Vietnam or Thailand ? Vote for the TOP Country of the Week !
Updated: June 7, 2025
Winifred carefully shut the door and passed her handkerchief over her lips; inhaling the violette de Parme with which it had been soaked, Val thought: 'Has she found out about Holly? Her voice interrupted "Are you going to be nice to me, dear boy?" Val grinned doubtfully. "Will you come with me this morning...." "I've got to see...." began Val, but something in her face stopped him.
On the present occasion he was pattering forth a detailed description of the upholstery and fittings of his new music-room. "All the hangings, violette de Parme, all the furniture, rosewood. The only ornament in the room is a replica of the Mozart statue in Vienna. Nothing but Mozart is to be played in the room. Absolutely, nothing but Mozart."
It was not that he was lacking in observation, that he had no eye for detail, or no power of expressing it; on the contrary, his vision was of the sharpest, and his pen could call up pictorial images of startling vividness, when he wished. But he very rarely did wish: it was apt to involve a tiresome insistence. In his narratives he is like a brilliant talker in a sympathetic circle, skimming swiftly from point to point, taking for granted the intelligence of his audience, not afraid here and there to throw out a vague 'etc. when the rest of the sentence is too obvious to state; always plain of speech, never self-assertive, and taking care above all things never to force the note. His famous description of the Battle of Waterloo in La Chartreuse de Parme is certainly the finest example of this side of his art. Here he produces an indelible impression by a series of light touches applied with unerring skill. Unlike Zola, unlike Tolstoi, he shows us neither the loathsomeness nor the devastation of a battlefield, but its insignificance, its irrelevant detail, its unmeaning grotesquenesses and indignities, its incoherence, and its empty weariness. Remembering his own experience at Bautzen, he has made his hero a young Italian impelled by Napoleonic enthusiasm to join the French army as a volunteer on the eve of the battle go through the great day in such a state of vague perplexity that in the end he can never feel quite certain that he really was at Waterloo. He experiences a succession of trivial and unpleasant incidents, culminating in his being hoisted off his horse by two of his comrades, in order that a general, who has had his own shot from under him, might be supplied with a mount; for the rest, he crosses and recrosses some fields, comes upon a dead body in a ditch, drinks brandy with a vivandière, gallops over a field covered with dying men, has an indefinite skirmish in a wood and it is over. At one moment, having joined the escort of some generals, the young man allows his horse to splash into a stream, thereby covering one of the generals with muddy water from head to foot. The passage that follows is a good specimen of Beyle's narrative style: En arrivant sur l'autre rive, Fabrice y avait trouvé les généraux tout seuls; le bruit du canon lui sembla redoubler; ce fut
In Stendhal's novel, La Chartreuse de Parme, it is with a very profound intuition that Count Mosca, furious with jealousy because of the love which he believes unites the Duchess of Sanseverina with his nephew Fabrice, is made to say, "I must be calm; if my manner is violent the duchess, simply because her vanity is piqued, is capable of following Belgirate, and then, during the journey, chance may lead to a word which will give a name to the feelings they bear towards each other, and thereupon in a moment all the consequences will follow."
Radcliffe's stories he thought admirable; those of Lewis he cited as hardly being equalled by Stendhal's Chartreuse de Parme; and Maturin oddly as it strikes us now he not only styled the most original modern author that the United Kingdom could boast of, but assigned him a place, beside Moliere and Goethe, as one of the greatest geniuses of Europe.
May no fumes from my pipe interfere with the violet de parme you represent. If you want any advertising done, just call on me, William Canfield Brewer. I write poetry, draw pictures, make up stories, and prove to the absolute satisfaction of the most skeptical public that any article is even better than you say it is. I command a princely salary, but I can't command it long enough.
Perhaps I'd better mention only the very greatest, like Don Quixote, and Gil Blas, and Wilhelm Meister, and The Vicar of Wakefield, and Clarissa Harlowe, and Emma, and Pride and Prejudice, and The Bride of Lammermoor, and I Promessi Sposi, and Belinda, and Frankenstein, and Chartreuse de Parme, and César Birotteau, and The Last Days of Pompeii, and David Copperfield, and Pendennis, and The Scarlet Letter, and Blithedale Romance, and The Cloister and the Hearth, and Middlemarch, and Smoke, and Fathers and Sons, and A Nest of Nobles, and War and Peace, and Anna Karénina, and Resurrection, and Dona Perfecta, and Marta y Maria, and I Malavoglia, and The Return of the Native, and L'Assomoir, and Madame Bovary, and The Awkward Age, and The Grandissimes and most of the other books of the same authors.
In short, notwithstanding parts that were too long drawn out, he found the whole a fine piece of work; and, if a modern Machiavelli were to write a novel, it would be, he said, the Chartreuse de Parme.
The passage in La Chartreuse de Parme describing Count Mosca's jealousy has this quality, which appears even more clearly in the chapters of Le Rouge et Le Noir concerning Julien Sorel and Mathilde de la Mole. Here Beyle has a subject after his own heart.
Word Of The Day
Others Looking