Molière Jugé par Stendhal (Classic Reprint)

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Molière Jugé par Stendhal (Classic Reprint)

Molière Jugé par Stendhal (Classic Reprint)

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During his time with the consulate, Stendhal uncovered records of crimes of passion and frightful executions during the time of the Renaissance which would become an inspiration for a series of short stories he published during this period. It was not until 1836, however, when Stendhal at last returned to Paris, that he had the stamina to resume serious intellectual work. In 1839 he published his second masterpiece, Le Chartreuse de Parme ("The Charterhouse of Parma"). He began work on a third major work, but died of a stroke in 1842 before it was completed.

Markham, J. David (April 1997). "Following in the Footsteps of Glory: Stendhal's Napoleonic Career". Napoleonic Scholarship: The Journal of the International Napoleonic Society. 1 (1) . Retrieved July 22, 2015. a b Au, Susan (2002). Ballet and Modern Dance - Second Edition. London: Thames & Hudson LTD. p.24. ISBN 978-0-500-20352-1.On 14 October 1663, in the royal residence itself, the playwright staged The Versailles Impromptu, which starred Molière as the director of one of his own works to be performed before the king. The French 1978 film simply titled Molière directed by Ariane Mnouchkine and starring Philippe Caubère presents his complete biography. It was in competition for the Palme d'Or at Cannes in 1978. Dieter, Anna-Lisa, Eros - Wunde - Restauration. Stendhal und die Entstehung des Realismus, Paderborn: Wilhelm Fink, 2019 (Periplous. Münchener Studien zur Literaturwissenschaft). a b Times, The New York (2011). The New York Times Guide to Essential Knowledge: A Desk Reference for the Curious Mind. New York: St. Martin's Publishing Group. p.1334. ISBN 978-0-312-64302-7.

The German philosopher Friedrich Nietzsche refers to Stendhal as "France's last great psychologist" in Beyond Good and Evil (1886). [36] He also mentions Stendhal in the Twilight of the Idols (1889) during a discussion of Dostoevsky as a psychologist, saying that encountering Dostoevsky was "the most beautiful accident of my life, more so than even my discovery of Stendhal". [37] Under French law at the time, actors were not allowed to be buried in the sacred ground of a cemetery. However, Molière's widow, Armande, asked the King if her spouse could be granted a normal funeral at night. The King agreed and Molière's body was buried in the part of the cemetery reserved for unbaptised infants. In Lyon, Mademoiselle Du Parc, known as Marquise, joined the company. Marquise was courted, in vain, by Pierre Corneille and later became the lover of Jean Racine. Racine offered Molière his tragedy Théagène et Chariclée (one of the early works he wrote after he had abandoned his theology studies), but Molière would not perform it, though he encouraged Racine to pursue his artistic career. It is said that soon thereafter Molière became angry with Racine when he was told that he had secretly presented his tragedy to the company of the Hôtel de Bourgogne as well.

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Le Docteur amoureux (1658), the first play performed by Molière's troupe for Louis XIV (now lost)— The Doctor in Love As in Stendhal's later work La Chartreuse de Parme, the protagonist, Julien Sorel, believes himself to be a driven and intelligent man, but is in reality a simpleton, a romantic, and a piece in a chess game played by others. Stendhal uses his addled hero to satirize French society of the time, particularly the hypocrisy and materialism of its aristocracy and of the Catholic Church, and to foretell a radical change in French society that will remove both of those forces from their positions of power. a b Nemo, August (2020). Essential Novelists - Stendhal: modern consciousness of reality. Tacet Books. ISBN 978-3-96799-211-3. Molière, now ill, wrote less. Le Sicilien ou L'Amour peintre was written for festivities at the castle of Saint-Germain-en-Laye, and was followed in 1668 by Amphitryon, inspired both by Plautus' work of the same name and Jean Rotrou's successful reconfiguration of the drama. With some conjecture, Molière's play can be seen to allude to the love affairs of Louis XIV, then king of France. George Dandin, ou Le mari confondu ( The Confounded Husband) was little appreciated, but success returned with L'Avare ( The Miser), now very well known. Marie-Henri Baille was born in Grenoble, Isère, on 23 January 1783, into the family of the advocate and landowner Chérubin Beyle and his wife Henriette Gagnon. He was an unhappy child, disliking his "unimaginative" father and mourning his mother, whom he loved fervently, and who died in childbirth in 1790, when he was seven. [6] [7] He spent "the happiest years of his life" at the Beyle country house in Claix near Grenoble. [ citation needed] His closest friend was his younger sister, Pauline, with whom he maintained a steady correspondence throughout the first decade of the 19th century. His family was part of the bourgeois class of the Ancien Regime, which explains his ambiguous attitude toward Napoleon, the Bourbon Restoration, and the monarchy lateron. [8] A plaque on a house in Vilnius where Stendhal stayed in December 1812 during Napoleon's retreat from Russia.

In 1792, his remains were brought to the museum of French monuments, and in 1817, transferred to Père Lachaise Cemetery in Paris, close to those of La Fontaine. In his memoir A Terrible Liar, actor Hume Cronyn writes that, in 1962, celebrated actor Laurence Olivier criticized Molière. According to Cronyn, he mentioned to Olivier that he (Cronyn) was about to play the title role in The Miser, and that Olivier then responded "Molière? Funny as a baby's open grave." Cronyn comments on the incident: "You may imagine how that made me feel. Fortunately, he was dead wrong." [30] The theatre troupe went bankrupt in 1645. Molière had become head of the troupe, due in part, perhaps, to his acting prowess and his legal training. However, the troupe had acquired large debts, mostly for the rent of the theatre (a court for jeu de paume), for which they owed 2000 livres. Historians differ as to whether his father or the lover of a member of his troupe paid his debts; either way, after a 24-hour stint in prison he returned to the acting circuit. It was at this time that he began to use the pseudonym Molière, possibly inspired by a small village of the same name in the Midi near Le Vigan. It was likely that he changed his name to spare his father the shame of having an actor in the family (actors, although no longer vilified by the state under Louis XIV, were still not allowed to be buried in sacred ground). Sartre, Jean-Paul (September–October 2009). "War Diary". New Left Review (59): 88–120 . Retrieved July 22, 2015.Au, Susan (2002). Ballet and Modern Dance - Second Edition. London: Thames & Hudson LTD. p.26. ISBN 978-0-500-20352-1. Molière (1622–73) is universally recognized as France's greatest comic playwright. He was also, by all accounts, the finest comic actor of his generation. He himself performed the leading roles in his plays, and at the same time was a director and manager: a complete man of the theatre. To focus on his plays as written texts, and to ignore questions of performance and stagecraft, would obscure our appreciation of his dramatic virtuosity, his specifically theatrical achievements and the remarkable variety of his work. Moreover, he was a highly self-conscious artist whose work constitutes a reflection, in the context of his times, on the nature and possibilities of comic drama. His achievement, as writer-actor-manager, was to renew comic drama in France and to give it something of the status of tragedy. Henri Beyle (Stendhal) was born in 1783, in Grenoble, into a respectable, middle-class family. Chérubin Beyle, Stendhal's father, a reactionary in politics, was an industrious, narrow-minded bourgeois, whom Henri detested and to whom he later referred as the "bâtard." Stendhal loved his mother tenderly, but this delightful woman, whose origin Stendhal liked to think was Italian, died when he was only seven. Later, he idealized her memory just as he exaggerated the mediocrity of his father. Of a fiery and rebellious nature, Stendhal declared himself early to be an atheist and "jacobin," or liberal — an expression of revolt, no doubt, against his father.



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