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氐賵賲毓踿 倬丕乇賲丕
氐賵賲毓踿 倬丕乇賲丕蹖 丕爻鬲丕賳丿丕賱 丿乇 佟侉伲侃貙 賳賴 爻丕賱 倬爻 丕夭 爻乇禺 賵 爻蹖丕賴貙 賲賳鬲卮乇 卮丿. 乇賲丕賳 亘丕 丨賲賱踿 賳丕倬賱卅賵賳 亘賴 賲蹖賱丕賳 丿乇 佟侑侃佴 丌睾丕夭 賲蹖鈥屫促堌� 賵 丨賵丕丿孬 丌賳 鬲丕 佟侉伲贍 丕丿丕賲賴 賲蹖鈥屰屫жㄘ�. 賮丕亘乇蹖爻 丿賱鈥屫堎嗂堌� 卮禺氐蹖鬲 丕氐賱蹖 乇賲丕賳貙 亘丕 卮賳蹖丿賳 丌賵丕夭踿 賯賴乇賲丕賳蹖鈥屬囏й� 賳丕倬賱卅賵賳 丕夭 丕蹖鬲丕賱蹖丕 乇賴爻倬丕乇 賮乇丕賳爻賴 賲蹖鈥屫促堌� 鬲丕 丿乇 乇讴丕亘 跇賳乇丕賱 亘賳丕倬丕乇鬲 亘噩賳诏丿. 丕賲丕 趩賴 爻賵丿 讴賴 倬蹖賵爻鬲賳卮 亘賴 丕乇鬲卮 賮乇丕賳爻賴 亘丕 賴夭蹖賲鬲 丿乇 賵丕鬲乇賱賵 賲氐丕丿賮 丕爻鬲. 賮丕亘乇蹖爻 丿乇 亘丕夭诏卮鬲 丕夭 賵丕鬲乇賱賵 诏乇賮鬲丕乇 倬蹖卮丕賲丿賴丕蹖蹖 賲蹖鈥屫促堌� 賵 爻乇賳賵卮鬲卮 亘乇丕蹖 賴賲蹖卮賴 鬲睾蹖蹖乇 賲蹖鈥屭┵嗀�. 丕賵 丿乇 賳賴丕蹖鬲貙 亘賴鈥� 賵丕爻胤踿 賳賮賵匕 毓賲賴鈥屫ж� 丿乇 丿乇亘丕乇 倬丕乇賲丕貙 賳丕诏夭蹖乇 亘賴 丕蹖賳 卮賴乇 禺賮賯丕賳鈥屫藏� 乇禺鬲 賲蹖鈥屭┴簇�.
氐賵賲毓踿 倬丕乇賲丕 讴賴 丿乇 毓氐乇 禺賵丿卮 鬲賯乇蹖亘丕賸 賳丕卮賳丕禺鬲賴 賲丕賳丿 丕賲乇賵夭賴 丕夭 亘乇鬲乇蹖賳 丌孬丕乇 丕丿亘蹖 噩賴丕賳 亘賴 卮賲丕乇 賲蹖鈥屫③屫� 賵 丕賱賴丕賲鈥屫ㄘ� 亘爻蹖丕乇蹖 丕夭 賳賵蹖爻賳丿诏丕賳 賵 賴賳乇賲賳丿丕賳 亘賵丿賴 丕爻鬲. 鬲賵氐蹖賮 賵丕鬲乇賱賵 賵 丨丕賱丕鬲 賮丕亘乇蹖爻 丿乇 亘乇噩 賮丕乇賳爻賴 丕夭 亘丿蹖毓鈥屫臂屬� 氐丨賳賴鈥屬囏й� 乇賲丕賳 丕爻鬲. 丿乇 毓蹖賳 丨丕賱貙 倬丕乇賲丕 賳賲賵賳賴鈥屫й� 丕夭 噩丕賲毓賴鈥屫й� 丌讴賳丿賴 丕夭 賮鬲賳賴 賵 賳賮丕賯 丕爻鬲貙 噩丕蹖蹖 讴賴 丕賲蹖丕賱 卮禺氐蹖 賵 丿爻蹖爻賴鈥屬囏й� 爻蹖丕爻蹖 丿乇 賴賲 诏乇賴 賲蹖鈥屫堌辟嗀� 賵 丿乇 趩卮賲 亘賴鈥屬囐呪€屫藏嗃� 丕賮乇丕丿 乇丕 丕夭 毓乇卮 亘賴 賮乇卮 賲蹖鈥屫必池з嗁嗀�.
氐賵賲毓踿 倬丕乇賲丕 讴賴 丿乇 毓氐乇 禺賵丿卮 鬲賯乇蹖亘丕賸 賳丕卮賳丕禺鬲賴 賲丕賳丿 丕賲乇賵夭賴 丕夭 亘乇鬲乇蹖賳 丌孬丕乇 丕丿亘蹖 噩賴丕賳 亘賴 卮賲丕乇 賲蹖鈥屫③屫� 賵 丕賱賴丕賲鈥屫ㄘ� 亘爻蹖丕乇蹖 丕夭 賳賵蹖爻賳丿诏丕賳 賵 賴賳乇賲賳丿丕賳 亘賵丿賴 丕爻鬲. 鬲賵氐蹖賮 賵丕鬲乇賱賵 賵 丨丕賱丕鬲 賮丕亘乇蹖爻 丿乇 亘乇噩 賮丕乇賳爻賴 丕夭 亘丿蹖毓鈥屫臂屬� 氐丨賳賴鈥屬囏й� 乇賲丕賳 丕爻鬲. 丿乇 毓蹖賳 丨丕賱貙 倬丕乇賲丕 賳賲賵賳賴鈥屫й� 丕夭 噩丕賲毓賴鈥屫й� 丌讴賳丿賴 丕夭 賮鬲賳賴 賵 賳賮丕賯 丕爻鬲貙 噩丕蹖蹖 讴賴 丕賲蹖丕賱 卮禺氐蹖 賵 丿爻蹖爻賴鈥屬囏й� 爻蹖丕爻蹖 丿乇 賴賲 诏乇賴 賲蹖鈥屫堌辟嗀� 賵 丿乇 趩卮賲 亘賴鈥屬囐呪€屫藏嗃� 丕賮乇丕丿 乇丕 丕夭 毓乇卮 亘賴 賮乇卮 賲蹖鈥屫必池з嗁嗀�.
627 pages, Hardcover
First published March 1, 1839
1415 people are currently reading
27203 people want to read
About the author
Stendhal
1,630听books2,056听followersMarie-Henri Beyle, better known by his pen name Stendhal, was a 19th-century French writer. Known for his acute analysis of his characters' psychology, he is considered one of the earliest and foremost practitioners of realism in his two novels (The Red and the Black, 1830) and (The Charterhouse of Parma, 1839).
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April 10, 2025
Yes, life can be an Abattoir. Who said it couldn't?
In 1975, I lugged this paperback along with my brown bag lunch on my trips into the dreary downtown enclave that first fitfully entombed my youthful dreams - my dark office at the outset of my thirty-year fully-pensionable life sentence.
As my enthusiasm waned there, though eschewing the ribald loves of my fellow lifers鈥� way of all flesh, I found a fond friend in Fabrizio - O yes, Stendhal鈥榮 ever-young protagonist, Fabrizio!
You see, his wayward mom and sparkling little aunt had given this kid a very long leash indeed.
Careful, ladies... His erratically errant psychological type is the kind of persona you have to watch - closely. As folks had to watch BOTH of us back then.
For Quixotic at heart, Fabrizio and I had vowed never to rescind our Law of the Quest.
You see, we were born - and remained - rather dense na茂fs, Fabrizio and I.
And if you鈥檙e like that, and just let the good times roll, you鈥檙e only headed for one of life鈥檚 many brick walls.
It鈥檚 just plain fact.
So here is Fabrizio, chafing at the bit for his first Quest, like Lord Byron鈥檚 Childe Harold, taking off for whatever Lady Luck might throw his way, leaving his childhood ch芒teau to go onward and outward into the grim facts of life, in a Napoleonic Era paysage moralis茅.
Perhaps it will do him some good...
And so, when his wonderful questing is rewarded with the Gorgon鈥檚 head of a thankless coming of age - finally! - reading that, I consoled myself with the empathetic thought that, like him, perhaps my best bet, and my ticket out of this darkly hellish lifelong sentence In an awful office, would be in the cloistered life of peaceful recollection he finally opts for.
And that鈥檚 to a certain extent what I鈥檝e been given, now that my pension has locked in. A life of peaceful reflection - books and meditations on books. All I ever wanted. And now - after my life鈥檚 disastrous obstacle course - how sweet it all is.
Now, what I鈥檝e said here is only the barest of outlines of Stendhal鈥檚 whopping good yarn.
In effect, though, he is preaching his rather coarse 鈥渕ake hay while the sun shines鈥� to the youth of the Machine Age, who may, like Fabrizio and me, have had their noses otherwise perpetually stuck in a dumb Book of Chivalry.
But you know, kind author, for all your robust seat-of-your-pants fictional action - and ever-apparent arch irony - you should know better than to have advised us, the Fabrizio鈥檚 of the free world, to 鈥渃arpe diem.鈥�
For in your own life as a career diplomat, black tedium dogged your steps to the end -
But, believing in the Code of a Timeless Lifelong Quest, and avoiding your private and perilous affairs of the heart, has brought me and Fabrizio, finally, to the Peace of its Fulfillment.
In 1975, I lugged this paperback along with my brown bag lunch on my trips into the dreary downtown enclave that first fitfully entombed my youthful dreams - my dark office at the outset of my thirty-year fully-pensionable life sentence.
As my enthusiasm waned there, though eschewing the ribald loves of my fellow lifers鈥� way of all flesh, I found a fond friend in Fabrizio - O yes, Stendhal鈥榮 ever-young protagonist, Fabrizio!
You see, his wayward mom and sparkling little aunt had given this kid a very long leash indeed.
Careful, ladies... His erratically errant psychological type is the kind of persona you have to watch - closely. As folks had to watch BOTH of us back then.
For Quixotic at heart, Fabrizio and I had vowed never to rescind our Law of the Quest.
You see, we were born - and remained - rather dense na茂fs, Fabrizio and I.
And if you鈥檙e like that, and just let the good times roll, you鈥檙e only headed for one of life鈥檚 many brick walls.
It鈥檚 just plain fact.
So here is Fabrizio, chafing at the bit for his first Quest, like Lord Byron鈥檚 Childe Harold, taking off for whatever Lady Luck might throw his way, leaving his childhood ch芒teau to go onward and outward into the grim facts of life, in a Napoleonic Era paysage moralis茅.
Perhaps it will do him some good...
And so, when his wonderful questing is rewarded with the Gorgon鈥檚 head of a thankless coming of age - finally! - reading that, I consoled myself with the empathetic thought that, like him, perhaps my best bet, and my ticket out of this darkly hellish lifelong sentence In an awful office, would be in the cloistered life of peaceful recollection he finally opts for.
And that鈥檚 to a certain extent what I鈥檝e been given, now that my pension has locked in. A life of peaceful reflection - books and meditations on books. All I ever wanted. And now - after my life鈥檚 disastrous obstacle course - how sweet it all is.
Now, what I鈥檝e said here is only the barest of outlines of Stendhal鈥檚 whopping good yarn.
In effect, though, he is preaching his rather coarse 鈥渕ake hay while the sun shines鈥� to the youth of the Machine Age, who may, like Fabrizio and me, have had their noses otherwise perpetually stuck in a dumb Book of Chivalry.
But you know, kind author, for all your robust seat-of-your-pants fictional action - and ever-apparent arch irony - you should know better than to have advised us, the Fabrizio鈥檚 of the free world, to 鈥渃arpe diem.鈥�
For in your own life as a career diplomat, black tedium dogged your steps to the end -
But, believing in the Code of a Timeless Lifelong Quest, and avoiding your private and perilous affairs of the heart, has brought me and Fabrizio, finally, to the Peace of its Fulfillment.
August 28, 2024
#bibliotecaafectiva
Dac膬 ve葲i verifica, romanele pe care le-am pus sub eticheta 鈥瀊iblioteca afectiv膬鈥� s卯nt exact acelea pe care nu le pot judeca ra葲ional, rece, sobru, ci doar afectiv (sau sentimental) dintr-o pricin膬 evident膬: le-am citit pentru prima dat膬 cu mul葲i-mul葲i ani 卯n urm膬 (卯n colegiu, s膬 zicem, pe la 15 ani).
La o nou膬 lectur膬, nu mai v膬d 卯n M膬n膬stirea din Parma doar povestea de dragoste dintre Fabrice del Dongo 葯i Cl茅lia Conti, fiica ambi葲iosului guvernator al fort膬re葲ei din Parma, 葯i dau mult mai pu葲in膬 importan葲膬 aventurilor nes膬buite ale t卯n膬rului marchiz: r膬t膬cirea prin mul葲imea buimac膬 de solda葲i aflat膬 pe c卯mpul de la Waterloo (卯n 19 iunie 1815), duelul 卯nver葯unat cu saltimbancul Giletti, evadarea din turnul Farn猫se etc.
De fapt, adev膬rata poveste de iubire (o iubire pe care distratul ei nepot, Fabrice, n-o va b膬ga 卯n seam膬) este aceea a ducesei de Sanseverina, m膬tu葯a eroului. 脦n treac膬t fie spus, nu s卯nt rude de s卯nge. Ducesa 卯l iube葯te pe Fabrice cu o dragoste sf卯葯ietoare, imposibil膬, pentru care este gata s膬 fac膬 orice sacrificiu. 脦n opinia mea, cel mai puternic personaj al romanului este tocmai frumoasa Gina Pietranera, duces膬 de Sanseverina. Un alt personaj memorabil este medicul Ferrante Palla, poet faimos, condamnat la moarte 葯i obligat s膬 tr膬iasc膬 ascuns prin p膬duri, ca un t卯lhar la drumul mare. Fire葯te, poetul (ca orice poet) e un pic smintit...
A葯 aprecia, de asemenea, stilul c膬r葲ii: simplu, nervos, ironic, la antipodul frazeologiei bombastice a lui Balzac sau Hugo. Stendhal a redactat romanul dintr-o suflare. S-a 卯nchis 卯ntr-o odaie de pe strada Caumartin din Paris 葯i nu a mai ie葯it dec卯t dup膬 53 de zile, c卯nd romanul a fost gata. Harold Bloom spune c膬 l-a dictat unui secretar. Se poate. Sf卯r葯itul c膬r葲ii cu mor葲ile lui fulger膬toare (mai 卯nt卯i copilul, apoi Cl茅lia, apoi Fabrice 葯i, 卯n fine, contesa) nu mi-a fost niciodat膬 pe plac. Stendhal n-a fost foarte inspirat c卯nd a compus acest final melodramatic. Parc膬 a vrut s膬 scape de toate personajele...
脦n 卯ncheiere, m膬 gr膬besc s膬 spun c膬 titlul acestui roman e 卯n葯el膬tor. El nu acoper膬 ac葲iunea c膬r葲ii: Fabrice petrece doar un an 卯n m膬n膬sirea din Parma. Titlul sugereaz膬 o lume dominat膬 de ascez膬 葯i abstinen葲膬, dar lumea din roman este una a pasiunilor excesive, mistuitoare, letale...
Dac膬 ve葲i verifica, romanele pe care le-am pus sub eticheta 鈥瀊iblioteca afectiv膬鈥� s卯nt exact acelea pe care nu le pot judeca ra葲ional, rece, sobru, ci doar afectiv (sau sentimental) dintr-o pricin膬 evident膬: le-am citit pentru prima dat膬 cu mul葲i-mul葲i ani 卯n urm膬 (卯n colegiu, s膬 zicem, pe la 15 ani).
La o nou膬 lectur膬, nu mai v膬d 卯n M膬n膬stirea din Parma doar povestea de dragoste dintre Fabrice del Dongo 葯i Cl茅lia Conti, fiica ambi葲iosului guvernator al fort膬re葲ei din Parma, 葯i dau mult mai pu葲in膬 importan葲膬 aventurilor nes膬buite ale t卯n膬rului marchiz: r膬t膬cirea prin mul葲imea buimac膬 de solda葲i aflat膬 pe c卯mpul de la Waterloo (卯n 19 iunie 1815), duelul 卯nver葯unat cu saltimbancul Giletti, evadarea din turnul Farn猫se etc.
De fapt, adev膬rata poveste de iubire (o iubire pe care distratul ei nepot, Fabrice, n-o va b膬ga 卯n seam膬) este aceea a ducesei de Sanseverina, m膬tu葯a eroului. 脦n treac膬t fie spus, nu s卯nt rude de s卯nge. Ducesa 卯l iube葯te pe Fabrice cu o dragoste sf卯葯ietoare, imposibil膬, pentru care este gata s膬 fac膬 orice sacrificiu. 脦n opinia mea, cel mai puternic personaj al romanului este tocmai frumoasa Gina Pietranera, duces膬 de Sanseverina. Un alt personaj memorabil este medicul Ferrante Palla, poet faimos, condamnat la moarte 葯i obligat s膬 tr膬iasc膬 ascuns prin p膬duri, ca un t卯lhar la drumul mare. Fire葯te, poetul (ca orice poet) e un pic smintit...
A葯 aprecia, de asemenea, stilul c膬r葲ii: simplu, nervos, ironic, la antipodul frazeologiei bombastice a lui Balzac sau Hugo. Stendhal a redactat romanul dintr-o suflare. S-a 卯nchis 卯ntr-o odaie de pe strada Caumartin din Paris 葯i nu a mai ie葯it dec卯t dup膬 53 de zile, c卯nd romanul a fost gata. Harold Bloom spune c膬 l-a dictat unui secretar. Se poate. Sf卯r葯itul c膬r葲ii cu mor葲ile lui fulger膬toare (mai 卯nt卯i copilul, apoi Cl茅lia, apoi Fabrice 葯i, 卯n fine, contesa) nu mi-a fost niciodat膬 pe plac. Stendhal n-a fost foarte inspirat c卯nd a compus acest final melodramatic. Parc膬 a vrut s膬 scape de toate personajele...
脦n 卯ncheiere, m膬 gr膬besc s膬 spun c膬 titlul acestui roman e 卯n葯el膬tor. El nu acoper膬 ac葲iunea c膬r葲ii: Fabrice petrece doar un an 卯n m膬n膬sirea din Parma. Titlul sugereaz膬 o lume dominat膬 de ascez膬 葯i abstinen葲膬, dar lumea din roman este una a pasiunilor excesive, mistuitoare, letale...
June 20, 2019
Stendhal depicts both the amorous passion and the predilection for court intrigue present in the Italian character, yet he does this with an irony and a political analysis indisputably French, thereby producing not only a great realistic novel but a work which comments on the romantic novels that have gone before.
And yet--here is the marvelous part--"The Charterhouse of Parma," for all its realism, is still an incredibly romantic novel, containing a battle, a duel, a knife fight, various disguises for the hero and others, a poetry-writing revolutionary highwayman, and the most romantic setting for a love-affair possible--a passionate encounter between an unjustly imprisoned young nobleman and the beautiful daughter of the prison warden, soon to be married to a rich man she despises!
None of this, however, turns out quite the way that it would for Dumas pere--or Anthony Hope, for that matter--for in the world of Stendhal the individual's romantic impulses--as in real life--are often thwarted by circumstance.
January 31, 2025
A criticism of Stendhal is a bit like undertaking a vertiginous ascent without equipment; beware of slippery ground! The Charterhouse of Parma, in this case, is one of those monuments of French literature that readers share. It has marked many generations of high school students with varying degrees of happiness, leaving everyone with mixed impressions ranging from rejection to passion under the responsibility of more or less inspired teachers. Let us recall the facts: on September 3, 1838, Stendhal had the idea of 鈥嬧€媤riting the Charterhouse of Parma. On November 4, Stendhal moved to 4 Rue Caumartin in Paris. For seven weeks, he set to work and dictated the text of the Charterhouse to a secretary. Finally, on December 26, he gave his editor a text of more than five hundred pages. This bulimia of work requires, in itself, respect. And so there appears the extravagant hero of Stendhal, whose story we could briefly summarize: Fabrice del Dongo leads a peaceful and happy life with his family on the shores of Lake Como. But the young man dreams of glory on the battlefields. He goes to fight with Napoleon Bonaparte in Waterloo, a lousy pick regarding the battle choice, which will cause him many problems with the political authorities. Wanted and suspected of espionage, he was hiding by his aunt. He then meets the beautiful Cl茅lia, whose beauty subjugates him.
An epic novel, The Charterhouse of Parma, did not meet with resounding success when it was released. Balzac's support would be necessary for this story to break out of a desire to live that finally was both joyous and tragic. In 19th-century Italy, the reality of history rises to the fabulous adventure and borders on the romantic. It is all the talent of Stendhal that sublimates its events. In the story, he speaks to us of heroism through the feelings of revenge, incest, tyrannicide, and the naivety of a dreamy hero overwhelmed by the world around him.
To conclude, this pleasant novel traces a bygone era when it was challenging to project oneself. It dates a little and references many other stories of the nineteenth century, but it does not have the power to evoke Hugo or Zola.
An epic novel, The Charterhouse of Parma, did not meet with resounding success when it was released. Balzac's support would be necessary for this story to break out of a desire to live that finally was both joyous and tragic. In 19th-century Italy, the reality of history rises to the fabulous adventure and borders on the romantic. It is all the talent of Stendhal that sublimates its events. In the story, he speaks to us of heroism through the feelings of revenge, incest, tyrannicide, and the naivety of a dreamy hero overwhelmed by the world around him.
To conclude, this pleasant novel traces a bygone era when it was challenging to project oneself. It dates a little and references many other stories of the nineteenth century, but it does not have the power to evoke Hugo or Zola.
March 18, 2023
亘蹖卮鬲乇 賲禺丕胤亘丕賳 賮丕乇爻蹖 夭亘丕賳貙 "丕爻鬲丕賳丿丕賱" 乇賵 亘丕 "爻乇禺 賵 爻蹖丕賴" 賲蹖鈥屫促嗀ж迟�. 丿乇 丨丕賱蹖讴賴 丿乇 噩賴丕賳 丕丿亘蹖丕鬲貙 賲毓乇賵賮 鬲乇蹖賳 讴鬲丕亘 丕蹖賳 賳賵蹖爻賳丿賴 乇賲丕賳 "氐賵賲毓賴 倬丕乇賲丕 " 爻鬲 讴賴 丌禺乇蹖賳 丕孬乇 丕賵賳 賴賲 亘賴 卮賲丕乇 賲蹖丕丿.
丕蹖賳 乇賲丕賳貙 毓賱丕賵賴 亘乇 丿丕爻鬲丕賳 丿乇丕賲丕鬲蹖讴 毓丕卮賯丕賳賴 賵 讴賱丕爻蹖讴 丕卮貨 丕夭 賳馗乇 爻蹖丕爻蹖 賵 鬲丕乇蹖禺蹖 賴賲 蹖讴 丕孬乇 賵賮丕丿丕乇 賵 賵丕賯毓 诏乇丕蹖丕賳賴 丕爻鬲 讴賴 丨賵丕丿孬蹖 賲孬賱 賳亘乇丿 賵丕鬲乇賱賵 亘賴 乇賴亘乇蹖 賳丕倬賱卅賵賳 亘賳丕倬丕乇鬲 乇賵 倬賵卮卮 賲蹖丿賴 賵 賵賯丕蹖毓 丕賵賳 亘蹖賳 爻丕賱鈥屬囏й� 郾鄹郾鄱 鬲丕 郾鄹鄞鄯 賵 丿乇 丕蹖鬲丕賱蹖丕 噩乇蹖丕賳 丿丕乇賴.
丕诏乇 亘賴 丿丕爻鬲丕賳 賴丕蹖 鬲丕乇蹖禺蹖 賵 爻蹖丕爻蹖貙 賲丕噩乇丕賴丕蹖 倬蹖趩蹖丿賴 毓丕卮賯丕賳賴貙 毓卮賯 賴丕蹖 賲賲賳賵毓貙 丿爻蹖爻賴 趩蹖賳蹖 賴丕蹖 鬲丕乇蹖禺蹖 賵 賲丕噩乇丕賴丕蹖 噩賳丕蹖丕鬲蹖 讴賴 夭蹖乇 倬賵爻鬲 鬲噩賲賱丕鬲 倬賳賴丕賳 卮丿賴 毓賱丕賯賴 丿丕乇蹖丿貙 丕蹖賳 乇賲丕賳 乇賵 丕夭 丿爻鬲 賳丿蹖丿 趩賵賳 賴賲賴 丕蹖賳賴丕 乇賵 亘丕賴賲 丿丕乇賴.
賲賳 乇賲丕賳 乇賵 亘丕 噩丿蹖丿鬲乇蹖賳 鬲乇噩賲賴 讴賴 讴丕乇蹖 丕夭 丌賯丕蹖 賳噩丕亘鬲蹖 賴爻鬲卮 禺賵賳丿賲 讴賴 乇賵丕賳 亘賵丿 賵 爻禺鬲蹖 讴賱丕爻蹖讴 禺賵賳丿賳 乇賵 丌爻賵賳 賲蹖鈥屭┴必�.
丕蹖賳 乇賲丕賳貙 毓賱丕賵賴 亘乇 丿丕爻鬲丕賳 丿乇丕賲丕鬲蹖讴 毓丕卮賯丕賳賴 賵 讴賱丕爻蹖讴 丕卮貨 丕夭 賳馗乇 爻蹖丕爻蹖 賵 鬲丕乇蹖禺蹖 賴賲 蹖讴 丕孬乇 賵賮丕丿丕乇 賵 賵丕賯毓 诏乇丕蹖丕賳賴 丕爻鬲 讴賴 丨賵丕丿孬蹖 賲孬賱 賳亘乇丿 賵丕鬲乇賱賵 亘賴 乇賴亘乇蹖 賳丕倬賱卅賵賳 亘賳丕倬丕乇鬲 乇賵 倬賵卮卮 賲蹖丿賴 賵 賵賯丕蹖毓 丕賵賳 亘蹖賳 爻丕賱鈥屬囏й� 郾鄹郾鄱 鬲丕 郾鄹鄞鄯 賵 丿乇 丕蹖鬲丕賱蹖丕 噩乇蹖丕賳 丿丕乇賴.
丕诏乇 亘賴 丿丕爻鬲丕賳 賴丕蹖 鬲丕乇蹖禺蹖 賵 爻蹖丕爻蹖貙 賲丕噩乇丕賴丕蹖 倬蹖趩蹖丿賴 毓丕卮賯丕賳賴貙 毓卮賯 賴丕蹖 賲賲賳賵毓貙 丿爻蹖爻賴 趩蹖賳蹖 賴丕蹖 鬲丕乇蹖禺蹖 賵 賲丕噩乇丕賴丕蹖 噩賳丕蹖丕鬲蹖 讴賴 夭蹖乇 倬賵爻鬲 鬲噩賲賱丕鬲 倬賳賴丕賳 卮丿賴 毓賱丕賯賴 丿丕乇蹖丿貙 丕蹖賳 乇賲丕賳 乇賵 丕夭 丿爻鬲 賳丿蹖丿 趩賵賳 賴賲賴 丕蹖賳賴丕 乇賵 亘丕賴賲 丿丕乇賴.
賲賳 乇賲丕賳 乇賵 亘丕 噩丿蹖丿鬲乇蹖賳 鬲乇噩賲賴 讴賴 讴丕乇蹖 丕夭 丌賯丕蹖 賳噩丕亘鬲蹖 賴爻鬲卮 禺賵賳丿賲 讴賴 乇賵丕賳 亘賵丿 賵 爻禺鬲蹖 讴賱丕爻蹖讴 禺賵賳丿賳 乇賵 丌爻賵賳 賲蹖鈥屭┴必�.
September 2, 2019
A long twisting tale of love and intrigue.
Masterful story telling. Fun to read.
Masterful story telling. Fun to read.
February 28, 2017
A sprawling, sloppy, often-exhilarating read. It is an almost absolute middle point between Tom Jones (the handsome lead, the vignette-y style, the wonderful humor, the slapsticky regard for human life, the excess coincidences that characterize the early novel) and War and Peace, which it clearly influenced in its court/war split and its fascination with Napoleon.
It is too long by half - the scenes of intrigue in Parma are remarkably redundant - and has some messy threads that never really resolve. The ending is anticlimactic and strange. I think conceptions of literary STAKES were still missing at this point and so we are built toward a climax that we don't really care about and then fade away.
Fabrizio is a spectacularly useful character. He is sexy, lovable, and unbelievably stupid and impulsive. I would say he makes several of the worst decisions in literature - all of which drive the action of the book and keep us on our toes. There is a zesty incesty plot that is cleverly written around. There is possibly my favorite coincidence of this period of fiction (early on, at Waterloo. I won't spoil it). In fact, the entire before-Parma section of the book is absolutely thrilling.
Best of all though, is the stretch of the novel when Fabrizio is imprisoned in the beautifully designed tower. Brilliantly anticipated, wonderfully tense, oh-so-romantic. It's the "why I love to read" section of this book, resonant of the flood sequence in the Makioka Sisters. The rest of the novel doesn't live up to it. But then again, what could?
Oh, and the title is clever. Frances Ha-esque. Quick read for its length. The translation by Howard is excellent - the Modern Library edition is replete with typos.
It is too long by half - the scenes of intrigue in Parma are remarkably redundant - and has some messy threads that never really resolve. The ending is anticlimactic and strange. I think conceptions of literary STAKES were still missing at this point and so we are built toward a climax that we don't really care about and then fade away.
Fabrizio is a spectacularly useful character. He is sexy, lovable, and unbelievably stupid and impulsive. I would say he makes several of the worst decisions in literature - all of which drive the action of the book and keep us on our toes. There is a zesty incesty plot that is cleverly written around. There is possibly my favorite coincidence of this period of fiction (early on, at Waterloo. I won't spoil it). In fact, the entire before-Parma section of the book is absolutely thrilling.
Best of all though, is the stretch of the novel when Fabrizio is imprisoned in the beautifully designed tower. Brilliantly anticipated, wonderfully tense, oh-so-romantic. It's the "why I love to read" section of this book, resonant of the flood sequence in the Makioka Sisters. The rest of the novel doesn't live up to it. But then again, what could?
Oh, and the title is clever. Frances Ha-esque. Quick read for its length. The translation by Howard is excellent - the Modern Library edition is replete with typos.
October 8, 2007
Standard 19th century French novel? Not even close. This book defies almost every convention of the novel, and it was written before any of those conventions were even recognized! No hero, no heroine, no real plot; no morality lesson; Machiavellian politics for everyone; love doesn't conquer all; love doesn't even exist in this world until the main character gets locked away in prison for a womb-like nine months; a narrator who couldn't care less about the whole thing...this is so modern it hurts. I wouldn't call this an easy or fun read, but I find myself thinking about the book a lot, long after I've finished it. It's really difficult to place and kinda powerful because of it...
August 5, 2016
JR was writing a little note on a piece of parchment when a cry was heard outside his door. 鈥楤ring him here, the rascal. I shall have his head cut off!鈥� There was a commotion and the door was opened and he recognized Conte Crescenzi, quite inebriated, and spouting forth such obscenities that would have made the most devilish of villains blush. Such buffooneries were uttered that even the dogs barking outside were scandalized. It was later claimed by the lowest class that at the same moment, inside the church of the Sta. Elena, tears fell from the Virgin鈥檚 eyes. Now JR had a tiny piece of dagger in his hilt and was ready to stab the Conte had the Conte attempted to draw his rapier. Alas, the Conte was there only to abuse the poor gentleman with his words. Earlier, he had been visiting a debtor in a rather dreadful tavern full of vagabonds when he heard a drunkard say 鈥業 say, here鈥檚 the Conte Crescenzi come to mingle with us dogs. I feel thee, better to be with us dogs than a wife who is a bitch to another man. Come and drink.鈥� The crowd inside the tavern was filled with guffaws for the drunkard鈥檚 insolence. The Conte鈥檚 face blushed with horror. He had never heard such an accusation, and from such a lowly person. Never before had he doubted his wife鈥檚 fidelity to him until that moment. Thus his heart was filled with great sorrow and he drunk such wine that the Savior would have died had it been all his blood the Conte was drinking. Then the suddenly passionate Conte broke into a sonnet he wrote as a boy once when his mother had struck him for pilfering a sou from her purse. When he finished the drunken crowd erupted with peals of laughter and insults, for the sonnet was not flattering and very novice. It even had a line which said 鈥榶our maternal person is Machiavellian so let me suck the wiliness out of your teat,鈥� which seemed rather seditious to the crowd. Then a monstrously plump vagabond who liked to call himself Bonaparte made a declaration 鈥榓 friend of mine writes appraisals better than that Jacobinical sonnet.鈥� The Conte was outraged. 鈥楪ive me the name of this libertine and I shall hang him.鈥� The drunken Conte had fancied that the vagabond had implied that this person who made appraisals better than his sonnets was also the lover of his wife. It was his Italian blood, prone to fits of wild imaginings when in frenzy that we can attribute this to. And so Bonaparte declared the name JR and informed the furious Conte of his whereabouts. Full of zeal, the Conte made haste and left the tavern but not before he insulted the crowd with his profanities that are to be legendary for being astoundingly juvenile at the same time. And so this is where our story began, when the Conte arrived at the gentleman鈥檚 lodgings and here too shall it end. After assaulting JR with a furious besmirching, the Conte sat down and asked for some wine. 鈥楲et me wet my dry lips, clown.鈥� 鈥業t shall be as wet as the Contessa鈥檚 buds whenever I take her to be mine,鈥� responded JR quite amused by the Conte鈥檚 audacity to ask for wine from someone he just insulted. The Conte鈥檚 face blushed due to his very Catholic nature, however due to his intoxication he managed to summon some small ounce of courage and take a small knife from his boot to stab JR who was turned back quite busy decanting a Verdicchio. JR felt the sharp pain on his back and slowly his vision turned dark until everything was black as a crow鈥檚 eye. Emptiness. Death? But then light slowly came to him. He awoke inside his room with a copy of Stendhal鈥檚 The Charterhouse of Parma on his face. He鈥檇 fallen asleep on his couch right after reading the novel. He smiled. That鈥檚 realism for you, he thought. But the smile vanished from his face when he looked at the clock and saw that it displayed the numbers seven fifty-eight. He sprang up, took a quick shower, changed clothes, got his bag and went out. He was late for class.
February 27, 2023
芦 ...丕蹖賳 讴鬲丕亘 讴賴 亘乇 囟丿 爻鬲賲诏乇蹖 賵 禺賵丿讴丕賲诏蹖 丕爻鬲貙 丿乇 賵丕賯毓 氐賵賲毓賴鈥屫й� 丕爻鬲 讴賴 爻鬲賵賳鈥屬囏й屫� 亘乇 鬲丕乇蹖禺 禺賵丿讴丕賲诏丕賳 賯乇賳 賴噩丿賴賲 亘乇倬丕爻鬲貙 丿乇賴丕蹖卮 亘乇 亘賳丿诏丕賳 賵 乇毓丕蹖丕 賵 亘賵乇跇賵丕賴丕蹖 讴賵趩讴 亘爻鬲賴 丕爻鬲貙 賴乇 爻賳诏卮 丕夭 賳禺賵鬲 賵 禺賵丿倬爻賳丿蹖貙 賳蹖乇賳诏 賵 倬爻鬲蹖 賵 賴賵爻 倬乇丿丕禺鬲賴 卮丿賴 丕爻鬲 賵 賴賲丕賳鈥屭堎嗁� 讴賴 丕夭 賳丕賲卮 倬蹖丿丕爻鬲貙 賲匕賴亘 賲丕賳賳丿 趩丕丿乇 鬲賲丕賲 丌賳 乇丕 丕夭 趩卮賲 馗丕賴乇亘蹖賳 禺賱賯 倬賳賴丕賳 丿丕卮鬲賴 丕爻鬲. 乇丕賵蹖 (丕爻鬲丕賳丿丕賱)貙 讴賱蹖丿 丿乇 丿爻鬲貙 亘乇 禺賵丕賳賳丿賴 丿乇 賲蹖鈥屭簇й屫� 賵 丨噩乇賴鈥屫ㄙ団€屫辟� 乇丕 亘賴 丕賵 賳卮丕賳 賲蹖鈥屫囏� 丿乇 賴乇 丨噩乇賴 讴爻蹖 丕爻鬲: 夭賳蹖 夭蹖亘丕 賵 賴賵卮賲賳丿貙 禺賵丿讴丕賲賴鈥屫й� 亘乇鬲乇蹖鈥屫堌� 丿爻蹖爻賴鈥屭必з嗃� 賲丕賴乇... 賵 賯賴乇賲丕賳蹖 讴賴 禺賵丕賳賳丿賴 亘賴鈥屬呚辟堌� 賲蹖鈥屬佡囐呚� 讴賴 賯賴乇賲丕賳 賳蹖爻鬲貙 亘賱讴賴 丕賳爻丕賳蹖 丕爻鬲 讴賴 賳蹖乇賵賴丕蹖卮貙 丕賳丿讴鈥屫з嗀� 賵 丿乇 爻丕蹖踿 氐丿丕賯鬲 禺胤乇丕賳诏蹖夭蹖 讴賴 亘丕 丕丨爻丕爻丕鬲卮 丿丕乇丿貙 賲鬲噩賱蹖 賲蹖鈥屫促堌� 賵 賴賳诏丕賲蹖 讴賴 亘賴 毓卮賯 (卮賳丕禺鬲) 丿爻鬲 賲蹖鈥屰屫жㄘ� 亘賴鈥屰屭┾€屫ㄘж辟� 卮禺氐 丿蹖诏乇蹖 賲蹖鈥屫促堌� 卮禺氐 丿蹖诏乇蹖 讴賴 丕讴賳賵賳 賲蹖鈥屫堌з� 賯賴乇賲丕賳卮 禺賵丕賳丿 (夭蹖乇丕 禺賵丿 丕賳鬲禺丕亘 賲蹖鈥屭┵嗀�).
賵 氐賵賲毓賴 鈥� 讴賴 爻賳鬲 賵 賲匕賴亘 丕夭 賳诏丕賴鈥屬囏� 倬賳賴丕賳卮 賲蹖鈥屫ж必� 鈥� 鬲噩賱蹖鈥屭з� 禺氐賵氐蹖丕鬲 丨蹖賵丕賳鈥屫蒂佖з嗃€ 讴爻丕賳蹖 丕爻鬲 讴賴 卮賴賵鬲 賯丿乇鬲貙 卮賴賵鬲 卮賴乇鬲 賵 卮賴賵鬲 孬乇賵鬲 賲爻禺卮丕賳 賲蹖鈥屭┵嗀� 賵 亘賴 賯賵賱 賳賵蹖爻賳丿賴貙 毓乇賵爻讴蹖 丿乇亘丕乇蹖 丕夭卮丕賳 賲蹖鈥屫池ж藏�. 賴乇诏丕賴 亘蹖诏丕賳賴鈥屫й� 丿乇 噩賲毓 丕蹖賳 丌卮賳丕蹖丕賳賽 夭蹖丕賳讴丕乇 爻乇亘乇賲蹖鈥屭┴簇� (卮丕毓乇蹖 丌夭丕丿賴 讴賴 賲丨讴賵賲 亘賴 賲乇诏蹖 賳丕毓丕丿賱丕賳賴 丕爻鬲貙 丿禺鬲乇讴蹖 讴賴 倬乇賳丿賴 賵 毓卮賯 乇丕 诏乇蹖夭蹖 丕夭 鬲亘丕賴蹖 丿乇亘丕乇蹖丕賳 賲蹖鈥屫ㄛ屬嗀� 夭賳蹖 诏丕乇蹖趩蹖 讴賴 丿乇 噩賳诏賿 賴賲踿 禺氐丕賱 賲乇丿賲丕賳 毓丕賲蹖 乇丕 賳卮丕賳 賲蹖鈥屫囏�...) 禺賵丕賳賳丿賴 乇丕 丿乇 賵丕丿蹖 鬲囟丕丿 乇賵丕亘胤貙 丿乇 诏乇丿丕亘 賯蹖丕爻 賵 丕爻鬲賳鬲丕噩貙 丿乇 卮賳丕爻丕蹖蹖 丕賳爻丕賳 賵 丕賳爻丕賳蹖鬲 乇賴丕 賲蹖鈥屭┵嗀�.
氐賵賲毓踿 倬丕乇賲丕 乇賲丕賳蹖 丕爻鬲 亘賴鈥屫贺й屫� 丕爻鬲丕丿丕賳賴 賵 賴賳乇賲賳丿丕賳賴貙 丕孬乇蹖 賴賳乇蹖 賵 亘夭乇诏貙 禺丕賱蹖 丕夭 賴乇诏賵賳賴 賮賱爻賮賴鈥屫ㄘз佦�. 賮乇丕夭 賵 賮乇賵丿 丿丕乇丿 賵 賴賲趩賵賳 夭賳丿诏蹖貙 亘蹖鈥屫蹿┵勠� 賵 丕亘賴丕賲蹖 丕爻鬲 讴賴 賲蹖鈥屫堌з嗀� 趩卮賲踿 噩賵卮丕賳 賴乇诏賵賳賴 亘乇丿丕卮鬲 賵 鬲賮爻蹖乇 亘丕卮丿. 賲孬賱 丿乇禺鬲 丕爻鬲 讴賴 賲蹖鈥屫堌з� 丕夭 亘乇诏 爻亘夭 丌賳貙 亘丕 賴賵卮蹖丕乇蹖貙 倬蹖 亘賴 賲毓乇賮鬲 亘乇丿. 賵 丨賯蹖賯鬲 賴賳乇 賳蹖夭 賴賲蹖賳 丕爻鬲 讴賴 亘蹖卮 丕夭 夭賳丿诏蹖貙 夭賳丿诏蹖 丕爻鬲.禄
賴乇賲夭 卮賴丿丕丿蹖 鈥� 芦趩卮賲踿 噩賵卮丕賳 丕亘賴丕賲禄 (丿乇亘丕乇踿 氐賵賲毓踿 倬丕乇賲丕蹖 丕爻鬲丕賳丿丕賱)
賵 氐賵賲毓賴 鈥� 讴賴 爻賳鬲 賵 賲匕賴亘 丕夭 賳诏丕賴鈥屬囏� 倬賳賴丕賳卮 賲蹖鈥屫ж必� 鈥� 鬲噩賱蹖鈥屭з� 禺氐賵氐蹖丕鬲 丨蹖賵丕賳鈥屫蒂佖з嗃€ 讴爻丕賳蹖 丕爻鬲 讴賴 卮賴賵鬲 賯丿乇鬲貙 卮賴賵鬲 卮賴乇鬲 賵 卮賴賵鬲 孬乇賵鬲 賲爻禺卮丕賳 賲蹖鈥屭┵嗀� 賵 亘賴 賯賵賱 賳賵蹖爻賳丿賴貙 毓乇賵爻讴蹖 丿乇亘丕乇蹖 丕夭卮丕賳 賲蹖鈥屫池ж藏�. 賴乇诏丕賴 亘蹖诏丕賳賴鈥屫й� 丿乇 噩賲毓 丕蹖賳 丌卮賳丕蹖丕賳賽 夭蹖丕賳讴丕乇 爻乇亘乇賲蹖鈥屭┴簇� (卮丕毓乇蹖 丌夭丕丿賴 讴賴 賲丨讴賵賲 亘賴 賲乇诏蹖 賳丕毓丕丿賱丕賳賴 丕爻鬲貙 丿禺鬲乇讴蹖 讴賴 倬乇賳丿賴 賵 毓卮賯 乇丕 诏乇蹖夭蹖 丕夭 鬲亘丕賴蹖 丿乇亘丕乇蹖丕賳 賲蹖鈥屫ㄛ屬嗀� 夭賳蹖 诏丕乇蹖趩蹖 讴賴 丿乇 噩賳诏賿 賴賲踿 禺氐丕賱 賲乇丿賲丕賳 毓丕賲蹖 乇丕 賳卮丕賳 賲蹖鈥屫囏�...) 禺賵丕賳賳丿賴 乇丕 丿乇 賵丕丿蹖 鬲囟丕丿 乇賵丕亘胤貙 丿乇 诏乇丿丕亘 賯蹖丕爻 賵 丕爻鬲賳鬲丕噩貙 丿乇 卮賳丕爻丕蹖蹖 丕賳爻丕賳 賵 丕賳爻丕賳蹖鬲 乇賴丕 賲蹖鈥屭┵嗀�.
氐賵賲毓踿 倬丕乇賲丕 乇賲丕賳蹖 丕爻鬲 亘賴鈥屫贺й屫� 丕爻鬲丕丿丕賳賴 賵 賴賳乇賲賳丿丕賳賴貙 丕孬乇蹖 賴賳乇蹖 賵 亘夭乇诏貙 禺丕賱蹖 丕夭 賴乇诏賵賳賴 賮賱爻賮賴鈥屫ㄘз佦�. 賮乇丕夭 賵 賮乇賵丿 丿丕乇丿 賵 賴賲趩賵賳 夭賳丿诏蹖貙 亘蹖鈥屫蹿┵勠� 賵 丕亘賴丕賲蹖 丕爻鬲 讴賴 賲蹖鈥屫堌з嗀� 趩卮賲踿 噩賵卮丕賳 賴乇诏賵賳賴 亘乇丿丕卮鬲 賵 鬲賮爻蹖乇 亘丕卮丿. 賲孬賱 丿乇禺鬲 丕爻鬲 讴賴 賲蹖鈥屫堌з� 丕夭 亘乇诏 爻亘夭 丌賳貙 亘丕 賴賵卮蹖丕乇蹖貙 倬蹖 亘賴 賲毓乇賮鬲 亘乇丿. 賵 丨賯蹖賯鬲 賴賳乇 賳蹖夭 賴賲蹖賳 丕爻鬲 讴賴 亘蹖卮 丕夭 夭賳丿诏蹖貙 夭賳丿诏蹖 丕爻鬲.禄
賴乇賲夭 卮賴丿丕丿蹖 鈥� 芦趩卮賲踿 噩賵卮丕賳 丕亘賴丕賲禄 (丿乇亘丕乇踿 氐賵賲毓踿 倬丕乇賲丕蹖 丕爻鬲丕賳丿丕賱)
June 24, 2009
I picked this up last month because I'm a huge fan of The Red And The Black, easily one of my top five novels. Stendahl was a nineteenth century French satirist who bascially invented the realistic psychological novel, and The Red And The Black is a wicked black comedy about a cunning young priest who plots to become Pope, and his subsequent adventures in high society. Like I say I loved this book so I had high hopes for Charterhouse.
Unfortunately, in my opinion after a promising start this book sort of loses the thread. The majority of it is taken up with the bureaucratic and romantic intrigues of a court in the small Italian state of Parma, and to the modern Western reader most of this stuff is crushingly dull. Stendahl's great strength is showing us characters who are oblivious to their own inner motives (those motives being plain as day to us readers) and there is some of that here, as well as some compelling characters (especially the Duchesa Gina Sanservina, the real hero of the story), but markedly absent is the biting wit and barbed social commentary of Stendahl's other great novel.
This is one of those historic romance novels that always leaves me scratching my head and thinking "wait, are these characters sleeping together or not?" Perhaps I'm asking a bit much to have these elliptical intrigues spelled out for my modern sensibility, but it's frustrating to observe the behavior of these courtiers, who for all my experience with their weird ways might as well be attendants to the Prince of Mars.
Some of the ridiculous courtly behavior is funny, or illuminating of human weakness in a telling way, some of the scenes are great (the Waterloo sequence early in the book is absolutely amazing), some of the characters are worth getting to know, but there are weird plot twists that feel poorly introduced and then abandoned. Also, and I kid you not, some of the most significant and interesting action in this five hundred ten page novel takes place on the last ten pages! We spend hundreds of pages meandering around in these peoples lives, and then all this crazy intense shit happens to them at the very end and is totally glossed over! What were you thinking, Stendahl?
If you're a Stendahl fan you'll probably want to read this at some point, and maybe it's better than I know and I'm just not the best reader for this one. My opinion though, as if it weren't obvious, is that you should do yourself a favor and read The Red And The Black instead.
Unfortunately, in my opinion after a promising start this book sort of loses the thread. The majority of it is taken up with the bureaucratic and romantic intrigues of a court in the small Italian state of Parma, and to the modern Western reader most of this stuff is crushingly dull. Stendahl's great strength is showing us characters who are oblivious to their own inner motives (those motives being plain as day to us readers) and there is some of that here, as well as some compelling characters (especially the Duchesa Gina Sanservina, the real hero of the story), but markedly absent is the biting wit and barbed social commentary of Stendahl's other great novel.
This is one of those historic romance novels that always leaves me scratching my head and thinking "wait, are these characters sleeping together or not?" Perhaps I'm asking a bit much to have these elliptical intrigues spelled out for my modern sensibility, but it's frustrating to observe the behavior of these courtiers, who for all my experience with their weird ways might as well be attendants to the Prince of Mars.
Some of the ridiculous courtly behavior is funny, or illuminating of human weakness in a telling way, some of the scenes are great (the Waterloo sequence early in the book is absolutely amazing), some of the characters are worth getting to know, but there are weird plot twists that feel poorly introduced and then abandoned. Also, and I kid you not, some of the most significant and interesting action in this five hundred ten page novel takes place on the last ten pages! We spend hundreds of pages meandering around in these peoples lives, and then all this crazy intense shit happens to them at the very end and is totally glossed over! What were you thinking, Stendahl?
If you're a Stendahl fan you'll probably want to read this at some point, and maybe it's better than I know and I'm just not the best reader for this one. My opinion though, as if it weren't obvious, is that you should do yourself a favor and read The Red And The Black instead.
Read
July 10, 2012Non sono un fan di questo libro, ma non aggiungo commenti perch锟斤拷 non credo di essere in grado: penso d'averlo affrontato in un periodo sbagliato.
Read
March 27, 2018ho scoperto di essere stendhaliano per sentito dire, molto prima di leggere Stendhal, e precisamente leggendo un pomeriggio Alberto Savinio (quest'anno ho il proposito di stanarlo tutto, leggendolo). Il pittore e scrittore mezzo greco ammirava molto il grande Fabrizio Clerici, suo amico: artista surreale e immaginifico, incrocio tra Attanasio Kircher, Salvador Dal矛 e Picasso nella loro epoche classiche. Savinio affibbia a Clerici attributi che lo incasellano in quell'atmosfera vitale che 猫 lo stendhalismo, la cui aria ho sempre respirato senza rendermene mai conto.
"Stendhaliani si nasce, non si diventa. Lo svagato deambulare di Fabrizio Clerici attraverso la vita; il suo lasciarsi prendere dalle cose pi霉 impensate; il suo fare scarso assegnamento sul potere della virilit脿, della forza, del pugno di ferro anche se guantato di velluto; il suo assaggiare le frasi e le pi霉 volte lasciarle a met脿 come indegne di essere formulate; il suo bighellonare anche nelle gradi svolte della Storia; il suo fannullare anche in mezzo alle pi霉 folte occupazioni; il lento vagare dei suoi occhi a mandorla bianca.., il suo ignorare le 'grandi mete' e rendere omaggio alle mete minime e inapparenti; il suo dilettantismo di razza; il suo tener dietro al proprio naso - mi avevano dato sicuro indizio di stendhalismo. L鈥檃mico stendhaliano 猫 necessario. E鈥� il compagno leggero, l'Ariele di questo mondo asciutto d'acqua e d'aria鈥� Tu come Clerici e io come Chirico siamo oltre a tutto anche parenti鈥� mi unisco alla tua stessa radice clericus, e assieme risaliamo al comune 办濒别谤颈肠貌蝉 cio猫 a dire tutto quello che tocca in sorte.
A noi che toccher脿 in sorte? Tutto. Poich猫 questa 猫 la misteriosa virt霉 di noi stendhaliani, di avere la nostra propria sorte nella sorte di tutte le cose, dalle massime alle minime, di essere noi soli come voleva essere Nietzsche, come una volta erano gli d猫i: dappertutto e in nessun luogo".
"Stendhaliani si nasce, non si diventa. Lo svagato deambulare di Fabrizio Clerici attraverso la vita; il suo lasciarsi prendere dalle cose pi霉 impensate; il suo fare scarso assegnamento sul potere della virilit脿, della forza, del pugno di ferro anche se guantato di velluto; il suo assaggiare le frasi e le pi霉 volte lasciarle a met脿 come indegne di essere formulate; il suo bighellonare anche nelle gradi svolte della Storia; il suo fannullare anche in mezzo alle pi霉 folte occupazioni; il lento vagare dei suoi occhi a mandorla bianca.., il suo ignorare le 'grandi mete' e rendere omaggio alle mete minime e inapparenti; il suo dilettantismo di razza; il suo tener dietro al proprio naso - mi avevano dato sicuro indizio di stendhalismo. L鈥檃mico stendhaliano 猫 necessario. E鈥� il compagno leggero, l'Ariele di questo mondo asciutto d'acqua e d'aria鈥� Tu come Clerici e io come Chirico siamo oltre a tutto anche parenti鈥� mi unisco alla tua stessa radice clericus, e assieme risaliamo al comune 办濒别谤颈肠貌蝉 cio猫 a dire tutto quello che tocca in sorte.
A noi che toccher脿 in sorte? Tutto. Poich猫 questa 猫 la misteriosa virt霉 di noi stendhaliani, di avere la nostra propria sorte nella sorte di tutte le cose, dalle massime alle minime, di essere noi soli come voleva essere Nietzsche, come una volta erano gli d猫i: dappertutto e in nessun luogo".
August 28, 2021
A dazzling "opera" and the worldliest of books ever written.
Parmesan courtlife is both Machiavellian & Ruritanian. Courtiers, politicos, Great Ladies and Ministers of State banter, plot, betray and caress romantic dreams within a maze of social maneuvers. The young hero has a Candide-quality and his high-born aunt - a duchess who uses sex with brains as a handbook on tactics - is among the most enchanting women in fiction.
Parmesan courtlife is both Machiavellian & Ruritanian. Courtiers, politicos, Great Ladies and Ministers of State banter, plot, betray and caress romantic dreams within a maze of social maneuvers. The young hero has a Candide-quality and his high-born aunt - a duchess who uses sex with brains as a handbook on tactics - is among the most enchanting women in fiction.
April 5, 2022
This didn't fit me at all. I will explain why. You then must determine if your likes and dislikes match up with mine.
I am not judging Stendhal鈥檚 book. Who am I to make such a judgment?! My rating merely reflects my personal appreciation of it. My one star rating indicates only that I personally do not like it.
The story circles around court romances and intrigues. The setting is predominantly Italy after Waterloo. At the start, the central figure goes off to fight under Napoleon. We travel with him to France, Belgium, Switzerland, and Austria, but the Italian area around Parma is home. It is not the common folk that we rub shoulders with but instead princes and dukes and duchesses, counts and countesses, marquis, archbishops and others of high standing that we associate with. There are brigands to be outwitted. What is delivered are tales of adventure and romance and intrigue. Conflagrations, poisonings, obductions, imprisonments and escapes fill the tale. Swooning romances too. The tale is plot oriented. Both the prose and the unfurling of the plot are way too soap-operatic for my taste. Take what I am saying seriously. The story is so overdone. One may laugh at its ridiculousness, sneer in distain or yawn of pure boredom.
I did follow the tale to the end. The only good point I can think of is that it doesn鈥檛 end with a super cute happy ending. You could reasonably say that Stendhal draws a realistic picture of Italian court life. I assume Stendhal was intending us to view that which is drawn with irony.
Eduardo Ballerini narrates the audiobook. His narration magnifies the soap-operatic tone of the tale. One might reason that it is a good narration because it has the same tone and style as the prose. The writing was hard enough for me to swallow. I didn鈥檛 enjoy further melodrama and exaggeration even if this does reflect the tone of the writing. Nope, I didn鈥檛 like the narration at all. Ballerini speaks the Italian words rapidly. This makes it harder to hear the names. This isn鈥檛 a serious problem though because most characters are known by their title.
Neither the narration nor the tale is to my liking. I have given both one star. If you enjoy novels of romance and melodramatic court intrigues, this book may be just your cup of tea. I am not going to try another Stendhal. I鈥檝e had enough.
You should be happy. I copied down a whole bunch of lines to show you how ridiculous they were. I am sparing you them.
****
* 1 star
* 1 star
I am not judging Stendhal鈥檚 book. Who am I to make such a judgment?! My rating merely reflects my personal appreciation of it. My one star rating indicates only that I personally do not like it.
The story circles around court romances and intrigues. The setting is predominantly Italy after Waterloo. At the start, the central figure goes off to fight under Napoleon. We travel with him to France, Belgium, Switzerland, and Austria, but the Italian area around Parma is home. It is not the common folk that we rub shoulders with but instead princes and dukes and duchesses, counts and countesses, marquis, archbishops and others of high standing that we associate with. There are brigands to be outwitted. What is delivered are tales of adventure and romance and intrigue. Conflagrations, poisonings, obductions, imprisonments and escapes fill the tale. Swooning romances too. The tale is plot oriented. Both the prose and the unfurling of the plot are way too soap-operatic for my taste. Take what I am saying seriously. The story is so overdone. One may laugh at its ridiculousness, sneer in distain or yawn of pure boredom.
I did follow the tale to the end. The only good point I can think of is that it doesn鈥檛 end with a super cute happy ending. You could reasonably say that Stendhal draws a realistic picture of Italian court life. I assume Stendhal was intending us to view that which is drawn with irony.
Eduardo Ballerini narrates the audiobook. His narration magnifies the soap-operatic tone of the tale. One might reason that it is a good narration because it has the same tone and style as the prose. The writing was hard enough for me to swallow. I didn鈥檛 enjoy further melodrama and exaggeration even if this does reflect the tone of the writing. Nope, I didn鈥檛 like the narration at all. Ballerini speaks the Italian words rapidly. This makes it harder to hear the names. This isn鈥檛 a serious problem though because most characters are known by their title.
Neither the narration nor the tale is to my liking. I have given both one star. If you enjoy novels of romance and melodramatic court intrigues, this book may be just your cup of tea. I am not going to try another Stendhal. I鈥檝e had enough.
You should be happy. I copied down a whole bunch of lines to show you how ridiculous they were. I am sparing you them.
****
* 1 star
* 1 star
January 9, 2017
In somewhat stark contrast to the darkness of the The Red and the Black, La Chartreuse de Parme is a comedic masterpiece from a youthful Stendhal. Well, humorous as well as languorous at the end. In it is one of the funniest incidents in all of French literature (perhaps eclipsed by the "souliers rouge" incident in Cot茅 de Guermantes) where the hapless protagonist Fabrice dreams of Napoleon and somehow wanders onto the battlefield of Waterloo - rather like someone in Universal Studios would randomly wander into a movie set for, say, Star Wars - and has his back turned just as Napoleon goes by, to his doom (Napoleon's that is!). It is - as all of Stendhal's books - extremely well-written and a masterpiece of 19th C French literature.
Read
July 21, 2016I read this looking for more atmosphere and details about the Napoleonic wars, having just read War and Peace in which Tolstoy does a wonderful job of conveying how Napoleon's Russian campaign was viewed by some sections of Russian society. The beginning of this novel was promising with descriptions of how the people of Milan and the surrounding area viewed the Napoleonic conquest but soon the author began a long and involved courtly love saga that might have belonged more in the twelfth century than the nineteenth. Not exactly what I expected...
December 20, 2017
O wretched soul, what sweetness it was!
How we burned at the moment when I saw
those eyes that I might never see again.
Lines from Petrarch, on handkerchief given secretly as a gift in novel's forbidden love affair
The 1839 Charterhouse represented a movement away and forward from the romanticism of Stendhal's time, this was one of the earliest examples of realism in a way that was considered revolutionary then; Balzac considered it the most important novel of his time. Though some elements of the romantic emotionalism linger, the novel turns to realism in more fully exploring human nature and psychology of its primary characters.
Stendhal, like the protagonist Fabrice del Dongo, served with Napoleon's army in the 1812 campaign into Russia. After Napoleon's fall, Stendhal lived six years in Italy, a country he fell in love with, before returning to his native France.
Upon return from serving with Napoleon's army, del Dongo returns to the intrigue and politics of the court of Parma and fends off repeated advances from his relatively young aunt by marriage, 15 years his senior. He falls head over heels for the young maiden Clelia and they begin a platonic affair...until after she is married (and insists that they have sex in complete darkness so she would not be fully aware that she was committing an adulterous sin).
Once he deems the affair hopeless, that he can never be with his love, he turns to the cloth, escaping the cruel world into the charterhouse, or monastery.
I enjoyed it as a unique departure in my reading, appreciating the blend of the realism with some of the dramatically emotional pull of hopeless love.
How we burned at the moment when I saw
those eyes that I might never see again.
Lines from Petrarch, on handkerchief given secretly as a gift in novel's forbidden love affair
The 1839 Charterhouse represented a movement away and forward from the romanticism of Stendhal's time, this was one of the earliest examples of realism in a way that was considered revolutionary then; Balzac considered it the most important novel of his time. Though some elements of the romantic emotionalism linger, the novel turns to realism in more fully exploring human nature and psychology of its primary characters.
Stendhal, like the protagonist Fabrice del Dongo, served with Napoleon's army in the 1812 campaign into Russia. After Napoleon's fall, Stendhal lived six years in Italy, a country he fell in love with, before returning to his native France.
Upon return from serving with Napoleon's army, del Dongo returns to the intrigue and politics of the court of Parma and fends off repeated advances from his relatively young aunt by marriage, 15 years his senior. He falls head over heels for the young maiden Clelia and they begin a platonic affair...until after she is married (and insists that they have sex in complete darkness so she would not be fully aware that she was committing an adulterous sin).
Once he deems the affair hopeless, that he can never be with his love, he turns to the cloth, escaping the cruel world into the charterhouse, or monastery.
I enjoyed it as a unique departure in my reading, appreciating the blend of the realism with some of the dramatically emotional pull of hopeless love.
December 23, 2021
RILETTURA: le vicende tormentate di Fabrizio del Dongo, consentono a Stendhal di porre sotto i nostri occhi il complesso gioco di equilibri, di sotterfugi, di favoritismi che sosteneva la politica italiana (quella di Parma, in particolare) negli anni successivi al declino di Napoleone. Ma 猫 anche la testimonianza di un idealismo restio a vedersi soffocare da tutti questi intrighi e che seguita a mantenersi vitale nonostante assai di rado (e fuggevolmente) veda coronati i propri strenui sforzi.
December 26, 2016
螖蔚谓 蠀蟺维蟻蠂蔚喂 畏 纬慰畏蟿蔚委伪 蟿畏蟼 喂蟽蟿慰蟻委伪蟼 魏伪喂 蟿蠅谓 伪位位畏纬慰蟻喂蠋谓 蟿慰蠀 螝蠈魏魏喂谓慰 魏伪喂 螠伪蠉蟻慰. 违蟺维蟻蠂慰蠀谓 蠈渭蠅蟼 畏 委未喂伪 伪委蟽胃畏蟽畏 未喂伪蠂蟻慰谓喂魏蠈蟿畏蟿伪蟼 魏伪喂 蟿伪蠉蟿喂蟽畏蟼 魏伪蟿伪蟽蟿维蟽蔚蠅谓 魏伪喂 尉蠀蟺谓维蔚喂 伪魏蠈渭畏 蔚谓蟿慰谓蠈蟿蔚蟻伪 蟿慰谓 畏胃喂魏蠈 伪谓蟿委位慰纬慰.
危蟺慰蠀未伪委伪 蔚蟺喂蟿蔚蠉纬渭伪蟿伪 蔚委谓伪喂 畏 蔚尉伪喂蟻蔚蟿喂魏萎 蟿伪魏蟿喂魏萎 渭慰谓伪未喂魏萎 蟽蟿慰谓 危蟿蔚谓蟿维位 蠋蟽蟿蔚 谓伪 渭畏谓 蟺蟻慰魏伪位蔚委 蟿伪蠉蟿喂蟽畏 渭蔚 蟿慰蠀蟼 萎蟻蠅蔚蟼 伪位位维 谓伪 尉蠀蟺谓维 蟿畏谓 慰渭慰喂慰蟺维胃蔚喂伪 魏伪喂 蟿畏谓 蟺慰位蠉尾伪胃畏, 蟻蔚伪位喂蟽蟿喂魏萎 伪谓伪纬谓蠋蟻喂蟽畏 蟺蠅蟼 慰喂 蔚蟺慰蠂苇蟼 伪位位维味慰蠀谓, 畏 蔚尉苇位喂尉畏 魏维谓蔚喂 蟿慰谓 魏蠉魏位慰 蟿畏蟼 纬喂伪 谓伪 伪蟺慰未蠋蟽蔚喂 谓苇蔚蟼 伪蠀位苇蟼 蟺慰蠀 渭慰喂维味慰蠀谓 渭蔚 魏维胃蔚 维位位畏 蟺伪蟻蔚位胃慰谓蟿喂魏萎 伪蠀位萎 蟽蟿畏谓 魏伪魏蔚谓蟿蟻苇蠂蔚喂伪, 蟽蟿畏谓 蠀蟺慰魏蟻喂蟽委伪, 蟽蟿畏谓 蟺委蟽蟿畏 蟽蔚 蠁伪喂谓蠈蟿蠀蟺慰蠀蟼, 蟽蔚 慰谓蔚喂蟻慰蟿蠈魏伪 蠀蠄畏位维 喂未伪谓喂魏维 蟺慰蠀 魏伪蟿伪蟺慰谓蟿委味慰谓蟿伪喂 纬喂伪蟿委 慰 蟺伪蟻维蟼 蔚委谓伪喂 蟺慰位蠉 蟺喂慰 蔚蠉魏慰位伪 渭蔚蟿蟻萎蟽喂渭慰 伪纬伪胃蠈 渭喂伪蟼 魏维蟺慰喂伪蟼 伪尉委伪蟼 蟿慰蠀 伪蟿蠈渭慰蠀 伪位位维 蠈蠂喂 蟿畏蟼 蠄蠀蠂萎蟼.
螠喂伪 伪蟺' 蟿喂蟼 蔚谓未喂伪蠁苇蟻慰蠀蟽蔚蟼 尾伪蟽喂魏苇蟼 喂未苇蔚蟼 蔚委谓伪喂 蟺蠅蟼 慰 维谓胃蟻蠅蟺慰蟼 蟺慰蠀 味畏位蔚蠉蔚喂 蔚蟻蠅蟿喂魏维 魏维蟺慰喂伪 蟽蟿喂纬渭萎 胃伪 慰未畏纬畏胃蔚委 魏伪喂 蟺维位喂 蟽蟿畏 位慰纬喂魏萎, 蠈蟿伪谓 蔚委谓伪喂 蔚位蔚蠉胃蔚蟻慰蟼 伪蟺蠈 蟿慰 蟽蟿喂纬渭伪蟿喂蟽渭蠈 魏维蟺慰喂蠅谓 蠄蠀蠂伪谓伪纬魏伪蟽渭蠋谓 蠈蟺蠅蟼 畏 蔚蟺喂蠁伪蟿喂魏萎 胃蟻畏蟽魏慰蠁慰尾委伪 萎 畏 魏慰喂谓蠅谓喂魏萎 伪蟺慰未慰蠂萎, 伪位位维 蠅蟽蟿蠈蟽慰 蔚位位喂蟺萎蟼. 违蟺维蟻蠂慰蠀谓 蟺慰位位维 蟺维胃畏 蟿畏蟼 蠄蠀蠂萎蟼 喂魏伪谓维 谓伪 慰未畏纬萎蟽慰蠀谓 蟽蟿畏 味萎位蔚喂伪, 慰蟺慰喂伪蟽未萎蟺慰蟿蔚 渭慰蟻蠁萎蟼.
螒蟺' 蟿畏谓 维位位畏 慰 维谓胃蟻蠅蟺慰蟼 蟺慰蠀 伪蟺蠈 魏伪魏委伪 萎 蟺位萎尉畏 萎 蠂蠀未伪委慰 蠁胃蠈谓慰 蟿蟽喂纬魏位维蔚喂 蟿畏 味萎位蔚喂伪 魏维蟺慰喂慰蠀 维位位慰蠀 蠈蟺蠅蟼 渭蠈谓慰 苇谓伪蟼 蠂伪喂蟻苇魏伪魏慰蟼 渭慰谓慰未喂维蟽蟿伪蟿慰蟼 蟿蟻委蟿慰蟼 渭蟺慰蟻蔚委, 蔚委谓伪喂 苇谓伪蟼 维谓胃蟻蠅蟺慰蟼 蟺慰蠀 苇蠂蔚喂 蠂维蟽蔚喂 魏维胃蔚 蟽魏慰蟺蠈 蟽蟿畏 味蠅萎 魏伪喂 蟿畏谓 慰蟺慰喂伪未萎蟺慰蟿蔚 伪谓伪纬谓蠋蟻喂蟽畏 蟿畏蟼 伪尉委伪蟼 蟿蠅谓 蟽蠀谓伪谓胃蟻蠋蟺蠅谓 魏伪喂 蔚委谓伪喂 蟿蠀蠁位蠈蟼 渭蟺蟻慰蟽蟿维 蟽蟿畏谓 慰蟺慰喂伪未萎蟺慰蟿蔚 渭慰蟻蠁萎 伪纬维蟺畏蟼.
螤慰位蠉 蠈渭慰蟻蠁畏 蔚委谓伪喂 畏 蟽魏苇蠄畏 纬喂伪 蟿喂蟼 螡蔚伪谓喂魏苇蟼 唯蠀蠂苇蟼 蟽蟿喂蟼 慰蟺慰委蔚蟼 伪谓伪纬谓蠋蟻喂蟽伪 位委纬慰 魏伪喂 蟿慰谓 蔚伪蠀蟿蠈 渭慰蠀. 螣喂 谓蔚伪谓喂魏苇蟼 蠄蠀蠂苇蟼 蟺慰蠀 蔚谓蔚蟻纬慰蟺慰喂慰蠉谓蟿伪喂 伪蟺' 蟿慰 谓苇慰, 蟿畏谓 伪谓伪魏维位蠀蠄畏, 蟿伪 蟿伪尉委未喂伪 蠂蠅蟻委蟼 蠂维蟻蟿畏 魏伪喂 蠁蟿维谓慰蠀谓 魏维蟺慰蟿蔚 蟽' 苇谓伪 蟿苇位渭伪 蠈蟺慰蠀 未蔚谓 蠀蟺维蟻蠂慰蠀谓 维位位蔚蟼 螒渭蔚蟻喂魏苇蟼 魏喂 畏 蠄蠀蠂萎 蟺蔚胃伪委谓蔚喂 萎 未喂伪蠁胃蔚委蟻蔚蟿伪喂 蟿蠈蟽慰 蠋蟽蟿蔚 谓伪 蟽蠀谓伪谓蟿萎蟽蔚喂 蟿伪 蔚蟻苇尾畏 蟿畏蟼 魏伪喂 谓伪 慰未畏纬畏胃蔚委 蟿蠀蠁位维 蟽蔚 未慰位慰蠁慰谓委伪 蟿慰蠀 蟽蠋渭伪蟿慰蟼 伪蟺' 蟿慰 蟺谓蔚蠉渭伪, 蠈蟽慰 慰喂 蟽蠀谓伪喂蟽胃畏渭伪蟿喂魏慰委 蠄蠀蠂伪谓伪纬魏伪蟽渭慰委 魏伪委谓蔚 蟽蟿慰 慰尉蠉 蟿畏 位慰纬喂魏萎.
韦苇位慰蟼 渭慰谓伪未喂魏萎 蔚委谓伪喂 魏喂 畏 伪蟺蔚喂魏蠈谓喂蟽畏 蟿畏蟼 蔚蟺慰蠂畏蟼, 蟿蠅谓 伪谓蟿喂位萎蠄蔚蠅谓 魏伪喂 纬喂伪 维位位畏 渭喂伪 蠁慰蟻维 畏 蟿蔚位蔚喂蠈蟿畏蟿伪 蟽蟿畏谓 蟺伪蟻蔚渭尾伪蟿喂魏蠈蟿畏蟿伪 蟿慰蠀 危蟿蔚谓蟿维位 蠅蟼 渭喂伪 蟺蟻慰味委蟽蟿喂魏畏 渭慰蟻蠁萎 蟺慰蠀 蠁伪委谓蔚蟿伪喂 谓伪 未委谓蔚喂 蟿伪 魏位蔚喂未喂伪 纬喂伪 蟿慰蠀蟼 蟽蠀渭尾慰位喂蟽渭慰蠉蟼 蟿慰蠀.
危蟺慰蠀未伪委伪 蔚蟺喂蟿蔚蠉纬渭伪蟿伪 蔚委谓伪喂 畏 蔚尉伪喂蟻蔚蟿喂魏萎 蟿伪魏蟿喂魏萎 渭慰谓伪未喂魏萎 蟽蟿慰谓 危蟿蔚谓蟿维位 蠋蟽蟿蔚 谓伪 渭畏谓 蟺蟻慰魏伪位蔚委 蟿伪蠉蟿喂蟽畏 渭蔚 蟿慰蠀蟼 萎蟻蠅蔚蟼 伪位位维 谓伪 尉蠀蟺谓维 蟿畏谓 慰渭慰喂慰蟺维胃蔚喂伪 魏伪喂 蟿畏谓 蟺慰位蠉尾伪胃畏, 蟻蔚伪位喂蟽蟿喂魏萎 伪谓伪纬谓蠋蟻喂蟽畏 蟺蠅蟼 慰喂 蔚蟺慰蠂苇蟼 伪位位维味慰蠀谓, 畏 蔚尉苇位喂尉畏 魏维谓蔚喂 蟿慰谓 魏蠉魏位慰 蟿畏蟼 纬喂伪 谓伪 伪蟺慰未蠋蟽蔚喂 谓苇蔚蟼 伪蠀位苇蟼 蟺慰蠀 渭慰喂维味慰蠀谓 渭蔚 魏维胃蔚 维位位畏 蟺伪蟻蔚位胃慰谓蟿喂魏萎 伪蠀位萎 蟽蟿畏谓 魏伪魏蔚谓蟿蟻苇蠂蔚喂伪, 蟽蟿畏谓 蠀蟺慰魏蟻喂蟽委伪, 蟽蟿畏谓 蟺委蟽蟿畏 蟽蔚 蠁伪喂谓蠈蟿蠀蟺慰蠀蟼, 蟽蔚 慰谓蔚喂蟻慰蟿蠈魏伪 蠀蠄畏位维 喂未伪谓喂魏维 蟺慰蠀 魏伪蟿伪蟺慰谓蟿委味慰谓蟿伪喂 纬喂伪蟿委 慰 蟺伪蟻维蟼 蔚委谓伪喂 蟺慰位蠉 蟺喂慰 蔚蠉魏慰位伪 渭蔚蟿蟻萎蟽喂渭慰 伪纬伪胃蠈 渭喂伪蟼 魏维蟺慰喂伪蟼 伪尉委伪蟼 蟿慰蠀 伪蟿蠈渭慰蠀 伪位位维 蠈蠂喂 蟿畏蟼 蠄蠀蠂萎蟼.
螠喂伪 伪蟺' 蟿喂蟼 蔚谓未喂伪蠁苇蟻慰蠀蟽蔚蟼 尾伪蟽喂魏苇蟼 喂未苇蔚蟼 蔚委谓伪喂 蟺蠅蟼 慰 维谓胃蟻蠅蟺慰蟼 蟺慰蠀 味畏位蔚蠉蔚喂 蔚蟻蠅蟿喂魏维 魏维蟺慰喂伪 蟽蟿喂纬渭萎 胃伪 慰未畏纬畏胃蔚委 魏伪喂 蟺维位喂 蟽蟿畏 位慰纬喂魏萎, 蠈蟿伪谓 蔚委谓伪喂 蔚位蔚蠉胃蔚蟻慰蟼 伪蟺蠈 蟿慰 蟽蟿喂纬渭伪蟿喂蟽渭蠈 魏维蟺慰喂蠅谓 蠄蠀蠂伪谓伪纬魏伪蟽渭蠋谓 蠈蟺蠅蟼 畏 蔚蟺喂蠁伪蟿喂魏萎 胃蟻畏蟽魏慰蠁慰尾委伪 萎 畏 魏慰喂谓蠅谓喂魏萎 伪蟺慰未慰蠂萎, 伪位位维 蠅蟽蟿蠈蟽慰 蔚位位喂蟺萎蟼. 违蟺维蟻蠂慰蠀谓 蟺慰位位维 蟺维胃畏 蟿畏蟼 蠄蠀蠂萎蟼 喂魏伪谓维 谓伪 慰未畏纬萎蟽慰蠀谓 蟽蟿畏 味萎位蔚喂伪, 慰蟺慰喂伪蟽未萎蟺慰蟿蔚 渭慰蟻蠁萎蟼.
螒蟺' 蟿畏谓 维位位畏 慰 维谓胃蟻蠅蟺慰蟼 蟺慰蠀 伪蟺蠈 魏伪魏委伪 萎 蟺位萎尉畏 萎 蠂蠀未伪委慰 蠁胃蠈谓慰 蟿蟽喂纬魏位维蔚喂 蟿畏 味萎位蔚喂伪 魏维蟺慰喂慰蠀 维位位慰蠀 蠈蟺蠅蟼 渭蠈谓慰 苇谓伪蟼 蠂伪喂蟻苇魏伪魏慰蟼 渭慰谓慰未喂维蟽蟿伪蟿慰蟼 蟿蟻委蟿慰蟼 渭蟺慰蟻蔚委, 蔚委谓伪喂 苇谓伪蟼 维谓胃蟻蠅蟺慰蟼 蟺慰蠀 苇蠂蔚喂 蠂维蟽蔚喂 魏维胃蔚 蟽魏慰蟺蠈 蟽蟿畏 味蠅萎 魏伪喂 蟿畏谓 慰蟺慰喂伪未萎蟺慰蟿蔚 伪谓伪纬谓蠋蟻喂蟽畏 蟿畏蟼 伪尉委伪蟼 蟿蠅谓 蟽蠀谓伪谓胃蟻蠋蟺蠅谓 魏伪喂 蔚委谓伪喂 蟿蠀蠁位蠈蟼 渭蟺蟻慰蟽蟿维 蟽蟿畏谓 慰蟺慰喂伪未萎蟺慰蟿蔚 渭慰蟻蠁萎 伪纬维蟺畏蟼.
螤慰位蠉 蠈渭慰蟻蠁畏 蔚委谓伪喂 畏 蟽魏苇蠄畏 纬喂伪 蟿喂蟼 螡蔚伪谓喂魏苇蟼 唯蠀蠂苇蟼 蟽蟿喂蟼 慰蟺慰委蔚蟼 伪谓伪纬谓蠋蟻喂蟽伪 位委纬慰 魏伪喂 蟿慰谓 蔚伪蠀蟿蠈 渭慰蠀. 螣喂 谓蔚伪谓喂魏苇蟼 蠄蠀蠂苇蟼 蟺慰蠀 蔚谓蔚蟻纬慰蟺慰喂慰蠉谓蟿伪喂 伪蟺' 蟿慰 谓苇慰, 蟿畏谓 伪谓伪魏维位蠀蠄畏, 蟿伪 蟿伪尉委未喂伪 蠂蠅蟻委蟼 蠂维蟻蟿畏 魏伪喂 蠁蟿维谓慰蠀谓 魏维蟺慰蟿蔚 蟽' 苇谓伪 蟿苇位渭伪 蠈蟺慰蠀 未蔚谓 蠀蟺维蟻蠂慰蠀谓 维位位蔚蟼 螒渭蔚蟻喂魏苇蟼 魏喂 畏 蠄蠀蠂萎 蟺蔚胃伪委谓蔚喂 萎 未喂伪蠁胃蔚委蟻蔚蟿伪喂 蟿蠈蟽慰 蠋蟽蟿蔚 谓伪 蟽蠀谓伪谓蟿萎蟽蔚喂 蟿伪 蔚蟻苇尾畏 蟿畏蟼 魏伪喂 谓伪 慰未畏纬畏胃蔚委 蟿蠀蠁位维 蟽蔚 未慰位慰蠁慰谓委伪 蟿慰蠀 蟽蠋渭伪蟿慰蟼 伪蟺' 蟿慰 蟺谓蔚蠉渭伪, 蠈蟽慰 慰喂 蟽蠀谓伪喂蟽胃畏渭伪蟿喂魏慰委 蠄蠀蠂伪谓伪纬魏伪蟽渭慰委 魏伪委谓蔚 蟽蟿慰 慰尉蠉 蟿畏 位慰纬喂魏萎.
韦苇位慰蟼 渭慰谓伪未喂魏萎 蔚委谓伪喂 魏喂 畏 伪蟺蔚喂魏蠈谓喂蟽畏 蟿畏蟼 蔚蟺慰蠂畏蟼, 蟿蠅谓 伪谓蟿喂位萎蠄蔚蠅谓 魏伪喂 纬喂伪 维位位畏 渭喂伪 蠁慰蟻维 畏 蟿蔚位蔚喂蠈蟿畏蟿伪 蟽蟿畏谓 蟺伪蟻蔚渭尾伪蟿喂魏蠈蟿畏蟿伪 蟿慰蠀 危蟿蔚谓蟿维位 蠅蟼 渭喂伪 蟺蟻慰味委蟽蟿喂魏畏 渭慰蟻蠁萎 蟺慰蠀 蠁伪委谓蔚蟿伪喂 谓伪 未委谓蔚喂 蟿伪 魏位蔚喂未喂伪 纬喂伪 蟿慰蠀蟼 蟽蠀渭尾慰位喂蟽渭慰蠉蟼 蟿慰蠀.
June 25, 2018
袝写薪邪 芯褌 薪邪泄-锌芯褌褉械褋邪胁邪褖芯 褋泻褍褔薪懈褌械 泻薪懈谐懈, 泻芯懈褌芯 褋褗屑 褔械谢邪 (写邪 薪械 蟹胁褍褔邪 锌褉械褋懈谢械薪芯 懈 写邪 泻邪卸邪 鈥炐感沸拘毖壭锯€�) 芯褌 写褗谢谐芯 胁褉械屑械 薪邪褋邪屑. 孝胁褗褉写械 锌芯屑锌芯蟹薪懈褟褌, 褏邪芯褌懈褔械薪, 锌褉械胁褗蟹薪械褋械薪 褋褌懈谢 薪邪 小褌械薪写邪谢 褋械 胁懈褏褉懈 褋 锌褗谢薪邪 褋懈谢邪. 小锌芯屑薪褟屑 褋懈, 褔械 懈 胁 鈥炐笛€胁械薪芯 懈 褔械褉薪芯鈥� 懈屑邪褕械 屑芯屑械薪褌懈, 胁 泻芯懈褌芯 懈蟹锌懈褌胁邪褏 锌芯写芯斜薪邪 写芯褋邪写邪, 薪芯 褌褍泻 薪邪懈褋褌懈薪邪 屑懈 斜械褕械 薪械懈屑芯胁械褉薪芯 褌褉褍写薪芯 写邪 褋谢械写褟 懈褋褌芯褉懈褟褌邪. 孝胁褗褉写械 屑薪芯谐芯 斜械蟹褋屑懈褋谢械薪懈 褋谢褍褔泻懈 懈 芯锌懈褋邪薪懈褟, 蟹邪 泻芯懈褌芯, 胁 屑芯屑械薪褌邪, 胁 泻芯泄褌芯 谐懈 懈蟹褔械褌械褕 褋懈 屑懈褋谢懈褕 鈥炐⑿拘残� 蟹邪褖芯 褋械 褋谢褍褔懈, 写褟胁芯谢 写邪 谐芯 胁蟹械屑械? 袠屑邪 谢懈 薪褟泻邪泻胁邪 褉芯谢褟 蟹邪 锌芯胁械褋褌胁芯胁邪薪懈械褌芯? 小 泻邪泻胁芯 褌芯 写芯锌褉懈薪械褋械, 蟹邪 写邪 褉邪蟹斜械褉械屑 薪懈械 谢懈褔薪芯褋褌褌邪 薪邪 锌械褉褋芯薪邪卸懈褌械?鈥�. 袧邪泄-褔械褋褌芯 芯褌谐芯胁芯褉褗褌 薪邪 褌械蟹懈 胁褗锌褉芯褋懈 斜械褕械 鈥炐叫秆壭�/薪懈泻邪泻褗胁鈥�. 袘械蟹褋锌芯褉薪芯 小褌械薪写邪谢 褏胁褗褉谢褟 芯褋芯斜械薪 褌褉褍写 写邪 芯斜褉懈褋褍胁邪 写褍褕械胁薪懈褌械 锌褉械卸懈胁褟胁邪薪懈褟 薪邪 谐械褉芯懈褌械 (锌褉邪胁写芯锌芯写芯斜薪芯 锌褉械写邪写械薪懈, 褋屑械褟 写邪 泻邪卸邪, 邪斜褋芯谢褞褌薪芯 芯斜褗褉泻邪薪邪 懈 薪械械写薪芯蟹薪邪褔薪邪 锌谢械褌械薪懈褑邪 芯褌 屑懈褋谢懈, 锌褉芯褌懈胁芯锌芯谢卸薪懈 褔褍胁褋褌胁邪 懈 泻褉邪泄薪芯褋褌懈), 薪芯 褌芯胁邪 褋械 褋谢褍褔胁邪 褌芯谢泻芯胁邪 褔械褋褌芯 懈 锌褉芯褋褌褉邪薪薪芯, 褔械 胁 械写懈薪 屑芯屑械薪褌 写芯褌褟谐邪 斜械蟹泻褉邪泄薪芯.
袥械泻芯 锌褉懈谢懈褔邪 胁 褋褌懈谢懈褋褌懈褔薪芯 芯褌薪芯褕械薪懈械 薪邪 袦芯锌邪褋邪薪, 褋褌褉褍胁邪 屑懈 褋械. 鈥炐懶敌� 袗屑懈鈥� 褋褗褖芯 斜械褕械 胁懈写 懈蟹锌懈褌邪薪懈械 蟹邪 褌褗褉锌械薪懈械褌芯 屑懈 薪邪 屑芯屑械薪褌懈, 屑邪泻邪褉 写邪 屑懈 褏邪褉械褋邪 胁 锌褗褌懈 锌芯胁械褔械. 袦芯卸械 斜懈 褋邪 锌褉芯褋褌芯 褎褉邪薪褑褍蟹懈褌械. 袨褌 写褉褍谐邪 褋褌褉邪薪邪 袙懈泻褌芯褉 挟谐芯, 袛褞屑邪 懈 肖谢芯斜械褉 褉邪蟹泻邪蟹胁邪褌 写芯褋褌邪 锌芯-褉邪蟹谢懈褔薪芯 懈 写邪谢械褔 锌芯-褍胁谢械泻邪褌械谢薪芯 蟹邪 屑械薪.
袥械泻芯 锌褉懈谢懈褔邪 胁 褋褌懈谢懈褋褌懈褔薪芯 芯褌薪芯褕械薪懈械 薪邪 袦芯锌邪褋邪薪, 褋褌褉褍胁邪 屑懈 褋械. 鈥炐懶敌� 袗屑懈鈥� 褋褗褖芯 斜械褕械 胁懈写 懈蟹锌懈褌邪薪懈械 蟹邪 褌褗褉锌械薪懈械褌芯 屑懈 薪邪 屑芯屑械薪褌懈, 屑邪泻邪褉 写邪 屑懈 褏邪褉械褋邪 胁 锌褗褌懈 锌芯胁械褔械. 袦芯卸械 斜懈 褋邪 锌褉芯褋褌芯 褎褉邪薪褑褍蟹懈褌械. 袨褌 写褉褍谐邪 褋褌褉邪薪邪 袙懈泻褌芯褉 挟谐芯, 袛褞屑邪 懈 肖谢芯斜械褉 褉邪蟹泻邪蟹胁邪褌 写芯褋褌邪 锌芯-褉邪蟹谢懈褔薪芯 懈 写邪谢械褔 锌芯-褍胁谢械泻邪褌械谢薪芯 蟹邪 屑械薪.
March 2, 2016
Escritores como Balzac, Andr茅 Gide o Tolstoi consideraron "La cartuja de Parma" de Stendhal una de las mejores novelas de todos los tiempos.
Llego a ella despu茅s de haber le铆do "El rojo y el negro" y "Vanina Vanini" y podr铆a afirmarse que contiene una mezcla de ambas, hip贸tesis factible si se tienen en cuenta los a帽os de publicaci贸n de las tres novelas: "El rojo y el negro" fue publicada en 1830, "Vanina Vanini" en 1829 y "La cartuja de Parma" en 1839. De "El rojo y el negro" tomar铆a Stendhal el recurso de utilizar las aventuras de un personaje masculino para ofrecer un retrato detallado de la lucha por el poder y la sociedad del lugar donde sit煤a la acci贸n. De "Vanina Vanini" aprovecha el uso de las relaciones amorosas de ese personaje principal para exponer en la novela la tem谩tica de corte amoroso y la constante estrategia que en este terreno entra帽an las decisiones para el protagonista. Aunque se podr铆a objetar que en "El rojo y el negro" este elemento tambi茅n aparece, en "La cartuja de Parma" los personajes femeninos est谩n mucho m谩s desarrollados, ostentan m谩s protagonismo y son m谩s potentes.
Centr谩ndonos propiamente en "La cartuja de Parma" se trata de una novela que lo tiene todo: en parte b茅lica, pues emula la batalla de Waterloo; en parte amorosa, describiendo sus relaciones con la duquesa Sanseverina y con Clelia Conti; en parte sociol贸gica, pues se inmiscuye en los ambientes cortesanos de la Italia del XIX, se refiere al poder de la Iglesia, y no olvida las clases sociales bajas, cuando se ocupa de los devaneos de Fabrizio con Marietta, una actriz de una compa帽铆a ambulante. El tratamiento del contenido es siempre desde una perspectiva cr铆tica fabricada a trav茅s de un humor sutil e inteligente que el lector acostumbrado a Stendhal reconocer谩 al instante. En esta novela en particular sorprende los apuntes que va realizando el autor sobre el car谩cter de las gentes de Italia, mucho m谩s apasionado y exagerado, en relaci贸n con el de los franceses. Y se aprecia el amor que Stendhal prodig贸 por este pa铆s.
Personalmente quiz谩 la novela me haya superado un poco, por la multiplicidad de tramas y temas que abarca. As铆 que prefiero "El rojo y el negro" por focalizarse m谩s en Julien Sorel y su sed de ambici贸n.
De todas formas Stendhal aqu铆 es un 5/5.
February 1, 2014
One of the best books I've read. Politics, action, humanism vs.conservatism, passion vs. lack of passion, lovers, rivals, extreme wealth and the values of aristocracy, all the characters with both good and bad actions and ways of thinking. Set in the autocratic monarchy of Parma in Italy between 1815 and 1830.
A fascinating exploration of what motivates people and how they act. The plot is held together by the stories of a brilliant, activist Duchess and her impetuous nephew, but includes many main characters. The author doesn't lead us to sympathize with any of them or choose one to root for--all pay the psychological price for their choices.
Early in the book, the plot turns to a long episode where Fabrizio, the nephew, goes to France, hoping to fight for his hero, Napoleon, who had earlier brought a short period of liberation from the autocracy, the Church, and Austrian influence. On his way, Fabrizio stumbles upon the battle at Waterloo. Stendhal's description of the confusion felt by an individual soldier during a battle is at least as good as Tolstoy's description of the Battle of Borodino in "War and Peace".
Amazing writing.
A fascinating exploration of what motivates people and how they act. The plot is held together by the stories of a brilliant, activist Duchess and her impetuous nephew, but includes many main characters. The author doesn't lead us to sympathize with any of them or choose one to root for--all pay the psychological price for their choices.
Early in the book, the plot turns to a long episode where Fabrizio, the nephew, goes to France, hoping to fight for his hero, Napoleon, who had earlier brought a short period of liberation from the autocracy, the Church, and Austrian influence. On his way, Fabrizio stumbles upon the battle at Waterloo. Stendhal's description of the confusion felt by an individual soldier during a battle is at least as good as Tolstoy's description of the Battle of Borodino in "War and Peace".
Amazing writing.
February 20, 2022
As I read this book in Spanish, on the early morning bus, fighting sleep, buffeted by both the heating and air conditioning, it took me almost as long to read it than it took Stendhal to write it (52 days, in his case). This is probably not ideal. Some books are to be savored, but others are to be gobbled up; and this book belongs to the latter category. It is uneven, erratic, romantic, rushed, and equal parts tedious and thrilling. There is no character to match Julien Sorel, of The Red and the Black鈥攁ll of the principal characters being over-determined by their romantic passions鈥攁nd the political maneuverings and backstage plots were, I thought, repetitive and superfluous.
What carries the book are its great moments鈥攖he Battle of Waterloo, the knife fight, and most especially the romance in the castle. If this were written today, it would be confined to 鈥済enre fiction鈥� and passed over by the critics; but as this was written by Stendhal, even the snobs can enjoy a gripping, over-the-top love story.
What carries the book are its great moments鈥攖he Battle of Waterloo, the knife fight, and most especially the romance in the castle. If this were written today, it would be confined to 鈥済enre fiction鈥� and passed over by the critics; but as this was written by Stendhal, even the snobs can enjoy a gripping, over-the-top love story.
December 17, 2016
Not bad until the end where it grows maudlin, alas, and becomes a slog. Worthwhile overall, but it isn't.
Read
March 18, 2022I could have considered it a masterpiece, if the characters hadn't rushed to die, one after the other, towards the end. As far as I know, the novel was written in a marathon- style, inspiration maybe diminishing in the same rythm as the accumulated fatigue. I'm not necessarily a fan of happy endings, but not one of genocides either. One above the other, a novel that should not be missing from the collection of any passionate reader.
The final epithet " To the happy few " - still remains an enigma for me, though. Perhaps Stendhal anticipates his writing being read in the future by some " happy few ". Those few who can ignore abrupt endings, in their appreciation.
The final epithet " To the happy few " - still remains an enigma for me, though. Perhaps Stendhal anticipates his writing being read in the future by some " happy few ". Those few who can ignore abrupt endings, in their appreciation.
September 7, 2021
鈥淧ensa pi霉 un innamorato a raggiungere la sua amante che non il marito a sorvegliarla.鈥�
Il libro ambientato in Italia e diviso in due parti, racconta le vicende, anche amorose di Fabrizio del Dongo. Il primo libro non mi piaciuto pi霉 di tanto, ma il secondo invece mi ha colpito, tra intrighi e la vita di corte, tra fughe e innamoramenti, mi ha fatto vivere l'afflizione del protagonista ma anche il suo amore per Clelia Conti.
Bhe, che dire, nonostante fosse una rilettura (la prima risale alle superiori) lo consiglierei.
Il libro ambientato in Italia e diviso in due parti, racconta le vicende, anche amorose di Fabrizio del Dongo. Il primo libro non mi piaciuto pi霉 di tanto, ma il secondo invece mi ha colpito, tra intrighi e la vita di corte, tra fughe e innamoramenti, mi ha fatto vivere l'afflizione del protagonista ma anche il suo amore per Clelia Conti.
Bhe, che dire, nonostante fosse una rilettura (la prima risale alle superiori) lo consiglierei.
August 10, 2021
鈥淭here's one convenience about absolute power, that it sanctifies everything in the eyes of the people.鈥�
鉄� The Charterhouse of Parma can be seen as a blend of a social novel, a political novel, an adventure novel, a romantic thriller, and yet manages to oppose every single classification. Much like this novel is complex, long, and full of different plot devices; the topic range goes from the Napoleonic wars, the monarchy and court hierarchy along with the petty games of aristocrats, the spiritual leaders, astrologists, to imprisonment, the birth of new aristocracy, simony, etc鈥�
鈥淭his man, whom great monarchies would have envied the prince of Parma, was known to have only one passion: of holding intimate conversations with great personages and currying favour by his buffoonery.鈥�
鉄� It is a world of absolutely no order and no justice, where human emotions rule over an entire social group. This is a novel where there is no hero and where the villain is power and selfishness.
It鈥檚 a novel of duchess Sanseverina, one of the most striking female characters I have ever read about in pre-20th-century literature work. Strong, carried by a mixture of emotion and principle, intelligent but at the same time selfish, opportunistic and ambitious.
It is a novel about Fabrice/Fabrizio del Dongo, the unlikable main character who has absolutely no ambition and goes wherever his gut takes him, not caring about the consequences. It鈥檚 easy to be annoyed by him, but nonetheless, his actions capture the attention of readers, and like a catastrophe unfolding one can鈥檛 manage to look away and not care about what happens with this fickle man.
More importantly, it鈥檚 a novel of one whole time captured on paper. A world where adaptation, cunningness, and strategy were a must if one would conserve their status in a time on the cusp of change. Fabrice is not a soldier, he most surely isn鈥檛 a clerical figure either; Sanseverina isn鈥檛 a model figure of female empowerment; The eponymous Charterhouse of Parma isn鈥檛 even mentioned until the very last chapter and plays no big role; nothing is completely fixed and solid in this novel and that鈥檚 where the complexity lays.
鉄� I have read that the reason why Stendhal is harder to read is because of the rhythm , he never catches the reader鈥檚 attention on one specific detail and event rather the entire novel is one big stage where everything is set for the reader to decode and understand the meaning behind it.
That statement is especially true for this novel, needless to say, it鈥檚 definitely an atmospheric read worth checking out if one is interested in the finer work of French realism or French literature in general.
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More like 3,75/5, I am going to let this one sink in for a few days and then decide. Review to come.
April 7, 2017
2 1/2 stars
Apparently Balzac considered this to be the most important French novel of its time. I haven't read anything by Balzac but just going off of this comment I think we must have vastly different tastes. Either that or all the other books released were really really bad. Or possibly the translator did a really shoddy job?
The book had its good points - it was frequently slyly funny for instance - but my overriding impression of it is just that it was a humongous mess. I never knew what the heck was going on. The hero (and I use that term very loosely) Fabrice del Dongo (Drongo!) was a total waste of oxygen. I'd try to describe him but I'm genuinely at a loss. Basically the boy bumbles around Italy, falling into scrapes and having very unpassionate sex with women he doesn't care for and not really having any direction at all in his life. As his life was the novel that translated to the novel seemingly also similarly rudderless. He/It lurched around from small crises to small crises and the only person with any drive was his aunt who fancied him a great deal but who couldn't quite bring herself to start some sort of incestuous affair with him. Thank goodness for small mercies.
Part of the problem was that I didn't know if the constant bumbling around was meant to be comedic or not which might have lent a little bit of charm to Fabrizio's manifold incompetencies. Either way though the joke went on throughout the entire book and the book was rather long.
It gets 2 1/2 stars because the writing was often very witty and it did redeem and relieve the tedium in many places.
P.S. If you read the book wondering about the title, me too! It made sense in the last few pages when the book was wrapped up and, no, it totally wasn't worth waiting for.
Apparently Balzac considered this to be the most important French novel of its time. I haven't read anything by Balzac but just going off of this comment I think we must have vastly different tastes. Either that or all the other books released were really really bad. Or possibly the translator did a really shoddy job?
The book had its good points - it was frequently slyly funny for instance - but my overriding impression of it is just that it was a humongous mess. I never knew what the heck was going on. The hero (and I use that term very loosely) Fabrice del Dongo (Drongo!) was a total waste of oxygen. I'd try to describe him but I'm genuinely at a loss. Basically the boy bumbles around Italy, falling into scrapes and having very unpassionate sex with women he doesn't care for and not really having any direction at all in his life. As his life was the novel that translated to the novel seemingly also similarly rudderless. He/It lurched around from small crises to small crises and the only person with any drive was his aunt who fancied him a great deal but who couldn't quite bring herself to start some sort of incestuous affair with him. Thank goodness for small mercies.
Part of the problem was that I didn't know if the constant bumbling around was meant to be comedic or not which might have lent a little bit of charm to Fabrizio's manifold incompetencies. Either way though the joke went on throughout the entire book and the book was rather long.
It gets 2 1/2 stars because the writing was often very witty and it did redeem and relieve the tedium in many places.
P.S. If you read the book wondering about the title, me too! It made sense in the last few pages when the book was wrapped up and, no, it totally wasn't worth waiting for.
January 30, 2016
Pentru mine, Sthendal este unul dintre marii scriitori moralizatori de factur膬 istoric膬. El surprinde func牛ia educativ膬 a istoriei expun芒nd cu o insensibilitate apologetic膬 (fapt pentru care este renumit) faptele istorice a艧a cum au avut ele s膬 fie, centr芒nd 卯n schimb spectrul de analiz膬 asupra caracterelor pe care vrea s膬 le scoat膬 卯n eviden牛膬 (mai mult sau mai pu牛in peiorativ).
脦n "M膬n膬stirea din Parma" prezint膬 destr膬marea unei familii aristocratice de sorginte italian膬. Ac牛iunea 卯l are 卯n centru pe Fabrizio, un t芒n膬r nobil care se 卯nrolase 卯n Marea Armata (sau ce mai r膬m膬sese din ea) a lui Napoleon, 卯n b膬t膬lia final膬 de la Waterloo. Paradoxal, deoarece el era aristocrat! 脦nrolarea 卯n armata Republicii Franceze este doar un fapt minor, "un fapt romantic", deoarece, pe parcurs, ac牛iunea se orienteaz膬 asupra marilor cercuri aristocratice din Italia 卯nc膬 neunificat膬. Episcopi, scandaluri sexuale 卯n inima Bisericii, romantism incurabil, corup牛ie, lupta machiavelic膬 pentru putere...
Romanul confer膬 -卯n fine!- aura aceea de malancolie istoric膬, Sthendal neoferind 卯n final nicio moral膬 concret膬, prezent芒nd doar faptele din care cititorul conchide ceea ce trebuie.
"TO THE HAPPY FEW!"
脦n "M膬n膬stirea din Parma" prezint膬 destr膬marea unei familii aristocratice de sorginte italian膬. Ac牛iunea 卯l are 卯n centru pe Fabrizio, un t芒n膬r nobil care se 卯nrolase 卯n Marea Armata (sau ce mai r膬m膬sese din ea) a lui Napoleon, 卯n b膬t膬lia final膬 de la Waterloo. Paradoxal, deoarece el era aristocrat! 脦nrolarea 卯n armata Republicii Franceze este doar un fapt minor, "un fapt romantic", deoarece, pe parcurs, ac牛iunea se orienteaz膬 asupra marilor cercuri aristocratice din Italia 卯nc膬 neunificat膬. Episcopi, scandaluri sexuale 卯n inima Bisericii, romantism incurabil, corup牛ie, lupta machiavelic膬 pentru putere...
Romanul confer膬 -卯n fine!- aura aceea de malancolie istoric膬, Sthendal neoferind 卯n final nicio moral膬 concret膬, prezent芒nd doar faptele din care cititorul conchide ceea ce trebuie.
"TO THE HAPPY FEW!"
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