Le rouge et le noir French Edition eBook Stendhal
Download As PDF : Le rouge et le noir French Edition eBook Stendhal 
Au rouge des armes, Julien Sorel préfèrera le noir des ordres. Au cours de son ascension sociale, deux femmes se singularisent, comme pour figurer les deux penchants de son caractère Madame de Rênal - le rêve, l'aspiration à un bonheur pur et simple - et Mathilde de La Mole - l'énergie, l'action brillante et fébrile. A ces composantes stendhaliennes (conception de la vie qui dépasse la stratégie narrative pour s'étendre à l'existence de l'auteur) correspondent deux facettes stylistiques la sobriété et la restriction du champ de vision. Dans cette Chronique de 1830, bien avant l'existence du cinéma donc, Stendhal alterne les prises de vue pour concilier réalisme et romantisme. Le Rouge et le Noir, portrait social, est également un roman de l'individualité où le regard des personnages sert de philtre au narrateur et où la cristallisation stendhalienne, cette phase irisée De l'amour, trouve un formidable support dans les champs, contrechamps, plongées et contre-plongées. Cette écriture visuelle ajoute à l'analyse une intelligence psychologique profonde. Inversement, le ton dépouillé permet au romantisme d'éviter le lyrisme abusif et de demeurer ironique envers la société sclérosée de la France de la Restauration. --Sana Tang-Léopold Wauters --Ce texte fait référence à lédition Poche .
Le rouge et le noir French Edition eBook Stendhal
On page 305 of this long and remarkably non-traditional autobiography, Stendhal addresses his readers with this characteristically frank admission: "At bottom, dear reader, I don't know what I am: kind, unkind, clever, stupid. What I know beyond question are the things that give me pain or pleasure, that I wish for or that I hate." What gives him pleasure he explains on the same page in the following charming way: "A salon of eight or ten people where all the women have had lovers, where the conversation is light-hearted, anecdotal, and where a light punch is drunk at half past midnight." -- This is the man. His autobiography describes how he became this man, describing his growing up as 16-year-long rebellion against the oppressive circumstances of his family, the over-protective tutelage of a bigoted and hateful aunt and a distant, cold father. Even as a ten-year old boy, Stendhal managed to attach his personal rebellion to the contemporaneous events in France (the call to freedom by the Revolution and the heroics of Napoleon's campaigns). This retelling of a childhood is very consciously undertaken by the man of 52. What this retrospective proves to its author is that he continues to be the man that he became during those formative, rebellious years: He still champions the same likes and dislikes (on the one hand nobility and clarity of thought, wit, love of the arts, passionate love of women, on the other hand hatred of hypocrisy, philistinism, bigotry, money grubbing, and political maneuvering). -- This is a long book, beautifully translated and intelligently introduced by John Sturrock. At times the story does show some longueurs. Still, what ultimately sustains the reader's interest is not necessarily the childhood of Stendhal, in itself rather uneventful, but his inimitable and self-revealing style of talking about it (see quotes above). -- If I have one issue with the production of this otherwise fascinating book, it concerns the addition of Stendhal's many drawings of locations in his accounts. I did not find they added anything to the text, except roughly 50 pages to make the book more bulky. This is not a critical edition. Why pretend to all-inclusiveness? One or two examples of these drawings would have given the reader a sense of what he/she would (or would not) be missing. -- A must for Stendhal lovers!Product details
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Le rouge et le noir French Edition eBook Stendhal Reviews
The text is very small and hard to read.
The margins are too wide leaving a lot of blank space.
The pages aren't even numbered.
The edition of this book is very bad with plenty of spelling errors which at times make sentences difficult to understand. example "eveque" (bishop) nine times out of ten is printed as "evoque" (to evoke), "maintenant" (now)becomes "main tenant" (hand holding (?))the first name "Boniface" at one stage becomes "Bon il face" (good he face (?)) and so on and so forth.
Very sloppy work from for one of the most important French novel of the XIX century.
This "book" seems to have been created by some sort of robot. Lines follow one another with no spaces to separate titles or chapters, punctuation is bizarre, and there are many typos. I realize that the copyright elapsed quite some time ago, but nevertheless, one still expects some human oversight to be exercised in publishing a book.
This is my second time through this wonderful classic! Julien Sorel is one of the great characters in world literature and the "Le Rouge et le Noir" a Classic which gives exceptional insight into Napoleonic and post Napoleonic France. A tale of ambition, perhaps youthful foolishness, but how predictable under the circumstances, the story has a tragic ending. Some might find its picture of France and the people of that era cynical. But the novel contains great writing and classic insights into human nature-no one should consider themselves well educated unless they have an acquaintance with Stendhal's two great classics "Rouge et Noir" and "La Chartreuse de Parme" - the Charterhouse of Parma!
Not only are there multiple typos but this book is put together so cheaply that it lacks publishing information. Claiming to be a copy of an earlier publishing, I get the impression that a non-French speaker sat down at a computer and typed it up...explaining the frightening amount of typographical errors. There is no publishing information to clarify not only which edition this copy comes from, nor from the current publishers who have chosen to produce these abominable books. I'm growing increasingly wary and distressed with the amount of independent publishers who are reprinting classic works in this manner. It is shameful.
The greatest French novel ever, the only competition being Stendhal's other masterpiece, LA CHARTREUSE DE PARME.
Even if you aren't fluent in French, if you ever studied the language, you should try to read ROUGE in the original. Use any Penguin translation as a trot, and I think you'll be surprised how much you still understand and how easily you can learn enough vocabulary to get through the book with ease. This is because Stendhal's style is simple (he loathed Chateaubriand and Hugo and their "poetic" prose), though it's deceptively so an equivalent in English would be Orwell, another writer who preferred "plain language" but wrote with great ingenuity and art.
That Stendhal is the greatest novelist in French is amazing because he wasn't prolific in the genre, writing all sorts of books (memoirs, travel books, biographies, eccentric "treatises" (DE L'AMOUR) and living in a style that makes rabid Stendhalians--or "Beylists" as they prefer to be called--almost as interested in the smallest details of his life as in his writings.
Matthew Josephson compared him to an elder friend whose wit and wisdom were available at the turn of a page. I think that's not only true, but I think Beyle/Stendhal would be pleased that it's the case.
On page 305 of this long and remarkably non-traditional autobiography, Stendhal addresses his readers with this characteristically frank admission "At bottom, dear reader, I don't know what I am kind, unkind, clever, stupid. What I know beyond question are the things that give me pain or pleasure, that I wish for or that I hate." What gives him pleasure he explains on the same page in the following charming way "A salon of eight or ten people where all the women have had lovers, where the conversation is light-hearted, anecdotal, and where a light punch is drunk at half past midnight." -- This is the man. His autobiography describes how he became this man, describing his growing up as 16-year-long rebellion against the oppressive circumstances of his family, the over-protective tutelage of a bigoted and hateful aunt and a distant, cold father. Even as a ten-year old boy, Stendhal managed to attach his personal rebellion to the contemporaneous events in France (the call to freedom by the Revolution and the heroics of Napoleon's campaigns). This retelling of a childhood is very consciously undertaken by the man of 52. What this retrospective proves to its author is that he continues to be the man that he became during those formative, rebellious years He still champions the same likes and dislikes (on the one hand nobility and clarity of thought, wit, love of the arts, passionate love of women, on the other hand hatred of hypocrisy, philistinism, bigotry, money grubbing, and political maneuvering). -- This is a long book, beautifully translated and intelligently introduced by John Sturrock. At times the story does show some longueurs. Still, what ultimately sustains the reader's interest is not necessarily the childhood of Stendhal, in itself rather uneventful, but his inimitable and self-revealing style of talking about it (see quotes above). -- If I have one issue with the production of this otherwise fascinating book, it concerns the addition of Stendhal's many drawings of locations in his accounts. I did not find they added anything to the text, except roughly 50 pages to make the book more bulky. This is not a critical edition. Why pretend to all-inclusiveness? One or two examples of these drawings would have given the reader a sense of what he/she would (or would not) be missing. -- A must for Stendhal lovers!
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