-كتب بروسبر ميريميه بعد سبع سنين من وفاة ستندال يقول: "إنه لا بد أن يجد أحد النقاد في القرن الحادي والعشرين بين ركام الكتب ما كتبه ستندال في عصرنا فيعيد لهذا الرجل اعتباره،

-وقد تحققت النبوءة فقد انقضى قرن من الزمن حتى انقشعت ظلال الخرافات والمظاهر الغشاشة التي أحاطت بشخصية هذا الكتاب وكذلك بمنحى ومجمل أعماله.

-وحقاً لقد بدا هذا الرجل وكأنه طالب متعة متخذاً وضعية خيّال

-كما أنه بأن كملحد يقذف نيرانه السامة ضد كل الأخلاقيات والقيم الدينية

-وكذلك ظهر كمراء مخفياً ألاعيبه وتعطشه للغطرسة وحب الظهور

- فاعتبر كائناً غريباً غير متكامل وفظاً شديد القسوة.

-ويكفي لكي نثبت ذلك أن نذكر اللوائح الطويلة من متناقضاته

-وبادعائه إخفاء حياته وأنه يقضي حياته في الكتابة عن نفسه

-وأنه يسعى للوصول إلى الحقيقة فيعتمر قناعاً لذلك

-ثم نراه يعبد الرياضيات ويحب الأحلام،

-ثم بعد ذلك نراه ينادي بالحب العاطفي

-ثم ينساق وراء لقاءات وضيعة.

-وأخيراً تراه يعلن احتقاره للعامة من البشر

-ومن ثم نراه يدعو إلى الديمقراطية.

- أما تناقضاته ككاتب فلأنه أعطى انطباعاً بأنه يتسلى بنشر محاولات لم تكن إلا سرقات أدبية أو قصصاً سيئة التركيب وبعيدة عن الأخلاق.

- عن هذه الشخصية المتناقضة الغامضة يتحدث هذا الكتاب من سلسلة "أعلام الفكر العالمي" متوقعاً في البداية عن سيرة حياته ومحللاً بعد ذلك شخصية وذلك من خلال قراءة
إنتاجه الفكري وبعض أعماله، كما وفي الكتاب مقتطفات كثيرة من أهم إبداعاته الأدبية والفلسفية


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الايتام لديهم فرصة اكبر لانتاج روايات عالمية تعرف لماذا هنا:

- The Charterhouse of Parma tells the story of the young Italian nobleman Fabrice del Dongo and his adventures from his birth in 1798 to his death.

- Fabrice’s early years are spent in his family’s castle on Lake Como, while most of the novel is set in a fictionalized Parma (both in modern-day Italy).
- The book begins with the French army sweeping into Milan and stirring up the sleepy region of Lombardy, allied with Austria.

- Fabrice grows up in the context of the intrigues and alliances for and against the French—his father the Marchese comically fancies himself a spy for the Viennese.

- The novel's early section describes Fabrice's rather quixotic effort to join Napoleon when the latter returns to France in March 1815 (the Hundred Days).

- Fabrice at seventeen is idealistic, rather naive, and speaks poor French.

- However he won't be stopped, and he leaves his home on Lake Como and travels north under false papers.
- He wanders through France, losing money and horses at a fast rate.

- He is imprisoned as a spy, he escapes, dons the uniform of a dead French hussar, and in his excitement to play the role of a French soldier, wanders onto the field of battle at the Battle of Waterloo.

- Stendhal, a veteran of many battles during the Napoleonic period (he was one of the survivors of the retreat from Russia in 1812), describes this famous battle as a chaotic affair with soldiers who gallop one way, then another, while bullets plow the fields around them.

- Fabrice briefly joins the guard of Field Marshal Ney, is lucky to survive the fighting with a serious wound to his leg (given to him by one of the retreating French cavalrymen).

- He makes his way back to his family's castle, injured, broke, and still wondering "was I really in the battle?"

- Towards the end of the novel his efforts, such as they are, lead people to say that he was one of Napoleon's generals.
- Fabrice having returned to Lake Como, the novel now divides its attention between him and his aunt (his father's sister), Gina, the sometime Duchess of Sanseverina.
- Gina meets and falls in love with the Prime Minister of Parma, Count Mosca. Count Mosca proposes that Gina marry a wealthy old man, who will be out of the country for many years as an ambassador, so she and Count Mosca can be lovers while living under the social rules of the time. Gina's response is: "But you realize that what you are suggesting is utterly immoral?" She agrees, and so a few months later, Gina is the new social eminence in Parma's rather small aristocratic elite.
- Ever since Fabrice returned from Waterloo, Gina has had very warm feelings for her nephew, and she and Count Mosca try to plan out a successful life for the young man. Count Mosca's plan has Fabrice go to seminary school in Naples, with the idea that when he graduates he will come to Parma and be installed as a senior figure in the religious hierarchy, soon to be the Archbishop, as the current office holder is old. The fact that Fabrice has no interest in religion (or celibacy) matters not to this plan. Fabrice agrees to the plan and leaves for Naples.

- The book then describes in great detail how Gina and Count Mosca live and operate in the court of the Prince of Parma (named Ranuce-Erneste IV).
- Stendhal, who spent decades as a professional diplomat in northern Italy, gives a lively and interesting account of the court, though all of what he describes is entirely fictional, as Parma was ruled by Marie Louise, Duchess of Parma during the time of the novel.
- So much attention is given to Gina and Count Mosca that some have suggested that these two are the true heroes of the novel.

- After several years in Naples, during which he has many affairs with local women, Fabrice returns to Parma and shortly gets involved with a young actress whose manager/lover takes offense and tries to kill Fabrice.
- In the resulting fight Fabrice kills the man and then flees Parma, fearing, rightly, that he will not be treated justly by the courts.

- Gina finally helps Fabrice escape from the Tower by having Clélia smuggle three long ropes to him. The only thing that concerns Fabrice is whether he will be able to meet Clélia after he escapes. But Clélia, who has sacrificed the health of her father because of her beloved, promises the Virgin that if her father recovers she shall never see Fabrice again and will do anything her father says.
Gina leaves Parma and puts in motion a plan to have the Prince of Parma assassinated.

- Gina, the Countess Mosca, who had always loved Fabrice, dies a short time after that.

- While in some respects it is a 'romantic thriller', interwoven with intrigue and adventures, the novel is also an exploration of human nature and psychology and court politics.

- The novel is cited as an early example of realism, a stark contrast to the Romantic style popular while Stendhal was writing.

- As a result there are some poorly introduced plot elements (such as the poet-bandit-assassin Ferrante who suddenly appears in the story; even the author admits that he should have mentioned Ferrante's relationship to Gina earlier in the story).

- The novel was filmed in 1948 as La Chartreuse de Parme, directed by Christian-Jaque and starring Gerard Philipe as Fabricio, Maria Casares as Gina Sanseverina, and Renée Faure as Clelia Conti.

- what novel could be so essential that even the dead feel compelled to know what it's about? At the beginning of Jean Giraudoux's 1926 novel ''Bella,'' the narrator, attending a memorial service for schoolmates who fell in the trenches of World War I, begins to hear the voices of his dead comrades.
- For the most part, they talk about mundane, soldierly things: the discomforts of war, annoying commanding officers.
- But the last voice the narrator hears is different -- it's the voice of a young man tormented by the thought that he'd never had a chance to read a certain 75-year-old novel.
- What the dead youth wants is for the narrator to summarize the book ''in a word.'' In a word, because ''with the dead, there are no sentences

- The book in question is Stendhal's ''Charterhouse of Parma,'' an epic and yet intimate tale of political intrigue and erotic frustration, set in the (largely fictionalized) princely court of Parma during the author's own time.

- Almost since the moment it appeared, in 1839, Stendhal's last completed novel has been considered a masterpiece.

- Barely a year after the book was published, Balzac praised it in a lengthy review that immediately established the novel's reputation.

- ''One sees perfection in everything'' was just one of the laurels Balzac heaped on ''Charterhouse,'' in what was surely one of the world's great acts of literary generosity.

- Sixty years after Balzac, Andre Gide ranked ''Charterhouse'' as the greatest of all French novels, and one of only two French works that could be counted among the top 10 of world literature. (The other was ''Les Liaisons Dangereuses.'') The encomiums weren't restricted to France -- or, for that matter, to Europe.

- In an 1874 article for The Nation, Henry James found ''Charterhouse'' to be ''among the dozen finest novels we possess.''

- At first glance, the bare bones of Stendhal's story suggest not so much a literary masterpiece as a historical soap opera.

- The novel recounts the headstrong young Italian aristocrat Fabrice del Dongo's attempt to make a coherent life for himself, first as a soldier in Napoleon's army and then, more cynically, as a prelate in the Roman Catholic Church; the attempts of his beautiful aunt Gina, Duchess of Sanseverina, and her lover, the wily (and married) Prime Minister, Count Mosca, to help establish Fabrice at court, even as Gina tries to fend off the advances of the repellent (and repellently named) Prince Ranuce-Erneste IV; Fabrice's imprisonment in the dreaded Farnese Tower for the murder of a girlfriend's protector, and his subsequent escape with the help of a very long rope; and his star-crossed but ultimately redemptive love affair with his jailer's beautiful (and, it must be said, rather dull) daughter, Clelia.

- So what, exactly, makes all this so indispensible to Giraudoux's soldier? Why, in the words of one contemporary Stendhal scholar, does ''Charterhouse'' exhale ''some incomparable air of which every human being needs absolutely to have taken at least one breath before they die?''

- As it happens, we're now almost exactly as far from Giraudoux's novel as Giraudoux's characters were from the publication of Stendhal's; a good time, perhaps, to consider the question raised by that strange scene in ''Bella.'' More important, the superior new translation of ''Charterhouse'' by the distinguished American poet and translator Richard Howard, published by the Modern Library, makes it possible not only to breathe once again that incomparable air but, as good translations always do, to grasp fully its peculiar qualities, to understand why the experience of reading this work is so famously ''rapturous,'' and why the novel itself continues to be so fresh and sustaining.

- ''Fresh'' is the key word here.

- On Nov. 4, 1838, Stendhal (the most famous of over 200 pseudonyms used by Marie Henri Beyle, a Grenoble-born career diplomat and lover of all things Italian) sat down at his desk at No. 8 Rue Caumartin in Paris, gave orders that he was not to be disturbed under any circumstances, and began dictating a novel.

- The manuscript of ''Charterhouse'' was finished seven weeks later, on the day after Christmas -- an impressive feat, when you think that a typical French edition runs to 500 pages.

- The swiftness of its composition is reflected in the narrative briskness for which it is so well known -- the ''gusto, brio, elan, verve, panache'' of which Howard is rightly conscious in his translation -- and, as even die-hard partisans of the novel would have to admit, in passages where compositional speed clearly took a toll in narrative coherence. (''We have forgotten to mention in its proper place the fact that the duchess had taken a house at Belgirate.'')

- The idea for the book had actually been rattling around in Stendhal's head for some time. His Roman diaries of the late 1820's are crammed with lengthy references to the convoluted histories of the Italian Renaissance nobility, and the lineaments of ''Charterhouse'' owe a great deal to a 17th-century chronicle of the life of Alessandro Farnese, later Pope Paul III, that Stendhal came across during the course of his Italian travels.

- (Farnese, who became Pope in 1534, had a beautiful aunt, Vandozza Farnese, the mistress of the cunning Rodrigo Borgia; murdered a young woman's servant; was imprisoned in the Castel Sant'Angelo; escaped by means of a very long rope; and maintained as his mistress a well-born woman called Cleria.)

- So while the extraordinary speed of the novel's composition can be attributed to an almost supernatural flash of inspiration, it can also be seen as the more natural outcome of a long and deliberate process that had finally achieved fruition.

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الايتام لديهم فرصة اكبر لانتاج روايات عالمية تعرف لماذا هنا:

فيديوهات حول العلاقة بين اليتم والعبقرية.." نظريتي في تفسير الطاقة الابداعية.....النظرية البوزيترونية "...

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- Like the circumstances of its creation, the finished novel seems at once spontaneous and premeditated.
- The quick pace of the narrative and the vividness of the characters are balanced throughout by a coolly sardonic assessment of human nature and, in particular, of politics.
- Stendhal, a lifelong liberal who as an idealistic young man had followed Napoleon into Italy, Austria and Russia, found himself living at a time of almost unprecedented political cynicism in post-Restoration France; disgust with the bourgeois complacency of his countrymen played no little part in his admiration for the Italians, whom he considered to be more authentic -- more profound and more susceptible to violent emotions,'' as he wrote in his diary.
- To Howard's credit, both the Italian passion and the French worldliness are evident here; but it is the novel's distinctive impetuousness and forward momentum, the qualities that so famously make it such a good read, that are fully captured here, perhaps for the first time, in English. (Howard himself finished the translation in 28 weeks -- one week per chapter -- a feat only slightly less miraculous than Stendhal's.)
- But the appeal of ''Charterhouse'' is more than just a matter of its urgent, even impatient style (''Here we shall ask permission to pass, without saying a single word about them, over an interval of three years''); it lies, too, in its vibrant characters, who are prey to unruly emotions that will be familiar to contemporary readers.
- There is, to begin with, the novel's ostensible hero, the impetuous young Fabrice, who as a teen-ager, when the action begins, disobeys his right-wing father and sneaks off to fight for Napoleon.
- What is most resonant for contemporary readers isn't Fabrice's starry-eyed idealism -- which is, after all, endemic among protagonists of Romantic novels, and which, in any case, is constantly belied by the hard and occasionally farcical realities of lived life (an exhausted and slightly hung over Fabrice sleeps through much of Waterloo) -- but the decidedly more modern, and even post-modern, way in which a sense of authenticity keeps eluding him.
- Judged by Balzac to be the most important French novel of its time, The Charterhouse of Parma is a classic portrait of aristocratic adventure. Fabrizio del Dongo, a headstrong and naive Italian grandee, defies the wrath of his right-wing father and goes to fight for Napoleon. But his dreams of military glory are dashed, drawing him back to Milan. There he becomes embroiled in a series of amorous exploits, fueled by his own impetuous nature and the political chicanery of his aunt and her wily lover. This is a colorful journey through extravagance, duplicity, and youthful daring
- Richard Howard's exuberant and definitive rendition of Stendhal's stirring tale has brought about the rediscovery of this classic by modern readers. Stendhal narrates a young aristocrat's adventures in Napoleon's army and in the court of Parma, illuminating in the process the whole cloth of European history. As Balzac wrote, "Never before have the hearts of princes, ministers, courtiers, and women been depicted like this...one sees perfection in every detail
- Instead of sitting for years at his writing desk, pulling his hair, Stendhal served with the French diplomatic corps in his favorite country, Italy, and then returned home and dictated his novel in less than eight weeks. What a great model for how to be a writer and still have some kind of life! The book is at once deeply cynical and hopelessly romantic, all about politics but also all about love, and just about impossible to put down.

-تعتمد رواية "الكونت دى مونت كريستو" على محاور ثلاثة هى الحب والخيانة والانتقام، من خلال عودة بطل الرواية "إدموند" من السجن الذى تم وضعه ظلما بعد خيانة أصدقائه له، وزواج أحدهما من خطيبته، حيث يعود إدموند بعد أن أصبح ثريا ويغير ملامح وجهه من أجل الانتقام،
-وهو المحور الذى يلعب عليه مسلسل "المنتقم"المبني على الرواية.

- كتبها الاديب الفرنسي الشهير الكسندر دوماس الاب الذي يختلف عن ابنه الاديب ايضا وقد طبعت مرارا وبمختلف اللغات ومثلت في السينما العالمية في فيلم ايام الثلاثينيات وايضا فلم حديث انتج عام 2002 وهو موجود ومترجم الى العربية في يوتوب .


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الايتام لديهم فرصة اكبر لانتاج روايات عالمية تعرف لماذا هنا:

فيديوهات حول العلاقة بين اليتم والعبقرية.." نظريتي في تفسير الطاقة الابداعية.....النظرية البوزيترونية "... علما بأن ( الكسندر دوماس..يتيم.)

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