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The Charterhouse of Parma (The classic romantic thriller!), by Stendhal, Marie-Henri Beyle, C. K. Scott-Moncrieff
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Marie-Henri Beyle (January 23, 1783 – March 23, 1842), better known by his penname Stendhal, was a 19th-century French writer. Known for his acute analysis of his characters' psychology, he is considered one of the earliest and foremost practitioners of realism.
The Charterhouse of Parma is often cited as an early example of realism, a stark contrast to the Romantic style popular while Stendhal was writing. It is considered by many authors to be a truly seminal work; Honoré de Balzac considered it the most significant novel of his time, André Gide thought it the greatest French novel ever.
The Charterhouse of Parma tells the story of the young Italian noble Fabrizio del Dongo and his misadventures during the age of Napoleon. The events center in the town of Parma and a castle on Lake Como, both in Italy, but other sites across Europe are also featured, including the Battle of Waterloo, at which Fabrizio fights for Napoleon.
Fabrizio's aunt, the femme fatale Gina, Duchess of Sanseverina, and her innamorato, the scheming Prime Minister, Count Mosca, concoct a plot to advance Fabrizio's career in the court of Parma. Gina is subject to the unwelcome advances of the obnoxious Prince Ranuce-Erneste IV, which she is engaged in repelling. It could easily be argued that Gina and Count Mosca are the true heroes of the novel.
Fabrizio is arrested for murder and imprisoned in the Farnese tower, from which he escapes with a rope; he also has a difficult love affair with his jailer's daughter, Clelia.
Ostensibly a romantic thriller, interwoven with intrigue and military episodes, the novel also features Stendhal's acute grasp of human nature and psychology.
A well-written, thrilling suspense story--a must-have for classic literature fans!
- Sales Rank: #164655 in eBooks
- Published on: 2009-11-14
- Released on: 2009-11-14
- Format: Kindle eBook
Amazon.com Review
Officer, diplomat, spy, journalist, and intermittent genius, Marie Henri Beyle employed more than 200 aliases in the course of his crowded career. His most famous moniker, however, was Stendhal, which he affixed to his greatest work, The Charterhouse of Parma. The author spent a mere seven weeks cranking out this marvel in 1838, setting the fictional equivalent of a land-speed record. To be honest, there are occasional signs of haste, during which he clearly bypassed le mot juste in favor of narrative zing. So what? Stendhal at his sloppiest is still wittier, and wiser about human behavior, than just about any writer you could name. No wonder so meticulous a stylist as Paul Valéry was happy to forgive his sins against French grammar: "We should never be finished with Stendhal. I can think of no greater praise than that."
The plot of The Charterhouse of Parma suggests a run-of-the-mill potboiler, complete with court intrigue, military derring-do, and more romance than you can shake a saber at. But Stendhal had an amazing, pre-Freudian grasp of psychology (at least the Gallic variant). More than most of his contemporaries, he understood the incessant jostling of love, sex, fear, and ambition, not to mention our endless capacity for self-deception. No wonder his hero, Fabrizio de Dongo, seems to know everything and nothing about himself. Even under fire at the Battle of Waterloo, the young Fabrizio has a tendency to lose himself in Napoleonic reverie: Suddenly everyone galloped off. A few moments later Fabrizio saw, twenty paces ahead, a ploughed field that seemed to be strangely in motion; the furrows were filled with water, and the wet ground that formed their crests was exploding into tiny black fragments flung three or four feet into the air. Fabrizio noticed this odd effect as he passed; then his mind returned to daydreams of the Marshal's glory. He heard a sharp cry beside him: two hussars had fallen, riddled by bullets; and when he turned to look at them, they were already twenty paces behind the escort. The quote above, a famous one, captures something of Stendhal's headlong style. Until now, most English-speaking readers have experienced it via C.K. Scott-Moncrieff's superb 1925 translation. But now Richard Howard has modernized his predecessor's period touches, streamlined some of the fussier locutions, and generally given Stendhal his high-velocity due. The result is a timely version of a timeless masterpiece, which shouldn't need to be updated again until, oh, 2050. Crammed with life, lust, and verbal fireworks, The Charterhouse of Parma demonstrates the real truth of its creator's self-composed epitaph: "He lived. He wrote. He loved." --James Marcus
Review
"The Charterhouse of Parma has never sparkled in English with such radiance as it does in Richard Howard's new translation."
--Edmund White
"[A] superb new translation."
--Bernard Knox, The New York Review of Books
"An epic tale of war, love, sex, politics, and religion...an action-packed narrative."
--The New Yorker
From the Trade Paperback edition.
Language Notes
Text: English (translation)
Original Language: French
Most helpful customer reviews
112 of 115 people found the following review helpful.
Bliss
By Rafi Zabor
I'm a longtime fan of this wonderful novel which until recently almost no one seemed to read. There is nothing like it in the whole of literature, and the good reader is exhilirated and refreshed by the blast of Stendhal's sustained burst of inspiration: done in six and a half weeks and he lopped off the last 150 pages at the publisher's request (and realized his mistake but couldn't find the sheets: keep looking, folks). New readers are advised to plow through the first 50 pages, which are just as good as the rest of the book but from which it is very difficult to catch the book's unique tone; the great set-piece of the Battle of Waterloo will set you straight. I'm not sure that the vaunted new Richard Howard translation is better than the reliable old waddle of the Penguin, but that might just be my hankering for a familiar flavor. But what a book! Bliss to read it, and the Duchessa Sanseverina might well be the most magnificent woman in the whole of literature; she's certainly the only woman of such stature in 19th century fiction who doesn't have to pay the price for it by a suicide in the last chapter. Much of the book's inimitable energy derives from the enjambment of a whole range of incompatibles: a story out of renaissance Italy set in post-Napoleonic times; characters simultaneously seen from the perspective of great worldly experience and that of an enthusiastic adolescence conceiving them as larger than life (Mosca and the Duchessa primarily, but also demi-villains like the Prince and the hilarious Rassi); and so on. Fabrizio is a dashing cipher, is occasionally idiotic, the very archetype of impassioned inexperience. All right, Clelia Conti is irredeemably dull in a book suffused by the Duchessa's nearly superhuman radiance, but her stint as the bird-woman of the Farnese Tower raises to the pitch of inspired looniness Stendhal's sense of the world as a place in which all essential thought and emotion are sentenced to a fugitive life and an interminable series of codes and disguises. Fabrizio's terror of engaging with his auntie the Duchessa generates the subsequent phantasmagoria of prisons, intrigues, revolutions; and yet the tone is that of some crazed, inspired operetta, the characters speak in recitative, and the multiple ironies of character and tale serve not to distance us from life, as our modern irony usually does, but to embrace an astounding range of living contradictions. A last one such: notice that despite the utter scarcity of physical description, the sensory world comes to you crystal clear, vivid as can be. Major magic working here. The book is a source of joy for anyone who enters it whole, and nothing this side of Shakespeare is as bracing. I'm so glad it's being taken up and read again.
60 of 60 people found the following review helpful.
The "Charterhouse" Conundrum
By jcd
This will be mainly a note on translations--and a rather muddled one at that.
Years before I read "Charterhouse of Parma" I read "Red and Black," and one thing I noticed with that book, which I love, is what a tricky thing it is to translate Stendhal. I read the old Margaret Shaw translation in an old used Penguin--much maligned, just like her "Charterhouse" translation. But I found something odd: Shaw's very British failure to even try to approximate Stendhal's dash and offhand brio, his proto-modern style-of-no-style, actually worked well. Shaw concentrated only on faithfully conveying Stendhal's sense, and so in spite of her mid-twentieth century educated British English, Stendhal's authorial voice came through beautifully. She didn't get his literary style but she caught his thought on the wing, and in "Red & Black" that's what really matters.
But in "Charterhouse," literary style is really inseparable from the work. For this deconstructed medieval fairytale set among the reactionary, repressive, collapsing aristocracies of revolutionary Europe, Stendhal employed a self-consciously traditional tale-teller's style, yet laced through with his own ironic realism. That hybrid/clash of styles is crucial, since it embodies Stendhal's vision of a modern Europe groaningly aborning amid its contradictions: for example, say, in expressing the delicious mash-up of incongruities between that old staple of Euro-tales, the humble subject approaching the throne of the king for a favor, and the shockingly novel, psychologically and politically realistic use Stendhal makes of that received form here. This is the thrilling birth of modern literature, and the presentational voice really matters. And is really hard to get right, judging from the translation attempts I've tried.
So, to cases: I started out with Richard Howard, having heard his was a great new translation. (This was the late '90s.) Ouch! I found him unreadable. Howard was unwise enough to try what Shaw had foregone, a writerly re-creation in English. But he seems not to have gotten Stendhal at all, or was arrogant enough to think he could just re-write the book. Stay away! No Stendhal here. I put "Charterhouse" down for five years.
But I really wanted to read it, so I went back--to trusty Margaret Shaw. But I soon recognized what I noted above: what had worked for "Red and Black" wasn't working for "Charterhouse." Here there WAS a strong if elusive literary style, and Shaw wasn't getting it across.
So I picked up Margaret Mauldon's Oxford translation (I'd read her "Madame Bovary" and liked it, and was thinking Flaubert>Stendhal, that might work)--and that was more like it. Mauldon gets Stendhal, she's very close to his style. And yet...this was more the Stendhal of "Red and Black." Almost hard-boiled. Mauldon was missing a certain romantic warmth (very un-Stendhalian, I know, but there's a bittersweet sense of romance--ironic, satirized, yet almost desperate romance in "Charterhouse")...and so I actually found myself going back and forth between Shaw and Mauldon, sometimes able between them to catch what felt like the real Stendhal, often, not really. So finally, determined to get closer, during the last 100 pages (!), I tried the new Penguin Sturrock.
I think it's the best I found--more like Mauldon than Shaw, but less cool than Mauldon. Sturrock is sure-footed, and gets something fairly close, one feels, to Stendhal's tone and rhythms. Fairly close...
So, finally, I think I'd recommend Sturrock. But is it...the true "Charterhouse"? No, I don't think so. Maybe you should go to the library and check out several versions, if you can, and read twenty-five pages of each. See which reads right(est) for you.
"Charterhouse" is a fascinatingly elusive beast, and in the end the truth may be that it's just untranslatable. But well worth reading!
Learn French?
57 of 62 people found the following review helpful.
This novel should be regulated as an addictive substance
By Jeffrey R Galipeaux
Can we make a better book today than The Charterhouse of Parma? No. Stendhal breaks rules right and left and is not always graceful, but the completeness of his fictional universe is staggering. Here is a man who could tell sweeping, epic stories in terms of minute personal expression, and tell them with humane wit. Funnier than James', unburrdened by Tolstoy's morality, more penetrating than Balzac's, and more approachable than Dostoyevsky's, Stendhal's literary universe is one of the most pleasing and evocative for the modern reader, and The Charterhouse of Parma is his masterpiece. Read this book, now!
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