The social status of the heroes is red and black. The novel "Red and Black": genre of work, narrator and hero

1. The idea of ​​creating the novel "Red and Black".

6. Possible interpretations of the title of the novel "Red and Black", the connection of the title with the main conflict.

The work of Stendhal (the literary pseudonym of Henri Marie Beil) opens a new period in the development of not only French, but also Western European literature. It was Stendhal who took the lead in substantiating the main principles and programs for the formation of contemporary art, theoretically stated in the first half of the 1820s, when classicism still reigned, and soon brilliantly embodied in the artistic masterpieces of the outstanding novelist of the 19th century.

Born 6 years before the Great French Revolution - January 23, 1783 - in the south of France, in Grenoble, Stendhal already in his childhood was a witness to grandiose historical events. The atmosphere of the times awakened the first impulses of love for freedom in a boy who grew up in a wealthy bourgeois family (his father was a lawyer at the local parliament).

In the fate of the boy, who lost his beloved mother early (she died when his son was only 7 years old), his grandfather, Henri Gagnon, a well-educated man who had addicted his grandson to reading books, which gave rise to secret attempts at children's writing, played a beneficial role. In 1796 Stendhal was sent to the Central School of Grenoble. Among other sciences, he was especially interested in mathematics. With its accuracy and logical clarity, the writer later decided to enrich the art of depicting the human soul, noting in the drafts: “Apply the techniques of mathematics to the human heart. Put this idea at the heart of the creative method and the language of passion. This is all art. "

In 1799, having successfully passed the final exams, Stendhal left for Paris to enter the Ecole Polytechnique, but life made significant adjustments to his original plans. An influential relative defines a young man for military service. At the beginning of 1800, Stendhal went on a campaign with Napoleon's army to Italy, but at the end of the next year he resigned. Dreaming of "the glory of the greatest poet" equal to Moliere, he rushes to Paris.

The years 1802-1805, spent mainly in the capital, became the "years of study", which played an extremely important role in shaping the worldview and aesthetic views of the future writer. His youthful notebooks, diary, correspondence and dramatic experiments are evidence of the most intense spiritual life. Stendhal at this time was a fiery republican, an enemy of the tyranny that threatened the country as Napoleon's autocracy strengthened, and a writer of accusatory comedies. It is also full of other literary ideas aimed at correcting social mores. He is a passionate seeker of truth that would open the way to happiness for all people on earth, believing that he will find it by comprehending not divine providence, but the foundations of modern science - philosophy and ethics, natural science and medicine, a diligent student of the great enlightened materialists Montesquieu and Helvetius, their follower Destute de Trust, the founder of "philosophical medicine" Cabanis.

In 1822 Stendhal, who went through these scientific studies, wrote: "Art always depends on science, it uses the methods discovered by science." From an early age he strives to apply what he has obtained in science to art, and many of his conclusions and observations will find refraction in the mature aesthetic theory and practice of the writer.

A true discovery for the young Stendhal was the utilitarian concept of "personal interest" as the natural basis of man, grounded by Helvetius, for whom "the pursuit of happiness" is the main stimulus for all deeds. Having nothing to do with an apology for egoism and egocentrism, the philosophy of the philosopher asserted that a person, living in a society of his own kind, not only cannot but reckon with them, but must do good for them for the sake of his own happiness. The "hunt for happiness" was dialectically combined with civic virtue, thereby guaranteeing the well-being of the entire society. This doctrine had a strong impact not only on public attitudes and ethics of Stendhal, who will derive his own formula for happiness: "A noble soul acts in the name of his own happiness, but its greatest happiness is to bring happiness to others." "The hunt for happiness" as the main engine of all human actions will become a constant subject of the image of Stendhal the artist. At the same time, the writer, being, like his teacher-philosophers, a materialist, will attach great importance to the social environment, upbringing and the peculiarities of the era in the formation of the personality and the very “way” of her “Hunt for happiness”.

The early quest of the writer was marked by the evolution of his aesthetic predilections: admiration for the classicist theater of Racine was replaced by a fascination with Italian neoclassicism Alfieri, who was ultimately preferred by Shakespeare. This change in aesthetic guidelines not only reflected the trends characteristic of the evolution of the aesthetic tastes of French society, but also outlined a certain approach to Stendhal's forthcoming literary manifesto "Racine and Shakespeare."

However, so far the future writer (and it was 1805) is clearly faced with a very prosaic problem. He is already 22 years old, and he does not have a certain profession that provides a constant income. Numerous creative ideas are far from complete and do not promise royalties. An attempt to engage in trade, leaving for Marseille, is unsuccessful. And in 1806 Stendhal again entered the military service.

A new period in the biography of the writer opens, covering 8 years and giving him the richest life experience. Book knowledge is tested and corrected by the study of reality, primarily the structure of the "huge machine" - the empire of Napoleon and its army. Since 1805, Napoleon has been waging continuous wars. Stendhal is their participant. It was this personal experience that would allow Stendhal to later create in the novel "Parma Abode" immortal paintings of the Battle of Waterloo, which admired Balzac and L. Tolstoy and laid the foundations for a new tradition of battle painting in world literature.

Trying to reveal the specifics and purpose of modern art, which in its level could be compared with Shakespeare's and Racin's, Stendhal, in essence, formulates the principles of modern non-normative art, calling this art romantic. It is characteristic that he now denies the right to be called romantics not only Chateaubriand with his pretentious beauties of style, “sensitive” Lamartine and “foggy” Nodier, but even the young Hugo and Byron, opposing them as true romantics Beranger, P.L. Courier and somewhat later Mérimée

“Explore! This is the whole nineteenth century ”- this is the initial principle of the new art, for which the author of the pamphlet stands up. Moreover, “a writer must be a historian and a politician,” that is, to give a historically verified and politically accurate assessment of the events depicted. Re-comprehending the principle of historicism, adopted after W. Scott by the romantics of the 1920s, Stendhal insists on its application in the development of not only historical, but also modern plots, demanding a truthful and natural depiction of reality.

In contrast to the exoticism and exaggeration of romantics, Stendhal emphasizes: in the drama "the action should be similar to what is happening daily before our eyes." And the heroes should be "the same as we meet them in salons, no more pompous, no more strained than in nature." The language of the new literature should be just as plausible, natural, and precise. Denying the Alexandrian verse as an indispensable attribute of the old tragedy, Stendhal believes that dramas should be written in prose that brings the theater as close as possible to the viewer. He also does not accept the lofty beauties, "sonorous phrases", "vague allegories" of his contemporary romantic school. New literature, Stendhal argues, must develop its own style - "clear, simple, going straight to the goal", not inferior in its merits to French classical prose of the 18th century.

In 1830 Stendhal finished the novel Red and Black, which marked the onset of the writer's maturity.

The plot of the novel is based on real events related to the court case of a certain Antoine Berthe. Stendhal learned about them by looking through the chronicles of the Grenoble newspaper. As it turned out, a young man sentenced to death, the son of a peasant, who decided to make a career, became a tutor in the family of a local rich man Misha, but, convicted of having a love affair with the mother of his pupils, lost his job. Failures awaited him later. He was expelled from the theological seminary, and then from the service in the Parisian aristocratic mansion de Cardone, where he was compromised by his relationship with the owner's daughter and especially by a letter from Madame Misha. In desperation, Berthe returns to Grenoble and shoots Madame Misha, and then tries to commit suicide.

It was not by chance that this judicial chronicle attracted the attention of Stendhal, who conceived a novel about the tragic fate of the talented Plbbei in France of the era of the Restoration. However, the real source only awakened the artist's creative imagination, who rethought the chronicle history. Instead of a petty ambitious, such as Berté, the heroic and tragic personality of Julien Sorel appears. Facts undergo no less metamorphosis in the plot of the novel, which recreates the typical features of an entire era in the main laws of its historical development.

The theme of playing with fate - one of the most important in the work of Pushkin and Stendhal - has found a deep embodiment in the Queen of Spades and Red and Black. It is symbolically represented in the titles of the works: "The concept of artistic reality in the aspect of gambling is already given by the roulette or card term in the title." However, this view, which was subsequently shared by many Pushkin scholars (B.V.Shklovsky, N.L.Stepanov, M. Gus, and others), aroused objections from stand-up scholars who did not see any associations with roulette in the name Red and Black. In the article Why did Stendhal titled his novel "Red and Black"? BG Reizov, relying on the opinions of other researchers, categorically asserts: "The theory of gambling at the present time can be considered almost abandoned."

What is the reason for such a sharp divergence of views? It can be assumed that the researchers of the Queen of Spades, who have penetrated into the very essence of the parallel between life and play, emphasize its predominantly playful aspect in the name, while stand studies are most of all afraid that the analogy with roulette would impoverish the complex semantics of the name. Their main argument is: "... there is no hint of gambling in the novel."

Revealing the discrepancy between the semantics of color in different eras (during the creation of the novel, the reaction is not black, but white; the revolution is not red, but tricolor; the uniform that Julien Sorel dreams of is not red, but blue; the priest's dress, which attracts him, is not black, and lilac), B. G. Reizov proposed his own version of "decryption": in his opinion, the name Red and Black reflected the symbolism of two key scenes, painted in red and black tones. Yu. M. Lotman put forward his interpretation of the opposition red - black as a symbol of Sorel's two careers - military and spiritual. He saw in the title a quote from Tristam Shandy, which expresses the idea, close to Stendhal, that for a modern man standing at a crossroads there is no choice but a cassock and a uniform. This interpretation does not seem convincing to us, since Sorel dreams of a blue uniform, while red is the color of an English military uniform, and such symbolism was unlikely to be understood by the French reader. But, apparently, there can be no unambiguous interpretation of the name, like any symbol.

"Distant approaches" can be corrected by referring to the notes of Stendhal himself. Ironically in his diary over his own desire to get rich, Stendhal on May 5, 1805 made a comic program: “Once a month, put 6 livres and 4 coins of 30 sous on red and black (“ à la rouge et noir ”) on number 113, and then I I will acquire the right to build Spanish castles. " Note that the phrase "red and black" entered the language as a habit, causing an unambiguous association with roulette. The fact that Stendhal himself used it in the meaning of roulette from his youth is quite typical. However, it would also be wrong to relate the title of the novel only to the colors of the roulette field: the title is fundamentally polysemantic. The only important thing is that the idea of ​​a game with fate, associated with roulette, is essential for understanding the deep meaning of the novel, it can serve as a background for all other interpretations.

It is noteworthy that in his diary Stendhal put the feminine article before the phrase "red and black", and in the title of the novel he repeated the masculine article twice, and wrote the adjectives with a capital letter: Le Rouge et le Noir. It seems to us that Stendhal, wishing to preserve the associative connection, at the same time tried to save the name from attempts to directly identify it with a specific gambling - so that the philosophical and symbolic meanings would push the empirical into the background; the grammatical category of gender and capital letters perform the function of delimiting from the nearest extra-textual reality.

2. The composition of the work, the connection with the genre characteristics of the "novel-career". Stendhal's novel and educational tradition.

The novel "Red and Black" grew up on a creatively processed documentary basis: S. was struck by the fate of two young people sentenced to death: one of them, Berthe, a young ambitious, but extremely insignificant personality, shot at the mother of the girl whose governor he was. The second, Laffargue, a cabinet-maker with a passion for philosophy and literature, was shy and proud. Falling in love with him and rejected, the girl accused him of attempting violence .. In both cases, S. saw a characteristic phenomenon of the time: society kills young people who have left the third estate, if they do not obey routine, strive to realize their inner extraordinary potential. The prototypes had these features, however, we recall that S. “gave” his hero “a little more intelligence”.

In the novel, he created a typical picture of the life of contemporary society. In an address to the reader, the author states that "the following pages were written in 1827". The authenticity of the date can be treated with caution, as with many signatures and epigraphs: the novel mentions events that took place in France in 1829 and early. 30 years, and many epigraphs were composed by the author himself, although they were attributed to Hobbes, Machiavelli, Kant and others. Indeed, only the epigraphs from Shakespeare, Byron and ancient authors are genuine. What for? As an artistic means of recreating the flavor of authenticity and for the author's thought, expressed in images that are not always unambiguously interpreted, to receive greater clarity. Sometimes the signature also carried a hidden, revolutionary orientation: “True, the bitter truth!” - the epigraph to the first part of the novel - attributed to Danton, a leader of the VFR. In the novel itself, the revolution is not mentioned, but the name of Danton inevitably directs thought to 1789. He compares Julien Matilda with Danton more than once, again correlating characters with the revolutionary past and making us think about a possible revolutionary future. The epigraph “from Danton” is replaced by the epigraph “from Hobbes”: “Gather thousands of people together - it doesn't seem bad. But it won't be fun for them in the cage. ” The entire novel - research is directed against tyranny, tyranny of state power, religion, privileges of birth. Creative tasks were also dictated by the system of images: the nobility - de Renali, the bourgeoisie - Fouquet, Valno, the clergy - the Abbot Shelan, the philistine - Soreli, the regimental doctor of Napoleon's army and the magistrate. The second group - the clergy of Besançon - seminarians, Abbot Pirard, Friler, Milon, bishop. Outside Besançon, there is the Bishop of Aghd. The highest aristocracy is de La Mol and visitors to his salon.

The system of images, which makes it possible to broadly illuminate the life and conflicts of modern S. France, dictated the construction of a novel, divided into two parts, while events unfold in 3 cities - Verrier (a fictional provincial town), Besançon (seminary), Paris (high light, political life). The tension of the conflict increases as we get closer to Paris, but self-interest and money reign everywhere. De Renal, an aristocrat who married for a dowry, striving to withstand the competition of the bourgeois, started a factory, but at the end of the novel he will still have to give up - Valno becomes the mayor of the city. About Valno, the author himself said at the beginning of the novel that he “collected the most trash from every craft” and suggested to them: “Let's reign together”. S. Knows that in his time gentlemen like Valno become a social and political force. That is why Valno dares to come to de La Mole, and the haughty marquis accepts the ignorant, hoping for his help during the elections. "The basic law for everything that exists is to survive, to survive."

Political issues are organically included in the novel, combined with harsh criticism of religion and clerics. What is the meaning of the activity of a clergyman, thinks Julien the seminarian: "Selling places in paradise to believers." S. calls the existence in the seminary, where future priests, mentors of the people are brought up: “hypocrisy” reigns there, “thought there is considered a crime”, “sound reasoning is offensive”. Abbot Pirard calls the clergy "lackeys necessary for the salvation of the soul." In S.'s psychological novel, the clergy, like the aristocracy and the bourgeoisie, take on the features of the grotesque.

“Red and Black” is a socio-political novel in which the features of an upbringing novel clearly emerge: in the first part we have before us a young man who does not know life, who is surprised by everything he has seen and gradually begins to evaluate him, in the second part - already a man with some life experience, deciding to act independently, but in the end comes to the conclusion that he, “an indignant plebeian”, who is also still smart, active, honest at its core, has no place in this world.

In an effort to cover all spheres of modern social life S. Akin to his ml. contemporary to Balzac, but realizes this task in a new way. The type of novel created by him is distinguished by a chronicle-linear composition uncharacteristic for Balzac, organized by the hero's biography. In this, S. gravitates towards the tradition of the 18th century novelists, in particular, to the highly esteemed Fielding. However, in contrast to him, the author of "Red and Black" builds the plot not on an adventurous-adventure basis, but on the history of the spiritual formation of the hero, presented in a complex and dramatic impact with social services. Wednesday. The plot is driven not by intrigue, but by the action transferred into the soul and mind of Sorel, each time strictly analyzing the situation and himself in it, before deciding on an act that determines the further development of events. Hence the great importance of internal monologues, which include the reader in the way of thinking and feeling of the hero. "An accurate and heartfelt depiction of the human heart" and defines the poetics of "Red and Black" as the brightest example of a socio-psychological novel in the 19th century.

3. The theme of the formation of the character of a young man in the bourgeois environment of the era of the Restoration is central to French literature of the 19th century.

the main figure is a middle-class man. The world is in constant flux. Realism-term appeared in the middle of the 19th century. He imagined the world as constantly changing - a trait of romanticism, but people do not accept the double world. Historicism is accepted by the realists. They are interested in history to the extent that it affects the fate of the ch-ka. Realists are attracted by the scientific basis, the achievements of science, the influence of the sciences on art. The hero constantly thinks about how he looks in the eyes of others, i.e. - the world is a mirror even for a writer, for a cat the writer is important. Realism is called critical for its tendency to analytic perception of reality. the hero combines individualism and typicality. manifests itself in many genres, but the novel dominates. presupposes not copying the outside world, but its study, the transmission of the most characteristic phenomena. Realists refused to create extraordinary characters because this made the characters of typical heroes psychologically uncomfortable. The emergence of realism as a method occurs at a time when romantics play a leading role in the literary process. Next to them, in the mainstream of romanticism, Mérimée, Stendhal, Balzac begin their literary paths. All of them are close to the creative associations of romantics and are actively involved in the struggle against the classicists. The classicists of the first half of the 19th century were in these years the main opponents of the emerging realistic art. Almost simultaneously published a manifesto of French romantics - "Preface" to the drama "Cromwell" by W. Hugo and Stendhal's aesthetic treatise "Racine and Shakespeare" have a common critical orientation, being two decisive blows to the already obsolete code of laws of classicist art. In these most important historical and literary documents, both Hugo and Stendhal, rejecting the aesthetics of classicism, advocate the expansion of the subject of depiction in art, for the abolition of forbidden subjects and themes, for the presentation of life in all its fullness and contradiction. The first realists of France with the romantics of the 1920s were brought together by a common socio-political orientation, which was revealed not only in the opposition to the Bourbon monarchy, but also in the critical perception of bourgeois relations taking hold before their eyes. Romantics will successfully master the experience of realists (especially Balzac), supporting them in almost all important endeavors. Realists, in turn, will be interested in following the creativity of romantics, meeting their every victory with constant satisfaction. Realists of the second half of the 19th century will reproach their predecessors for the "residual romanticism" found in Merimee, for example, in his cult of the exotic (the so-called exotic novels), in Stendhal's addiction to depicting bright individuals and exceptional passions (Italian Chronicles) , in Balzac - in a craving for adventurous plots and the use of fantastic techniques in philosophical stories ("Shagreen Skin"). These reproaches are not groundless, and this is one of the specific features - there is a subtle connection between realism and romanticism, which is revealed, in particular, in the inheritance of techniques or even themes and motives characteristic of romantic art (the theme of lost illusions, the motive of disappointment). In connection with the problem of literary continuity, the most important principle of romantic aesthetics, the principle of historicism, which is being studied by realists, acquires special significance. It is known that this principle presupposes the consideration of a person's life as a continuous process, in which all its stages are dialectically interconnected, each of which has its own specifics. Its something, in the realistic tradition, renamed into historical flavor, and the authors were called to reveal. However, in the already formed polemics of the 20-30s with the classicists, this principle had its own specifics. Relying on the discoveries of the school of modern historians, who proved that the main engine of history is the struggle of classes, and the force that decides the outcome is the people, the masses, the realists proposed a new method of reading history. its laws that determine dialectics and variety of forms. But the objective image is not a passive mirror image of this world, for sometimes, as Stendhal notes, “nature shows unusual spectacles, sublime contrasts,” and they can remain incomprehensible to the unconscious mirror. Taking up Stndahl's thought, Balzac argues that the task is not to copy nature, but to express it. That is why the most important of the attitudes - the recreation of reality - for Balzac, Stendhal, Mérimée does not exclude such devices as allegory, fantasy, grotesque, symbolism. The realism of the second half of the 19th century, represented by Flaubert's work, differs from the realism of the first stage. There is a final break with the romantic tradition, already officially recited in Madame Bovary (1856). And although bourgeois reality remains the main object of depiction in art, the scale and principles of its depiction are changing. The bright personalities of the heroes of the novel of the 30s and 40s are replaced by ordinary people, not much remarkable. In comparison with the realism of the first stage, the artist's relationship with the world, in which he chooses the object of the image, is also marked by fundamental changes. If Balzac, Mérimée, Stendhal showed an ardent interest in the fate of this world and constantly, according to Balzac, “felt the pulse of their era, saw its diseases,” then Flaubert declares a fundamental detachment from the unacceptable reality for him, which he depicts in his works. Obsessed with the idea of ​​solitude in an ivory castle, the writer is chained to modernity, becoming a stern analyst and an objective judge. However, for all the paramount importance that critical analysis acquires, one of the most important problems of the great masters of realism remains the problem of the positive hero.

3 liter Fr 30-40 years formed in connection with the political events in the country - the July revolution (1830), a large financial oligarchy came to power. The relationship is different for example in art. new liters - liters are frantic.

domination of romanticism and realism. In 1829 Mr. Chouana Balzac changes the situation. The subjectivism of romantics is inferior to the analysis of the realists. The works of realists convey passions, but the cat is due to the social position of the character, place and time. By the middle of the century, pessimistic sentiments in society were growing at this stage when Flaubert, the Parnassian poets, Baudelaire entered the literature. The novel simplifies the situation. Attention shifts to a more complex transmission of the spirit of the hero's life, the cat loses its romantic hyperbolization.

4. Man and society. Julien Sorel's conflict with Wednesday:

This is a bright outstanding personality, a distinctive feature - ambition. Guides the hero through 3 spheres of society. The son of a peasant is a nervous type, he was mistaken for a girl, has a penchant for science, but is forced to prepare himself for the church. (He can make a career only there, his idol Napoleon, but hides it) An episode is important when ZhS stands on a cliff and watches the flight hawk (hawk = Napoleon, bird of prey, but not noble). From that moment on, the death of the ZhS began. Drenal takes him to himself out of ambition. JS is fond of Ms. Drenal. He wanted to achieve her, so that he could prove something to himself (but fell in love with her) .2 fighting sides in him: subtly feelings bang \\ can conquer feelings with reason. In this spirit, he decides to be the most meek. Falls into the upper world, masters the rules of etiquette in a short time. Vl in Matilda, but realizes that he loves only Drenal. He is real in love.

S. leads his hero through 3 spheres of society:

1. The province, the provincial town of Velière-cage, a small town where the power of money reigns, the old Sorel is a peasant, everyone is looking for a benefit. Drenal is a nobleman of a new type, the power of money is important. They are all Frenchmen of the era of the Restoration;

2. Clergy, Spirit of the Sem-atmosphere of the cell, spontaneity is appreciated. The goal is to receive a parish in order to receive money

The highest Parisian society, Introduces politics into the novel. The kingdom of boredom. Etiquette to be observed.

The novel "Red and Black" grew up on a creatively processed documentary basis: S. was struck by the fate of two young people sentenced to death: one of them, Berthe, a young ambitious, but extremely insignificant personality, shot at the mother of the girl whose governor he was. The second, Laffargue, a cabinet-maker with a passion for philosophy and literature, was shy and proud. Falling in love with him and rejected, the girl accused him of attempting violence .. In both cases, S. saw a characteristic phenomenon of the time: society kills young people who have left the third estate, if they do not obey routine, strive to realize their inner extraordinary potential. The prototypes had these features, however, we recall that S. “gave” his hero “a little more intelligence”. In the novel, he created a typical picture of the life of contemporary society. In an address to the reader, the author states that "the following pages were written in 1827". The authenticity of the date can be treated with caution, as with many signatures and epigraphs: the novel mentions events that took place in France in 1829 and early. 30 years, and many epigraphs were composed by the author himself, although they were attributed to Hobbes, Machiavelli, Kant and others. Indeed, only the epigraphs from Shakespeare, Byron and ancient authors are genuine. What for? As an artistic means of recreating the flavor of authenticity and for the author's thought, expressed in images that are not always unambiguously interpreted, to receive greater clarity. Creative tasks were also dictated by the system of images: the nobility - de Renali, the bourgeoisie - Fouquet, Valno, the clergy - the Abbot Shelan, the philistine - Soreli, the regimental doctor of Napoleon's army and the magistrate. The second group - the clergy of Besançon - seminarians, Abbot Pirard, Friler, Milon, bishop. Outside Besançon, there is the Bishop of Aghd. The highest aristocracy is de La Mol and visitors to his salon. The system of images, which makes it possible to broadly illuminate the life and conflicts of modern S. France, dictated the construction of a novel, divided into two parts, while events unfold in 3 cities - Verrier (a fictional provincial town), Besançon (seminary), Paris (high light, political life). The tension of the conflict increases as we get closer to Paris, but self-interest and money reign everywhere. De Renal, an aristocrat who married for a dowry, striving to withstand the competition of the bourgeois, started a factory, but at the end of the novel he will still have to give up - Valno becomes the mayor of the city. About Valno, the author himself said at the beginning of the novel that he “collected the most trash from every craft” and suggested to them: “Let's reign together”. S. Knows that in his time gentlemen like Valno become a social and political force. That is why Valno dares to come to de La Mole, and the haughty marquis accepts the ignorant, hoping for his help during the elections. "The basic law for everything that exists is to survive, to survive." Political issues are organically included in the novel, combined with harsh criticism of religion and clerics. What is the meaning of the activity of a clergyman, thinks Julien the seminarian: "Selling places in paradise to believers." S. calls the existence in the seminary, where future priests, mentors of the people are brought up: “hypocrisy” reigns there, “thought there is considered a crime”, “sound reasoning is offensive”. Abbot Pirard calls the clergy "lackeys necessary for the salvation of the soul." In S.'s psychological novel, the clergy, like the aristocracy and the bourgeoisie, take on the features of the grotesque. The author did not set himself the goal of creating a satirical novel, but a society dominated by "the oppression of moral suffocation" and "the slightest living thought seems rude" is itself grotesque.

“Red and Black” is a socio-political novel in which the features of an upbringing novel clearly emerge: in the first part we have before us a young man who does not know life, who is surprised by everything he has seen and gradually begins to evaluate him, in the second part - already a man with some life experience, deciding to act independently, but in the end comes to the conclusion that he, “an indignant plebeian”, who is also still smart, active, honest at its core, has no place in this world. In an effort to cover all spheres of modern social life S. Akin to his ml. contemporary to Balzac, but realizes this task in a new way. The type of novel created by him is distinguished by a chronicle-linear composition uncharacteristic for Balzac, organized by the hero's biography. In this, S. gravitates towards the tradition of the 18th century novelists, in particular, to the highly esteemed Fielding. However, in contrast to him, the author of "Red and Black" builds the plot not on an adventurous-adventure basis, but on the history of the spiritual formation of the hero, presented in a complex and dramatic impact with social services. Wednesday. The plot is driven not by intrigue, but by the action transferred into the soul and mind of Sorel, each time strictly analyzing the situation and himself in it, before deciding on an act that determines the further development of events. Hence the great importance of internal monologues, which include the reader in the way of thinking and feeling of the hero. "An accurate and heartfelt depiction of the human heart" and defines the poetics of "Red and Black" as the brightest example of a socio-psychological novel in the 19th century.

Sorel's image

The psychology of Julien Sorel (the protagonist of the novel "Red and Black") and his behavior are explained by the class to which he belongs. This is the psychology created by the French Revolution. He works, reads, develops his mental faculties, carries a pistol to defend his honor. Julien Sorel at every step shows daring courage, not expecting danger, but warning it.

So, in France, where reaction prevails, there is no room for talented people from the people. They choke and die like in a prison. One who is deprived of privileges and wealth must for self-defense and, even more so, in order to succeed, adapt. Julien Sorel's behavior is determined by the political situation. She linked into a single and inseparable whole the picture of morals, the drama of the experience, the fate of the hero of the novel.

Julien Sorel is one of the most difficult characters in Stendhal, who pondered over him for a long time. The son of a provincial carpenter became the key to understanding the driving forces of modern society and the prospects for its further development.

Julien Sorel is a youth of the people. In fact, the son of a peasant who has a sawmill must work on it, like his father, brothers. According to his social status, Julien is a worker (but not hired); he is a stranger in the world of the rich, well-mannered, educated. But even in his family, this talented plebeian with a “strikingly peculiar face” is like an ugly duckling: his father and brothers hate the “puny”, useless, dreamy, impetuous, incomprehensible young man. At nineteen, he looks like a frightened boy. And in him lies and seethes tremendous energy - the power of a clear mind, proud character, unbending will, "fierce sensitivity." His soul and imagination are fiery, in his eyes there is a flame. In Julien Sorel, the imagination is subordinated to violent ambition. Ambition itself is not a negative quality. The French word "ambition" means both "ambition" and "thirst for glory", "thirst for honor" and "aspiration", "aspiration"; ambition, as La Rochefoucauld said, does not exist with mental lethargy; it contains "the liveliness and ardor of the soul." Ambition makes a person develop their abilities and overcome difficulties. Julien Sorel is like a ship equipped for a great voyage, and the fire of ambition in other social conditions, providing room for the creative energy of the masses, would help him overcome the most difficult voyage. But now the conditions are not favorable for Julien, and ambition makes him adapt to other people's rules of the game: he sees that to achieve success, tough selfish behavior, pretense and hypocrisy, militant distrust of people and the conquest of superiority over them are necessary.

But natural honesty, generosity, sensitivity, elevating Julien above the environment, come into conflict with what ambition dictates to him under existing conditions. Julien's image is "true and modern". The author of the novel boldly, unusually clearly and vividly expressed the historical meaning of the topic, making his hero not a negative character, not a sneaky careerist, but a gifted and rebellious plebeian, whom the social system deprived of all rights and thus forced to fight for them, regardless of anything ...

But many were embarrassed by the fact that Stendhal consciously and consistently opposed Julien's outstanding talents and natural nobility to his "ill-fated" ambition. It can be seen what objective circumstances caused the crystallization of the militant individualism of the talented plebeian. We are also convinced of how destructive for Julien's personality was the path to which his ambition pushed him.

The hero of Pushkin's The Queen of Spades, Herman, a young ambitious "with the profile of Napoleon and the soul of Mephistopheles", he, like Julien, "had strong passions and a fiery imagination." But the internal struggle is alien to him. He is calculating, cruel and with all his being is directed towards his goal - the conquest of wealth. He really does not reckon with anything and is like a naked blade.

Perhaps Julien would have become the same, if he himself did not constantly arise in front of him - his noble, ardent, proud character, his honesty, the need to surrender to immediate feeling, passion, forgetting about the need to be calculating and hypocritical. Julien's life is the story of his unsuccessful attempts to fully adapt to social conditions in which base interests prevail. The "spring" of drama in the works of Stendhal, whose heroes are young ambitious, is entirely in the fact that these heroes "are forced to rape their rich nature in order to play the vile role that they have imposed on themselves." These words accurately characterize the drama of the inner action of "Red and Black", which is based on the spiritual struggle of Julien Sorel. The novel's pathos is in the twists and turns of Julien's tragic combat with himself, in the contradiction between the sublime (Julien's nature) and the base (his tactics dictated by social relations).

Julien was poorly guided in a new society for him. Everything there was unexpected and incomprehensible, and therefore, considering himself an impeccable hypocrite, he constantly made mistakes. “You are extremely careless and reckless, although it’s not immediately noticeable,” Abbot Pirard told him. “And yet, to this day, your heart is kind and even magnanimous, and you have a great mind.”

“All the first steps of our hero,” Stendhal writes on his own behalf, “who were quite confident that he was acting as carefully as possible, turned out to be, like the choice of the confessor, extremely reckless. Fooled by the presumptuousness of imaginative people, he took his intentions for accomplished facts and considered himself an unsurpassed hypocrite. "Alas! This is my only weapon! He mused. "If it were a different time, I would have earned my bread by deeds that would speak for themselves in the face of the enemy."

Education came to him with difficulty, because it required constant self-abasement. So it was in Renal's house, in the seminary, in Parisian secular circles. This affected his attitude towards his beloved women. His contacts and breaks with Madame de Renal and Matilda de La Mole indicate that he almost always did as the moment's urge suggested, the need to show his personality and rebel against any real or perceived insult. And he understood every personal insult as a social injustice.

Julien's behavior is determined by the idea of ​​nature, which he wanted to imitate, but in the restored monarchy, even with the Charter, this is impossible, so you have to “howl with wolves” and act as others do. His "war" with society is going on in secret, and making a career, from his point of view, means undermining this artificial society for the sake of another, future and natural.

Julien Sorel is a synthesis of two seemingly opposite directions - philosophical and political of the 19th century. On the one hand, rationalism combined with sensationalism and utilitarianism is a necessary unity, without which neither one nor the other could exist according to the laws of logic. On the other hand, there is the cult of feeling and the naturalism of Rousseau.

He lives as if in two worlds - in the world of pure morality and in the world of rational practicality. These two worlds - nature and civilization - do not interfere with each other, because both together solve one problem, to build a new reality and find the right ways for this.

Julien Sorel strove for happiness. As his goal, he set the respect and recognition of the secular society, which he penetrated thanks to his diligence and talents. Climbing the ladder of ambition and vanity, he seemed to be approaching a cherished dream, but he tasted happiness only in those hours when, loving Madame de Renal, he was himself.

It was a happy meeting, full of mutual sympathy and sympathy, without rationalistic and class barriers and barriers, a meeting of two people of nature - such as should be in a society created according to the laws of nature.

Julien's double perception of the world manifested itself in relation to the mistress of the house, Renal. Madame de Renal remains for him a representative of the class of the rich and therefore an enemy, and all his behavior with her was caused by class enmity and a complete lack of understanding of her nature: Madame de Renal completely surrendered to her feelings, but the home teacher acted differently - he kept thinking about their social status.

"Now, to fall in love with Madame de Renal for the proud heart of Julien has become something completely unthinkable." At night in the garden it occurs to him to take possession of her hand - only to laugh at her husband in the dark. He dared to put his hand next to hers. And then a thrill seized him; not realizing what he was doing, he showered passionate kisses on the hand that was outstretched to him.

Julien himself now did not understand how he felt, and apparently forgot about the reason that made him risk these kisses. The social meaning of his relationship to a woman in love disappears, and love that began long ago comes into its own.

What is civilization? This is what interferes with the natural life of the soul. Julien's reflections on how he should act, how others relate to him, what they think of him - this is all far-fetched, caused by the class structure of society, something that contradicts human nature and the natural perception of reality. The activity of the mind here is a complete mistake, because the mind works in emptiness, not having a solid foundation under it, not relying on anything. The basis of rational cognition is an immediate sensation, not prepared by any traditions, coming from the depths of the soul. The mind must check sensations in their entire mass, draw correct conclusions from them and build conclusions in general terms.

The history of the relationship between the plebeian conqueror and the aristocrat Matilda, who despises spineless secular youth, is unparalleled in originality, accuracy and subtlety of the drawing, in the naturalness with which the feelings and actions of the heroes are depicted in the most extraordinary situations.

Julien was madly in love with Matilda, but he never forgot for a moment that she was in the hated camp of his class enemies. Matilda is aware of her superiority over the environment and is ready for "madness" in order to ascend over it.

Julien can take possession of the heart of a rational and wayward girl for a long time only by breaking her pride. To do this, you need to hide your tenderness, freeze your passion, prudently apply the tactics of the highly experienced dandy Korazov. Julien rapes himself: again he must not be himself. Finally, Matilda's arrogant pride is broken. She decides to challenge society and become the wife of a plebeian, confident that only he is worthy of her love. But Julien, no longer believing in the constancy of Matilda, is now forced to play a role. And pretending and being happy is impossible.

Just as in his relationship with Madame Renal, Julien was afraid of deception and contempt on the part of a woman in love with him, and Matilda sometimes thought that he was playing a fake game with her. Doubts arose often, "civilization" interfered with the natural development of feelings, and Julien feared that Matilda, along with her brother and admirers, would laugh at him like a rebellious plebeian. Matilda knew perfectly well that he did not believe her. “You just need to catch a moment when his eyes light up,” she thought, “then he will help me lie.”

Beginning love, growing throughout the month, walks in the garden, Matilda's shining eyes and frank conversations, obviously, lasted too long, and love turned into hate. Left alone with himself, Julien dreamed of revenge. “Yes, she is beautiful,” Julien said, eyes flashing like a tiger, “I will take possession of her, and then I’ll leave. And woe to the one who tries to detain me! " Thus, false ideas, instilled by social traditions and sick pride, caused painful thoughts, hatred of the beloved creature and killed common sense. “I admire her beauty, but I’m afraid of her intelligence,” says the epigraph to the chapter entitled “The Power of a Young Girl,” signed by Merimee's name.

Matilda's love began because Julien became an argument in her struggle against modern society, against a false civilization. He was for her a salvation from boredom, from a mechanical salon existence, psychological and philosophical news. Then he became an example of a new culture, built on a different beginning - natural, personal and free, as if even a leader in search of a new life and thinking. His hypocrisy was immediately understood as hypocrisy, as a necessity in order to hide a genuine, morally more perfect, but unacceptable world outlook for modern society. Matilda understood him as something related, and this spiritual unity aroused admiration, real, natural, natural love that captured her entirely. This love was free. “Julien and I,” Matilda reflected, as usual, alone with herself, “no contracts, no notaries anticipating the bourgeois rite. Everything will be heroic, everything will be left to chance. " And chance is understood here as freedom, the ability to act as required by thought, the need of the soul, the voice of nature and truth, without the violence invented by society.

She is secretly proud of her love, because she sees heroism in this: to fall in love with the carpenter's son, to find in him something worthy of love and to disregard the opinion of the world - who could have done such a thing? And she contrasted Julien with her high society admirers and tormented them with offensive comparisons.

But this is a "fight against society." Just like the well-bred people around her, she wants to win attention, impress and, oddly enough, appeal to the opinion of the high society crowd. The originality, which she achieves explicitly and secretly, her actions, thoughts and passions, flaring up when conquering an "exceptional being who despises all others" - all this is caused by resistance to society, a desire to take risks in order to distinguish herself from others and rise to heights that no one else achieve. And this, of course, is the dictate of society, and not a requirement of nature.

This self-love is associated with love for him - at first unaccountable and not very clear. Then, after a long painful analysis of the psychology of this incomprehensible and attractive personality, doubts arise - maybe this is just a pretense in order to marry a rich marquis? And, finally, as if without great grounds, the conviction triumphs that it is impossible to live without him, that happiness is not in himself, but in him. This is the victory of the natural feeling pulsating in an alien, hostile society. The threat of losing everything that was conceived, everything she was proud of, made Matilda suffer and even, perhaps, truly love. She seemed to understand that it was her happiness. The "addiction" to Julien finally triumphed over the pride "which, since she remembered herself, reigned supreme in her heart. This arrogant and cold soul for the first time was seized with a fiery feeling. "

If Matilda's love reached the point of insanity, then Julien became reasonable and cold. And when Matilda, in order to save him from a possible attempt on his life, said: “Farewell! Run! ”, Julien did not understand anything and was offended:“ How inevitably it happens that even in their best moments these people always manage to hurt me with something! ” He looked at her with cold eyes, and she burst into tears, which had never happened before.

Having received vast lands from the Marquis, Julien became an ambitious person, as Stendhal says. He thought about his son, and this also, obviously, reflected his new passion - ambition: this is his creation, his heir, and this will create a position for him in the world, and perhaps in the state. His "victory" turned him into a different person. “My romance has ended in the end, and I owe it only to myself. I managed to make this monstrous proud woman fall in love with myself, - he thought, looking at Matilda, - her father cannot live without her, and she without me ... ”His soul was drunk, he barely responded to the ardent tenderness of Matilda. He was gloomy and silent. " And Matilda began to fear him. “Something vague, something like horror crept into her feelings for Julien. This callous soul has known in its love everything that is only available to a human being, nurtured among the excesses of civilization, which Paris admires. "

Upon learning that they wanted to make him the illegitimate son of some high-ranking de La Verne, Julien became cold and arrogant, as he assumed that he was indeed the illegitimate son of a great man. He only thought about fame and about his son. When he became a lieutenant in the regiment and hoped to be promoted to colonel soon, he took pride in what had previously annoyed him. He forgot about justice, about a natural duty and lost everything human. He stopped even thinking about revolution.

5. Peculiarities of Stendhal's psychologism; the language and style of Stendhal's works; functions of the detail in the novel.

S. was well acquainted with the French materialist philosophy of the XVIII and early. XIX century. In particular, Helvetius's teaching about human passions as the main driving force in the "moral world" and in human social life had a great influence on S.'s work. S.'s socio-political views were also quite definite. During the era of the Restoration, he remained faithful to Bonapartism and his hatred of the old order. He enthusiastically welcomed the July Revolution; an official of the monarchy of Louis-Philippe, he did not close his eyes to what constituted the "July regime". The merciless exposure of the July Monarchy is the unfinished Lucien Leuven (Red and White). However, and about Bonapartism S. should be spoken of with caution: for Stendhal, Napoleon was primarily the son of the revolution, its heir, with fire and sword imposing the principles of 1789 on feudal Europe. In the dictatorship of Bonaparte, he welcomed its bourgeois-progressive nature. In "Red and Black", in "Parma Monastery", in "Lucienne Leuven" S. criticized contemporary reality from the point of view of the ideals of the "third estate" not realized by the bourgeoisie; the norm, the criterion for assessing reality for him was the ideals of the revolutionary bourgeoisie.

The era in which S.'s literary activity arises and develops was a time of fierce struggle between the "romantics" and the "classics." From the very beginning, S. in the most decisive way took the side of all that vital and progressive that romanticism carried with it, and above all radical romanticism. S. relies on Shakespeare in his struggle against obsolete literary canons, admires the passion and love of freedom of Byron's poetry, etc. Naturalness, freedom, nationality and other slogans of democratic romanticism close to them and brought up S. as a realist artist.

S.'s realism, just like Balzac's realism, has many features, relatively speaking - "romantic", although they are characteristic not only of romantics. Here and unusually strong, amazing "passions", violent mental movements, a complex, often just an adventurous plot, a plot of extraordinary events and difficult situations, in which heroes fall, etc., etc. Unlike later realists and the writers of the naturalistic school of S. are stingy with descriptions and details of everyday things and phenomena. His restraint is explained not by contempt for a realistic depiction of everyday life and surroundings, but by a sharp opposition to the magnificent and rhetorical description of contemporary romantics of the Chateaubriand type. But, of course, S.'s realism is not the “realism of detail,” the first true master of which was Flaubert. First of all, his realism is characterized by a deep understanding of social processes that took place in contemporary reality. S.'s novels are political and historical, but what makes them political and historical is the fact that in the complexity of plot twists and turns, in the arrangement and psychological depiction of the characters, the main contradictions of the reality that surrounded Henri Beyle were reflected. The fate of the “passionate hero”, the fate of Julien, the fate of Fabrice are tragic, because S. perfectly understood what was incomprehensible to his contemporaries - the inevitability of a conflict, fatal for the “heroic unit”. That is why S. is one of those few who were ahead of their time in their artistic work. S.'s heroes live tensely, furiously, "passionately", their demands on life are enormous, their emotions are violent, they sharply and actively react to the resistance of the "environment." His Julien Sorel, Fabrice del Dongo, Lucien Leuven must be regarded as representatives of bourgeois individualism. No wonder S. was fond of Renaissance themes in his "Italian Chronicles", where the same tragic theme of "strong passions" is being developed. The tragic and bloody history of the Cenci family attracted him not so much by the exoticism of cruel deeds, crimes, etc., as by the "strong passions" of the people of the Italian Renaissance. Here, S.'s Jacobin and enlightenment humanism, as it were, turns to its primary source - Renaissance humanism. And at the same time, in the people of the Renaissance, S. is looking for the power and integrity of characters, which the bourgeois man of the XIX century lacks. The bourgeois reality of the epoch of the rise of the bourgeoisie and the emergence of capitalist society creates characters, individuals who actively rush at their own peril and risk into the struggle for self-affirmation, for a place in the sun (the theme of ambition in S. ). But the same bourgeois capitalist society, the same reality, puts fatal obstacles to the free manifestation of the individual, to the free play of his noble passions. Bourgeois practice either destroys the best of the bourgeois man, or distorts, distorts this best, and "character", "passion", "activity" become evil and harmful.

One of the most common points in the construction of a bourgeois realistic novel almost throughout its history from Cervantes through Fielding, through Balzac and Flaubert to Proust is the opposition of “hero” and “society”, testing the latter first, criticizing society through the behavior of the hero. With S., this point is especially acute. In "Red and Black", "Parma Monastery", "Lucienne Leuven", there are, as it were, two interrelated and interpenetrating, but peculiarly separate spheres: "the sphere of social practice" and "the sphere of the romantic hero." The first embraces all the diversity and concreteness of reality, which in this case we are talking about. In it, in this "sphere of practice," all the enemies of the protagonist, all the negative characters operate, as in their own environment, as at home: here all intrigues are woven, here all "environmental resistance" is grouped and organized, all that prevents the hero from realizing his claims to life. It is here that the entire depth of Standal's understanding of things and relations of the era is revealed. In "Red and Black" - this is the house and the entire environment of de la Molay, the monarchist conspiracy and everything connected with it, the characteristics of the political leaders of the Restoration and the Catholic clergy. In the "Parma Monastery" - this is a show of the court environment, this is a "crowned villain", an "enlightened" monarch, Duke Ernest Ranucius, this is the fiscal and executioner Rassi, these are all the abominations of decaying absolutism: the unbridled arbitrariness of the police, the venality of the court, the insignificance of the press, tyranny government. In "Lucien Leuven" aristocrats are exposed, "the fragments of the shattered" dead feudalism; then the novel shows the Paris of the era of the July monarchy. This is where Lucien's service career takes place, the vicissitudes of which show the powerlessness, cowardice and insignificance of Louis Philippe's ministers, reveal the entire system of the "political game" based on fraud, bribery and provocation. This unfinished novel is characterized by the distinctness with which S. is realized and the class essence of the July monarchy is shown to the reader: in a number of plot situations, the prime minister's dependence on Lucien's father (banker Leuven) is emphasized; the chain of these situations is crowned with dignity by the magnificent scene of the audience given by the king to old Leuven. What can be called the "sphere of the romantic hero" are the central characters of the novels (in "Red and Black" - Julien Sorel, in "Parma Monastery" - Fabrice del Dongo, in "Lucienne Leuven" - Lucien himself) with all their youth , charm, passionate love for the chosen one, passionate ambition; characters close to them, beloved heroes, for example, the Duchess of Sansaverina, Clelia, persons supporting the hero, for example. Count Mosca in the "Parma Monastery". For these characters, as well as for the heroes of the “practical sphere,” the social characteristics, class motivations of behavior are fully valid; they do the same thing as the negative characters: Mosca is the minister of the autocratic duke, the banker Leuven is one of the rulers of the July regime. Yet they seem to be above “practice”, above it. As for the protagonist, he is singled out from the environment, from society with special demonstrativeness. Of course, Julien Sorel is a “youth from the bottom”, making his way, striving to make a career in the society of the era of the Restoration, which was closed to him; of course, Fabrice is an Italian nobile and a candidate for princes of the church; of course, Lucien Leuven is a banker's son, a young bourgeois who is entering life as a conquistador. But this is not essential in them. It is essential that distinguishes them from reality: an exceptional mind, captivating all the charm, dexterity and, most importantly, the ability to "passionate life." The love experiences and adventures of Julien, Fabrice, young Leuven are especially significant: they, more than anything else, liberate the Stendale hero from the absolute conditionality of his environment, turn him into an ideal “natural person” and thereby sharpen the critical attitude of S. : here "natural man", "passionate character" is especially sharply opposed to the practical sphere, and the author's trial over it turns out to be especially merciless. That is why even the very participation in this social practice pollutes Julien Sorel, Lucien Leuven and Fabrice less than Mosca or the banker Leuven: Julien Sorel serves the monarchists, Lucien is a hypocrite, pretends among the aristocrats of Nancy and takes part in the political machinations of the bureaucrats of the July regime - they use the most base methods of self-assertion, but all the time remain internally free from the "practical sphere"; they do not poke around in it, but use it, they are people of the Renaissance, no norms are written for them, they themselves are the norm. And therefore the unselfish passion of love turns out to be stronger than such degrading passions as ambition and instincts of conquest (in the broad sense of the word). We do not know what the unidentified end of "Lucien Leuven" was, and we can only state that the image of Lucien developed in the same directions, along the same lines as the images of Julien and Fabrice. However, it should be noted that Lucien Leuven is more of a bourgeois, a man of the 19th century. There are a number of features in his “external history” that make it akin to the biographies of the successful careerists of Balzac: in this, Lucien differs sharply from both Fabrice, an aristocrat, a romantically distracted “passionate man,” and from the plebeian and democrat Julien. At the same time, of course, it does not follow from this that S. pardoned bourgeois reality here.

On the contrary, once again, following the example of the "Parma Monastery" and "Red and Black", showing with merciless truth the obscurantism and rot of feudal reaction (monarchists and aristocrats of Nancy), Stendhal exposed bourgeois social practice (Paris and the province of the July monarchy).

The ideology of radical humanism is also imbued with S.'s works on art, ch. arr. "The history of painting in Italy" (where, in particular, S. was one of the first to seek to reveal a social pattern in the history of art) and "Salon 1824" (where S. defended romanticism as a "new school", animated by the principles of naturalness, freedom and nationality). We find the same in his travel impressions - notes about Italy: "Rome, Naples, Florence", where S. studies Italian character, culture, even the landscape as an element of noble naturalness; S.'s notes on Italy are also imbued with the deepest sympathy for Italians as a nation oppressed by Austro-Hungarian feudalism, yearning for liberation; It is not for nothing that this book was viewed by the Austrian authorities as hostile and seditious, despite all the caution in political statements that its author was forced to show. Finally, S.'s treatise "On Love" is sustained in the same spirit of humanism. It is a study of psychology and morals, sharpened in defense of the freedom and naturalness of feeling against the conventions and prejudices that distort it.

Despite the romantic uniqueness of the hero, S.'s work, along with Balzac's The Human Comedy, is the greatest achievement of French realism in the 19th century, its highest stage, which it did not reach later either from Flaubert, or from Zola or other representatives of the naturalistic school. Moreover, turning his hero into a norm, into a criterion of assessment, S. takes the point of view from which he manages to reveal all the ugliness of his contemporary bourgeois reality.

Neither the literature of socialist realism created on Soviet soil, nor the revolutionary literature of the West, striving for a truly truthful reflection of the contradictions of modern capitalism and the search for a revolutionary way out of these contradictions, can pass by the creative heritage of S.

In the discipline "Literature"

The novel "Red and Black" by Stenadal

A word about Igor's regiment
Saint Petersburg

Content

1. 
   Comparison of illustrations in the novel

1. 
   Foreword - 4 pages
2. 
   Comparison - 5 pages
3. 
   Conclusion -31 p.
4. 
   Comparison of the work of Stenadal "Red and Black"

1. 
   Introduction - 33 pages.
2. 
   Comparison of the film adaptation with the novel - 34 pp.
3. 
   Conclusion - 40 pages.

Comparison of illustrations with the novel

"Red and black"

Based on the novel by Henri Bayle

Design by artist A. Yakovlev

Foreword
With my work, I want to show the great work of the artist, his creative and professional approach to his task. Thanks to the illustrations, we can quickly imagine what the novel is about. From my point of view, this technique is very good for children, especially preschool children. And the fact that all children's books are filled with colorful images is a very correct psychological move. After all, a child can be interested not in black and white letters and not even in black and white illustrations, but only in colorful and understandable images. Which will develop his imagination.

Despite the fact that many of us are no longer children, we still continue to love books with good quality pages and at least occasional illustrations. This lends interest to reading this literature. And when we start reading, there is a desire to open the last page and find out what awaits us at the end, and a book filled with illustrations adds even more piquancy, because after looking at the image a few chapters later, we try to guess what awaits us. And this adds even more excitement, we want to know if we understand the artist correctly.

It seems to me that there is no point in even talking about the importance of the artist's talent. The mood with which the artist will convey his performance to us will also set us up. Having a good talent, image specialists will be able to fully convey to us what the book is about, with its fullest mood. And if we line up all the illustrations in one row, we can understand without reading what the novel is about.

The book I have chosen is fully illustrated and I will try to characterize the artist's work. Despite the fact that I am far from artistic graphics, I will try to characterize his work not as a professional, but as a simple amateur reader. How accurately he conveyed Stendhal's mood in his work and how much we understand from the image the essence of the chapter.

I Town

The first chapter, an important moment in which the writer most often introduces the reader to another world, which he will show throughout the novel. And the artist has an important task, he must show us what the writer manages without problems, since he has more opportunity to convey the mood with words, metaphors, comparisons.

The image is quite consistent with the title of the chapter. It conveys the mood of not only the writer, but also the inhabitants of the town. We see the main street of the Verrière, the fence of the house, behind which is the magnificent garden of the city's mayor. The fence behind which so many important events will take place in the life of the main characters.

The writer also tells us about the industry of the city, but it would not be correct to depict factories and sawmills. It would be not only rude, but also unsightly.
II Mer
M
We see de Renal - a city planner admiring the beautiful landscape that opens from his garden. He stands, leaning on a retaining wall, which is a fence between the Du River and the garden.

But we see the measure - romance, although he is not. All the same, such a beautiful landscape obliges, and our glorious mayor was far from romanticism, as well as from enjoying the beautiful. All the same, I disagree with the artist here. I also think that I miss his wife and children, with whom he walks through the garden. In this case, his appearance and behavior would be expressed differently.
III Property of the Poor

In the illustration, we see the priest together with Mr. Aler visiting the prison. The image corresponds to the actions taking place in the text. The artist, rightly, noticed the main emphasis that the author makes in the chapter.

One could have shown de Renal's walk, but at the sight of a charming couple with children, all early on, the reader will not understand what decision Monsieur de Renal made, at the moment when the artist captured him as a photographer. Therefore, Yakovlev preferred to opt for the arrival of a guest from Paris.
IV Father and Son
A
I disagree with the picture for this chapter. Julien's older brothers are depicted. But they do not play a dominant role even in the novel, let alone this chapter. I think that a more correct solution would have been the image of Sorel's father hitting Julien while he was reading the book. Firstly, the drawing would turn out to be more expressive, and secondly, it would be more consistent with the essence of the chapter.
V Deal

Although the title of the chapter gives the impression that the illustration does not match the title of the chapter, it is not. The artist shows Julien's inner state. His experiences and torments. Tormented by the question of what lay ahead for him, he could not help but go to church on the way. The artist skillfully portrayed a young man overwhelmed with doubts. It is impossible to determine what the chapter is about, but Yakovlev was clearly well acquainted with it and sincerely felt the state of the hero.

VI Boredom
M
We waited so long for the appearance of Madame de Renal, and finally the artist came down and showed us this charming woman. Looking at the drawing, we fully understand the idea of ​​the chapter and its nature. Yakovlev perfectly expressed the timidity of the young man and the friendliness of the mistress. There is not even anything to add here, since everything is quite clear.

VII Affinity of Souls

Here we see the first expression of Madame de Renal's concern. When the unfortunate Julien, beaten by his brothers, lay in the garden. This chapter shows a woman's interest in an intelligent, handsome young man. And I agree with the artist that it would be difficult to portray concern otherwise. Moreover, it is appropriate here. Although looking through the illustrations and not reading, no one will guess about those feelings and thoughts that begin to rage inside the lady.
VIII Minor incidents
V
This chapter describes many events and I do not think that the lovely conversations between the two ladies and Sorel are the most significant. Maybe the artist considered it necessary to show the rapprochement between Madame de Renal and Julien, but it seems to me there are a lot of other events that would be worth showing. I would portray one of the following: an outcast servant, the mistress's illness, communication with a priest. Since it was the consequences of these actions that led to friendly conversations among young people.

IX Evening in the village
V
from this chapter just can be attributed to the previous image. After all, it is here that Julien takes his first steps - feats in relation to Madame de Renal. You can also depict how the lady is looking for a portrait of Napoleon in a mattress. But the artist considered it correct to depict classes with students, to whom very little attention is paid in this chapter. No, all the same my opinion diverges from that of the artist. If the images in the book would pass through my criticism, then I would definitely not give consent to this image.
X Big heart and small funds
V
this small chapter could have emphasized the emotional dialogue between M. de Renal and Julien. But Yakovlev portrayed the nature and emotional state of Sorel.

XI Evening
TO
A short chapter, in which the experiences of Madame de Renal are shown to a greater extent. And emotions overwhelm her so much that she flared up at the servant, to whom Julien was jealous. The artist showed us exactly this plot. We again see the perfectly rendered mood of the heroes. The ability to convey the mood to the artist is not to take.

XII Journey

This chapter is more about a friend Fouquet's proposal to do business with him. And about Julien's peculiar rest, a change of scenery. Natalia illustrates the same we see Madame de Renal with her son.

At the beginning of the chapter, the farewell of Madame de Renal and Julien is described, but this is not given special attention. And depicting such a moment lacks the seeing off gaze, the turned head towards the outgoing Julien.
XIII Fishnet stockings

N
In the illustrations, the artist noted the transformation of Madame de Renal, who did not feel well in the absence of Julien, but as never before paid attention to her appearance and outfits. The artist did not depict Julien content with his achievements and plans. It is very difficult to express thoughts when depicting a large canvas, and even more so when depicting such a small black and white format.
XIV English scissors

Julien's behavior goes beyond what is permissible and she compromises not only herself. A more expressive moment in the image could be their kiss during the transition from room to room. But the artist, thinking differently, depicted a more crowded scene. During which Julien lightly stepped on Madame de Renal's foot. The lady got out of the situation, deliberately dropped the scissors, a ball of wool, needles, so that Julien's movement would pass for clumsiness. Despite the fact that I would depict another scene, I think that this one also corresponds to the chapter.

XV Rooster sang

A very interesting image, initially leading to different thoughts. Very interestingly presented, Julien at the feet of the lady, all this in the twilight. To be honest, there isn't even a need to read a chapter. It is worth noting the impeccable choice of the artist.

Xvi the next day
Perhaps the artist wanted to show the early morning that they met in Madame de Renal's room, and that is why he chose this plot. But in any case, he showed their feelings for each other. They were no longer just friends. Such a cute image is impossible to criticize. You can only admire.

XVII First Deputy

G
lava is small and has no major events. As I said, expressing the thoughts of the characters is very difficult. Therefore, Yakovlev depicted a scene where the mistress gives an order to a servant. Julien was very interested in the assignment and, after asking de Renal, he learned an interesting fact. Also, the artist could depict those small lessons of life in high society that she gave him. But he turned his attention to another action, which he showed well.

XVIII King in the Verrier
AND
By depicting Sorel moving in the guard of honor, the artist would have shown the protagonist in a different guise. It was also possible to depict the dialogue between the Bishop of Aghd and Julien. Thus, Yakovlev would have shown little accomplishments. But the artist thought it right to show the service ceremony. Even though I personally would not betray her great importance. Since the scene is not directly related to the main character.
XIX From Thought Is Born Suffering

The chapter is strongly filled with feelings, thoughts of the main character. The author has shown us so many experiences. Madame de Renal is a deeply religious woman.

And in this chapter we see all the suffering, remorse that she experiences, blaming herself for her son's illness. The artist chose a good subject. He showed the coldness of de Renal and the humiliated wife who fell at his feet. A very touching moment, like the whole chapter.
XX Anonymous letters

In such a short chapter, this is a well-chosen moment. The artist depicted the transfer of the anonymous letter to Julien, which the cook secretly handed him over. After reading the title of the chapter, at the sight of the image, it is clear to us what's what.

XXI Conversation with the master
V
this chapter, in my opinion, the illustration could be different. It could have been more successful when the agitated Madame de Renal hands over to her husband anonymous. The previous chapter and the beginning of this one led to this. But the artist depicted the moment when the finished anonymous letter was handed over by Julien. It is a pity that we cannot see that determination in the gaze of Madame de Renal about whom Stendhal writes. Yes, and it is difficult to assume, without reading the chapter, that Julien, in general, conveys something ...
XXII Mode of Action in 1830

Again, I disagree with the artist. He portrayed what this chapter says, but the writer does not emphasize it. A significant part of the chapter is devoted to dinner at the owner of the house of contempt, about their culture and way of life. Personally, I would have portrayed just lunch. But the artist considered it necessary to show Julien with a heavy burden in front of everyone. Yes, he did it professionally, but I repeat once again that I do not agree with the choice of the plot.
XXIII The Suffering of the Official
WITH
it is completely incomprehensible what the image is for. Neither the title fits nor the plot of the chapter. The writer described the auction in detail to us. And Yakovlev could have depicted one of the scenes of a sale or a trip home, but he chose a completely incomprehensible action. I completely disagree with him and do not understand what's what.

XXIV Big city
M
For the first time we see a scene not in a small town with beautiful nature, but in a cafe with a lot of people. I can assume that the artist wanted to show Julien's confusion, confusion and, at the same time, the interest that he arouses in the opposite field. How carefully Amanda sat him away from the noisy contingent of the bar. I don't think the artist chose an unworthy scene. But it would be possible to add even the arrival of the girl's boyfriend. A little scene of jealousy.

XXV Seminary

In the first paragraph, Sorel comes to the seminary and the artist could show this scene, depicting the seminary itself with a gilded cross and the doorkeeper opening the door. But the artist preferred a deeper scene and showed the meager room in which the priests live. The artist expressed the expectation in which Julien froze, while the man in the shabby cassock paid no attention to him. Agree with the artist, this is a good option for displaying this chapter.
XXVI Environment, or whatever the rich man needs
X
the artist could show Sorel coming downstairs to the others belatedly, standing among a large number of seminarians. Which he was already beginning to dislike, showing the inherent arrogance, arrogance of our hero.

In the illustration, we see an old friend Fouquet sneaking into the seminary. But without reading the chapter, we certainly won't guess who is depicted on it (with the exception of Julien, of course). It is difficult to guess what exactly the artist wanted to show. But from the very dialogue of friends, we learn about the life of Madame de Renal. Memories washed over Sorel. But his youth and narcissism do not allow him to delve into memories for a long time, and the author quickly moves on to the present.
XXVII Beginnings of Life Experience
TO
this chapter does not fit the picture at all. And, after reading the next one, we will make sure that there was an obvious mistake of other specialists and an illustration for the next chapter. But this is clearly not the mistake of the artist, but of those who brought his creation to life.

I would like to note the very well noted by the author regularity, "that difference breeds hatred." This phrase does not draw pictures, but it fits the title of the chapter. To the hero's reasoning about life. After all, this is what he is doing throughout the chapter. And we can imagine Julien absorbed in thinking about being.
XXVIII Religious Procession
As I said, the image of the previous chapter was clearly planned to be used in this one. In my criticism, I will focus on the previous image. Despite the fact that many other subjects could be used, I quite agree with the artist that this is the best option.

The faint of Madame de Renal at the sight of Julien is heartbreaking. We see a fragile woman trying to forget everything and atone for her sins, and that's like a test sent by God. A very touching plot and I think it should not have been missed.

XXIX First Promotion
N
As a minor event for Julien occurs in this chapter, he is promoted for the first time. Although the illustration does not depict a promotion, it is still not a small important event. Not every day you can talk to the bishop, especially over dinner. The image is quite understandable. We see Julien talking enthusiastically and the bishop listening with interest. The artist showed a kind of solemnity of what was happening. One can only imagine how many emotions Sorel will have, and how much more he will remember this dialogue. At least there is no doubt about it. That the bishop himself was pleased with the ardor and knowledge of the young man.
XXX Ambitious

Here's a new lesson for Julien. New life streak. He was offered the position of assistant to the marquis. This is a good start, an influence on society. Another big step. Setting out on a further journey and, in all likelihood, for a long time, he could not help but see the one who loved him. And so he took a chance, climbed out the window to her. Julien was very surprised to see the ghost. Poor Madame de Renal exhausted herself to a state of barely living. I cannot dispute the correctness of the selected image. So I think it corresponds to the chapter, but the artist had a choice.
Part two.

I The delights of country life

P
in all likelihood, the artist considered it correct to show Julien's departure to Paris. Without even becoming to portray his companions and, in general, any excesses, he marked the beginning of the second part by a detour. I cannot but agree, since we clearly understand that our hero begins a new life, and nothing can more accurately portray it like the departure itself.

II In high society
E
that is the first feast that we see, albeit not very large. Accordingly, the main character is the first time in the company of such a number of noble persons. But Julien was not taken aback and feels quite relaxed. We can see this in his light, relaxed pose. This time, I will also agree with the artist on the correctness of the plot he has chosen.
III First steps
WITH
the title of the chapter and the illustration are sometimes associated with the first attempts to learn horseback riding. But there is no meaning by the first steps of the author, he wants to show us how Julien enters the society. Julien is not a risky person, but he would not want to seem foolish or inept. And now we see his bold act. Sorel has been riding for the second time in his life, but not entirely successfully. So falling in the middle of the street was not just an awkwardness for him, but this fall served his further training in horse riding. Once again, we admire the hero's tenacity and courage.
IV House of de La Mola
V
In this chapter, the author focuses on Julien's infusion into society at lunchtime. The artist, on the other hand, preferred not to draw a large number of people and not go into subtleties. I disagree with Yakovlev. For the reason that you can find a paragraph corresponding to the actions of a young man. We can only assume that we see Julien while recording the characteristics of the personalities of the visiting guests. But these are just my assumptions. I believe that more interesting events, which were worth portraying, begin with the next page.

V
Impressiveness and

God-fearing noble lady
Stendhal has nothing to do with this chapter. It could not be subdivided, but simply combined with the previous or subsequent. There is no reason to judge the correctness of the artist's choice. For the reason that the author seems to write about everything a little, but at the same time about nothing. In the chapter, we read literally two lines about practicing fencing, but it was also possible to depict many other things that Julien was doing at that time. Perhaps the artist decided to intrigue with the image, perhaps it was easier for him to portray the practice of fencing than the tortured by a bunch of Julien's work. But we can judge with confidence that the artist read in good faith.
VI Features of pronunciation
V
In this case, I am ready to argue with the artist. As I think, the picture of a duel could look more interesting. But it is difficult to depict a pistol wound after previous fencing lessons. To depict a duel on pistols, it is necessary to redraw the previous illustration. This is most likely why the artist chose to confine himself to a quarrel in a bar and a challenge. But the image is incomprehensible, and in the big chapter there were enough other plots.
VII Attack of gout

I cannot dispute the image due to its clarity and accessibility. Looking at the image, we understand that the marquis is not healthy and we see the helpful Julien. After reading the title of the chapter, we are convinced that we are right. I fully agree with the choice of the artist.

VIII What makes a person stand out from the crowd
AND
The illustration is selected, it is true, there is nothing to complain about. We see Julien already in the form of a socialite, to whom Matilda is drawn. Against the background of the most beautiful marquise, all the other girls are lost. The artist showed interest in the beauty of a large number of men and the one whom she preferred.

IX Ball
N
Let's start with the fact that the first part of the chapter could have finished the previous one, since the continuation of the ball is described there. Or divide the chapter into two parts and depict Matilda, furtively glancing at Julien and his interlocutor. And already the next chapter should be called "Meeting in the Library" and the illustration that we see is perfect for it. There are no complaints about the artist, he did not repeat himself, and highlighted a rather important situation.
X Queen Margarita

In Chapter X, Julien learns the family story, which changes his mind about Matilda. But we will not see this in the image.

But the continuation of the chapter is clearly shown to us. How the relationship between the most enviable bride and Julien becomes friendly. How they converse as they walk through the garden.
XI Girl Power
D
quite often the artist depicts a static conversation. But the image is not always appropriate. And in this case, I think the artist's choice was wrong. Only a few lines are allocated to the communication of friends in the chapter, and the more interesting moments are thus missed. It seems to me that the artist should have looked for the plot in the first part of this chapter. And show the girl's power over boyfriends or in the family.
XII Could this be Danton?

G
Looking at the image, we can assume that there is a peaceful dialogue between the audience. Natalia, in fact, in the chapter, the writer shows us the concern of young people who are not happy with Matilda's obvious interest in Julien. But if the artist depicted a storm of emotions in poses, expressions on the faces of young people, then it would simply look indecent for high society. And it would be more like a scandal. At the sight of the image, we cannot determine at a glance what the chapter is about. In this case, the name says more about the essence.
XIII Conspiracy
N
Despite the fact that the chapter is large and there are enough events in it, I think the choice of this image is correct. He most of all characterizes their already warm friendships and the manifestations of Mademoiselle de La Mole's ardent feelings. It is quite difficult to depict mockery of a brother and boyfriend, and it is not on them that the emphasis is placed in the chapter. Having portrayed Julien reading a love letter and his thoughts at the same time would not have been possible. Thus, this picture is chosen correctly from my point of view.
XIV Thoughts of a Girl

In this image, the artist clearly shows what awaits us in this chapter. After the previous chapter, we can easily assume the development of the feelings of the heroes.
XV What is this if not a conspiracy
P
After reading the chapter, we understand what the artist was trying to depict in the illustration, but before reading it, I personally did not understand that Julien was in her room and was thinking about leaving. Although we see a suitcase with things, the hero's posture and the tension on his face speaks more about his interest in the bust. Perhaps by depicting him packing his suitcase, the reader would be able to assume the hero's imminent departure, and after reading the chapter, reassure himself that he remains.
XVI Hour of the Night
V
In this chapter, I think that more interesting points could be portrayed. For example, how Julien climbs out the window, how he hugged Matilda, or how he hid in the closet. Thus, one could assume the essence of the chapter, but in this image we see Matilda deviating from her beloved and Julien has a dagger in her hand that suggests bloody thoughts.

XVII Ancient sword

V
The chapter expresses many emotions, many feelings that the artist depicted in the illustration. Probably if it were a big picture, we would see everything on the faces of our heroes.

But all their feelings are read in body movements. Julien's developing tailcoat makes it clear that he just jumped on a chair in order to get the sword, and in spite of the fact that he just jumped up the sword has already been taken out of its scabbard. The outburst of emotions of the Marquise de La Mole is expressed in an interrogative - screaming movement of the body.

I think the artist was able to show the main scene of this chapter in a great way.

XVIII Tormenting Moments
V
The illustrations for this chapter raise many questions. The first is why the girl is sitting at the piano, if there is not a word about him in the chapter. The second is not even a question, but the opinion that the plot was not chosen by Verne. In the chapter, the emphasis is on something completely different. We can assume from the outset that Mademoiselle de La Mole is dreaming about playing the piano. That she represents sweet moments. But these are just my assumptions. Personally, I would choose a different plot. By depicting Sorel and Matilda walking in the park. Happy faces and fun in motion could tell a lot.

XIX Comic Opera
P
reading the chapter, everything falls into place. The images were mixed up again at the publishing house. Matilda at the piano clearly refers to this chapter. And the image that we see as the title of this chapter clearly refers to the title of the next one. Since we have not read anything about the broken vase here. I will not judge the mistakes of the publisher. After all, the task is different. Let's look at the images in the correct order, as they should be. This means that our artist from the entire chapter preferred the image of Matilda playing the piano to many others. But personally, I chose Matilda in the opera. After all, at the moment of the second act, her love for Julien again lit up. And a strong surge of emotions. This wonderful condition could be conveyed without difficulty. And the moment when our hero was unrestrained and climbed the stairs to her room ... With what passion she rushed to him. The artist could also convey a passionate embrace. The moment of her vow of slavery before him. Personally, I think these plots would look better.
XX Japanese vase

We will not repeat ourselves with the mistakes of the publisher and again show the image with the broken vase. We can simply recommend that you turn your gaze a little higher and take a closer look at the artist's talented work. A good plot has been chosen. You could also use the scene in the library. When Matilda stopped Julien, who was quickly leaving the office. But this image not only corresponds to the chapter, it lives up to its title. We see the frustrated Marquis de La Mole, wailing by the broken vase, and we see the calm Julien. From the illustration, everything is quite clear.
XXI Secret Message

The secret meeting is shown very well. This is not to say that before reading the chapter, you understand that it is secret, but in any case, after reading, you understand who these people are. We see Julien sharpening his feathers diligently. He is the only one who does not take part in the discussion, they ignore him, only slightly wary glances. I think the artist's choice was correct.
XXII Discussion
X
the artist didn't have to guess and choose which image would be successful. The entire chapter is devoted to the secret meeting. Where the dignitaries were gathered and Julien in the role of the secret messenger. In the illustration, we see how the discussion goes and how diligently Julien does his job. A rather boring chapter, but the artist managed to transform the illustration.
XXIII Clergy, Forests, Freedom
WITH
I will read with the artist a very good choice of the plot. The artist showed what the previous two chapters led to. Sorel's meeting with the Duke to deliver the message. Sorel looks like a beggar believably. Even the scene with the search in the inn is not so significant for this chapter.

XXIV Strasbourg

An instructive chapter for people who do not receive reciprocity in love. It was high time for Julien to learn some of the subtleties between a man and a woman.

Finally, he met a man who prompted him a way out of this situation. The artist showed us a meeting of two friends. Initially, you understand from the greeting that a pleasant meeting has taken place, and after reading the chapter, you consolidate the first impression with facts.
XXV By the Department of Virtue

The illustration is more than self-explanatory. There is no need to read the chapter to understand that Julien carried out a plan to return Matilda's love to him. Although it has not yet worked, we can see from the plot that, in any case, it has come into action. The artist was able to show us everything he wanted.

XXVI Spiritual - moral love
G
the lava is small and not so full of events. But the artist found what to portray so that it would not be repeated. We see the moment the love letter is handed over. We even understand that the action takes place in the morning. Still, in very rare cases, you can guess from the image what the chapter is about. This is not the case, but not through the fault of the artist.

XXVII Best Church Offices
N
In spite of Julien's pessimistic thoughts, in the entire chapter, the artist picked up a moment where our hero had a feeling of impatience. And in the illustration we see his burning interest in the delivered letter. We can evaluate the choice of the artist and be glad that he did not depict the boredom in which Julien arrived at the attraction of the head.

XXVIII Manon Lescaut
M
We see the play of two actors and regularly changing roles. Either Matilda furtively watching Julien, then Julien jealous Matilda. The artist showed that Julien was tormented and did not see the results of his efforts. Trying to get Matilda back even for a moment. But this is what more than one chapter is devoted to.

XXIX Boredom
P
Reading a chapter to the end, you understand why the author chose to separate it, make it a chapter. The author showed what Julien achieved with his hard work. That his mental anguish was not in vain. He was not only able to interest Madame de Fervac, but also to obtain confirmation of love from Matilda. The artist depicted Matilda subdued, lying in a swoon at Julien's feet, standing with a haughty, self-satisfied look at the lifeless body of such a strong, wayward beauty.
XXX Lodge in a comic opera
N
The title of the chapter corresponds entirely to the illustration. Without this clue, we can guess what is shown, but the title confirms the correctness. It would be banal to depict the dialogue of lovers, the artist preferred to diversify and once again show Julien's willpower. Who, despite the terrible inner state, overpowered himself and came to the opera, moreover, he gained strength and looked into the box where Matilda was.

XXXI Keep her at bay
N
I do not agree with my still recent opinion. All the same, the author should have combined some chapters into one. Since the essence is one, it just stretches for a long time. And here we must pay tribute to the great imagination of the artist. Whose talent I criticize less and more and more admire his fantasy. It is quite difficult to take out something new and important from this chapter, but he was found and portrayed our heroes in a secluded place, with fiery speeches and passions.

XXXII Tiger
AND
again I jumped to conclusions. All the same, I disagree with the artist in the choice of the image. The English traveler is mentioned in passing and has no serious relation to the novel. I think that the emphasis should have been made on the letter, depicting Matilda writing it, or my father reading it. And how great is the news that Matilda told Julien ... The artist could convey their dialogue and, for example, a gentle touch, peculiar only to expectant mothers, the artist could easily

hand over.

XXXIII Infernal torments of cowardice

WITH
From my point of view, the image of the enraged Marquis de La Mole, who walks around the office in anger and sprinkles Julien with obscene words, could look more successful. But the choice of the artist cannot be particularly challenged. After all, Sorel left, leaving Matilda at her own request. And now they are apart, and the artist has a lot to choose for this very purpose on this plot.
XXXIV Smart Man
TO
It's a pity that not everything can be expressed with a brush and pencil. What a pity that we perceive many speeches only with our ears, or with our eyes. But, unfortunately, not everything experienced by the hero we can read in gestures. And yet it remains to be glad that there are wonderful authors who convey everything to us in text. The artist, whenever possible, conveyed the emotional state of Matilda. Unfortunately, we do not see the Marquis's face and cannot judge his condition by his gestures. But we understand the importance and long-awaitedness of the moment.

XXXV Thunderstorm
A
the second gave a very nice title to the chapter. It seems to me that you could still use "thunder". But it is very strange that the artist used the plot is not the most exciting. Personally, I portrayed Julien aiming at Madame de Renal. After all, it is this part of the chapter that is the most exciting and even a shame that you have to go away to describe the image provided by the artist. As far as I can imagine, the artist showed us Sorel in the rank of a magnificent horse. After all, Julien had long dreamed of serving his fatherland. And if you do not read the novel, but perceive only the image, then this image should also be.
XXXVI Sad Details
N
No, all the same it was not worth the author to intrigue and combine the two chapters together. But it is not for me to judge Stendhal. But I have the opportunity to criticize the choice of the artist. I think that this scene could not have been depicted, but depicting Julien sitting behind bars was worth it. The reader would more than understand what lies ahead for him. Or by depicting the court. In a word, I completely disagree with the artist.

XXXVII Tower

We have read so much in this chapter about the miracles of friendship. About the glorious, open Fouquet, that perhaps it was worth showing the meeting of two friends. And the joy that an old friend brought with his arrival. How Julien rushed to hug him. But the artist chose to show a different picture. More touching and heartbreaking. After reading the beginning of the chapter and the detailed description of the arrival of the priest, the imagination is played out very strongly, in addition you look at the creation of the artist. Which further emphasizes all the movingness of the moment. And our hero no longer seems such a villain.
XXXVIII Mighty Man
M
We see how our brave Matilda came to ask for Julien Abbe de Friler. Dressed in a peasant dress, a girl for the sake of her beloved is ready to do anything, even to communicate with people like the abbot. Most of the chapter is occupied by their dialogue, in which each shows his strength. The artist chose the right subject for the image, since the dialogue might not arouse such visual interest.
XXXIX Intrigue

WITH
How many feelings overwhelm our heroes. How different their characters are, and how alike they are. Once again, it becomes a pity that no matter how hard the artist tries, he cannot convey everything. He captured one moment. But we get a storm of emotions in our souls from everything that happens to our heroes. But the artist perfectly portrayed that tenderness, that care. The guardianship that Matilda gives to her beloved. And how indifferent he is now to her. At the sight of this scene, it becomes pity for the sweet girl.
XL Tranquility
T
How well the title of the chapter speaks for itself when looking at the picture. And even if this is not the best story that could have been, then, in any case, it would not have been better to characterize the title. We see Julien walking calmly. His calmness in walking in smoking a cigar. And even calmness around. Mountains, clouds are nothing that could disturb the balance of the soul. Everything is very good.

There is no need to argue with the artist. Since the illustration is fully consistent with both the title and the content of the chapter. The artist showed us a clear image of the main persons and more weakly reflected the crowd of those present.

Maybe it was worth a little clearer to portray the gathered audience, in order to show that most of it consists of women, who during Julien's speech kept their headscarves to their eyes. Yes, I guess if I was an artist, that's exactly what I did b.

XLII
WITH
tranno, but this is the first chapter, which the author did not name it. The chapter itself is dark enough. Thoughts of guillotine have never been fun for anyone. And the artist rendered the camera in dark colors, the gloom of which is aggravated by the tired, exhausted look of Matilda. But Julien's calmness is not at all combined with the situation. All the same, the artist notices all the details and transfers them into images.
XLIII
D
it will remain a mystery to me why the artist chose such a worthless scene. Perhaps a later chapter will explain this. I would prefer to portray the sleeping Sorel and Mrs. Renal crying over him. Or crying in their arms. But do not underestimate the choice of the artist, despite the fact that I do not understand it. I can also emphasize that the priest does not seem dirty and wet at all, but he looks more like a beggar begging for alms. Only a cassock and a cross give him the appearance of a priest.
X LIV

What captures the most in the chapter is Julien's reflections. His dialogue with himself. Which you read like a verse; emotionally, with expression. Why the artist chose to depict the scene with two prisoners I do not know. Perhaps because it was after communicating with them that he began to reflect so emotionally. But communication with my father was also not calm. The choice of the artist does not coincide with mine.
XLV

The whole novel is distinguished by great sensuality, psychological onslaught. And the artist tries to accurately convey everything with a pencil to match the author. Initially, having seen the tragic scene, I did not understand that it was Julien. Even if I had guessed, I would not have believed it, since there was still hope for his pardon. I completely agree with the choice of the artist. As it is the final and it is expressed clearly. There were simply no other options.

Conclusion
Unlike writers, whose creations live for millennia, the work of book illustrators often goes unnoticed. And what masterpieces are found among the illustrations! How they delight us in childhood and later, at a more mature age. So, the work of Yakovlev, when reading the novel, probably not many were admired. More often than not, we simply do not notice what the robots have done. And even if we notice, then we do not think about its complexity and painstakingness. But thanks to the literature assignment, I gave the illustration meaning for the first time.

This book is very richly illustrated. You look at the pictures and each time you find new details. A very fun process. Moreover, we were very lucky with the artist, he turned out to be a very talented person. Despite the fact that Stendhal is an excellent psychologist, the artist was well able to feel the essence of the novel. Even in such a seemingly insignificant, petty work, he conveyed the mood of the characters, their state of mind, ardor, awe, femininity and masculinity. Looking at his work, we seem to find ourselves in another world - the world of heroes. I can't say that everything was perfect, in some places I disagree with him. But that doesn't mean it's bad. And in some cases, one can express dissatisfaction not with the fact that Yakovlev chose the image poorly, but more with the fact that Stendhal did not divide the chapter and thereby created a problematic creation of a suitable image. When you pick up an illustrated book, you can learn about the worldview of the designer by its design. I was pleased with the work done by the artist, complete harmony of text and images was created.

^ Comparison of the work of Stenadal

"Red and black"

between novel and film adaptation
Screen adaptation of Stendhal's novel "Red and Black"
Script writers

Jean Orani, Pierre Bost

Operator

Michelle Kelbe

Composer

Rene Clarek

Director

Claude Otan - Lara
Starring:

Julien Sorel

Gerard Philippe

Madame de Renal

Daniel Darier

Matilda de la Mole

Antonella Lualdi

Mr. de Renal

Jean Martinelli

Marquis de la Mole

Jean Mercure
Stendhal's novel

"Red and black"
Moscow "EKSMO"

Translated from French by N. Lyubimov

Introduction

Stendhal(Stendhal) [alias; real name and surname Henri Marie Beyle] (23.1.1783, Grenoble, - 23.3.1842, Paris), French writer. Son of a lawyer; was brought up in the family of his grandfather, a humanist and a republican. In 1799 he entered the service of the Ministry of War. Participated in the Italian campaign of Napoleon I (1800). After retiring, he took up self-education, attended theaters and literary circles. Then he returned to the army and as a quartermaster of the Napoleonic troops (1806-14) traveled almost all over Europe, witnessed the Battle of Borodino and the flight of the French from Russia. After the fall of Napoleon (1814) he left for Italy, where he maintained contacts with the leaders of the Carbonari, became close to Italian romantics, and made friends with J. Byron. From 1821 he lived in Paris, collaborated in the French and English opposition press. In 1830 he became French consul in Trieste, then in Civitavecchia, where he spent the last decade of his life.

The novel Red and Black (1831) bears the subtitle Chronicle of the 19th Century: in it, Stendhal paints a broad picture of French society on the eve of the July Revolution of 1830, denouncing the money-grubbing of the bourgeoisie, the obscurantism of the churchmen, and the convulsive attempts of the aristocracy to preserve their estate privileges. But the main thing in the novel is a description of the dramatic single combat of the young Julien Sorel with himself: natural honesty, innate generosity and nobility, elevating this son of a simple carpenter above the crowd of moneybags, bigots and titled nonentities around him, come into conflict with his ambitious thoughts, with break through to the top at any cost. This discord between the lust for power and aversion to the base pursuit of it leads the hero to death.

Director: Claude Autant-Lara 5.8.1901- 5.2.2000

He studied at the School of Decorative Arts, made his film debut in 1919 as a costume designer and decorator, later as an assistant director, director. Under the influence of "Avant-garde" (a direction in French cinema) made several experimental films. In 1930 he directed one of the first large-format films "Laying the Fire" (after J. London). He made his debut in sound films with the comedy "Onion" (1933). During World War II (1939-45), he staged film adaptations: "The Marriage of Chiffon" (1941), "Love Letters" (1942) and "Tender" (1943), distinguished by the poetic subtlety of conveying the psychological experiences of the heroes, the drama of events related to by the beginning of the century. In the post-war works of the director, a social orientation, anti-war protest is more and more clearly felt: "The Devil in the Flesh" (1947), "Through Paris" (1956), "Thou shalt not kill" (1963), "Potato" (1969), etc. Among his best films - the adaptation of Stendhal's novel "Red and Black" (1954). He also staged the vaudeville "Take care of Amelia" (1947), the tragicomedy "The Red Hotel" (1951), etc. For 60 years of work in the cinema he was accused of a mass of sins, including pornography - in the film "In case of misfortune", staged based on the novel by Georges Simenon, young Brigitte Bardot (born in 1934) easily undresses, flirting with Maitre Gobillau. This film is rightfully considered one of the best for both Bardo and Otan-Lara. And Jean Gabin (1904-1976) by the mid-50s found a "second wind" and became no less popular with a new generation of viewers than with their fathers in the 30s.

Comparison of the film adaptation with the novel
A film director gives viewers the opportunity to relax and start immersing themselves in the film. All this thanks to the screensaver in the form of a book, in which, when turning the pages, we learn about who worked on this film, as well as the actors who were given to live someone else's life. Further, the director plunges us into the darkness of the court. Like many directors, he preferred to start his film from the end of the novel. Thanks to this, we can initially guess. About how it will end. It seems to me that this is not a very correct move. Moreover, we do not have the pleasure of seeing the small town of Verrière with its landscapes and sawmills. Due to the fact that the first five chapters were missed, or rather simply replaced. It can be assumed that the director simply acted according to the circumstances and did not have the opportunity to shoot the film in the right conditions. But finding nature and forest is not so difficult.

Well, let's move on to describing what we have. Stendhal's description of the courtroom looked much more beautiful, and at the sight of the village premises to which the director had transferred us, I was upset. I think that the actor playing the role of Julien was not amazed as much as his hero at the beauty of architecture. And the hall that we see on the screen has little resemblance to Gothic. Instead of brick columns, we see wooden arches. Also in the novel, Stendhal focuses on the female audience, who, with tears in their eyes, follows the events. When watching the film, I personally did not notice the emphasis on this detail. I saw only one lady with a handkerchief in her hand, and that was only because I was looking for her.

Immediately from the courtroom, the director takes us far into the past. When Sorel was still 18 years old. As I said, the screenwriter missed the first chapters, or rather reduced it to a minimum. Instead of de Renal's dialogue with Sorel's father and their deal, instead of doubts about his future life. We see the abbot, Sorel and his son riding in a carriage. Where we learn that Julien is being hired as a tutor. But perhaps this is correct and we are shown the essence of the film, and not a complete description of the novel. It is only a pity that the scene where Madame de Renal met Julien at the gate was missed. In the film, we see a different plot. Madame de Renal's son saw the tutor arriving through the window and, suggesting that they would be an abbot, and not young Sorel, expressed his fears. I think it is very important, another nuance that confused me. Reading the novel, I was sure that de Renals have three sons, since the phrase “The youngest of sons” has repeatedly appeared, because there cannot be two of them, as shown in the film. Otherwise, the author would say junior and senior. But at the same time, in the novel, we never once learned the name of the middle son. Next, we see Sorel's reception at the de Renal's house. And we see a maid who shows a strong interest in our hero. The director shows Julien's character well. The hero thinks a lot about the poverty in which he lived and about the high position in which de Renali are. The director also showed Julien's attitude towards his father in his own way when he refused to go downstairs to say goodbye. By his refusal, our hero showed disrespect for his father. The scene in the room reveals Julien's interest in Napoleon's politics and his admiration for Bonaparte. But we initially suspect that the scene with the photo in the mattress will be missed as Sorel puts the photo of Bonaparte on the closet. The scene where Madame de Renal first showed affection for Julien was also missed. And also we have not seen Valno, which has already been mentioned more than once in the book. So that's it. The scene in the garden where the brothers beat Julien was cut.

Sorel quickly got used to the film. The director showed us in two minutes the relationship between Sorel, Madame de Renal and the children. It turns out that one phrase can describe how children love a tutor. The director also considered it necessary to mention the case when Louise wanted to thank Sorel with money. Perhaps by this the director wanted to once again show Julien's character when he refused money with pride and dignity. The director also showed the character of Mr. de Renal, who expressed his point of view regarding the money offered by his wife. This scene briefly described their somewhat different views on life and on attitudes towards people. She also showed that Madame de Renal is more sensitive to Sorel than to the usual governor. It is also in this scene from the lips of our husband that we learn about the alleged mutual love of Sorel and the maid, who recently received an inheritance and is ready to share it with her future husband Julien. In Stendhal's novel, the servant herself admitted this.

Further, the novel was cut again. And we do not have time to meet Madame de Renal's friend. With whom they spent a lot of time talking. And the scene that we see is turned upside down very much. According to the novel, the first touch of Madame's hand occurs during an evening conversation in the garden, where Miss Derville, Madame de Renal and Sorel were sitting at the table. In the film, Miss Derville was replaced by de Renal himself. And we also see a servant who, from Sorel's room, watches everything that happens in the park. And it was she who, upset by what she saw, caused Sorel to enter Madame de Renal's bedroom. Or rather, the fact that Sorel saw that someone was rummaging through his things and decided that it was de Renal, he went to evil to seduce his wife. The bedroom scene was also cut and twisted. According to Sorel's novel, not a single night came. And there was no scene where de Renal bursts into the room of his wife, and she, having plucked up the courage, coolly covers Julien, opens the door and talks to her husband sweetly, after which she herself is surprised at her cold hypocrisy. Also, according to the novel, Sorel's refusal to marry Eliza looked somewhat different. To be more precise, there was no direct refusal either in the novel or in the film adaptation. But in the novel, Sorel communicated with the priest, to whom he explained that he did not love Eliza. And also the girl herself informed Madame de Renal about Sorel's refusal, which made the sick woman happy. In the film, Eliza reports this news while combing Madame's hair in the presence of de Renal, with an obvious reproach and complaint against Madame de Renal. Which at that time de Renal did not understand. And we certainly will not find in Stendhal's novel how the maid makes a mark at Louise's door. In order to find out if someone opened the door at night. The performance of the actress in the role of Madame de Renal is magnificent. Despite the fact that all the characters look older than in my imagination, they all fulfill their roles with dignity. Julien's cold prudence, Louise's ardor and dedication. And as the director showed the scene of kissing Julien's feet, this is not in the novel itself. But in an instant all feelings are expressed and everything that Louise is ready for for the sake of her servant - the tutor. Also, the servant Eliza looks like an offended, thrown and angry girl.

The scene is mesmerizing when Louise sneaks to Julien's door without waiting for him to come to her. The face of the actress expresses such a mass of feelings. Well-chosen music. And the way she returns to his room again. How they stand and listen to each other through the door. How they declare their love, how they both return to Madame de Renal's room at night. We do not find such a scene in Stendhal's book. Just as we do not see Julien's periodic disappointments in his love for Madame. In the novel, we are constantly confronted with his jumping thoughts, with how he contradicts himself. For example, how he became disillusioned with Louise when she did not appreciate his predilections for Napoleon. I turned to this moment, since it was the only one involved in the film, but it is so plain that the viewer who has not read the novel will not notice it. But the director did not miss the opportunity to show Julien galloping in the guard of honor. But he did this clearly in order to spread the rumor about the relationship between Sorel and Madame de Renal.

The scene with the bishop was also missed. Which Julien admired so much. But the scene of the service, which, while reading the novel, I did not attach any importance to, was performed very beautifully in the film. Catchy outfits, the splendor of the hall. Julien arriving again in doubt. His internal disputes have resumed. And he already doubted the greatness of the army, he believed that everyone, like the king, bows to the clergy. Feelings overwhelm him again. He presents the king and beautiful girls at his feet.

What a pity, but the illness of the youngest son has been missed. But Stendhal showed Louise's piety so perfectly during this difficult period for her. THEN when she lost self-control and was already ready to confess everything to her husband.

The director, however, immediately after the arrival of the bishop took us to the scenes with anonymous letters. Here we also see only the essence, but alterations and differences from the novel. The director tried to convey the essence, but not the details. For example, Louise's careless act was removed when she passed a note in a book through a servant. In the film, she herself came and gave the text of her anonymous letter to Julien and orally said what to do. After the anonymous letter allegedly entrusted by Madame de Renal, a dialogue follows between husband and wife, where Louise demands to excommunicate Julien from their home. I repeat once again, but the acting is great. They managed to convey everything that the director wanted to express.

But further, with the shifting of events, we see the sick son and the grief that was brought to the house with the illness. Such a great play at the sickbed. Madame de Renal's remorse and the ardor with which she wanted to confess all her sins to her husband. It is impossible to meet another person who believed in God more. And how Julien, with his youth and pride, is good at the moment of delight with Louise. Yes, all the same, the screenwriter of the film could not cut out this wonderful scene.

Further, such plots of the novel were cut out as: Julien carrying a dozen spruce boards, showing how a priest should act. We never met in Valno and his family, which are mentioned more than once in the novel. The scene, which once again showed the love of children for their tutor, was also missed, although it was followed by another, no less interesting. The arrival of Jerome, who is unlikely to appear in the film, has already been deleted here again.

In a word, two large chapters were deleted from the film. And only the end of XXIII was changed. In the end, you cannot deprive the viewer of the scene of the farewell of the lovers. But the script did not go deeper and showed three-day expectations. Immediately after his son's illness, he sent Julien on the road. By showing the farewell that happened later according to the novel.

And here is Julien in the big city in an attractive cafe. The scene in the cafe is very abbreviated, but the point is shown. Julien was pleased with himself.

It is very difficult to assume from the film that the children of the poor study at the seminary. There was a feeling that not quite healthy young people study there. Who laugh at the right things and misunderstand people who are not like them. Julien, of course, had a very hard time, he constantly made a hypocrite. He was a hypocrite, not knowing how to do it. And this inability to further emphasize their difference from them.

The film did not overlook Julien's good relationship with the director of the seminary. The fact that the director was the only one who worried about the fate of Julien. During the last service, an interesting scene took place, which was not in the novel itself. Whose idea it was will remain a mystery, but I really liked it. When Abbot Pyrrard instructed his disciples, he explained to them that someone would become a bishop, someone would serve for the good of people, someone would earn money, but not everyone would remain in this world. Someone will soon be gone and our ranks will be empty. During his speech, he blew out the candles selectively. And Julien thought of the penultimate one on the left. And it was put out by the abbot. This scene ended with Perrard's words "God forgive them" and a loud organ playing. But such a touching scene is replaced by another less attractive and more pretentious one. We find ourselves in a Parisian shoe store. The screenwriter deprives us not only of the procession and preparation for it, not only of Julien's first promotion, but also of meeting with Madame de Renal in church. And Julien's arrival at her house, for his ambition could not remain satisfied without being convinced of her former love for him. The director immediately takes us to Paris, to a store that simply was not in the novel. And offended, offended, he challenges the man who threw his boots to a duel. There was a duel in Stendhal's novel, but the beginning of it was laid in a coffee shop, where Julien went, hiding from the rain, he could not stand the look that the young man looked at him and challenged him to a duel. Having met the lieutenant of the 96th regiment, he asked him to be a second between him and the Marquis de Beauvoisy.

Thus, the scenes in the novel were changed. It was only after the shoe store that the acquaintance with de La Moli followed. Where what was said in the novel itself is embodied in sufficient detail on the screen. But after getting to know the house of de La Molay, he went to the planned duel. Where there really was a mistake, or rather the coachman, taking the business card from the owner, pretended to be him. But the duel took place, as it was in the novel.

In just a few scenes, we see Matilda enchanted by Julien. Which for three weeks sees in him something English and nothing from the carpenter's son.

The head of horseback riding, gout attack was cut. We didn't see either. But maybe we'll see her later, the writer likes to swap them. And also all of Julien's works were reduced to a minimum in one scene. When the Marquis thanked Sorel by handing him an order of protection. And the jealousy of Norel, who for many years could not receive such an honor.

And so the director plunges us into the atmosphere of the past, where there are many beautiful ladies and gentlemen. Matilda was once again struck by Julien's wit, his speeches. And he was still cold to her. In the morning they met in the library. A slight difference between the novel and the film adaptation is that in the film, upon entering Matilda, Julien did not think about Mirabeau, Danton, but was going to leave. According to the novel, he was not yet soon to leave Paris. They got to know each other even more while walking in the park, and Mademoiselle de La Mol handed a note with an invitation to come to her personally into Julien's hands. In the film, everything happens very quickly and the dialogue between them and the story of the guillotination of Boniface de La Mola, which in the novel was told by the academician, and in the film by the marquis. And here, according to the film adaptation, Matilda leaves a note to Julien. What follows is all of Julien's doubts about which we read in the novel. All the same, the director conveys important points very well.

And now the night comes. The writer did not miss a single moment. He showed Matilda's eerie impatience and Julien's doubts. And here he is in her room. The director did not miss the opportunity to show such a detail as a pistol in Julien's pocket. And the rope prepared by the girl. As he descended the stairs, Julien felt himself ambushed and began to check to see if there was anyone in the room.

And now comes the height of new feelings of new love. It wasn't long. Matilda's feelings have changed, but from the film the reason is not clear. On the same morning, the girl hated herself for her weakness and showed contempt for Julien, who, having ripped off the sword from the wall, almost pierced her beloved. The screenwriter did not forget about this scene, but it was not depicted in such detail as described in the novel, although it would be plausible enough and did not even touch the one who had not read the novel.

As soon as I decided that the cutting of chapters from the novel was over, the scriptwriter immediately dissuaded me. Again, we skip chapters such as, The Comic Opera, The Japanese Vase, The Secret Message, Discussion, The Clergy, Forests, Freedom, Strasbourg, The Behavior of Virtue, Spiritually Moral Love, Best Church Offices, Manon, Lesko, Boredom. All of the above chapters have been deleted. There was no secret council of noble people, no trip to Strasbourg, where Julien met an old friend, who suggested how to return Matilda's love. There were no letters or flirting with Mrs. Fervak. The screenwriter crossed out everything, leaving only the love of Matilda and Julien. In the film adaptation, we do not see the torment that Julien first endured, and after Matilda. The pain that our hero inflicted on the girl. But we understand enough their attraction to each other. And while playing the piano, Matilda sees Julien climbing the stairs. They again spend the night and in the morning, Matilda talks about her belonging to Julien, as the gentleman cuts off a strand of hair as proof. In the novel itself, all this is also present, but with a difference in the sequence of events and their accuracy. But the story is moving faster and faster towards its tragic denouement. And now the Marquis knows about what happened, he is angry, he is furious, he expresses everything he thinks about Sorel. But according to the novel, he initially received a letter from his daughter, in which she confessed her love for Sorel. Further events are also developing rapidly. And the screenwriter found a very interesting way to show the writing of the letter from Madame de Renal. The novel does not emphasize the writing of the letter itself. And in the film we see Louise writing these terrible words under the dictation of the priest, which will lead to the verdict.

While Sorel himself enthusiastically admires his lieutenant's uniform. The screenwriter cut the costs of the film and did not show the scene where the fifteenth regiment of hussars lined up on the Strasbourg parade ground. He simply re-expressed the narcissism of Sorel who was proud of what he had done. According to the film, Matilda rushed to him with a letter from de Renal. In the novel, the footman initially gave Julien a letter from Matilda, in which she asked him to come as soon as possible. The scriptwriter portrayed the scene in the church very beautifully, he did not depict the preludes of Julien buying pistols. We can still hear the text of the letter and see Louise's pensive, tired face. Sorel enters and admires Louise for a while. But without thinking and shoots at the woman. Louise falls, Sorel barely understanding. What it does is going to leave. But the cops don't grab him like in the novel. And just a second pause, Sorel's calm, pensive face and again we find ourselves in court. In the hall where it all began, to be more precise, the film began. And now the judges enter, the session is resumed. Sorel is sentenced to death. But further events do not develop at all like in the novel. We see the carriage de Renal and Louise leaving her family in order to go to Sorel. There she meets Abbot Shelan, who persuaded Julien to repent. In Stendhal's novel itself, the old clergyman barely understood what he was saying, and even more so he was not in such good health. Matilda, who in every way tried to influence the course of events in court, never appeared. And we still do not know that she is expecting a child from Julien.

How she tried to persuade her lover to apply for epilation. And how Sorel was cold to her, and she, realizing that he loved another, continued to take care of him. We never saw Fouquet's glorious, faithful friend. All the human mob was not shown, and everything that happened outside. And Julien's calmness was expressed not in the numerous scenes that the author showed, but in the joy of the thought that he and Louise would spend a whole month together. This is how the screenwriter showed us their mutual love, completely excluding Matilda, who, according to the novel, selflessly losing her dignity, was with Sorel. Who drew strength and superhuman courage in the memories of Boniface de La Molay and Marguerite of Navarre. After all, it was Matilda who arranged Sorel's funeral, because it was she who buried Julien's head. But as for Louise, here the screenwriter did not deviate from the novel, albeit without showing it, but simply as an epilogue at the end that Louise died three days after Julien's death, embracing the children. Unfortunately, the scriptwriter also ruled out morality. But despite all the cutouts, the ending was very beautiful. Julien, against the background of towers and a clear sky, going to his death with a calm expression on his face, all this accompanied by touching singing. Probably many women shed quite a few tears like the jury in the courtroom at the end of the film.

Conclusion
Once again, we were convinced of the differences that exist between the original work and its adaptation. In my opinion, Stendhal himself showed us not only crazy love, but also the characters of people, their principles, and their fears. He, like a true psychologist, approached his work, and the screenwriters Orani and Bost put more emphasis on love. For her sake, they struck out from Romano many heroes, many events and many talents of Julien Sorel. We have never seen his gift to memorize large texts. We also see our hero not as narcissistic as in Stendhal. Which sometimes reveals to us Julien from such a side, when we are ready to simply hate him, when he causes in us a feeling of rejection. In the film adaptation, his qualities and thoughts are not so deeply expressed. Although there are no complaints about the actors. They played great. But if I correctly understand the task set by the scriptwriters to show love, which different status in society is not a hindrance, then they have perfectly fulfilled their task. I would also like to note that they minimized the cost of filming this film. The most expensive scenes were either removed. Or moved to a simpler environment. For any producer, these writers are a godsend. Probably there is not a single feature film that will accurately convey the works of the author, but there are films that you want to watch again and again. And this creation, in spite of the old shooting, refers to just such a film adaptation, the viewing of which will not bore you.

Julien Sorel and other characters in the novel "Red and Black"

In his novel Red and Black, Stendhal created an objective picture of the life of his contemporary society. “True, bitter truth,” he says in the epigraph to the first part of the work. And he adheres to this bitter truth to the last pages. Fair anger, decisive criticism, caustic satire of the author are directed against the tyranny of state power, religion, privileges. It is to this goal that the entire system of images created by the writer is subordinated. These are the inhabitants of the province: the nobility, the bourgeoisie, the clergy, the philistine, the magistrate and representatives of the highest aristocracy.

The novel is actually divided into three parts, each describing the life and customs of individual class groups: Verrière is a fictional provincial town, Besançon with his seminary, and Paris is the personification of high society. The intensity of action increases more and more as events move from the provinces to Besançon and Paris, but the same values ​​prevail everywhere - self-interest and money. The main characters appear before us: de Renal - an aristocrat who married for a dowry, trying to withstand the competition of aggressive bourgeois. He started, like them, a factory, but at the end of the novel he has to give in to the struggle, because Valno becomes the mayor of the city, who “collected the most trash from every craft” and suggested to them: “Let's reign together”. The author shows through this image that it is gentlemen like Valno who become in his time a social and political force. And the Marquis de La Mole accepts this ignorant, provincial swindler, hoping for his help during the elections. Stendhal also reveals the main trends in the development of a society in which the aristocracy and clergy strive with all their might to retain power. To do this, they start a conspiracy, the essence of which the writer reveals in an ironic epigraph: “The basic law for everything that exists is to survive, to survive. You are sowing tares and hoping to raise ears of grain. " The characteristics that Julien Sorel gives them are eloquent: one of them is "completely absorbed in his digestion", the other is full of "the anger of a wild boar", the third looks like a "clockwork doll" ... They are all ordinary figures who, according to Julien, " they are afraid that he would laugh at them ”.

Criticizing and ridiculing the political aspirations of the bourgeoisie, the author directs his irony to the clergy as well. Answering his question about what is the meaning of the activity of a clergyman, Julien comes to the conclusion that this meaning is to "sell places in paradise to believers." Stendhal openly calls the existence in the seminary disgusting, where they educate the future spiritual mentors of the people, since hypocrisy reigns there, thought is combined with crime there. It is no accident that Abbot Pirard calls the clergy "lackeys necessary for the salvation of the soul." Without hiding the slightest detail of the life of a society where "the oppression of moral suffocation" reigns and where "the slightest living thought seems rude", the author draws a system of social relations in France at the beginning of the 19th century. And this chronicle does not arouse sympathy at all.

Of course, Stendhal does not deny his heroes the ability to think, suffer, obey not only profit. He also shows us living people, such as Fouquet, who lives far from the city, the Marquis de La Mole, who is able to see the identity of the poor secretary, the Abbot Pirard, whom even his friends did not believe that he did not steal as the rector of the seminary, Matilda, Madame de Renal and, above all, Julien Sorel himself. The images of Madame de Renal and Matilda play a very important role in the development of events. Therefore, the author pays special attention to them, showing how society and the environment have broken their souls. Madame de Renal is sincere, honest, a little simple-minded and naive. But the environment in which she exists makes her lie too. She remains the wife of de Renal, whom she despises, realizing that the value for him is not herself, but her money. Proud and proud Matilda, convinced of her superiority over people only because she is the daughter of the Marquis, is the complete opposite of Madame de Renal. She is often cruel and ruthless in her judgments about people and offends the plebeian Julien, forcing him to invent cunning means to subjugate her. But there is something that brings her closer to the first heroine - Matilda, although rationally, and not instinctively, also strives for a sincere feeling of love.

Thus, the pictures of social life created by Stendhal gradually lead us to the idea of ​​how "sad" the described time is, and how small and insignificant under the influence of this time people become, even those who are naturally endowed with not so bad qualities.

Bibliography

For the preparation of this work were used materials from the site slovo.ws/

Portrait of Stendhal

Stendhal(real name - Henri Bayle, 1783-1842) belonged to the first stage of French realism. His work is straightforward connecting link between the Enlightenment and 19th century realism... Henri Bayle signed his creations "Stendhal". The biography of this writer, like his works, is of interest to many today. However, not everyone knows that his real name was Marie Henri Bayle. The writer sometimes tried to appropriate the title of nobility for himself, sometimes signing himself as "Henri de Beyle". Probably would have done this and Julien Sorel, the famous hero of his novel.

The novel "Red and Black"

His most famous work is the novel "Red and black" written in 1830. In the French newspapers of the twenties, scandalous lawsuits of young people of low birth who tried to enter society by marrying rich brides were widely covered (the story of a peasant Antoine Berthe). Although in his hero Stendhal, of course, does not paint portraits of these unfortunate young people, the plot of the novel typifies the events of reality.

The title of the novel is ambiguous character:

A word cloud that reflects the main issues raised in the novel, as well as key research topics

1. revolution(red) and color cassock abbots(black color)

2.it the crime and punishment(attempt and execution)

3.as a characteristic of two possible paths of life, red- this is a flame of passions, shed blood, one's own and someone else's, splashes of blood on the scaffold;

black- a color repulsive and ominous, everything that can plunge a person into routine, into servility, vanity, ambition.

4.it two heroines, two different loves: Madame De'Renal (red is life; true love is 3 days after Julien's execution died) and Matilda (black is the love of death; for her the main thing is to play death: and she organizes the funeral of Julien's head, where she reminds herself Margarita Navarskaya; believes that only a death sentence makes a person be himself)

5.the main character throughout the novel is faced with a choice between church career(the clothes of the clerics were black) and military service(the officer's uniform was red), which is why Stendhal called the novel "Red and Black".

There are three main locations in "Red and Black"- the house of M. de Renal, the Besançon seminary and the Parisian mansion of the Marquis de la Mol. This is the circle of the provincial bourgeoisie, the Catholic Church and the clan nobility - the three social forces that made up the backbone of the Restoration regime. After reading the article, you can also take the test on your knowledge of the novel "Red and Black" and test your knowledge!

Writing

Julien is the son of a carpenter. His idol is Napoleon and he regrets that he was born too late, already during the Restoration. Julien Sorel is gifted with intelligence, thirst for knowledge, and various abilities. In a small town, he suffers from the fact that he does not realize himself. His father and brothers see him as a bum. The priest recommends Julien as governor to the local rich man, de Renal, for whom it is important to prove superiority over others.

Madame de Renal, the author puts it very highly. And at the same time she is very unhappy, deprived of life. She is beautiful, not stupid. She got married early, not knowing the life of the heart. She is a sincere believer and also a caring mother. Julien's appearance turns out to be a sharp turn in her life. She is present at the lessons. For Julien, the meeting with Madame de Renal is a success, regarded by his pride as a confirmation of his merits. He lets her love him.

The maid informs the confessor of the connection between de Renal and Julien. Julien leaves the town and goes to the Seminary Bezons. This is the second step. There he is put in place. Julien masters the science of hypocrisy. His way up, which is going successfully, is moving forward. Significant coup - graduation from seminary. The head of the Seminary recommends him to the Marquis de Lamo (Legitimist, that is, for the king). The house is secular. The son serves in the regiment. Daughter Matilda is wayward, headstrong. Julien meets the Russian prince and receives notes from him. Julien becomes famous in a short time. Matilda decides to subdue Julien. Invites him on a date to her room. Julien becomes Matilda's fiancé.

Rumors reach his city. Madame de Renal is writing a letter about his past. Julien reads the letter and flies to the town. He shoots Madame de Renal in the church. He is immediately arrested. Julien becomes a victim of public relations. The ending is very succinct. The execution is not described. Sincere de Renal and selfish Matilda. Matilda arrives at the prison to kidnap Julien. She fails to do this. Then, like Margot, she redeems the head of her beloved and buries it with her own hands. The author reports that all the difficulties that arose in the fate of Matilda have been resolved. She gave birth in the distance. De Renal also came to the prison. She asked Julien's forgiveness. Julien realizes that she is the only one who is dear to him and worthy of his love. For her, everything ceases to exist. In love, she finds inner freedom. Julien asks her to give up the thought of suicide. She keeps her word.

Name. The name is interpreted in different ways:

1) red - revolution, transformation, black - political reaction.

2) red - life and love, black - death.

3) red and black are the colors of the roulette wheel, and the roulette wheel is a symbol of chance: win / loss.

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