Coursework "Stendhal's novel red and black". Description of the social environment in the novel F
Julien Sorel and other characters in the novel "Red and Black"
In his novel Red and Black, Stendhal created an objective picture of the life of contemporary society. “True, bitter truth,” he says in the epigraph to the first part of the work. And this bitter truth adheres to the last pages. Fair anger, resolute criticism, caustic satire of the author are directed against the tyranny of state power, religion, and privileges. It is this goal that the whole system of images created by the writer is subordinated to. These are the inhabitants of the province: the nobility, the bourgeoisie, the clergy, the bourgeoisie, the magistrate and representatives of the highest aristocracy.
The novel is actually divided into three parts, each describing the life and customs of individual class groups: Verrieres - a fictional provincial town, Besancon with its seminary and Paris - the personification of high society. The intensity of the action increases more and more as events move from the provinces to Besancon and Paris, but everywhere the same values \u200b\u200bdominate - self-interest and money. The main characters appear before us: de Renal - an aristocrat who married for the sake of a dowry, who sought to withstand the competition of aggressive bourgeois. He started, like them, a factory, but at the end of the novel he has to give in the fight, because Valno becomes the mayor of the city, who "collected the very rubbish from every craft" and suggested to them: "Let's reign together." The author shows through this image that it is gentlemen like Valno who become a social and political force in his time. And the Marquis de La Mole accepts this ignorant, provincial crook, hoping for his help during the elections. Stendhal also reveals the main trends in the development of society, in which the aristocracy and the clergy are striving to retain power with all their might. To do this, they start a conspiracy, the essence of which the writer reveals in an ironic epigraph: “The basic law for everything that exists is to survive, to survive. You sow tares and hope to bring forth grain.” The characteristics that Julien Sorel gives them are eloquent: one of them is “completely absorbed in his digestion”, the other is full of “the anger of a wild boar”, the third looks like a “clockwork doll” ... They are all ordinary figures, which, according to Julien, “ They are afraid that he will make fun of them.”
Criticizing and ridiculing the political aspirations of the bourgeoisie, the author also directs his irony to the clergy. Answering his own question about what is the meaning of the activity of a clergyman, Julien comes to the conclusion that this meaning is to "sell believers places in paradise." Stendhal openly calls existence in a seminary disgusting, where future spiritual mentors of the people are brought up, since hypocrisy reigns there, thought is combined with crime there. It is no coincidence that Abbé Pirard calls the clergy "the lackeys necessary for the salvation of the soul." Without hiding the slightest detail of the life of a society where “the oppression of moral suffocation” prevails and where “the slightest living thought seems rude,” the author draws a system of social relations in France at the beginning of the 19th century. And this chronicle does not cause sympathy at all.
Of course, Stendhal does not deny his heroes the ability to think, suffer, obey not only profit. He also shows us living people, such as Fouquet, who lives far from the city, the Marquis de La Mole, who is able to see the personality in a poor secretary, the Abbé Pirard, whom even his friends did not believe that he did not steal as rector of the seminary, Mathilde, Madame de Renal and, first of all, Julien Sorel himself. The images of Madame de Renal and Matilda play a very important role in the development of events. Therefore, the author pays special attention to them, showing how society, the environment broke their souls. Madame de Renal is sincere, honest, a little ingenuous and naive. But the environment in which she exists forces her to lie. She remains the wife of de Renal, whom she despises, realizing that it is not she herself who is of value to him, but her money. Selfish and proud Matilda, convinced of her superiority over people only because she is the daughter of the Marquis, is the complete opposite of Madame de Renal. She is often cruel and ruthless in her judgments of people and insults the plebeian Julien, forcing them to invent ingenious means to subdue her. But there is something that brings her closer to the first heroine - Matilda, although rationally, and not instinctively, also strives for a sincere feeling of love.
Thus, the pictures of social life created by Stendhal gradually lead us to the idea of how “dull” the described time is, and how small and insignificant people become under the influence of this time, even those who are naturally endowed with not so bad qualities.
Bibliography
For the preparation of this work, materials from the site http://slovo.ws/ were used.
Stendhal's novel "Red and Black" is the pinnacle of French realism. Here and amazing detail, and described in detail the political, social and psychological realities of that time. However, the hero of the novel - Julien Sorel - belongs to romantic heroes, therefore, his existence in circumstances typical of the era turns into a tragedy.
"Red and Black" is a book whose title has for many years made readers think and analyze what is behind it. When reading the work, the answer to this question does not become obvious and assumes multivariance, which everyone resolves for himself. Direct associations appear primarily with the internal state of Julien Sorel, which combined the desire to find oneself, accomplish a feat, become an educated person, but at the same time self-interest, vanity, the goal of achieving success by any means. The title also points to the general theme of the work. These two colors: red and black, in their combination symbolize a certain anxiety, a struggle that takes place inside and around people. Red is blood, love, desire, black is base motives, betrayal. In their mixture, these colors give rise to the drama that takes place in the lives of the characters.
Red and black are the colors of roulette, a symbol of excitement, which has become the lifeblood of the protagonist. He alternately bet on red (for the help of his mistresses, on his charm, etc.), and on black (on deceit, meanness, etc.). This idea is prompted by the fatal passion of the author himself: he was a passionate player.
Another interpretation: red is a military uniform, black is a priest's cassock. The hero rushed between dream and reality, and this conflict of the desired and the actual ruined him.
Also, the combination of these colors forms the tragic finale of an ambitious hero: blood on the ground, red and black. The unfortunate young man could do so much, but he could only stain the earth with the blood of his mistress.
In addition, many researchers suggest that the contrasting combination of colors means the main conflict of the novel - the choice between honor and death: either shed blood or let yourself be denigrated.
What is this book about?
Stendhal tells readers about the life of a young youth, Julien Sorel, who gets a job as a tutor in the house of M. de Renal and his wife. Throughout the book, the reader observes the inner struggle of this purposeful person, his emotions, actions, mistakes, managing to be indignant and empathize at the same time. The most important line of the novel is the theme of love and jealousy, complex relationships and feelings of people of different ages and different positions.
The career brought the young man to the very top, promised many joys, among which he was looking for only one - respect. Ambition pushed him forward, but it also drove him into a dead end, because the opinion of society turned out to be dearer to him than life.
The image of the main character
Julien Sorel is a carpenter's son, fluent in Latin, quick-witted, purposeful and handsome young man. This is a young man who knows what he wants, and who is ready to make any sacrifices to achieve his goals. The young man is ambitious and quick-witted, he longs for glory, success, dreaming first of a military field, and then of a career as a priest. Many of Julien's actions are dictated by base motives, a thirst for revenge, a thirst for recognition and worship, but he is not a negative character, but rather a controversial and complex character, placed in difficult living conditions. The image of Sorel contains character traits of a revolutionary, a gifted commoner who is not ready to put up with his position in society.
The plebeian complex makes the hero feel ashamed of his origin and look for a way to another social reality. It is this painful conceit that explains his assertiveness: he is sure that he deserves more. It is no coincidence that Napoleon becomes his idol - a native of the people, who managed to subjugate dignitaries and nobles. Sorel firmly believes in his star, and only therefore loses faith in God, in love, in people. His unscrupulousness leads to tragedy: trampling on the foundations of society, he, like his idol, is rejected and expelled by him.
Topics and issues
The novel raises many issues. This is the choice of a life path, and the formation of character, and the conflict of a person with society. To consider any of them, it is important to understand historical context: The Great French Revolution, Napoleon, the mindset of a whole generation of young people, Restoration. Stendhal thought in these categories, he was one of those people who personally saw the breakdown of society and were impressed by this spectacle. In addition to global problems that are of a social nature and are associated with the events of the era, the work also describes the complexity of relationships between people, love, jealousy, betrayal - that is, something that exists outside of time and is always perceived by readers to heart.
The main problem in the novel "Red and Black" is, of course, social injustice. A talented commoner cannot break into the people, even though he is smarter than the nobility and more capable than her. In his own environment, this person also does not find himself: he is hated even in the family. Inequality is felt by everyone, therefore, a gifted young man is envied and in every possible way interferes with the realization of his skills. Such hopelessness pushes him to desperate steps, and the ostentatious virtue of priests and dignitaries only confirms the hero in his intention to go against the moral principles of society. This idea is confirmed by the history of the creation of the novel "Red and Black": the author found a note in the newspaper about the execution young man. It was this brief account of someone else's grief that inspired him to think out the missing details and create a realistic novel dedicated to the problem of social inequality. He proposes to regard the conflict between the individual and the environment not so unambiguously: people have no right to take Sorel's life, because it was they who made him so.
What is the meaning of the novel?
The story itself, laid down in the novel, is not fiction, but real events that impressed Stendhal very much. That is why the author chose Danton's phrase “True. Bitter truth". It so happened that one day, while reading a newspaper, the writer read about the court case of Antoine Berthe, from which the image of Sorel was written off. In this regard, the social problems of the work become even more obvious, which characterizes a difficult era and makes you think about it. At that time, a person was faced with a very acute question of choice: to preserve his spiritual purity in poverty or go ahead and head over heels to success. Julien, although he chooses the second, is also deprived of the opportunity to achieve something, because immorality will never become the basis of happiness. The hypocritical society will willingly turn a blind eye to it, but only for some time, and when it opens it, it will immediately fence itself off from the criminal caught unawares. This means that Sorel's tragedy is a verdict of unscrupulousness and ambition. The real victory of the individual is respect for oneself, and not the endless search for this respect from the outside. Julien lost because he could not accept himself for who he is.
Psychologism of Stendhal
Psychologism is feature the work of Standhal. It manifests itself in the fact that, along with a story about the actions and deeds of the character and big picture described events, the author at a higher level of analysis describes the causes and motives of the hero's actions. Thus, the writer balances on the verge between seething passions and the mind analyzing them, creating the feeling that at the same time when the hero performs an act, he is being continuously monitored. For example, this all-seeing eye shows the reader how Julien carefully hides his sentence from view: little Napoleon, whose veneration has already left its mark on the actions of the hero from the very beginning of his journey. This expressive detail points us to the soul of Sorel - a fluttering moth, striving for fire. He repeated the fate of Napoleon, having won the desired world, but not being able to keep it.
Genre originality of the novel
The novel combines the features of romanticism and realism. This is evidenced by the vital basis of history, filled with deep and diverse feelings and ideas. This is a feature of realism. But here is the hero - romantic, endowed with specific features. He is in conflict with society, while being outstanding, educated and handsome. His loneliness is a proud desire to rise above the crowd, he despises his environment. His mind and abilities tragically remain unnecessary and unrealized. Nature follows in his footsteps, framing the feelings and events in his life with its colors.
The work is often characterized as psychological and social, and it is difficult to disagree with this, since it unusually mixes the events of reality and a detailed assessment of the inner motives of the characters. Throughout the novel, the reader can observe the constant correlation of the external world as a whole and the inner world of a person, and it remains not completely clear which of these worlds is the most complex and contradictory.
Interesting? Save it on your wall!In the discipline "Literature"
The novel "Red and Black" by Stenadhal
A word about Igor's regiment
Saint Petersburg
Content
Comparison of illustrations in the novel
Preface - 4 pages.
Comparison - 5 pages
Conclusion -31 p.
Comparison of Stenadal's "Red and Black"
Introduction - 33 pages
Comparison of the film adaptation with the novel - 34 pages.
Conclusion - 40 pages.
Comparison of illustrations with the novel
"Red and black"
Based on the novel by Henri Bayle
Design by artist A. Yakovlev
Foreword
With my work, I want to show the magnificent work of the artist, his creative and professional approach to his task. Thanks to the illustrations, we can quickly imagine what the novel is about. This technique, from my point of view, is very good for children, especially preschoolers. And the fact that all children's books are filled with colorful images is a very correct psychological move. After all, a child can be interested not in black and white letters and not even in black and white illustrations, but only in colorful and understandable images. Which will develop his imagination.
Despite the fact that many of us are no longer children, we still continue to love books with good quality pages and illustrations, at least occasionally. This gives interest to reading this literature. And when we start reading, there is a desire to open the last page and find out what awaits us at the end, and a book filled with illustrations adds even more piquancy, because, having looked at the image through several chapters, we try to guess what awaits us. And it gives even more excitement, we want to know if we understand the artist correctly.
It seems to me that it makes no sense even to talk about the importance of the talent of an artist. The mood with which the artist conveys his idea to us will also set us up. Having a good talent, specialists in images will be able to fully convey to us what the book is about, with its fullest mood. And if we line up all the illustrations in one row, we can understand what the novel is about without reading.
The book I have chosen is fully illustrated and I will try to characterize the work of the artist. Despite the fact that I am far from art graphics, I will try to characterize his work not as a professional, but as a simple amateur reader. How accurately he conveyed the mood of Stendhal in his work and how much we understand the essence of the chapter from the image.
I Gorodok
First chapter, important point, in which the writer most often introduces the reader to another world, which he will show throughout the novel. And the artist has an important task, he must show us what the writer can do without problems, since he has more opportunity to convey the mood with words, metaphors, comparisons.
The image is quite consistent with the title of the chapter. It conveys the mood of not only the writer, but also the inhabitants of the town. We see the main street of Verrieres, the fence of the house, behind which is the magnificent garden of the mayor of the city. The fence behind which so many important events in the life of the main characters will take place.
The writer also tells us about the industry of the city, but it would not be correct to depict factories and sawmills. It would be not only rude, but also unattractive.
II Measure
M 
We see de Renal, the urban planner, admiring the beautiful landscape that opens from his garden. He stands leaning against a retaining wall, which is a fence between the river Doubs and the garden.
But we see the measure - romance, although it is not. All the same, such a beautiful landscape obliges, and our glorious mer was far from romanticism, as well as from enjoying the beautiful. All the same, here I do not agree with the artist. I also think that his wife and children are missing, with whom he walks through the garden. In this case, his appearance and behavior would be expressed differently.
III The property of the poor
In the illustration, we see the priest, together with Mr. Ahler, visiting the prison. The image corresponds to the ongoing actions in the text. The artist, rightly, noticed the main emphasis that the author makes in the chapter.
It would be possible to show the walk of de Renal, but at the sight of a charming couple with children, the reader will not understand what decision Mr. de Renal made at the moment when the artist, as a photographer, captured him. Therefore, Yakovlev preferred to opt for the arrival of a guest from Paris.
IV Father and son
A 
I don't agree with the drawing for this chapter. Julien's older brothers are depicted. But they do not play a dominant role even in the novel, let alone this chapter. I think more right decision there would have been an image of Father Sorel hitting Julien while he was reading a book. Firstly, the drawing would have turned out to be more expressive, and secondly, it would have corresponded more to the essence of the chapter.
V Deal
Despite the fact that the title of the chapter gives the impression that the illustration does not correspond to the title of the chapter, it is not. The artist shows Julien's inner state. His experiences and anguish. Tormented by the question of what lies ahead for him, he could not help stopping by the church on the way. The artist skillfully portrayed a young man overwhelmed with doubts. It is impossible to determine what the chapter is about, but Yakovlev clearly got to know it well and sincerely felt the state of the hero.
VI Boredom
M 
We have waited so long for the appearance of Madame de Renal, and finally the artist condescended and showed us this charming woman. Looking at the figure, we can quite understand the intention of the chapter and its character. Yakovlev perfectly expressed the timidity of the young man and the friendliness of the lady. There is nothing to add here, as everything is quite clear.
VII Affinity of Souls 
Here we see the first manifestation of Madame de Renal's concern. When the unfortunate Julien, beaten by his brothers, lay in the garden. In this chapter, a woman's interest in an intelligent, handsome young man is shown. And I agree with the artist that it would be difficult to portray caring otherwise. Especially since it fits here. Although looking through the illustrations and not reading, no one will guess about those feelings and thoughts that begin to rage inside the lady.
VIII Minor Incidents
IN 
this chapter describes a lot of events and I do not think that the lovely conversations between the two ladies and Sorel are the most significant. Maybe the artist considered it necessary to show the rapprochement between Madame de Renal and Julien, but it seems to me that there are a lot of other events that should be shown. I would portray one of the following: a rejected maid, an illness of a mistress, communication with a priest. Since it was the consequences of these actions that led to friendly conversations of young people.
IX Evening in the countryside
IN 
from this chapter just can be attributed to the previous image. After all, it is here that Julien takes his first steps - exploits in relation to Madame de Renal. You can also portray how the lady is looking for a portrait of Napoleon in the mattress. But the artist considered it right to depict classes with students, who are given very little attention in this chapter. No, all the same, my opinion diverges from the views of the artist. If the images in the book would go through my criticism, then I would definitely not give consent to this image.
X Big heart and small means
IN 
this short chapter could have been emphasized on the emotional dialogue between Monsieur de Renal and Julien. But Yakovlev portrayed the nature and emotional state of Sorel.
XI Evening
TO 
a short chapter, in which the experiences of Madame de Renal are shown to a greater extent. And emotions are so overwhelmed by her that she flared up at the maid, whom Julien was jealous of. The artist showed us exactly this plot. We again see the perfectly conveyed mood of the characters. The ability to convey the mood of the artist does not hold.
XII Journey
In this chapter, we are talking more about the proposal of a friend Fouquet to enter into business with him. And about Julien's peculiar rest, a change of scenery. Natalia illustrations we see Madame de Renal with her son.
At the beginning of the chapter, the parting of Madame de Renal and Julien is described, but this is not given much attention. And having depicted such a moment, there is a lack of a seeing-off glance, a turned head towards the departing Julien.
XIII Fishnet stockings
H 
and illustrations, the artist noted the transformation of Madame de Renal, who did not feel well in the absence of Julien, but, as never before, paid attention to her appearance and outfits. The artist did not portray Julien satisfied with his achievements and plans. Expressing thoughts is very difficult when depicting a large canvas, and even more so when depicting such a small black and white format.
XIV English scissors
Julien's behavior goes beyond what is permitted and she compromises not only herself. A more expressive moment in the image could be their kiss during the transition from room to room. But the artist, believing otherwise, depicted a more crowded scene. During which Julien lightly stepped on Madame de Renal's foot. The lady got out of the situation, deliberately dropped scissors, a ball of wool, needles, so that Julien's movement would pass for clumsiness. Despite the fact that I would depict a different scene, I think that this one also corresponds to the chapter.
XV The rooster crowed 
Very interesting image, initially leads to different thoughts. Very interestingly presented, Julien at the feet of the lady, all this in the twilight. To be honest, there's not even a need to read the chapter. It is worth noting the impeccable choice of the artist.
XVI The next day
Perhaps the artist wanted to show the early morning they met in Madame de Renal's room, and that is why he chose this subject. But in any case, he showed their feelings for each other. They were no longer just friends. Such a cute image is impossible to criticize. You can only admire.
XVII First Deputy
G 
the lava is small and has no major events. As I said, expressing the thoughts of the characters is very difficult. Therefore, Yakovlev depicted the scene where the mistress gives instructions to the servant. Julien was very interested in the assignment, and he, having questioned de Renal, found out interesting fact. Also, the artist could depict those small lessons of life in high society that she gave him. But he focused his attention on another action, which he showed well.
XVIII King in Verrieres
AND 
having depicted Sorel moving in the guard of honor, the artist would have shown the main character in a different guise. It was still possible to depict the dialogue between the Bishop of Agde and Julien. Thus, Yakovlev would show little achievement. But the artist considered it right to show the service ceremony. Though personally I would not betray her of great importance. Since the scene has no direct relation to the main character.
XIX Out of Thought Suffering Is Born
The chapter is heavily filled with feelings, thoughts main character. The author showed us so many experiences. Madame de Renal is a deeply religious woman.
And in this chapter we see all those sufferings, pangs of conscience that she experiences, blaming herself for her son's illness. The artist chose a good plot. He showed the coldness of de Renal and the humble wife who fell at his feet. A very touching moment, like the whole chapter.
XX Anonymous Letters
In such a short chapter, this is a well-chosen moment. The artist depicted the transfer of an anonymous letter to Julien, which the cook furtively gave him. After reading the title of the chapter, when we see the image, it is clear what's what.
XXI Conversation with the Lord
IN 
this chapter, in my opinion, the illustration could be different. It could have been more successful when the excited Madame de Renal tells the anonymous to her husband. The previous chapter and the beginning of this one led to this. But the artist depicted the moment when Julien handed over the finished anonymous letter. It's a pity we can't see that determination in Madame de Renal's eyes that Stendhal writes about. Yes, and it is difficult to assume, without reading the chapter, that Julien conveys something in general ...
XXII Mode of action in 1830
Again, I disagree with the artist. He depicted what is said in this chapter, but the writer does not emphasize this. A significant part of the chapter is devoted to dinner at the owner of the house of contempt, about their culture and way of life. Personally, I would have pictured lunch. But the artist considered it necessary to show Julien with a heavy burden in front of everyone. Yes, he did it professionally, but once again I repeat that I do not agree with the choice of plot.
XXIII The Suffering of an Official
WITH 
It's completely unclear what the image is for. Neither the title fits nor the plot of the chapter. The writer gave us a detailed description of the auction. And Yakovlev could have portrayed one of the sales scenes or a trip home, but he chose a completely incomprehensible action. I completely disagree with him and do not understand what's what.
XXIV big city
M 
For the first time we see the scene not in a small town with beautiful nature, but in a cafe with a lot of people. I can assume that the artist wanted to show Julien's confusion, confusion and at the same time the interest that he arouses in the opposite sex. How carefully Amanda had seated him away from the noisy contingent of the bar. I do not think that the artist chose an unworthy scene. But it would be possible to add the arrival of the girl's boyfriend. A small scene of jealousy.
XXV Seminary 
In the first paragraph, Sorel comes to the seminary and the artist could show this scene by depicting the seminary itself with a gilded cross and the gatekeeper who opened the door. But the artist preferred a deeper scene and showed a meager room in which the priests live. The artist expressed the expectation in which Julien froze while the man in the worn cassock paid no attention to him. I agree with the artist, this is a good option for displaying this chapter.
XXVI Environment or what else does a rich man need
X 
The artist could show Sorel coming down to the others late, standing among a large number of seminarians. Which he was already beginning to dislike, showing the inherent arrogance, arrogance of our hero.
In the illustration, we see an old friend Fouquet, who made his way to the seminary. But, without reading the chapter, we certainly will not guess who is depicted on it (with the exception of Julien, of course). It is difficult to imagine what exactly the artist wanted to show. But from the very dialogue of friends we learn about the life of Madame de Renal. Memories washed over Sorel. But his youth and narcissism do not allow him to delve into memories for a long time, and the author quickly moves on to the present.
XXVII Firstfruits life experience
TO 
This chapter doesn't fit at all. And, after reading the next one, we will be convinced that there was an obvious mistake of other specialists and an illustration for the next chapter. But the mistake is clearly not the artist, but those who brought his creation to life.
I would like to note the regularity very well noticed by the author, “that difference breeds hatred”. For this phrase, do not draw pictures, but it fits the title of the chapter. To the reasoning of the hero about life. After all, that's what he's been doing throughout the chapter. And we can imagine Julien absorbed in thinking about being.
XXVIII Procession
As I said, the image of the previous chapter was clearly planned to be used in this one. In my criticism, I will consider the previous image. Despite the fact that many other subjects could be used, I quite agree with the artist that this is the best option.
Madame de Renal's fainting at the sight of Julien is touching. We see a fragile woman who tried to forget everything and pray for her sins, and now, as if a test sent by God. Very touching story and I think it should not be missed.
XXIX First Promotion
H 
e little an important event for Julien occurs in this chapter, he is promoted for the first time. Although the illustration does not show an increase, it is still not a little important event. It's not every day you can talk to a bishop, especially at dinner. The image is quite clear. We see Julien talking enthusiastically and the bishop listening with interest. The artist showed a peculiar solemnity of what is happening. One can only imagine how many emotions Sorel will have, and how much he will still remember this dialogue. At least there can be no doubt. That the bishop himself is pleased with the ardor and knowledge of the young man.
XXX Ambitious
Here is Julien's new occupation. New life line. He was offered the position of Assistant to the Marquis. This is a good start, influencing society. Another big step. Going on a further journey, and in all likelihood for a long time, he could not fail to see the one who loved him. And so he took a chance, climbed to her window. Julien was very surprised at what he saw. Poor Madame de Renal has exhausted herself to the point of being barely alive. I can not dispute the correctness of the selected image. So I think that it corresponds to the chapter, but the artist had a choice.
Part two.
I Pleasures of village life
P 
in all likelihood, the artist considered it right to show Julien's departure for Paris. Without even beginning to depict his companions and, in general, any excesses, he marked the beginning of the second part with a detour. I can't help but agree, since we clearly understand that our hero is starting a new life, and nothing can more accurately depict it than the departure itself.
II In high society
E 
the first feast that we see, though not very large. Accordingly, the main character is for the first time in the company of such a number of noble people. But Julien did not lose his head and feels quite relaxed. This we can see in his light, relaxed posture. This time I also agree with the artist in the correctness of the plot chosen by him.
III First steps
WITH 
once the title of the chapter and the illustration are associated with the first attempts to learn horseback riding. But no, meaning by the first steps of the author, he wants to show us how Julien enters society. Julien is not a risky person, but he would not like to appear stupid or incompetent. And here we see his courageous act. Sorel is the second time in his life to sit on horseback, but not entirely successful. So falling in the middle of the street is not just awkward for him, but this fall served as his further training in riding. We once again admire the perseverance and courage of the hero.
IV House de La Mole
IN 
In this chapter, the author pays attention to Julien's infusion into society during dinners. The artist preferred not to draw a large number of people and not go into subtleties. I disagree with Yakovlev. For the reason that you can find a paragraph corresponding to the actions of a young man. We can only assume that we see Julien during the recording of the characteristics of the personalities of the incoming guests. But these are just my guesses. I think that more interesting events begin on the next page, which were worth portraying.
V 
impressionability and
God-fearing noble lady
This chapter of Stendhal is absolutely nothing. It could not be subdivided, but simply combined with the previous or subsequent one. It is not necessary to judge the correctness of the choice of the artist. For the reason that the author writes like a little about everything, but at the same time about nothing. In the chapter we read literally two lines about fencing, but it was also possible to depict many other things that Julien was doing at that time. Perhaps the artist decided to intrigue with the image, perhaps it was easier for him to depict fencing than Julien, exhausted by a bunch of work. But we can judge with confidence that the artist read in good faith.
VI Features of pronunciation
IN 
In this case, I'm ready to argue with the artist. Since I think the picture of the duel could look more interesting. But after previous fencing lessons, it’s difficult to portray a pistol wound. To depict a duel with pistols, you need to redraw the previous illustration. Most likely, therefore, the artist chose to confine himself to a quarrel in a bar and a challenge. But the image is incomprehensible, and besides, there were enough other subjects in the big chapter.
VII Gout attack
I cannot dispute the image due to its clarity and accessibility. After looking at the image, we understand that the marquis is not healthy and see the obliging Julien. After reading the title of the chapter, we are convinced that we are right. Fully agree with the choice of the artist.
VIII What makes a person stand out from the crowd
AND 
the illustration is chosen, right, there is nothing to complain about. We see Julien already in the image of a secular man, to whom Matilda is drawn. Against the backdrop of the most beautiful marquise, all the other girls are lost. The artist showed interest in the beauty of a large number of men and the one to whom she preferred.
IX Ball
H 
Let's start with the fact that the first part of the chapter could have ended the previous one, since the continuation of the ball is described there. Or divide the chapter into two parts and depict a furtive glance at Julien and his interlocutor Matilda. And the next chapter should be called “Meeting in the Library” and the illustration that we see is ideal for it. There are no complaints about the artist, he did not repeat himself, and singled out quite an important situation.
X Queen Margaret
In Chapter X, Julien learns the history of the family, which changes his mind about Matilda. But we won't see it in the image.
But we are clearly shown the continuation of the chapter. How the relationship between the most enviable bride and Julien becomes friendly. How they talk while walking in the garden.
XI The power of the girl
D 
Remaining often the artist depicts a static conversation. But the image is not always appropriate. And in this case, I think the choice of the artist is wrong. Only a few lines are allocated to the communication of girlfriends in the chapter, and more interesting moments are thus missed. It seems to me that the artist should look for a plot in the first part of this chapter. And show the girl's power over boyfriends or in the family.
XII Isn't that Danton?
G 
Looking at the image, we can assume that a peaceful dialogue is taking place between the gathering. Natalya, in fact, in the chapter, the writer shows us the anxiety of young people who are not happy with Matilda's obvious interest in Julien. But if the artist depicted a storm of emotions in the poses, facial expressions of young people, then it would simply look indecent for high society. And more like a scandal. At the sight of the image, we cannot determine at a glance what the chapter is about. In this case, the name says more about the essence.
XIII Conspiracy
H 
Despite the fact that the chapter is large and there are enough events in it, I consider the choice of this image to be correct. He most of all characterizes them already warm friendly relations and manifestations of the passionate feelings of Mademoiselle de La Mole. It is quite difficult to portray mockery of a brother and a boyfriend, and the emphasis is not on them in the chapter. Having depicted Julien reading a love letter and his thoughts at the same time would not be possible. Thus, this picture is chosen from my point of view correctly.
XIV Thoughts of a Girl
In this image, the artist clearly shows what awaits us in this chapter. After the previous chapter, we can easily assume the development of the feelings of the characters.
XV What is this if not a conspiracy
P 
after reading the chapter, we understand what the artist was trying to depict in the illustration, but before reading it, I personally did not understand that Julien was in his room and was thinking about leaving. Although we see a suitcase with things, but the pose of the hero and the tension of his face speaks more about his interest in the bust. Perhaps by depicting him packing his suitcase, the reader could assume the hero's imminent departure, and even after reading the chapter, comfort himself with the fact that he remains.
XVI Hour of the night
IN 
In this chapter, I think that more interesting points could be depicted. For example, how Julien climbs out the window, how he hugged Matilda, or how he hid in the closet. Thus, it would be possible to assume the essence of the chapter, and in this image we see Matilda deviating from her lover and Julien has a dagger in his hand that leads to bloody thoughts.
XVII Ancient sword
IN 
The chapter expresses a lot of emotions, a lot of feelings that the artist depicted in the illustration. Probably if it was big picture, we would see everything on the faces of our heroes.
But all their feelings are read in the movements of the body. Julien's developing tailcoat makes it clear that he just jumped onto the chair in order to get his sword, and despite the fact that he just jumped up, the sword was already unsheathed. The surge of emotions of the Marquise de La Mole is expressed in a questioning-shouting movement of the body.
I think that the artist was able to perfectly show the main scene of this chapter.
XVIII Torturous Moments
IN 
The illustrations for this chapter raise many questions. First, why is the girl sitting at the piano if there is not a word about him in the chapter. The second is not even a question, but an opinion that the plot was not chosen by Vern. In the chapter, the emphasis is completely different. We can assume from the outset that Mademoiselle de La Mole indulges in dreams while playing the piano. That she represents sweet moments. But these are just my guesses. Personally, I'd choose a different story. Depicting Sorel and Matilda walking in the park. Happy faces and fun in motion could say a lot.
XIX Comic Opera
P 
rochta head, everything falls into place. Again, the publisher mixed up the images. Matilda sitting at the piano clearly refers to this chapter. And the image that we see as the title of this chapter clearly refers to the title of the next one. Since we did not read anything about a broken vase here. I will not judge publishing errors. After all, the task is different. Let's look at the images in the correct order, as they should be. This means that our artist from the whole chapter preferred the image of Matilda playing the piano to many others. But personally, I would choose Matilda at the opera. After all, at the moment of the second act, her love for Julien again lit up. And a strong surge of emotion. This beautiful state could be conveyed without difficulty. And that moment when our hero is unrestrained and climbed the stairs to her room ... With what passion she rushed to him. The artist could also convey passionate embraces. The moment of her oath of servitude before him. Personally, I think that these plots would look better.
XX Japanese vase
We will not repeat the mistakes of the publisher and show the image with the broken vase again. We can simply recommend turning your eyes a little higher and taking a closer look at the artist's talented work. A good plot has been chosen. You could also use the scene in the library. When Matilda stopped Julien, who was quickly leaving the office, But this image not only corresponds to the chapter, it corresponds to its title. We see the frustrated Marquise de La Mole, wailing at a broken vase, and we see a calm Julien. The illustration is quite clear.
XXI Secret Message
The secret meeting is very well shown. It cannot be said that before reading the chapter you understand that it is secret, but in any case, after reading it, you understand who these people are. We see Julien busily sharpening his feathers. He is the only one who does not participate in the discussion, he is ignored, only looking slightly wary. I think the choice of the artist is correct.
XXII Discussion
X 
The artist did not have to guess and choose which image would be successful. The whole chapter is devoted to the secret meeting. Where dignitaries were gathered and Julien as a secret messenger. In the illustration, we see how the discussion goes and how diligently Julien does his job. A rather boring chapter, but the artist managed to transform the illustration.
XXIII Clergy, forests, freedom
WITH 
I agree with the artist, a very good choice of plot. The artist showed what was being led to in the previous two chapters. Meeting Sorel with the Duke to convey the message. Sorel plausibly looks like a beggar. Even the scene with the search in the inn is not so significant for this chapter.
XXIV Strasbourg
An instructive chapter for people who do not receive reciprocity in love. It would be high time for Julien to learn some subtleties between a man and a woman.
Finally, he met a man who told him a way out of this situation. The artist showed us the meeting of two friends. Initially, you understand by greeting what happened nice meeting and, after reading the chapter, reinforce the first impression with facts.
XXV In the Office of Virtue
The illustration is more than clear. There is no need to read the chapter to understand that Julien carried out the plan to return Matilda's love to him. Although it has not yet worked, we see from the plot that, in any case, it has come into action. The artist was able to show us everything he wanted.
XXVI Spiritually - moral love
G 
lava is small and not so full of events. But the artist found what to depict in such a way that it would not be repeated. We see the moment of handing over the love letter. We even understand that the action takes place in the morning. Still, in very rare cases, you can guess from the image what the chapter is about. This is not the case, but not the fault of the artist.
XXVII Best Church Offices
H 
Despite Julien's pessimistic thoughts, throughout the chapter, the artist picked up the moment where our hero had a feeling of impatience. And in the illustration we see his burning interest in the delivered letter. We can appreciate the choice of the artist and be glad that he did not portray the boredom in which Julien arrived at the attraction of the head.
XXVIII Manon Lescaut
M 
We see the game of two actors and regularly changing roles. Now Matilda furtively watching Julien, then Julien jealous of Matilda. The artist showed that Julien is suffering and does not see the results of his efforts. Efforts to return Matilda even for a moment. And that's exactly what this chapter is about.
XXIX Boredom
P 
reading the chapter to the end, you understand why the author preferred to separate it, to make it a chapter. The author showed what Julien achieved with his hard work. That his mental anguish was not in vain. He was not only able to interest Madame de Fervac, but also to achieve confirmation of love from Matilda. The artist depicted Matilda subdued, lying in a swoon at the feet of Julien, standing with an arrogant, self-satisfied look at the lifeless body of such a strong, wayward beauty.
XXX Lodge in comic opera
H 
The title of the chapter fully corresponds to the illustration. Without this hint, we can guess what is depicted, but the title confirms the correctness. It would be banal to portray the dialogue of lovers, the artist preferred to diversify and once again show Julien's willpower. Who, despite the terrible internal state, overcame himself and came to the opera, moreover, he gained strength and looked into the box where Matilda was.
XXXI Keep her at bay
H 
I don't agree with my recent opinion. Still, the author should have combined some chapters into one. Since the essence is one, it just stretches for a long time. And here we must pay tribute to the great imagination of the artist. Whose talent I criticize less and admire his imagination more and more. It is rather difficult to take out something new and important from this chapter, but he was found and depicted our heroes in a secluded place, with fiery speeches and passions.
XXXII Tiger
AND 
Again, I jumped to conclusions. All the same, I do not agree with the artist in choosing the image. The English traveler is mentioned in passing and has no serious relation to the novel. I think that the emphasis should have been placed on the letter, depicting Matilda writing it, or his father reading it. And how great is the news that Matilda told Julien ... The artist could convey their dialogue and, for example, a gentle touch, characteristic only of expectant mothers, the artist could easily
hand over.
XXXIII The Hellish Torments of Cowardice
WITH 
From my point of view, the image of the enraged Marquis de La Mole, who walks around the office in anger and sprinkles Julien with obscene words, could have looked more successful. But the choice of the artist cannot be particularly disputed. After all, Sorel left, leaving Matilda at her own request. And now they are separated, and the artist has a lot to choose this plot for this very purpose.
XXXIV Clever man
TO 
What a pity that not everything can be expressed with a brush and pencil. What a pity that we perceive many speeches only with our ears or eyes. But, unfortunately, we can not read everything experienced by the hero in gestures. And yet, it remains to be glad that there are wonderful authors who convey everything to us by text. The artist, if possible, conveyed the emotional state of Matilda. Unfortunately, we do not see the face of the Marquis and cannot judge his condition by his gestures. But we understand the importance and long-awaited moment.
XXXV Storm
A 
The second gave a very beautiful name to the chapter. It seems to me that "thunder" could still be used. But it is very strange that the artist used the plot is not the most exciting. Personally, I portrayed Julien aiming at Madame de Renal. After all, it is this part of the chapter that is the most exciting and even insulting that you have to leave to describe the image provided by the artist. As far as I can guess, the artist showed us Sorel in rank on a magnificent horse. After all, Julien had long dreamed of serving his fatherland. And if you do not read the novel, but perceive only the image, then this image should also be.
XXXVI Sad Details
H 
no, after all, it was not worth the author to intrigue and combine two chapters together. But it is not for me to judge Stendhal. But I have the opportunity to criticize the choice of the artist. I think that this scene could not have been portrayed, but it was worth it to depict Julien sitting behind bars. The reader would be more than clear what lies ahead. Or by depicting the court. In a word, I completely disagree with the artist.
XXXVII Tower
We have read so much about the miracles of friendship in this chapter. About the glorious, open Fouquet, which perhaps should have shown the meeting of two friends. And the joy that an old friend brought with his arrival. How Julien rushed to embrace him. But the artist chose to show a different picture. More touching and heartbreaking. After all, reading the beginning of the chapter and a detailed description of the arrival of the clergyman, the imagination is played out very strongly, in addition, you look at the artist's creation. Which further emphasizes the touchingness of the moment. And our hero no longer seems such a villain.
XXXVIII The Mighty Man
M 
We see how our brave Matilda came to ask the Abbé de Friler for Julien. Dressed in a peasant dress, the girl is ready to do anything for the sake of her beloved, even to communicate with people like the abbot. Most of the chapter is taken up by their dialogue, in which each shows his strength. The artist correctly chose the plot for the image, since the dialogue could not have aroused such visual interest.
XXXIX Intrigue
WITH 
how many feelings overwhelm our heroes. How different their characters are, yet how similar they are. Once again, it becomes a pity that no matter how hard the artist tries, he cannot convey everything. He captured one moment. But we get a storm of emotions in our soul from everything that happens to our heroes. But the artist wonderfully portrayed that tenderness, that care. The guardianship that Matilda gives to her beloved. And how indifferent he is to her now. At the sight of this scene, one feels sorry for the lovely girl.
XL Tranquility
T 
How well the title of the chapter speaks for itself when you see the image. And even if this is not the best story that could be, then, in any case, it would not have been possible to better characterize the title. We see Julien calmly walking. His calmness in his gait while smoking a cigar. And also the peace around. Mountains, clouds, nothing that could upset the balance of the soul. Everything is very good.
There is no need to argue with the artist. Since the illustration is fully consistent with both the title and the content of the chapter. The artist showed us with a clear image of the main persons and more weakly displayed the crowd of those present.
Perhaps it was worthwhile to portray the assembled audience a little more clearly in order to show that most of it consists of women who, during Julien's speech, held handkerchiefs to their eyes. Yes, if I were an artist, that's exactly what I would do.
XLII
WITH 
strangely, but this is the first chapter that the author did not name it. The chapter itself is rather dark. The thought of guillotining has never brought joy to anyone. And the artist rendered the camera in dark colors, the gloominess of which is aggravated by the tired, exhausted appearance of Matilda. But on the other hand, Julien's calmness is not at all compatible with the situation. All the same, the artist notices all the details and conveys them in images.
XLIII
D 
It will remain a mystery to me why the artist chose such a useless scene. Perhaps there will be an explanation for this in the next chapter. I would prefer to depict Sorel sleeping and Madame Renal weeping over him. Or them crying in an embrace. But do not underestimate the choice of the artist, despite the fact that I do not understand it. I can also emphasize that the priest does not seem dirty and wet at all, but he looks more like a begging beggar. The appearance of a priest gives him only a cassock and a cross.
XLIV
What is most captivating about the chapter is Julien's reflections. His dialogue with himself. Which you read like a verse; emotionally, with expression. Why the artist chose to depict the scene with two prisoners I do not know. Perhaps because it was after talking with them that he began to think so emotionally. But communication with his father was also not calm. The choice of the artist does not coincide with mine.
XLV
The whole novel is distinguished by great sensuality, psychological onslaught. And the artist tries to match the author with a pencil to convey everything exactly. Initially, when I saw the tragic scene, I did not understand that it was Julien. Even if I had guessed, I would not have believed it, since there was still hope for his pardon. I completely agree with the choice of the artist. That as it is the finale and it is expressed clearly. There simply were no other options. 
Conclusion
Unlike writers whose creations live for millennia, the work of book illustrators often goes unnoticed. And what masterpieces are found among the illustrations! How they delight us in childhood and then, at a more mature age. So the work of Yakovlev, when reading the novel, was probably not admired by many. Most often, we simply do not notice the work done. And if we notice, we do not think about its complexity and painstakingness. But thanks to the literature assignment, for the first time, I gave meaning to illustration.
This book is very richly illustrated. You look at the pictures and each time you find new details. A very exciting process. Moreover, we were very lucky with the artist, he turned out to be a very talented person. Despite the fact that Stendhal is a great psychologist, the artist was well able to feel the essence of the novel. Even in such seemingly insignificant, petty work, he conveyed the mood of the heroes, their state of mind, ardor, awe, femininity and masculinity. Looking at his work, we seem to find ourselves in a different world - the world of heroes. I can not say that everything was perfect, in some places I do not agree with him. But that doesn't mean it's bad. And in some cases, one can express dissatisfaction not with the fact that Yakovlev chose the image poorly, but more with the fact that Stendhal did not divide the chapter and thereby created a problematic creation of a suitable image. When you pick up an illustrated book, you can learn about the worldview of the designer by its design. I was satisfied with the work done by the artist, a complete harmony of text and images was created.
^ Comparison of Stenadal's work
"Red and black"
between novel and screen adaptation
Screen adaptation of Stendhal's novel "Red and Black"
Script writers
Jean Orani, Pierre Bost
Operator
Michel Kelbe
Composer
René Klorek
Director
Claude Autan - Lara
Starring:
Julien Sorel
Gerard Philippe
Madame de Renal
Daniel Darier
Mathilde de la Mole
Antonella Lualdi
Mr. de Renal
Jean Martinelli
Marquis de la Mole
Jean Mercure
A novel by Stendhal
"Red and black"
Moscow "EKSMO"
Translation from French by N. Lyubimov
Introduction
Stendhal(Stendhal) [pseudonym; real name and surname Henri Marie Beyle (Beyle)] (23.1.1783, Grenoble, - 23.3.1842, Paris), French writer. Son of a lawyer; was brought up in the family of his grandfather, a humanist and republican. In 1799 he entered the military service. Participated in the Italian campaign of Napoleon I (1800). After retiring, he took up self-education, attended theaters and literary circles. Then he returned to the army and as a quartermaster of the Napoleonic troops (1806-14) traveled almost all of Europe, witnessed the Battle of Borodino and the flight of the French from Russia. After the fall of Napoleon (1814) he left for Italy, where he kept in touch with the leaders of the Carbonari, became close to the Italian romantics, and became friends with J. Byron. Since 1821 he lived in Paris, collaborated in the French and English opposition press. In 1830 he became French consul in Trieste, then in Civitavecchia, where he spent the last decade of his life.
The novel Red and Black (1831) is subtitled Chronicle of the 19th Century: in it, Stendhal paints a broad picture of French society on the eve of the July Revolution of 1830, denouncing the acquisitiveness of the bourgeoisie, the obscurantism of churchmen, and the convulsive attempts of the aristocracy to preserve their class privileges. But the main thing in the novel is the description of the dramatic single combat of young Julien Sorel with himself: natural honesty, innate generosity and nobility, elevating this son of a simple carpenter above the crowd of moneybags surrounding him, bigots and titled nonentities, come into conflict with his ambitious thoughts, with attempts break through at any cost. This discord between the lust for power and disgust for the base pursuit of it leads the hero to death.
Director: Claude Autant-Lara 5.8.1901- 5.2.2000
He studied at the school of decorative arts, made his film debut in 1919 as a costume designer and decorator, later - assistant director, director. Under the influence of "Avant-garde" (direction in French cinema) he made several experimental films. In 1930 he directed one of the first large-format films, Laying a Fire (based on J. London). He made his sound film debut with the comedy Lukovka (1933). During the years of the 2nd World War 1939-45, he staged film adaptations: The Marriage of Chiffon (1941), Love Letters (1942) and Tender (1943), distinguished by the poetic subtlety of the transfer of the psychological experiences of the characters, the drama of events related to by the beginning of the century. In the post-war works of the director, a social orientation, an anti-war protest are increasingly felt: The Devil in the Flesh (1947), Through Paris (1956), Thou shalt Not Kill (1963), Potato (1969) and others. best films- adaptation of Stendhal's novel "Red and Black" (1954). He also staged the vaudeville Take Care of Amelia (1947), the tragicomedy The Red Hotel (1951) and others. based on the novel by Georges Simenon, young Brigitte Bardot (born in 1934) undresses with ease, flirting with the master Gobillot. This film is rightfully considered one of the best by both Bardo and Otan-Lar. Yes, and Jean Gabin (1904-1976) by the mid-50s found a "second wind" and became no less popular with the new generation of viewers than with their fathers in the 30s.
Comparison of the film adaptation with the novel
The director of the film allows the audience to relax and begin to immerse themselves in the film. All this thanks to the screensaver in the form of a book, in which, when turning the pages, we learn about who worked on this film, as well as the actors who were given to live someone else's life. Further, the director plunges us into the darkness of the court. Like many directors, he preferred to start his film at the end of the novel. Thanks to this, we can initially guess. About how it all ends. I don't think this is the right move. Besides, we do not have the pleasure of seeing the small town of Verrières with its landscapes and sawmills. Due to the fact that the first five chapters were omitted, or rather simply replaced. It can be assumed that the director simply acted according to circumstances and he did not have the opportunity to make a film in the right conditions. But finding nature and forest is not so difficult.
Well, let's move on to the description of what we have. Stendhal's description of the courtroom looked much more beautiful, and at the sight of the village premises into which the director transferred us, I was upset. I think that the actor playing the role of Julien did not marvel at the beauty of architecture just like his hero. And the hall that we see on the screen bears little resemblance to Gothic. Instead of brick columns, we see wooden arches. Also in the novel, Stendhal focuses on the female audience, which is watching the events with tears in their eyes. When watching the film, I personally did not notice the emphasis on this detail. I saw only one lady with a handkerchief in her hand, and that only because I was looking for her.
Immediately from the courtroom, the director takes us far into the past. When Sorel was still 18 years old. As I said, the screenwriter missed the first chapters, to be more precise, reduced to a minimum. Instead of de Renal's dialogue with Sorel's father and their deal, instead of doubts about his future life. We see the abbot, Sorel and his son riding in a wagon. Where we learn that Julien is being hired as a tutor. But perhaps this is correct and we are shown the essence of the film, and not Full description novel. Only it is a great pity that the scene where Madame de Renal met Julien at the gate was omitted. In the film, we see a different story. The son of Madame de Renal saw through the window the tutor who had arrived, and assuming that it would be the abbot, and not the young Sorel, expressed his fears. I consider another nuance, which puzzled me, to be very important. Reading the novel, I was sure that de Renals had three sons, since such a phrase “The youngest of the sons” repeatedly appeared, because there cannot be two of them, as shown in the film. Otherwise, the author would say junior and senior. But at the same time, in the novel we never learned the name of the middle son. Next, we see Sorel's reception at the de Renal home. And we see a maid who shows a strong interest in our hero. The director shows the character of Julien well. The hero thinks a lot about the poverty in which he lived and about high position, in which are de Renali. The director also showed in his own way Julien's attitude towards his father when he refused to come down to say goodbye. By his refusal, our hero showed disrespect for his father. The scene in the room shows Julien's interest in Napoleon's politics and his admiration for Bonaparte. But we initially guess that the scene with the photo in the mattress will be missed, since Sorel puts the photo of Bonaparte on the wardrobe. Also omitted was the scene where Madame de Renal first showed affection for Julien. Also, we still didn't see Valno, who was mentioned more than once in the book. So. The scene in the garden where Julien was beaten by the brothers was cut out.
According to the film, Sorel quickly got used to it. The director showed us the relationship between Sorel, Madame de Renal and the children in two minutes. It turns out that one phrase can describe how children love a tutor. The director also considered it necessary to mention the case when Louise wanted to thank Sorel with money. Perhaps with this the director wanted to once again show the character of Julien when he refused money with pride and dignity. The director also showed the character of Mr. de Renal, who expressed his point of view regarding the money offered by his wife. This scene briefly characterized their somewhat different views on life and attitudes towards people. And she also showed that Madame de Renal is more reverent towards Sorel than towards an ordinary tutor. It is also in this scene from the lips of her husband that we learn about the alleged mutual love of Sorel and the maid, who recently received an inheritance and is ready to share it with her future husband Julien. In Stendhal's novel, the maid herself admitted this.
Further, the novel was again cut down. And we do not have time to meet Madame de Renal's friend. With whom they spent a lot of time in conversations. And the scene that we see is turned upside down very much. According to the novel, the first touch on Madame's hand occurs during an evening conversation in the garden, where Miss Derville, Madame de Renal and Sorel were sitting at the table. In the film, Miss Derville was replaced by de Renal himself. And we also see a maid who, from Sorel's room, watches everything that happens in the park. And it was she, upset by what she saw, that caused Sorel to enter Madame de Renal's bedroom. Or rather, the fact that Sorel saw that someone was rummaging through his things and decided that it was de Renal, evilly went to seduce his wife. The bedroom scene was also cut and twisted. According to the novel, Sorel came not a single night. And there was no scene where de Renal breaks into his wife's room, and she, having plucked up courage, calmly covers Julien, opens the door and communicates nicely with her husband, after which she herself is surprised at her cold hypocrisy. Also, according to the novel, Sorel's refusal to marry Eliza looked somewhat different. To be more precise, there was no direct refusal either in the novel or in the film adaptation. But in the novel, Sorel communicated with the priest, to whom he explained that he did not love Eliza. And also the girl herself informed Madame de Renal about Sorel's refusal, which pleased the sick woman. In the film, Eliza breaks the news while combing her mistress's hair in the presence of de Renal, with obvious reproach and claim to Madame de Renal. Which at that time de Renal did not understand. And certainly we will not meet in Stendhal's novel how the maid makes a mark at Louise's door. In order to find out if someone opened the door at night. The performance of the actress as Madame de Renal is excellent. Despite the fact that all the characters look older than in my imagination, they all play their roles with dignity. The cold prudence of Julien, the ardor and selflessness of Louise. And how the director showed the scene of kissing Julien's feet, this is not in the novel itself. But in an instant, all feelings are expressed and everything Louise is ready for for the sake of her servant - the tutor. Also, the maid Eliza looks like an offended, abandoned and angry girl.
The scene is mesmerizing when Louise secretly sneaks to Julien's door without waiting for him to come to her. The face of the actress expresses such a mass of feelings. Well chosen music. And the way she goes back to his room again. How they stand and listen to each other through the door. How they confess their love, how the two return to Madame de Renal's room at night. We will not find such a scene in Stendhal's book. Just as we do not see Julien's periodic disappointments in his love for Madame. In the novel, we are constantly confronted with his jumping thoughts, with how he contradicts himself. For example, how disappointed he was in Louise when she did not appreciate his predilections for Napoleon. I referred to this moment, as it was the only one used in the film, but it is so nondescript that a viewer who has not read the novel will not notice it. But on the other hand, the director did not miss the opportunity to show Julien galloping in the guard of honor. But he did this clearly in order to spread the Lule rumor about the relationship between Sorel and Madame de Renal.
The scene with the bishop was also missing. Which Julien admired so much. But the scene of the service, which, while reading the novel, I did not attach importance to, was performed very beautifully in the film. Catchy outfits, splendor of the hall. Julien arriving again in doubt. His internal disputes resumed. And he already doubted the greatness of the army, he believed that everyone, just like the king, bowed to the clergy. He is overwhelmed with feelings again. He presents the king and beautiful girls at his feet.
What a pity, but the illness of the youngest son is missed. But Stendhal so perfectly showed Louise's piety in this difficult period for her. THEN when she lost self-control and was ready to confess everything to her husband.
Immediately after the arrival of the bishop, the director took us to the scenes with anonymous letters. Here we also see only the essence, but alteration and differences from the novel. The director tried to convey the essence, but not the details. For example, Louise's careless act was removed when she passed a note in a book through a maid. In the film, she herself came and gave the text of her anonymous letter to Julien and verbally said what to do. After an anonymous letter supposedly commissioned by Madame de Renal, a dialogue between husband and wife follows, where Louise demands to excommunicate Julien from their home. Once again, the acting is excellent. They managed to convey everything that the director wanted to express.
But further, with the movement of events, we see a sick son and the grief that was brought into the house with the disease. Such a great game at the bedside. The pangs of conscience of Madame de Renal, and the ardor with which she wanted to confess all her sins to her husband. It is impossible to meet another person who believed in God more. And how Julien, with his youth and pride, is good at the moment of delight with Louise. Yes, all the same, the screenwriter of the film could not cut this wonderful scene.
Further, such plots of the novel were cut out as: Julien carrying a dozen spruce boards, showing how a priest should act. We never met in Valno and his family, who are mentioned more than once in the novel. The scene, once again showing the love of the children for their tutor, was also missed, even though it was followed by another no less interesting one. The arrival of Geronim, who is unlikely to appear in the film again, has already been crossed out here.
In short, two large chapters were omitted from the film. And only the end of XXIII was changed. In the end, you can’t deprive the viewer of the scene of the farewell of lovers. But the scenario did not go deep and show three-day expectations. Immediately after his son's illness, he sent Julien on his way. Showing the farewell which, according to the novel, happened later.
And here is Julien in a big city in an attractive cafe. The scene in the cafe is very shortened, but the essence is shown. Julien was pleased with himself.
It is very difficult to assume from the film that the children of the poor study in the seminary. There was a feeling that not quite healthy young people study there. Who laugh at the right things and misunderstand people who are not like them. Julien, of course, had a very hard time, he was constantly hypocritical. He was a hypocrite, not knowing how to do it. And this inability to further emphasize their difference from them.
The film did not miss Julien's good relationship with the director of the seminary. The fact that the director was the only one who worried about the fate of Julien. During the last service interesting scene which was not present in the novel. Whose idea it was will remain a mystery, but I really liked it. When Abbe Pirrar instructed his students, he explained to them that someone would become a bishop, someone would serve for the benefit of the people, someone would earn money, but not everyone would remain in this world. Someone will soon be gone and our ranks will be empty. During his speech, he blew out the candles selectively. And Julien guessed the penultimate one on the left. And it was extinguished by the abbot. This scene ended with Perrar's words "God forgive them" and a loudly playing organ. But such a touching scene is replaced by another less attractive and more pretentious. We find ourselves in a Parisian shoe store. The screenwriter deprives us not only of the procession and preparation for it, not only of Julien's first promotion, but also of the meeting with Madame de Renal in the church. And Julien's arrival at her house. After all, his ambition could not remain satisfied without being convinced of her former love for him. The director immediately takes us to Paris to a store that simply did not exist in the novel. And offended, hurt, he challenges the man who threw off his boots to a duel. There was a duel in Stendhal's novel, but it started in a coffee shop, where Julien went, hiding from the rain, he could not stand the look that the young man looked at him and challenged him to a duel. Acquainted with the lieutenant of the 96th regiment, he asked him to be a second between him and the Marquis de Beauvoisy.
Thus, the scenes in the novel were changed. And only after the shoe store did the acquaintance with de La Moles follow. Where what was said in the novel itself is embodied in sufficient detail on the screen. But after meeting with the house of de La Molay, he went to the planned duel. Where there really was a mistake, or rather the coachman, having taken business cards from the owner, impersonated him. But the duel took place, as it was in the novel.
In just a few scenes, we see Matilda enchanted by Julien. Which in three weeks sees in him something English and nothing from the son of a carpenter.
The head of horseback riding, a gout attack, was cut out. We didn't see it either. But maybe we will see her later, the screenwriter likes to swap them. And also all of Julien's works were reduced to a minimum of one scene. When the marquis thanked Sorel by handing him a warrant of patronage. And the jealousy of Norel who long years could not receive such an honor.
And now the director plunges us into the atmosphere of the byal, where there are many beautiful ladies and gentlemen. Matilda was once again struck by Julien's wit, his speeches. But he was still cold towards her. In the morning they met in the library. A small difference between the novel and the film adaptation is that in the film, at the entrance of Matilda, Julien did not think about Mirabeau, Danton, but was about to leave. According to the novel, he was not to leave Paris soon. They got to know each other even more by walking in the park and a note with an invitation to come to her, Mademoiselle de La Mole personally handed over to Julien. In the film, everything happens very quickly and the dialogue between them and the story of the guillotining of Boniface de La Mole, which was told in the novel by the academician, and in the film by the marquis. And here, according to the film adaptation, Matilda leaves a note to Julien. What follows are all of Julien's doubts about which we read in the novel. All the same, the director conveys important moments very well.
And here comes the night The scriptwriter did not miss a single moment. He showed Matilda's terrible impatience and Julien's doubts. And here he is in her room. The director did not miss the opportunity to show such a detail as the gun in Julien's pocket. And the ropes prepared by the girl. Having lowered the ladder, Julien felt himself in an ambush and began to check if there was anyone in the room.
And now comes the height of new feelings new love. It wasn't long. Matilda's feelings have changed, but the reason is not clear from the film. On the same morning, the girl hated herself for her weakness and showed contempt for Julien, who, tearing a sword from the wall, almost pierced her beloved. The screenwriter did not forget about this scene, but it was not depicted in such detail as described in the novel, although it is quite plausible and will not even affect those who have not read the novel.
As soon as I decided that the cutting of chapters from the novel was over, the screenwriter immediately dissuaded me. And again we skip such chapters as, Comic Opera, Japanese Vase, Secret Epistle, Discussion, Clergy, Forests, Liberty, Strasbourg, The Order of Virtue, Spiritually Moral Love, The Best Ecclesiastical Offices, Manon, Lesko, Boredom. All of the above chapters have been omitted. There was no secret council of noble people, no trip to Strasbourg, where Julien met an old friend who suggested how to return Matilda's love. There were no letters and no flirting with Mrs. Fervak. The screenwriter crossed out everything, leaving only the love of Matilda and Julien. In the film adaptation, we do not see the torment that Julien first endured, and after Matilda. The pain that our hero inflicted on the girl. But we understand enough their attraction to each other. And at the moment of playing the piano, Matilda sees Julien climbing the stairs. They again spend the night and in the morning, Matilda speaks of her belonging to the full Julien, as a proof she cuts off a lock of her master's hair. In the novel itself, all this is also present, but with a difference in the sequence of events and their accuracy. But the story is moving faster and faster towards its tragic denouement. And now the Marquis knows about what happened, he is angry, he is furious, he expresses everything he thinks about Sorel. But according to the novel, he initially received a letter from his daughter, in which she confessed her love for Sorel. Further events are also developing rapidly. And the screenwriter found a very interesting way show the writing of the letter from Madame de Renal. The novel does not emphasize the actual writing of the letter. And in the film, we see Louise dictating from the priest these terrible words that will lead to the verdict.
At a time when Sorel himself enthusiastically admires his uniform as a lieutenant. The screenwriter reduced the cost of the film and did not show the scene where the fifteenth hussars lined up on the Strasbourg parade ground. He simply expressed again the narcissism of Sorel who was proud of what he had done. According to the film, Matilda rushed to him with a letter from de Renal. In the novel, the footman initially gave Julien a letter from Matilda, in which she asked him to come as soon as possible. The screenwriter portrayed the scene in the church very beautifully, he did not begin to depict the preludes of how Julien bought pistols. We still hear the text of the letter and see the thoughtful, tired face of Louise. Sorel enters, he admires Louise for some time. But without thoughts, he shoots the woman. Louise falls, Sorel barely understanding. What makes is going to leave. But he is missed as in the novel by the police. And just a second pause, Sorel's calm, thoughtful face, and again we find ourselves in court. In the hall where it all began, to be more precise, the film began. And now the judges enter, the session resumes. Sorel is sentenced to death. But further events do not develop at all like in the novel. We see the carriage de Renals and Louise who leaves her family in order to go to Sorel. There she meets Abbé Chelan, who urged Julien to repent. In Stendhal's novel itself, the old clergyman barely understood what he was saying, and even more so was not in such good health. Matilda, who by all means tried to influence the course of events, never appeared in court. And we still do not know that she is expecting a child from Julien.
How she tried to persuade her lover to file an epilation. And how Sorel was cold to her, and she, realizing that he loves another, continued to take care of him. We never saw the glorious, faithful friend of Fouquet. All the rabble of people was not shown, and everything that happened outside. And Julien's calmness was expressed not in those numerous scenes that the author showed, but in the joy of the thought that he and Louise would spend a whole month together. This is how the screenwriter showed us their mutual love, completely excluding Matilda, who, according to the novel, selflessly losing her dignity, was with Sorel. Who drew strength and superhuman courage from the memories of Boniface de La Mole and Marguerite of Navarre. After all, it was Matilda who arranged Sorel's funeral. After all, it was she who buried Julien's head. But as for Louise, here the screenwriter did not deviate from the novel, albeit without showing, but simply as an epilogue at the end, he announced that Louise died three days after Julien's death, hugging her children. Morality, unfortunately, the screenwriter also ruled out. But despite all the cutouts, the ending was very beautiful. Julien, against the backdrop of towers and a clear sky, going to his death with a calm expression on his face, all this accompanied by touching singing. Probably many women shed quite a few tears as jurors in the courtroom at the end of the film.
Conclusion
Once again, we were convinced of the differences that exist between the original work and its film adaptation. In my opinion, Stendhal himself showed us not only crazy love, but also the characters of people, their principles, their fears. He approached his work like a true psychologist, and screenwriters Orani and Bost emphasized love more. For her sake, they deleted many heroes from Romano, many events and many talents of Julien Sorel. We never saw his gift for remembering large texts. We also see our hero not as narcissistic as Stendhal's. Which sometimes opens Julien to us from such a side, when we are ready to simply hate him, when he causes a feeling of rejection in us. In the film adaptation, his qualities and thoughts are not so deeply expressed. Although the actors have no complaints. They played great. But if I understand correctly the task set by the screenwriters to show love, which is not a hindrance to different status in society, then they perfectly fulfilled their task. I would also like to note that they minimized the cost of shooting this film. The most expensive scenes were either removed. Or moved to a simpler environment. For any producer, these writers are just a godsend. Probably none feature film, which will accurately convey the works of the author, but there are films that you want to watch again and again. And this creation, despite the old shooting, refers precisely to such a film adaptation, viewing which will not get bored.
In the fate of the protagonist, Julien Sorel, the author reflects the typical patterns of social life in France in the era of the Restoration.
The time of Napoleon is a time of exploits and accomplishments, ups and downs. Restoration is an immersion in everyday life, where there is no revenge on the heroes. The writer skillfully recreates the details of the life of the province and the capital, but the main thing is the analysis of the inner world of the character, his psychology.
A fan of Napoleon, a native of the common people, is trying to find a worthy application for his abilities. He would like to dare and fight. But in the new conditions, breaking through to the top means us to be hypocritical, to dodge, to adapt. And the worst thing is to betray love.
At the end of the novel, before his execution, the hero realizes the insignificance of his ambitious plans. So physical death turns into a moral victory for Julien Sorel. He conquers above all his own delusions. The young idealist and dreamer at first tries to adapt to the general cowardice, cynicism and servility, but at the end of his short life he realizes how insignificant the world that seemed to him brilliant.
Red and black are two opposing principles that fight in the soul of the hero. Love and pride, truth and hypocrisy, the attraction to tenderness and the thirst for success - this struggle leads the young Sorel to collapse.
Such is the time when one has to cut one's way not with a sword, like Bonaparte, but with pretense.
This is an era that corrupts the soul. The hero is devoured by ambition, he seeks to prove to the world that he is "sculpted from the same dough from which great people are made." Even more than everyone else, he wants to convince himself of his greatness and high purpose. To do this, he is ready to step over others.
Here is Matilda de La Mole for him, first of all, a rich heiress, an aristocrat, and only then - a young beauty, spiritually superior to her vulgar environment.
The affinity of these two natures is evidenced by the disgust inherent in both of them for their crushed age and longing for past spiritual greatness.
No wonder the girl chose Queen Margot as a role model, who challenged society and preserved the severed head of her lover de La Mole.
Julien for the daughter of the Marquis is a personality comparable in its originality to the lover of Queen Margot. For her, he is a majestic genius among the surrounding hypocritical nonentities. Boredom has become a chronic disease of the century. There is no inspiring beginning, no field where you can show your best qualities and romantic impulses.
A secret alliance with her father's secretary for Matilda is not only a manifestation of love, it is also a challenge to society: "something majestic and daring." The girl is romantically inclined, she is possessed by a thirst for disobedience to everything generally accepted. Her nature craves passions, something theatrical, elevated, sublime.
Her emphasized arrogance in dealing with Julien gives way to an equally emphasized humility. The proud marquise begins to play the role of the servant of her master, whom she barely noticed when he showed up at her father's house.
Risking her name and stepping over the concept of aristocratic honor, the once "arrogant to the point of insolence" Matilda finds a kind of pleasure in sacrificing her youth, wealth, title.
Society after the heroic times of Bonapartism plunges into the swamp of rationality, hypocrisy, opportunism. And only individuals dare to take risks - but they lose: "It was felt like that only in heroic times."
In 1830, Stendhal finished the novel "Red and Black", which marked the onset of the writer's maturity.
The creative history of "Red and Black" is studied in detail. It is known that the plot of the novel is based on real events related to the court case of a certain Antoine Berthe. Stendhal found out about them while looking through the chronicles of the Grenoble newspaper for December 1827. As it turned out, a young man sentenced to death, the son of a peasant, who decided to make a career, became a tutor in the family of the local rich man Misha, but, caught in love affair with the mother of his pupils, lost his place. Failures awaited him later. He was expelled from the theological seminary, and then from service in the Parisian aristocratic mansion de Cardone, where he was compromised by his relationship with the owner's daughter and especially by a letter from Madame Misha. In desperation, Berthe returns to Grenoble and shoots Mrs. Misha, and then tries to commit suicide.
In addition, the author obviously knew about another crime committed by a certain Lafargue in 1829. Some psychological twists and turns are inspired by the personal memories of the writer: creating a fictional narrative, Stendhal himself, as it were, checked its accuracy with documents and his own experience.
But a private observation for a writer is just a starting point: individual events shed light on the era as a whole, personally experienced helped to understand the soul of a contemporary. "Red and Black" cannot be reduced to the historical or autobiographical facts from which it grew.
Real sources only awakened the creative imagination of the artist, who, under their influence, decided to create a novel about the tragic fate of a talented plebeian in France during the Restoration. As Gorky M. rightly put it, Stendhal "raised a very ordinary criminal offense to the level of a historical and philosophical study of the social system of the bourgeoisie at the beginning of the 19th century." Stendhal's stories that really happened are clearly rethought. So, instead of a petty ambitious man like Berthe, the heroic and tragic personality of Julien Sorel appears. The facts undergo no less metamorphosis in the plot of the novel, which recreates the typical features of an entire era in the main patterns of its historical development. Real events give Stendhal reason to think about such cases as a social phenomenon: young people of low origin often become criminals because their extraordinary abilities, energy, passions and education, received contrary to the traditions of the environment, inevitably lead them into conflict with society and at the same time same time doomed to the fate of the victims.
In an effort to cover all spheres of modern public life, Stendhal is akin to his younger contemporary Balzac, but he realizes this task in his own way. The type of novel he created is notable for its uncharacteristic for Balzac chronicle-linear composition, organized by the biography of the hero. In this, Stendhal gravitates towards the tradition of eighteenth-century novelists, in particular, Fielding, who is highly revered by him. However, unlike him, the author of "Red and Black" builds the plot not on an adventurous and adventurous basis, but on the history of the hero's spiritual life, the formation of his character, presented in a complex and dramatic interaction with the social environment. The plot is driven not by intrigue, but by action, transferred to the soul and mind of Julien Sorel, each time strictly analyzing the situation and himself in it, before deciding on an act that determines the further development of events. Hence the special significance of internal monologues, as if including the reader in the course of thoughts and feelings of the hero.
The logic and clarity necessary for an artist who conceived with mathematical precision to capture the most complex relationships between personality and era are the defining principles of Stendhal's storytelling. In the plot of the novel there are no mysteries that become clear only at the end of the day, no side deviations, no references to the past or events that took place simultaneously in different places: it is non-stop, straightforward, dynamic - like a chronicle or memoirs, does not allow any shift in chronology. Julien is always in the focus of the writer's close observation. An uninterrupted chain, composed of scenes-episodes that give scanty, pencil-like sketches of morals or laconic portraits of those around them and extensive analyzes of the internal state, thoughts of the hero, forms a through line of the narrative, which does not linger for a moment, does not deviate a single step.
This seeming elementary nature of architectonics conceals enormous possibilities for artistic analysis. The author builds his work in such a way that the reader, who never ceases to passionately share the torments, hopes, bitterness of the protagonist, becomes involved in the exciting process of discovering the innermost depths of an outstanding personality, whose life tragedy is the tragedy of the century. "Accurate and penetrating image of the human heart" and defines the poetics of "Red and Black" as the brightest example of a socio-psychological novel in the 19th century.
Finished on the eve of the July Revolution, the novel, in the words of Stendhal, "trembles all over with political excitement." These are no longer sketches of a secular salon, like "Armans", but a "chronicle of the 19th century" with all the desire for a universal panorama of the era that stems from this subtitle. The subtitle of the novel, emphasizing the authenticity of the depicted, testifies to the expansion of the object of the writer's research. If only “scenes from the life of the Parisian salon” were present in “Armans”, then the theater of action in the new novel is France, represented in its main social forces: the court aristocracy (the de La Mole mansion), the provincial nobility (the de Renals house), the highest and the middle strata of the clergy (the Bishop of Agde, the venerable fathers of the Besancon Theological Seminary, the abbe Chelan), the bourgeoisie (Valno), small entrepreneurs (friend of the hero Fouquet) and peasants (the Sorel family).
Studying the interaction of these forces, Stendhal creates a picture of social life in France during the Restoration, striking in historical accuracy. With the collapse of the Napoleonic empire, power was again in the hands of the aristocracy and the clergy. However, the most insightful of them understand the precariousness of their positions and the possibility of new revolutionary events. To prevent them, the Marquis de La Mole and other aristocrats prepare in advance for defense, hoping to call for help, as in 1815, the troops of foreign powers. De Renal, the mayor of Verrieres, is also in constant fear of the beginning of revolutionary events, ready for any cost in order to ensure that his servants “do not slaughter him if the terror of 1793 is repeated.” Only the bourgeoisie in "Red and Black" knows no fears and fears. Understanding the ever-increasing power of money, she enriches herself in every possible way. So does Valno, de Resnel's main rival in Verrieres. Greedy and dexterous, not embarrassed in the means to achieve the goal, up to the robbery of the "subordinate" to him poor people from the house of contempt, the ignorant and rude Valno stops at nothing to advance to power.
The world of self-interest and profit is opposed by a talented person from the people Julien Sorel. A provincial town, a seminary, Parisian society - three stages of the hero's biography, emphasized by the composition of the novel, and at the same time the image of the three main social strata of French society - the bourgeoisie, the clergy, the aristocracy. Bringing Julien Sorel, a plebeian, the son of a peasant, into a collision with these three pillars that support the building of the Restoration, Stendhal created a book whose drama is not just the drama of one human fate, but the drama of history itself.
The inhabitants of the provincial town of Verrieres, where Sorel comes from, worship one almighty idol - income. This magic word has unlimited power over the minds: the Verriere despises beauty that does not bring profit, he respects a person exactly as much as he is richer than himself. Everyone is in a hurry to make money - sometimes in righteous ways, more often in unrighteous ways: from the jailer begging for tea, to the priest robbing the parishioners, from judges and lawyers slandering for the sake of an order or a warm place for relatives, to prefectural employees speculating in built-up areas. Throwing aside aristocratic arrogance, the provincial nobles draw income from sources that were previously the "privilege" of the bourgeois. The mayor of Verrieres, Monsieur de Renal, although on occasion he is not averse to boasting of his ancient family, owns a nail factory, personally deals with the peasants, like a real businessman, buys up land and houses. Having learned about his wife's betrayal, he is not so much concerned about family honor as about the money that she brought him as a dowry. However, this petty-bourgeois aristocrat is already being replaced by a bourgeois of a new formation - the impudent upstart Valno, resourceful, completely devoid of pride, completely shameless in choosing ways to enrich himself - whether it is robbing the poor from a charity home or clever blackmail. The realm of greedy thieves who have sold their souls to the Jesuits, who grovel before the royal power as long as it feeds them handouts - such is the bourgeois province in the eyes of Stendhal.
The seminary in Besançon is the school where the spiritual mentors of this society are trained. Here espionage is considered valor, hypocrisy - wisdom, humility - the highest virtue. For the rejection of independent thinking and servile admiration for the authorities of future curates, a reward awaits - a rich parish with a good tithe, with donations of dead birds and pots of oil, with which a well-meaning flock will fill up their confessor. Promising heavenly salvation and heavenly bliss on earth, the Jesuits are preparing ministers of the church who are blind in their obedience, called to become the support of the throne and the altar.
After training in seminary classes, Sorel, by chance, penetrates into high Parisian society. In aristocratic salons, it is not customary to count the proceeds in public and talk about a hearty meal, but even here the spirit of slavish obedience reigns, strict observance of customs that have long been established, but have lost their meaning. In the eyes of the habitues of the de La Mole mansion, free-thinking is dangerous, strength of character is dangerous, disregard for social propriety is dangerous, critical judgment of church and king is dangerous; dangerous is everything that encroaches on the existing order, traditions, illuminated by the authority of antiquity.
Young aristocrats, trained by this tyranny of current opinion, are witty, polite, elegant, but in the highest degree empty, worn out like copper nickels, incapable of strong feelings and decisive actions. True, when it comes to preserving the privileges of the caste, among the aristocratic mediocrities there are people whose malice and fear of the "plebeians" can be dangerous for the whole nation. At a meeting of ultra-royalist conspirators, witnessed by Sorel, plans are being drawn up for a foreign invasion of France, financed by foreign banks and backed from within by the nobility and church. The purpose of this invasion is to finally shut the mouth of the opposition press, to eradicate the remnants of "Jacobinism" in the minds of the French, to make all of France well-meaning and submissive. In the episode of the Stendhal conspiracy, having previously led the reader through the provinces, the seminary, the high society finally reveals the most hidden springs that move the political mechanisms of the Restoration. Selfish groveling before the Jesuits and unbridled acquisitiveness in the provinces, the education of an army of priests in the spirit of militant obscurantism as a guarantee of the strength of the regime, invasion from outside as the most convincing means of reprisal against dissidents - such is the picture of modernity that emerges in "Red and Black".
And, as if shading the black figures in this picture even more clearly, Stendhal throws on her red reflections of memories that now and then pop up in the thoughts and conversations of the heroes about past, heroic times in the history of France - about the eras of the Revolution and the Empire. For Stendhal, as well as for his hero, the past is a poetic myth, in which the whole nation, hunted by the white terror of the noble gangs and the denunciations of the Jesuits, sees proof of their own greatness and the coming rebirth. This is how the scale of Stendhal's historical and philosophical intention is indicated: almost half a century of the fate of France, captured in Balzac's multi-volume "Human Comedy" as an evolving process, receives in a contrasting comparison of epochs, passing through "Red and Black", an extremely compressed expression, sometimes reaching the sharpness of an artistic pamphlet.
The son of a carpenter, Julien Sorel belongs to the same breed as the titans of action and thought who brought about the revolution of the late eighteenth century. The talented plebeian absorbed the most important features of his people, awakened to life by the Great French Revolution: unbridled courage and energy, honesty and firmness: spirit, steadfastness in moving towards the goal ”He is always and everywhere (whether it be de Renal’s mansion or Valeno’s house, the Parisian palace de La Mole or the courtroom of the court of Verrieres) remains a man of his class, a representative of the lower class, infringed on the legal rights of the estate. Hence the potential revolutionary nature of the Stendhal hero, created, according to the author, from the same material as the titans of 1993. It is no coincidence that the son of the Marquis de La Mole remarks: “Beware of this energetic young man! If there is another revolution, he will send us all to the guillotine.” This is how those whom he considers his class enemies, the aristocrats, think of the hero. His closeness with the brave Italian Carbonari Altamira and his friend, the Spanish revolutionary Diego Bustos, is not accidental either. It is characteristic that Julien himself feels himself to be the spiritual son of the Revolution and, in a conversation with Altamira, admits that it is the revolution that is his real element. “Is this the new Danton?” Mathilde de La Mole thinks of Julien, trying to determine what role her lover can play in the coming revolution.
In the society in which Julien lives, he does not find a place for himself. He is also a stranger to the environment in which he was born (his father and brothers despise him for his inability to physical labor and love of books), he can hardly endure life among the "narrow-minded hypocrites" in the seminary, in the highest circles he is a "plebeian". Julien himself is convinced that he must take a place in society, determined not by birth, but by “talents”: abilities, intelligence, education, strength of aspirations. “Road to talents! - proclaimed at one time Napoleon, whom Julien worships and whose portrait he secretly keeps.
But Julien - "a man of 93" - was born late. The time has passed when success was won by personal courage, assertiveness, and intelligence. The color of time has changed: today to. to win in the game of life, you need to bet not on "red", but on "black". The Restoration offers Sorel for the struggle for happiness only those weapons that are in use in an era of timelessness: hypocrisy, religious hypocrisy, prudent piety. And the young man, obsessed with the dream of glory, brought up on heroic memories of the revolution and the Napoleonic campaigns, tries to adapt to his age, putting on a “uniform according to the time” - the cassock of a priest. caters to his aristocratic patrons in Paris. He turns away from friends and serves people he despises; an atheist, he pretends to be a saintly admirer of Danton - he is trying to penetrate the circle of aristocrats; being endowed with a sharp mind, he agrees with fools; conspires to turn love into an instrument for ambitious designs. Realizing that "everyone is for himself in this desert of selfishness called life," he rushed into the fray in the hope of winning with the weapon imposed on him.
Social discord between the rebellious plebeian and society is not limited to the area social relations; it finds its continuation in the soul of Sorel, becoming a psychological duality of reason and feeling, cold calculation and a burst of passion. Logical conclusions derived from observations of the era convince Julien that happiness is wealth and power, and they are achievable only with the help of hypocrisy. A little experience of love upsets all these clever intricacies of logic. The hero first builds his relationship with Madame de Renal on the model of the book Don Juan and achieves success only when he involuntarily acts contrary to the learned folly. Becoming the lover of a high-ranking wife of the mayor is, first of all, a “matter of honor” for him, but the first night meeting brings him only the consciousness of overcoming difficulties and no joyful ecstasy. And only later, forgetting about conceited thoughts, discarding the role of a seducer and completely surrendering to the flow of feeling cleansed of ambitious scale, Julien finds out true happiness. A similar discovery awaits the hero in connection with Matilda.
Thus, the double movement of the image of Stendhal comes through, outward: a person goes through life in search of happiness; his penetrating mind explores the world, tearing away the veils of lies everywhere; his inner gaze is turned to the depths of his own soul, where a continuous struggle of natural purity, the noble inclinations of a commoner against the mirages, inspired by the imagination of an ambitious person, boils.
The contradictory combination in Julien's nature of the beginning of the plebeian, revolutionary, independent and noble with ambitious aspirations, leading to the path of hypocrisy, revenge and crime, and forms the basis complex nature hero. The confrontation between these antagonistic principles determines the internal drama of Julien, "forced to violate his noble nature in order to play the vile role that he imposed on himself" (Roger Vaillant).
The upward path that takes place in Julien Sorel's novel is the path of the loss of his best human qualities. But this is also the way to comprehend the true essence of the world of those in power. Starting in Verrieres with the discovery of moral uncleanliness, insignificance, greed and cruelty of the provincial pillars of society, it ends in the court spheres of Paris, where Julien discovers essentially the same vices, only skillfully covered and ennobled by luxury, titles, high society gloss. By the time the hero has already achieved his goal, becoming the viscount de la Verneuil and the son-in-law of the powerful marquis, it becomes quite obvious that the game was not worth the candle. The prospect of such happiness cannot satisfy the Stendhal hero. The reason for this is alive soul, preserved in Julien in spite of all the violence done to her.
Naturally, the plebeian side of Julien Sorel's nature cannot peacefully get along with his intention to make a career of a hypocritical saint. For him, seminary exercises in ascetic piety become a monstrous torture. He has to exert all his spiritual strength in order not to give out mocking contempt for the aristocratic mannequins in the salon of the Marquis de La Mole. "In that strange creature the storm raged almost daily,” Stendhal notes, and the whole story of his hero is the incessant jumps of a hurricane of passions that breaks on the inexorable “must” dictated by Sorel’s ambition. It is precisely this unceasing rebellion of the plebeian nature against the dictates of the time that does not allow Sorel to become an ordinary careerist, to find inner peace on the path of bourgeois businessmanship by refusing the best that is inherent in it.
However, in order for this to be fully realized by the hero, it took a very strong shock that could knock him out of the rut that had already become familiar. Julien was destined to survive this shock at the moment of the fatal shot at Louise de Renal. In complete confusion of feelings caused by her letter to the Marquis de La Mole, compromising Julien, he, almost without remembering himself, shot at the woman whom he selflessly loved - the only one of all who generously and recklessly gave him once true happiness, and now deceived the holy faith in her, betrayed, dared to interfere with his career.
The fatal shot at Madame de Renal - this elemental impulse of a man who suddenly discovers that the only pure being whom he worshiped has stained himself with slander - abruptly cuts off the slow, latent path of knowledge, the hero of the world and himself. A sharp turn of fate makes Julien, in the face of death, reconsider all moral values, discard lies,. which I used to take for truth, to give vent to feelings that I had previously suppressed. “Because I am wise now that I used to be insane,” this epigraph of one of the final chapters, as it were, emphasizes that Julien has entered a period of philosophical insight that completes all his life quests.
"Red and Black" is not so much the story of a careerist as a story about the impossibility of crippling one's nature in such a way as to become one's own among the accumulators and salon nonentities. There is a whole gulf between Sorel and the ambitious Balzacs. Having embarked on the path of opportunism, Julien did not become an opportunist, choosing the means of "pursuit of happiness" that prevail in society, he did not accept the morality of this society. Julien's hypocrisy itself is a proud challenge to society, accompanied by a refusal to recognize the right of this society to respect, and even more so its claims to dictate moral principles of behavior to a person. In the mind of Sorel, his own code of honor, independent of the prevailing morality, is formed, and only he obeys it strictly. This code forbids building one’s happiness on the grief of one’s neighbor, like the scoundrel Valno, it requires a clear thought that is incompatible with blinding by false religious prejudices and worship of ranks, but most importantly, it prescribes courage, energy in achieving goals, hatred for any cowardice and moral flabbiness both in those around you and in yourself.
In the story of his hero, the novelist sees, first of all, the breaking of social and moral fetters by the plebeian, dooming him to vegetation. Sorel himself, summing up his life in a speech at the trial, rightfully regards the verdict as a class revenge of the ruling elites, who in his person punish all the rebellious young people from the people.
And therefore, “Red and Black” is, first of all, a tragedy of incompatibility in a time of timelessness of the dream of personal happiness with serving the noble ideals of citizenship, a tragedy of a heroic nature that did not take place due to the fault of the era.
At the same time, the last pages of the novel capture the result of the philosophical reflections of Stendhal himself. The pursuit of happiness is inherent in the very nature of man; Guided by logic, this desire creates the prerequisites for a harmonious social order - taught the spiritual mentors of Stendhal, the ideologists of the bourgeois revolution. Stendhal tested this conviction with the historical practice of the post-revolutionary society, which turned into an evil caricature of the generous promises of the enlighteners. And through the mouth of his hero, he declared that the happiness of the individual is incompatible with the mores of the bourgeois world, in which unjust laws reign, and there is nothing more distant from each other than humanism and the everyday practice of the bourgeois.
In the light of the spiritual renewal that the hero experiences in prison, Julien's relationship with both women who love him is completely clarified. Matilda is a strong, proud, rational nature. She is madly bored in the circle of colorless secular "husbands", immensely distant from their ancestors, the knights of the feudal freemen of the 16th century. And Matilda's love for Julien grows out of a vain desire to do something out of the ordinary, to experience a passion that would elevate her to the level of aristocrats of the era of religious wars, poeticized by girlish imagination. In this feeling, the heroic pose is most dear to her, the intoxicating consciousness of her dissimilarity to others, the proud admiration of her own exclusivity. That is why the story of Julien and Matilda bears the imprint of love-enmity of two ambitious people, based not so much on sincere passion as on a purely rational desire to rise in their own eyes and in the eyes of others. The release of Sorel from an ambitious dope quite naturally means the end of this "head" love, in the words of Stendhal.
And then the old feeling awakens in Julien again, which never faded, but barely flickered somewhere in the depths of the heart, under a pile of superficial, withering mind and soul aspirations to win the unnecessary admiration of fools and nonentities. For the love of the touching in its simplicity, charming, deeply suffering in a vulgar environment, trusting and gentle Madame de Renal is a true passion, accessible only to disinterested, pure natures. And in this "risen from the ashes" love, the tormented Julien finally finds the happiness that he had been looking for so painfully and for a long time.
Julien's last days in prison are a time of quiet, peaceful joy, when, tired of life's struggles, he listens intently to the still almost unknown silence that descended on his wounded soul, and trustingly surrenders to the peaceful flow of time, every day, every moment of which brings an intoxicating pleasure of peace.
However, the happiness that was so difficult for Julien is just his illusion, obtained at a too high price of renunciation of society, of life in general. Throwing out in a speech at the court all his rebellious contempt for the bourgeois, Sorel then renounced the rebellion, withdrew himself. The freedom he gained in prison - the freedom to die - is essentially a dead end. Only in this way could he solve the fatal question: to live, committing meanness, or to leave the world, preserving his purity. He had no other solution, for he was trapped in timelessness. Stendhal is too sensitive and penetrating mind not to notice how the shadow of the guillotine, which lay like a gloomy spot on the entire dying idyll of his hero, denies the possibility of achieving happiness on the paths in which he leads Julien.
The writer’s thought anxiously beats in a vicious circle and, unable to break it, freezes in a silent, skeptical reproach to his age, desperate to discover the truth that would become a more reliable guide for the individual than the wisdom of the vanquished, proclaiming happiness in “gentleness and simplicity” .
Two volumes of "Red and Black" appeared on the shelves of Parisian booksellers in November 1830. Stendhal's hopes for success were not justified: the publication was sold out tightly, restraint and some kind of confusion were felt in the statements of critics and even friends, rare benevolent reviews indicated that the book was clearly not understood. To the then reading public, brought up on the poetry and prose of the romantics, it seemed too "difficult", unusual. There was neither the generous picturesqueness of historical, ethnographic and archaeological paintings "in the spirit of Walter Scott", nor the atmosphere of mystery and vague wordings, accepted in the lyrical confessions of the romantics, nor the melodramatic effects and dizzying twists of intrigue, stunning in the works of the "Gothic genre". At the same time, it was precisely this “unconventionality” of the work that testified to the innovation of Stendhal, a novelist who paved new paths for the development of literature. The image of the analyzing intellect, which knows no barriers in its desire to master the truth, to understand society through a close and detailed comprehension of the spiritual life of the individual, marks a break with romantic uncertainty and approximation in the depiction of the "secrets of the heart" and constitutes Stendhal's most valuable contribution to the treasury of realistic literature. "Red and Black" stands at the origins of the latest socio-psychological novel, just as the first realistic stories of Balzac open the history of social and moral prose of the 19th century in France
