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اعظم 100 كتاب في التاريخ: ما سر هذه العظمة؟- دراسة بحثية
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مراقب عام سابقا
اوسمتي
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تاريخ الإنضمام :
Sep 2009
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Marie-Henri Beyle (23 January 1783 – 23 March 1842), better known by his
pen name
Stendhal, was a 19th-century French writer. Known for his acute analysis of his characters' psychology, he is considered one of the earliest and foremost practitioners of
realism
in his two novels
Le Rouge et le Noir
(
The Red and the Black
, 1830) and
La Chartreuse de Parme
(
The Charterhouse of Parma
, 1839).[
citation needed
]
Life</SPAN>
Born in
Grenoble
,
Isère
, he was an unhappy child, disliking his "unimaginative" father and mourning his mother, with whom he was passionately in love, and who died when he was seven.[
citation needed
] 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.[
citation needed
]
The military and theatrical worlds of the
First French Empire
were a revelation to Beyle.[
citation needed
] He was named an
auditor
with the
Conseil d'État
on 3 August 1810, and thereafter took part in the French administration and in the
Napoleonic wars
in Italy.[
citation needed
] He travelled extensively in Germany and was part of
Napoleon
's army in the 1812 invasion of Russia.[
citation needed
]
After the 1814
Treaty of Fontainebleau
, he left for Italy, where he settled in
Milan
.[
citation needed
] He formed a particular attachment to Italy, where he spent much of the remainder of his career, serving as French
consul
at Trieste and Civitavecchia.[
citation needed
] 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.[
citation needed
] 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."
Beyle used the pseudonym "Stendhal" (and over 100 others), and scholars in general believe he borrowed this
nom de plume
from the German city of
Stendal
in homage to
Johann Joachim Winckelmann
.[
citation needed
]
Stendhal was a dandy and wit about town in Paris, as well as an inveterate womaniser who was obsessed with his sexual conquests.[
citation needed
] His genuine empathy towards women is evident in his books;
Simone de Beauvoir
spoke highly of him in
The Second Sex
. One of his early works is
On Love,
a rational analysis of romantic passion that was based on his
unrequited love
for Mathilde, Countess Dembowska, whom he met while living at
Milan
.[
citation needed
] This fusion of, and tension between, clear-headed analysis and romantic feeling is typical of Stendhal's great novels; he could be considered a Romantic realist.
Stendhal suffered miserable physical disabilities in his final years as he continued to produce some of his most famous work.[
citation needed
] As he noted in his journal, he was taking iodide of
potassium
and
quicksilver
to treat his
syphilis
, resulting in swollen armpits, difficulty swallowing, pains in his shrunken testicles, sleeplessness, giddiness, roaring in the ears, racing pulse and "tremors so bad he could scarcely hold a fork or a pen."[
citation needed
] Indeed, he dictated
Charterhouse
in this pitiable state.[
citation needed
] Modern medicine has shown that his health problems were more attributable to his treatment than to his syphilis.[
citation needed
]
Stendhal died on 22 March 1842, a few hours after collapsing with a seizure on the streets of Paris. He is interred in the
Cimetière de Montmartre
.[
citation needed
]
Works</SPAN>
Contemporary readers did not fully appreciate Stendhal's realistic style during the
Romantic
period in which he lived; he was not fully appreciated until the beginning of the 20th century.[
citation needed
] He dedicated his writing to "the Happy Few." This is often interpreted as a dedication to the few who could understand his writing,[
citation needed
] or as a sardonic reference to the happy few who are born into prosperity (the latter interpretation is supported by the likely source of the quotation, Canto 11 of
Byron
's
Don Juan
, a frequent reference in the novel,[
citation needed
] which refers to "the thousand happy few" who enjoy high society), or as a reference to those who lived without fear or hatred. It may also refer, given Stendhal's experience of the Napoleonic wars,[
citation needed
] to the "we few, we happy few, we band of brothers" line of
Shakespeare
's
Henry V
. He did have influence as a literary critic.[
citation needed
] In
Racine and Shakespeare
he championed the Romantic aesthetic, comparing the rules and strictures of
Racine
's classicism unfavorably to the freer verse and settings of Shakespeare, and supporting the writing of plays in prose.[
citation needed
] The German philosopher
Friedrich Nietzsche
acknowledged his personal debt to the French writer in the
Twilight of the Idols
(when referring to Dostoevsky as the only psychologist from whom he had something to learn), stating that encountering him (Dostoevsky) was "the most beautiful accident of my life, more so than even my discovery of Stendhal".[
citation needed
]
Today, Stendhal's works attract attention for their irony and psychological and historical dimensions.[
citation needed
] Stendhal was an avid fan of music, particularly the works of the composers
Cimarosa
,
Mozart
and
Rossini
.[
citation needed
] He wrote a biography of Rossini,
Vie de Rossini
(1824), now more valued for its wide-ranging musical criticism than for its historical content.[
citation needed
]
In his works, Stendhal "
plagiarized
",
reprised
,
appropriated
, excerpts from
Giuseppe Carpani
,
Théophile Frédéric Winckler
,
Sismondi
and others.
[1]
[2]
[3]
[4]
Novels</SPAN>
Armance
(1827)
Le Rouge et le Noir
(variously translated as
Scarlet and Black
,
Red and Black
,
The Red and the Black
,
1830
)
Lucien Leuwen
(1835, unfinished, published 1894)
La Chartreuse de Parme
(1839) (
The Charterhouse of Parma
)
Lamiel
(1839–1842, unfinished, published 1889)
Novellas</SPAN>
The Pink and the Green
(1837, unfinished)
Mina de Vanghel
(1830, later published in
La Revue des Deux Mondes
)
Vanina Vanini
(1829)
Italian Chroniques
, 1837–1839
Vittoria Accoramboni
The Cenci
(
Les Cenci, 1837
)
The Duchess of Palliano
(
La Duchesse de Palliano
)
The Abbess of Castro
(
L'Abbesse de Castro
, 1832)
عاش طفولة بائسة. يتيم الام في سن السابعة
.
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