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Updated: May 13, 2025
Everybody knows all about the night's accessories 'ses odeurs, ses voix, ses voluptés molles'; and what a relief it is to be spared, for once in a way, an elaborate expatiation upon them! And Beyle is perpetually evoking the gratitude of his readers in this way. 'Comme il insiste peu! as M. Gide exclaims. Perhaps the best test of a man's intelligence is his capacity for making a summary.
Balzac gives full praise to his predecessor in his essay on Beyle, and his letters contain frequent references to the debt he owed that curious bundle of fatuities, inconsistencies and brilliancies, the author of "The Chartreuse de Parme." Later, Zola calls him "the father of us all," meaning of the naturalistic school of which Zola himself was High Priest.
Chasles had known personally Michelet and Guizot, the elder Dumas and Beyle, Cousin and Villemain, Musset and Balzac; he knew the Comtesse d'Agoult, for so many years the friend of Liszt, and Madame Colet, the mistress, first of Cousin, then of Musset, and finally of Flaubert, of whom my French uncle, who had met her on his travels, had drawn me a very unattractive picture.
I am indebted to Beyle for an Italian anecdote, to which his dry and sarcastic manner lent an infinite charm, as he told me this tale of feminine hardihood. Ludovico had his palace at one end of the town of Milan; at the other was that of the Countess of Pernetti.
I therefore assure them that the sensation first came to me from Lever and may have come to him from Beyle, or at least out of the Stendhalian atmosphere. I exclude the hypothesis of complete originality on Lever's part, because a man can no more be completely original in that sense than a tree can grow out of air.
A friend of that other eclectic, Mérimée, Stendhal was not much thought of in his own time until the profound praises of Balzac drew all eyes upon him; and in much more recent times interest in the best of his writings has revived on account of his keen and impartial analysis of whatever subject he touched upon. Beyle died on March 22, 1842. I. Fabrice del Dongo
More complete, perhaps; but would it be more convincing? Zola, with his statistical conception of art, could not understand that you could tell a story properly unless you described in detail every contingent fact. He could not see that Beyle was able, by simply using the symbol 'nuit, to suggest the 'milieu' at once to the reader's imagination.
In order to characterise the impression produced by even the less awful of these frescoes on a sympathetic student, I lay my pen aside and beg the reader to weigh what Henri Beyle, the versatile and brilliant critic, pencilled in the gallery of the Sistine Chapel on January 13, 1807: "Greek sculpture was unwilling to reproduce the terrible in any shape; the Greeks had enough real troubles of their own.
In the whole of French literature it would be difficult to point to a figure at once so important, so remarkable, and so little known to English readers as Henri Beyle. Most of us are, no doubt, fairly familiar with his pseudonym of 'Stendhal'; some of us have read Le Rouge et Le Noir and La Chartreuse de Parme; but how many of us have any further knowledge of a man whose works are at the present moment appearing in Paris in all the pomp of an elaborate and complete edition, every scrap of whose manuscripts is being collected and deciphered with enthusiastic care, and in honour of whose genius the literary periodicals of the hour are filling entire numbers with exegesis and appreciation? The eminent critic, M. André Gide, when asked lately to name the novel which stands in his opinion first among the novels of France, declared that since, without a doubt, the place belongs to one or other of the novels of Stendhal, his only difficulty was in making his choice among these; and he finally decided upon La Chartreuse de Parme. According to this high authority, Henri Beyle was indisputably the creator of the greatest work of fiction in the French language, yet on this side of the Channel we have hardly more than heard of him! Nor is it merely as a writer that Beyle is admired in France. As a man, he seems to have come in, sixty or seventy years after his death, for a singular devotion. There are 'Beylistes, or 'Stendhaliens, who dwell with rapture upon every detail of the master's private life, who extend with pious care the long catalogue of his amorous adventures, who discuss the shades of his character with the warmth of personal friendship, and register his opinions with a zeal which is hardly less than sectarian. But indeed it is precisely in these extremes of his French devotees that we shall find a clue to the explanation of our own indifference. Beyle's mind contained, in a highly exaggerated form, most of the peculiarly distinctive elements of the French character. This does not mean that he was a typical Frenchman; far from it. He did not, like Voltaire or Hugo, strike a note to which the whole national genius vibrated in response. He has never been, it is unlikely that he ever will be, a popular writer. His literary reputation in France has been confined, until perhaps quite lately, to a small distinguished circle. 'On me lira, he was fond of saying, 'vers 1880'; and the 'Beylistes' point to the remark in triumph as one further proof of the almost divine prescience of the great man. But in truth Beyle was always read by the élite of French critics and writers 'the happy few, as he used to call them; and among these he has never been without enthusiastic admirers. During his lifetime Balzac, in an enormous eulogy of La Chartreuse de Parme, paid him one of the most magnificent compliments ever received by a man of letters from a fellow craftsman. In the next generation Taine declared himself his disciple; a little later 'vers 1880, in fact we find Zola describing him as 'notre père
For in truth, if Beyle was a prophet of anything he was a prophet of that spirit of revolt in modern thought which first reached a complete expression in the pages of Nietzsche.
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