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Email Address Subscribe. Thank you [email] for signing up. At first Julien finds her unattractive, but his interest is piqued by her attentions and the admiration she inspires in others; twice, she seduces and rejects him, leaving him in a miasma of despair, self-doubt, and happiness for having won her over her aristocratic suitors.

Only during his secret mission does he learn the key to winning her affections: a cynical jeu d'amour game of love taught to him by Prince Korasoff, a Russian man-of-the-world.

At great emotional cost, Julien feigns indifference to Mathilde, provoking her jealousy with a sheaf of love-letters meant to woo Madame de Fervaques, a widow in the social circle of the de la Mole family.

Consequently, Mathilde sincerely falls in love with Julien, eventually revealing to him that she carries his child; nevertheless, while he is on diplomatic mission in England, she becomes officially engaged to Monsieur de Croisenois, an amiable and wealthy young noble, heir to a duchy.

Learning of Julien's liaison with Mathilde, the Marquis de la Mole is angered, but he relents before her determination and his affection for Julien and bestows upon Julien an income-producing property attached to an aristocratic title as well as a military commission in the army.

Yet Sorel is determined to die, for the materialistic society of Restoration France has no place for a low-born man, whatever his intellect or sensibilities.

Meanwhile, the presumptive duke , Monsieur de Croisenois, one of the fortunate few of Bourbon France, is killed in a duel over a slur upon the honour of Mathilde de la Mole.

Her undiminished love for Julien, his imperiously intellectual nature and romantic exhibitionism render Mathilde's prison visits to him a duty to endure and little more.

After he is guillotined, Mathilde de la Mole reenacts the cherished 16th-century French tale of Queen Margot , who visited her dead lover, Joseph Boniface de La Mole , to kiss the forehead of his severed head.

Mathilde then erects a shrine at Julien's tomb in the Italian fashion. Le Rouge et le Noir is set in the latter years of the Bourbon Restoration —30 and the days of the July Revolution that established the Kingdom of the French — Julien Sorel's worldly ambitions are motivated by the emotional tensions between his idealistic Republicanism and his nostalgic allegiance to Napoleon , and the realistic politics of counter-revolutionary conspiracy by Jesuit -supported legitimists , notably the Marquis de la Mole, whom Julien serves for personal gain.

Presuming a knowledgeable reader, Stendhal only alludes to the historical background of Le Rouge et le Noir —yet did subtitle the novel Chronique de "Chronicle of ".

Stendhal repeatedly questions the possibility and the desirability of "sincerity," because most of the characters, especially Julien Sorel, are acutely aware of having to play a role to gain social approval.

In that 19th-century context, the word "hypocrisy" denoted the affectation of high religious sentiment; in The Red and the Black it connotes the contradiction between thinking and feeling.

Girard's proposition is that a person's desire for another is always mediated by a third party. This triangulation thus accounts for the perversity of the Mathilde—Julien relationship, which is most evident when Julien begins courting the widow Mme de Fervaques to pique Mathilde's jealousy, and also accounts for Julien's fascination with and membership in the high society he simultaneously desires and despises.

To help achieve a literary effect, Stendhal wrote most of the epigraphs —literary, poetic, historic quotations—that he attributed to others.

In Stendhal's time, prose novels included dialogue and omniscient narrator descriptions; Stendhal's great contribution to literary technique was the describing of the psychologies feelings, thoughts, and interior monologues of the characters.

As a result, he is considered the creator of the psychological novel. In Jean-Paul Sartre's play Les mains sales , the protagonist Hugo Barine suggests pseudonyms for himself, including "Julien Sorel", whom he resembles.

In the afterword to her novel, them , Joyce Carol Oates wrote that she had originally entitled the manuscript Love and Money as a nod to classic 19th-century novels, among them, The Red and the Black , "whose class-conscious hero Julien Sorel is less idealistic, greedier, and crueler than Jules Wendell but is clearly his spiritual kinsman.

A passage describing Julien Sorel's sexual indifference is deployed as the epigraph to Paul Schrader's screenplay of American Gigolo , whose protagonist is also named Julien: "The idea of a duty to be performed, and the fear of making himself ridiculous if he failed to perform it, immediately removed all pleasure from his heart.

Scott Moncrieff's versions have not really been superseded. Adams for the Norton Critical Editions series is also highly regarded; it "is more colloquial; his edition includes an informative section on backgrounds and sources, and excerpts from critical studies.

The translation by Burton Raffel for the Modern Library edition generally earned positive reviews, with Salon.

His version has all but replaced the decorous text produced in the s by the Scottish-born writer-translator C. From Wikipedia, the free encyclopedia.

French novel by Stendhal. For other uses, see The Red and the Black disambiguation. Dewey Decimal. Novels portal. Enciclopedia Garzanti della letteratura in Italian.

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