events which had actually happened some years previously . See also:Julien See also:Sorel in the novel is See also:tutor in a See also:noble family and seduces his See also:pupil's See also:mother . He eventually kills her to avenge a letter accusing him to the family of his betrothed, Mlle de la See also:Mole . Julien is a picture of Beyle as he imagined himself to be . The Chartreuse de Parme has less unity of purpose than Le Rouge et le noir . For its setting the author See also:drew largely on his own experiences . Fabrice's experiences at See also:Waterloo are his own in the Italian See also:campaign, and the countess Pietranera is his Milanese Angelina . But of the two novels it is more picturesque and has been more popular . Stendhal's real See also:vogue See also:dates from the See also:early sixties, but his importance is essentially literary .
In spite of his egotism and the limitations of his ideas, his acute See also:analysis of the motives of his personages has appealed to successive generations of writers, and a See also:great part of the development of the French novel must be traced to him
.
Brunetiere has pointed out (See also:Manual of French Lit., Eng. trans., 1898) that Stendhal supplied the Romanticists with the notion of the interchange of the methods and effects of See also:poetry, painting and music, and that in his See also:worship of Napoleon he agreed with their glorification of individual See also:energy
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Stendhal, however, thoroughly disliked the Romanticists, though Sainte-Beuve acknowledged (Causeries du lundi, vol. ix.) that his books gave ideas
.
See also:Taine (Essais de critique et d'histoire, 1857) found in him a great psychologist; See also:Zola (Romanciers naturalistes, ,881) actually claimed him as the father of the naturalist school; and See also:Paul See also:Bourget (Essais de psychologie contemporaine, 1883) cited Le Rouge et le noir as one of the classic novels of analysis
.
The 1846 edition of La Chartreuse de Parme contains a prefatory notice by R
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See also:Colomb, and a reprint of Balzac's See also:article
.
In addition to the authorities alreadymentioned see the See also:essay on Beyle (185o) by Prosper Merimee; A
.
A
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See also:Paton, See also: Barres (Paris, 1908) . |
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