O'Malley, John W. (2014). The Jesuits; a history from Ignatius to the present. London: Sheed and Ward. p.30. After the ascension to the throne of Louis-Philippe, the bourgeois king, Stendhal secured an appointment as consul in Civita-Vecchia, Italy, where he served from 1831 to 1836. During this time, he wrote his autobiographies, Souvenirs d'Egotisme, the Vie de Henry Brulard, and an unfinished novel, Lucian Leuwen. These were all published posthumously. Dom Garcie de Navarre ou Le Prince jaloux (4 February 1661)— Don Garcia of Navarre or the Jealous Prince

Do we underappreciate comic writing ? It’s 400 years since the birth of France’s great satirical playwright, Jean-Baptiste Pocquelin, better known by his pen-name Molière. Stendhal described him as “the great painter of man as he is” and his works have continued to be translated and performed on both the French and British stage with recent adaptations by Christopher Hampton, Anil Gupta and the Scottish poet and playwright, Liz Lochhead. She joins Anne McElvoy to help consider what we make of Molière now and how well his plays work in translation, alongside Clare Finburgh-Delijani, Professor of European Theatre at Goldsmiths, University of London and Suzanne Jones, a Junior Research Fellow in French at St Anne’s College Oxford. Their discussion looks at various adaptations of Tartuffe, Moliere’s play translated as The Hypocrite or The Imposter, which was first performed in 1664. However, more serious opposition was brewing, focusing on Molière's politics and his personal life. A so-called parti des Dévots arose in French high society, who protested against Molière's excessive " realism" and irreverence, which were causing some embarrassment. These people accused Molière of having married his daughter. The Prince of Conti, once Molière's friend, joined them. Molière had other enemies, too, among them the Jansenists and some traditional authors. However, the king expressed support for the author, granting him a pension and agreeing to be the godfather of Molière's first son. Boileau also supported him through statements that he included in his Art poétique. Molière] has been accused of not having a consistent, organic style, of using faulty grammar, of mixing his metaphors, and of using unnecessary words for the purpose of filling out his lines. All these things are occasionally true, but they are trifles in comparison to the wealth of character he portrayed, to his brilliancy of wit, and to the resourcefulness of his technique. He was wary of sensibility or pathos; but in place of pathos he had "melancholy — a puissant and searching melancholy, which strangely sustains his inexhaustible mirth and his triumphant gaiety". [31] Influence on French culture [ edit ] In Stendhal's 1822 classic On Love [ fr] he describes or compares the "birth of love", in which the love object is 'crystallized' in the mind, as being a process similar or analogous to a trip to Rome. In the analogy, the city of Bologna represents indifference and Rome represents perfect love:

Stendhal’s autobiographical writings, Souvenirs d’égotisme (1892; Memoirs of an Egotist) and Vie de Henri Brulard (1890; The Life of Henri Brulard), are among his most original achievements. Behind their vivacity and charming digressions, they reveal the uneasiness of a tender-hearted and fundamentally insecure human being wearing various masks. The Life of Henri Brulard in particular is a masterpiece of ironic self-searching and self-creation, in which the memories of childhood are closely interwoven with the liberating joy of writing. After the 1814 Treaty of Fontainebleau, he left for Italy, where he settled in Milan. [13] In 1830, he was appointed as French consul at Trieste and Civitavecchia. [5] He formed a particular attachment to Italy, where he spent much of the remainder of his career. His novel The Charterhouse of Parma, written in 52 days, is set in Italy, which he considered a more sincere and passionate country than Restoration France. An aside in that novel, referring to a character who contemplates suicide after being jilted, speaks about his attitude towards his home country: "To make this course of action clear to my French readers, I must explain that in Italy, a country very far away from us, people are still driven to despair by love."

Bamforth, Iain (2010-12-01). "Stendhal's Syndrome". The British Journal of General Practice. 60 (581): 945–946. doi: 10.3399/bjgp10X544780. ISSN 0960-1643. PMC 2991758.Chic interiors and glamourous salons, in an unbeatable central location, Molière and Stendhal are old neighbours!

Talty, Stephan (2 June 2009). The Illustrious Dead: The Terrifying Story of How Typhus Killed Napoleon's Greatest Army. Crown. ISBN 978-0-307-45975-6. Molière plays a small part in Alexandre Dumas's novel The Vicomte of Bragelonne, in which he is seen taking inspiration from the muskeeter Porthos for his central character in Le Bourgeois gentilhomme. 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. When we are in Bologna, we are entirely indifferent; we are not concerned to admire in any particular way the person with whom we shall perhaps one day be madly in love; even less is our imagination inclined to overrate their worth. In a word, in Bologna "crystallization" has not yet begun. When the journey begins, love departs. One leaves Bologna, climbs the Apennines, and takes the road to Rome. The departure, according to Stendhal, has nothing to do with one's will; it is an instinctive moment. This transformative process actuates in terms of four steps along a journey:In The Vicar of Wakefield, "the happy few" refers ironically to the small number of people who read the title character's obscure and pedantic treatise on monogamy. [27] As a literary critic, such as in Racine and Shakespeare, Stendhal championed the Romantic aesthetic by unfavorably comparing the rules and strictures of Jean Racine's classicism to the freer verse and settings of Shakespeare, and supporting the writing of plays in prose. My argument is that there exists something admirable in man, whatever you may say, that all the philosophers cannot explain.” Philip Wadsworth, Molière and the Italian Theatrical Tradition (Birmingham AL: Summa, 1987), 7; ISBN 9780917786709