Stendhal Stendhal

This 2nd volume of contains the following 50 works, arranged alphabetically by authors’ last Jerome Three Men in a BoatJoyce, A Portrait of the Artist as a Young ManJoyce, UlyssesKingsley, The Water-BabiesKipling, KimLa Fayette, Madame The Princess of ClèvesLaclos, Pierre Choderlos Dangerous LiaisonsLawrence, D. Sons and LoversLawrence, D. The RainbowLe Fanu, In a Glass DarklyLewis, Matthew The MonkLewis, Main StreetLondon, The Call of the WildLovecraft, At the Mountains of MadnessMann, Royal HighnessMaugham, William Of Human BondageMaupassant, Guy Bel-AmiMelville, Moby-DickPoe, Edgar The Fall of the House of UsherProust, Swann's WayRadcliffe, The Mysteries of UdolphoRichardson, ClarissaSand, The Devil’s PoolScott, IvanhoeShelley, FrankensteinSienkiewicz, Quo VadisSinclair, Life and Death of Harriett FreanSinclair, The The Red and the The Chartreuse of ParmaSterne, Tristram ShandyStevenson, Robert Treasure IslandStoker, DraculaStowe, Harriet Uncle Tom’s CabinSwift, Gulliver's TravelsTagore, The Home and the WorldThackeray, William Vanity FairTolstoy, War and PeaceTolstoy, Anna KareninaTrollope, The Way We Live NowTurgenev, Fathers and SonsTwain, The Adventures of Huckleberry FinnVerne, Journey to the Center of the EarthWallace, Ben-HurWells, H. The Time MachineWest, The Return of the SoldierWharton, The Age of InnocenceWilde, The Picture of Dorian GrayXueqin, The Dream of the Red ChamberZola, É Germinal

La presente edición incluye una magnífica introducción de Ignacio Echevarría que nos acerca a la intimidad histórica con la que Stendhal dibuja el retrato de Napoleón. El texto ha sido vertido al español por Consuelo Bergés, reconocida experta en Stendhal y traductora de la obra completa.

Apie meilę - tai filosofinis traktatas, kuriame aprašomos septynios meilės fazės, iš kurių svarbiausia - kristalizacija. Šioje fazėje mylintysis susikuria idealų mylimojo paveikslą - it deimantai spindinčius kristalus, paverčiančius jį tobulybe. Pasak knygos autoriaus, žmogus jaučia įgimtą meilės troškimą, bet dažnai jis kertasi su visuomenės interesais, ir dėl to kyla individo bei socialinės aplinkos konfliktas.Kūrinyje nemažai aliuzijų į paties autoriaus nelaimingą meilę.Stendhalis (tikroji pavardė - Henri Beyle'is, 1783-1842) savo kūryba padėjo realistinio romano pamatus. Garsiausi rašytojo kūriniai - Raudona ir juoda ir Parmos vienuolynas. Autorius tarnavo Napoleono armijoje ir 1812 m. armijai traukiantis iš Rusijos buvo apsistojęs Vilniuje.Įdomu tai, kad rašytojo vardu pavadintas savotiškas psichikos bei elgsenos sutrikimų sindromas. Jis ištinka pamačius daug ar labai įspūdingų meno kūrinių.

«- Je vous parlerai comme à moi-même, dit Octave avec impétuosité. Il y a des moments où je suis beaucoup plus heureux, car enfin j'ai la certitude que rien au monde ne pourra me séparer de vous ; mais, ajouta-t-il... et il tomba dans un de ces moments de silence sombre qui faisaient le désespoir d'Armance... - Mais quoi, cher ami ? lui dit-elle, dites-moi tout ; ce mais affreux va me rendre cent fois plus malheureuse que tout ce que vous pourriez ajouter. - Eh bien ! dit Octave... vous saurez tout... Ai-je besoin de vous jurer que je vous aime uniquement au monde, comme jamais je n'ai aimé, comme jamais je n'aimerai ? Mais j'ai un secret affreux que jamais je n'ai confié à personne, ce secret va vous expliquer mes fatales bizarreries.»

- Eh bien ! puisque votre lâcheté le veut, moi-même je tuerai mon père... Animés par ce peu de paroles fulminantes, et craignant quelque diminution dans le prix convenu, les assassins rentrèrent résolument dans la chambre, et furent suivis par les femmes. L'un d'eux avait un grand clou qu'il posa verticalement sur l'œil du vieillard endormi ; l'autre, qui avait un marteau, lui fit entrer ce clou dans la tête. On fit entrer de même un autre grand clou dans la gorge, de façon que cette pauvre âme, chargée de tant de péchés récents, fût enlevée par les diables ; le corps se débattit, mais en vain.

Scritto tra la fine del 1829 e la prima metà del 1830, Il rosso e il nero è il secondo romanzo di Stendhal. L'autore ne corregge le bozze durante le giornate della Rivoluzione di luglio, che liquida la Restaurazione e inaugura la monarchia borghese di Luigi Filippo. Di questo passaggio cruciale Stendhal restituisce con fedeltà lo spirito, muovendo dalla realtà della provincia per approdare a Parigi, dove da sempre si annodano e si sciolgono i destini politici della Francia. Qui Julien Sorel, giovane avventuroso, romantico e calcolatore, sfida se stesso e la società che vorrebbe conquistare: i suoi amori travolgenti e la sua arida sete di dominio, che di volta in volta gli consentono di affermarsi pur portandolo alla distruzione, sono i segni distintivi di una letteratura che sa misurarsi con le più profonde contraddizioni dell'animo umano. Completano il volume una nota introduttiva di Emilio Faccioli e la cronologia della vita e delle opere.

En La Cartuja de Parma, Stendhal refleja el gozo existencial, el espíritu privilegiado, disponible, generoso y abierto de su autor, un hombre de cuarenta y ocho años que ha vivido mucho y que armoniza en un acto de recuerdo, sublimándolas, todas sus experiencias y emociones pasadas. Una novela de aventuras, de intrigas, de venganza, histórica y política, en la que el arte, la belleza, el amor y el deseo se entrecruzan bajo la sonrisa complaciente y melancólica del que sabe que nada merece la pomposa solemnidad.

Cadet de grande famille fasciné par Napoléon qu'il rêve d'aller rejoindre, Fabrice del Dongo arrive à Waterloo quand commence la bataille. Mais il ne suivra pas la carrière des armes à quoi il aspirait, et consentira à devenir prélat. Avec assez de détachement, cependant, pour que l'essentiel reste bien pour lui la chasse au bonheur - c'est-à-dire l'amour. Quand Stendhal publie La Chartreuse de Parme en 1839, le propre du roman demeure toujours à ses yeux le romanesque où rien ne compte que le récit qui se moque du sérieux, l'allègement de la vie et l'héroïsme des grandes actions comme des grandes passions. Et le paradoxe de ce livre moderne, qui est aussi une satire du pouvoir et de la cour de Parme, de ce livre où les Italiens retrouvent leur culture, c'est qu'il demeure apparenté au vieux fonds sans âge des romans où l'aventure s'accompagne d'un climat de bonheur et de gaieté.

Dans l’Italie du XIXème siècle soumise aux campagnes napoléoniennes, le jeune Fabrice del Dongo se frotte à la vie et découvre les passions aventureuses comme les cruels désenchantements.Œuvre romanesque par excellence - quand bien même elle n’a de sens d’un point de vue historique ou… romanesque (!) - la Chartreuse de Parme peut, avec raison, dérouter et troubler tant elle est ambiguë aussi bien par la forme que par le fond. Fable historique, parcours initiatique, cette fresque dramatique est ponctuée de piques et de sous entendus qui poussent à sourire. Stendhal nous met en effet en garde au tout début du livre avec cet « avertissement » savoureusement décalé.Et que dire des thèses selon lesquelles le texte fourmille de symbolisme franc-maçon !Vous l’aurez compris, dans ce livre, chacun y trouvera son compte et lira ce qu’il veut bien lire. Un chef d’œuvre à redécouvrir.****************************************************************************D'autres ouvrages à découvrir dans la collection North Star Ed. (Lettres Classiques, SF Anticipation, Fantastique)cliquez sur le lien : "North Star Ed" sous le titre du livre.-- Consultez également la section "Livres anglais et étrangers" --Ou consultez notre site : ****************************************************************************

Au rouge des armes, Julien Sorel préfèrera le noir des ordres. Au cours de son ascension sociale, deux femmes se singularisent, comme pour figurer les deux penchants de son caractère : Madame de Rênal - le rêve, l'aspiration à un bonheur pur et simple - et Mathilde de La Mole - l'énergie, l'action brillante et fébrile. A ces composantes stendhaliennes (conception de la vie qui dépasse la stratégie narrative pour s'étendre à l'existence de l'auteur) correspondent deux facettes stylistiques : la sobriété et la restriction du champ de vision. Dans cette Chronique de 1830, bien avant l'existence du cinéma donc, Stendhal alterne les prises de vue pour concilier réalisme et romantisme. Le Rouge et le Noir, portrait social, est également un roman de l'individualité où le regard des personnages sert de philtre au narrateur et où la cristallisation stendhalienne, cette phase irisée De l'amour, trouve un formidable support dans les champs, contrechamps, plongées et contre-plongées. Cette écriture visuelle ajoute à l'analyse une intelligence psychologique profonde. Inversement, le ton dépouillé permet au romantisme d'éviter le lyrisme abusif et de demeurer ironique envers la société sclérosée de la France de la Restauration. --Sana Tang-Léopold Wauters

GUIDA ALLA LETTURA "Stendhal è uno dei miei migliori amici". Questa frase potrebbe essere pronunciata o sottoscritta da tutti quelli che amano leggere le opere del grande scrittore francese. La sensazione che lasciano i suoi libri, chiusa l'ultima pagina, è infatti proprio quella di averne conosciuto l'autore, di averlo avuto accanto in carne e ossa. E quello il suo fascino che perdura nei secoli e che ce lo fa sentire sempre contemporaneo. Non ci poteva essere scrittore più adatto, quindi, per parlare d'amore. Stendhal, infatti, in tutta la sua ope- ra e in "Sull'amore", in particolare, il trattato sull'a- more dal quale abbiamo estrapolato le "Lezioni" parla del padre di tutti i sentimenti come ce ne parle- rebbe un amico a tarda notte e davanti a un bicchiere di whisky. Con foga, con passione, con dolore e con gioia, ripercorrendo avventure, avventurandosi in classificazioni, tentando spiegazioni, delineando tat- tiche e strategie, abbandonandosi ai ricordi, riviven- do amori perduti e immaginandone di futuri. Dopo Platone (e Socrate) e Seneca, e i loro discorsi sul sapere e sulla giustizia, sulla felicità e sulla morte, il terzo appuntamento proposto dai "Libri a zero lire" è dunque un appuntamento d'amore.

Of all his books, Love was Stendhal's favorite. Written at a critical time in his life when his own love had been rejected, the book is a thinly disguised picture of the author's innermost feelings. Though it ranges over a wide variety of topics from courtly love to the emancipation of women, central to the book is Stendhal's account of love - an intense, romantic and generally unrequited love.

Memoirs of an Egotist, Stendhal’s fragmentary autobiographical work, is alert, wry, and perpetually self-questioning. Through a series of apparently random impressions of the political, social, and artistic movements of the world around him, he imbues a range of human experience, from the mundane to the extraordinary, with the significance it deserves. Containing everything from delightful thumbnail sketches of his friends and colleagues, to lyrical remembrances of gardens and operas and tenderly amused descriptions of tea with London prostitutes, Memoirs of an Egotist is as startling as it is revealing.

O génio literário de Stendhal como romancista revela-se pela primeira vez com obra do Vermelho e o Negro, publicada em 1830. A história do protagonista, Julien Sorel, teve origem em factos reais: um jovem que foi julgado e condenado pelo assassínio da sua amante. No entanto, Stendhal transforma a realidade numa intrincada ficção, em que sobressaem as contradições psicológicas da personagem: ambição, oportunismo, hipocrisia, mas também uma sensibilidade poética e o anseio por uma vivência exaltada e plena. Como pano de fundo dos episódios de sedução, o mundo tenso das instituições políticas, militares e religiosas da Europa pós napoleónica.

Stendhal, um dos maiores vultos da literatura do século XIX, reflecte na sua obra diversas formas de conflito com que o indivíduo se deparou perante a sociedade nascida do Antigo Regime. Desfeitos os ideais heróicos do bonapartismo em França, restou o mundo burguês que serve de cenário às personagens das suas narrativas. Em O Vermelho e o Negro, obra que iniciou um período de intensa produção literária do autor, surgem com nitidez as contradições sociais e espirituais que marcaram uma época. Através de um romantismo refreado pelo confronto com a realidade, Sthendal impõe-se como referência para a compreensão das raízes do romance actual.

A masterpiece of nineteenth-century literature in a fresh translation that fully captures the language, psychology, and social reach of Stendhal’s original Fueled with a combustible mix of ambition, naivete, and Napoleonic ideals, Julien Sorel sets his sights on the heights of French society. But for the son of a provincial carpenter in post-Napoleonic France, the prospects for advancement are vanishingly narrow, the chances for glory rarer yet. After securing a toehold as a tutor to a wealthy family, Julien proceeds through a series of misadventures, illicit affairs, and lucky reversals to breach the ranks of French aristocracy—only to be undone by treasonous schemes, cynical romantic calculations, and an unexpectedly genuine and ultimately disastrous passion.Shocking at the time of its original publication, startling in its relevance today, Stendhal’s masterpiece is a scorching social satire, a remarkably detailed portrait of a fraught moment in history and, as perhaps the first psychological novel, a brilliant precursor to modern literature at once comical and tragic, cerebral and passionate. This new translation faithfully reproduces the nimble wit, emotional depth, and social acuity of Stendhal’s text. Distinguished translator Raymond N. MacKenzie includes an extensive introduction to Stendhal’s world and time, as well as copious annotations that explain allusions and terms for the modern reader.

En un aserradero perdido en los bosques del Franco Condado, un joven seminarista despreciado por su ruda familia, lleno de sueños y ambiciones, lee un libro. Poco sospecha que su vida está a punto de dar un giro decisivo y que su entrada como preceptor en casa de monsieur de Rênal será el comienzo de su apertura al amor, a la vida y, finalmente, al crimen. En esta novela, inspirada en un hecho real, su joven e inolvidable protagonista, Julián Sorel, plebeyo enamorado y soberbio, rebelde e ingenuo, se verá sometido a la cruel piedra de toque que le ofrece un mundo dominado por las jerarquías, el dinero y el clero.

Few writers have known Italy better than Stendhal: he was only seventeen when he first rode south across the Alps in the wake of Napoleon's armies, and he continued to travel and to live in Italy until a few months before his death. Some of his visits lasted only a few weeks, others continued for years, and he spent the last decade of his life as French Consul in Civitavecchia – yet he was never a tourist in the ordinary sense of the word. Italy, for Stendhal, was never a mere treasure trove of ruins, museums and galleries: it was the life of the country which fascinated him, its spirit, the inner workings of its heart and mind. This picture – or rather this living dream – of Italy he created is as fresh and tantalizing today as it was almost two centuries ago.

Richard Howard's exuberant and definitive rendition of Stendhal's stirring tale has brought about the rediscovery of this classic by modern readers. Stendhal narrates a young aristocrat's adventures in Napoleon's army and in the court of Parma, illuminating in the process the whole cloth of European history. As Balzac wrote, "Never before have the hearts of princes, ministers, courtiers, and women been depicted like this...one sees perfection in every detail." With beautiful illustrations by Robert Andrew Parker.

The Life of Henry Brulard is the autobiography of one of France's greatest writers, Stendhal, author of The Red and the Black and The Charterhouse of Parma . Here, writing at white heat and with such ferocious honesty and indignation that his book was to remain unpublishable for more than a century after its composition, Stendhal revisits his unhappy childhood in a stuffy provincial town and bares his rebellious heart. His adored mother, who died when he was only seven; a father devoted only to his own social ambitions; the aunt whose daily cruelties passed for these are among the indelible portraits in a work that captures the sights, sounds, places, and characters of Stendhal's youth, its pleasures and sorrows, with preternatural clarity and immediacy. Full of dazzling images and burning emotions, The Life of Henry Brulard is a vivid memoir that is also an extraordinary work of the imagination.

Handsome, ambitious Julien Sorel is determined to rise above his humble provincial origins. Soon realizing that success can only be achieved by adopting the subtle code of hypocrisy by which society operates, he begins to achieve advancement through deceit and self-interest. His triumphant career takes him into the heart of glamorous Parisian society, along the way conquering the gentle, married Madame de Rênal, and the haughty Mathilde. But then Julien commits an unexpected, devastating crime - and brings about his own downfall. The Red and the Black is a lively, satirical portrayal of French society after Waterloo, riddled with corruption, greed, and ennui, and Julien - the cold exploiter whose Machiavellian campaign is undercut by his own emotions - is one of the most intriguing characters in European literature. Roger Gard's fine translation remains faithful to the natural, conversational tone of the original, while his introduction elucidates the complexities of Julien's character. This edition also contains a chronology, further reading and an appendix on Stendhal's use of epigraphs.

A rich and beautiful Italian princess falls in love with an Italian peasant fighting to free Italy. The Catholic church appears to be oppressing the country. Using wealth and cunning, she tries to "free" her lover from his cause. Things do not go well. It is very hard to figure which side to root for without knowing the history of the time.

Роман «Красное и черное» вышел после Июльской революции 1830 года. Причиной её послужила политика короля Карла Х, который пытался вернуть время и порядки до 1789 года. Именно к Карлу Х г-жа де Реналь соберется ехать, чтобы просить помилования для возлюбленного. Действие романа происходит в 1820-е годы. Роман получил широкую известность в последней трети XIX века как ключевой предшественник психологического реализма, который к тому времени стал преобладающим направлением в европейской литературе.