Henri-Marie Beyle

Marie-Henri Beyle
Marie-Henri Beyle
	Marie-Henri Beyle
Lahir	23 Januari 1783; Grenoble, Prancis
Meninggal	23 Maret 1842 (umur 59); Paris, Prancis
Pekerjaan	Penulis
Aliran sastra	Realisme, Romantisisme

Henri-Marie Beyle (23 Januari 1783 – 23 Maret 1842), dikenal dengan nama pena-nya Stendhal, adalah seorang penulis Prancis abad ke-19. Dikenal karena analisisnya mengenai psikologi karakternya, ia dianggap sebagai salah satu orang pertama yang mempraktikkan realisme dalam dua novelnya Le Rouge et le Noir (The Red and the Black, 1830) dan La Chartreuse de Parme (The Charterhouse of Parma, 1839).

Karya

Novel

Armance (1827)
Le Rouge et le Noir (variously translated as Scarlet and Black, Red and Black, The Red and the Black, 1830)
La Chartreuse de Parme (1839) (The Charterhouse of Parma)
Lucien Leuwen (1835, unfinished, published 1894)
Lamiel (1839-42, unfinished, published 1889)

Novellas

The Pink and the Green (1837, unfinished)
Mina de Vanghel (1830, later published in La Revue des Deux Mondes)
Vittoria Accoramboni
Italian Chroniques, 1837 — 1839
- The Cenci (Les Cenci)
- The Duchess of Palliano (La Duchesse de Palliano)
- The Abbess of Castro (L'Abbesse de Castro, 1832)
- Vanina Vanini

Biografi

A Life of Napoleon (1817-1818, published 1929)

Otobiografi

Stendhal's brief memoir, Souvenirs d'Égotisme (Memoirs of an Egotist) was published posthumously in 1892. Also published was a more extended autobiographical work, thinly disguised as the Life of Henry Brulard.

The Life of Henry Brulard (1835-1836, published 1890)

Esai

De L'Amour (1822) (On Love)
Souvenirs d'Égotisme (Memoirs of an Egotist, published in 1892)

Referensi

^ [1]"Passion was his raison d'être, and that surely is the religion of all romantics-- exaltation through the passions... Stendhal was a product of the Napoleonic age, when the French saw themselves as world conquerors, and his attitude was such. But putting that aside one must admit that La Chartreuse is a good book in the romantic tradition... few men have conveyed passion with such intensity as he has... [examples] His description of their emotional frenzy is magnificent... Stendhal never became sentimental and soft the way Thackeray did, especially over women; in his greatest extravagance he remains hard and glittering... but Thackeray has something which Stendhal did not have: humour."

[2] Diarsipkan 2012-06-22 di Wayback Machine."Passion was his raison d'être, and that surely is the religion of all romantics-- exaltation through the passions... Stendhal was a product of the Napoleonic age, when the French saw themselves as world conquerors, and his attitude was such. But putting that aside one must admit that La Chartreuse is a good book in the romantic tradition... few men have conveyed passion with such intensity as he has... [examples] His description of their emotional frenzy is magnificent... Stendhal never became sentimental and soft the way Thackeray did, especially over women; in his greatest extravagance he remains hard and glittering... but Thackeray has something which Stendhal did not have: humour."

Lihat pula

Catatan

Ann Jefferson Reading Realism in Stendhal (Cambridge Studies in French), Cambridge, UK: Cambridge University Press, 1988.

Pranala luar

(Prancis) Audio Book (mp3) of Diarsipkan 2006-01-05 di Wayback Machine. the red and the black incipit
French site on Stendhal
English site on Stendhal
Karya Stendhal di Project Gutenberg
The Red and the Black Diarsipkan 2007-09-28 di Wayback Machine. English translation
Stendhal's works: text, concordances and frequency list
Centro Stendhaliano di Milano Diarsipkan 2021-12-21 di Wayback Machine. Digital version of Stendhal's shoulder-notes on his own books.

[1] [1]"Passion was his raison d'être, and that surely is the religion of all romantics-- exaltation through the passions... Stendhal was a product of the Napoleonic age, when the French saw themselves as world conquerors, and his attitude was such. But putting that aside one must admit that La Chartreuse is a good book in the romantic tradition... few men have conveyed passion with such intensity as he has... [examples] His description of their emotional frenzy is magnificent... Stendhal never became sentimental and soft the way Thackeray did, especially over women; in his greatest extravagance he remains hard and glittering... but Thackeray has something which Stendhal did not have: humour."