The problematics of the Stendhal's novel red and black. Psychological analysis in the novel by Frederic Stendhal "Red and Black
"Red and Black", analysis and content
Life and historical background novel.
lifeblood- a court case, the son of the blacksmith Antoine Berthe, who was executed for shooting his former mistress.
Historical basis – social life France during the Restoration
Roman conflict It is a clash between the individual and society.
Main character- the blacksmith's son Julien Sorel wants to get to the top of society and face a choice: to remain a romantic, honest, but poor man and live his whole life without fame, or, to adapt, flatter, use others to make a career at the cost of a lost soul. Throughout the novel, we seem to observe the line of his life.
Julien Sorel was of a very slight build, even somewhat effeminate. The main character traits were: silence, romance, pride, ambition. Relations in the family were bad, he was treated like a geek, because he was significantly different from his entire family, not only in appearance, but also in character. Sorel's main goal in life was to reach the cream of society under any circumstances, and it was for this that he began to study. He was engaged in what he taught in the house of D'Renal, he taught Latin and the Gospel.
In the house of D'Renal, Julien had a hard time. He was contemptuous of the owner of the house, because he considered him a rich, stupid, self-satisfied aristocrat. That is why Julien is constantly trying at the slightest opportunity to offend the pride of the owner and show his superiority over him. The young man is annoyed that Monsieur D'Renal treats him like a servant and Julien is trying to achieve the love of the mistress of the house, not so much for the sake of love itself, but for the sake of revenge and ambition. But he does not immediately realize that he himself fell in love with Madame D'Renal. Julien leaves D'Renal's house because of the conflict caused by his love for the mistress. The young man leaves for Besançon to enter the seminary there.
Julien Sorel was intelligent and diligent, but he did not immediately understand that reasoning and common sense are not welcome in the seminary. He needed to show only blind faith and a passion for money, but not knowledge. It was precisely because he was a thinking and logical person that Sorel differed from other seminarians, and it was precisely for this that his comrades did not like him.
Abbé Pirard, despite his life principles, was very attached to Julien, but tried not to show it, because it would only bring Sorel problems.
The priest's career did not correspond in any way to Julien's dreams or vocation. He dreamed of becoming a military man and performing heroic deeds, but at that time only aristocrats could get into the army, and in order to reach high society, Julien was forced to become a priest, although his being resisted this.
That Julien was honest man and an interesting conversationalist, amiable to everyone, but not allowing himself to be humiliated, helped him a lot to get settled in the house of Monsieur de La Mole. At first, de'La Mole's daughter Matilda treated Julien as a toy with which she wanted to dispel boredom. She was a very proud and narcissistic person, at first she simply mocked Julien. In the end, Sorel got tired of this and he began to respond to her in the same way. This pride and self-esteem did not leave Matilda indifferent - she fell in love without a memory.
The Marquis de La Mole did not really like that his daughter had a connection with a commoner, he was ashamed of the honor of his daughter, it was a shock to him.
Soon Matilda wanted to marry Julien, and this was not at all part of the Marquis's plans, but the girl was very persistent, and de' La Mole had to help Sorel get the title and title. When it became clear that Matilda had finally decided to marry Sorel, the Marquis de La Mole decided to inquire about him from his aristocratic acquaintances, because Julien was from ordinary people and little was known about him.
Madame De'Renal loved Julien very much, and naturally got angry that he left her and decided to marry another, she understood that this was a marriage of convenience, only to break out into aristocrats. Madame de'Renal realized that, like Mathilde, she was just a tool for Sorel in his journey to the top of society. She gave him very bad recommendations. She wrote to the marquis that Julien was using women, and thereby put an end to Sorel's life and his future.
Julien Sorel diligently tried to achieve his goal, but the woman who swore eternal love to him betrayed him, with one line crossed out all his efforts and intrigues. He was furious, he was simply destroyed. This was the main reason for the shot.
In prison, Sorel began to repent, he realized that he had lost his life and abilities in vain. What the only woman whom he loved was Madame De'Renal, and that he never cheated on her. In his last word Sorel once again challenged the aristocrats and the society they created. He remained on his own to the end and did not let himself be broken.
In the discipline "Literature"
The novel "Red and Black" by Stenadhal
A word about Igor's regiment
Saint Petersburg
Content
Comparison of illustrations in the novel
Preface - 4 pages.
Comparison - 5 pages
Conclusion -31 p.
Comparison of Stenadal's "Red and Black"
Introduction - 33 pages
Comparison of the film adaptation with the novel - 34 pages.
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 magnificent 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. This technique, from my point of view, is very good for children, especially preschoolers. 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 illustrations, at least occasionally. This gives 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, having looked at the image through several chapters, we try to guess what awaits us. And it gives even more excitement, we want to know if we understand the artist correctly.
It seems to me that it makes no sense even to talk about the importance of the talent of an artist. The mood with which the artist conveys his idea to us will also set us up. Having 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 what the novel is about without reading.
The book I have chosen is fully illustrated and I will try to characterize the work of the artist. Despite the fact that I am far from art graphics, I will try to characterize his work not as a professional, but as a simple amateur reader. How accurately he conveyed the mood of Stendhal in his work and how much we understand the essence of the chapter from the image.
I Gorodok
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 can do 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 Verrieres, the fence of the house, behind which is the magnificent garden of the mayor of the city. The fence behind which so many important events in the life of the main characters will take place.
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 unattractive.
II Measure
M 
We see de Renal, the urban planner, admiring the beautiful landscape that opens from his garden. He stands leaning against a retaining wall, which is a fence between the river Doubs and the garden.
But we see the measure - romance, although it is not. All the same, such a beautiful landscape obliges, and our glorious mer was far from romanticism, as well as from enjoying the beautiful. All the same, here I do not agree with the artist. I also think that his wife and children are missing, with whom he walks through the garden. In this case, his appearance and behavior would be expressed differently.
III The property of the poor
In the illustration, we see the priest, together with Mr. Ahler, visiting the prison. The image corresponds to the ongoing actions in the text. The artist, rightly, noticed the main emphasis that the author makes in the chapter.
It would be possible to show the walk of de Renal, but at the sight of a charming couple with children, the reader will not understand what decision Mr. de Renal made at the moment when the artist, as a photographer, captured him. Therefore, Yakovlev preferred to opt for the arrival of a guest from Paris.
IV Father and son
A 
I don't agree with the drawing 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 be the image of Father Sorel hitting Julien while he was reading a book. Firstly, the drawing would have turned out to be more expressive, and secondly, it would have corresponded more to the essence of the chapter.
V Deal
Despite the fact that the title of the chapter gives the impression that the illustration does not correspond to the title of the chapter, it is not. The artist shows Julien's inner state. His experiences and anguish. Tormented by the question of what lies ahead for him, he could not help stopping by the 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 clearly got to know it well and sincerely felt the state of the hero.
VI Boredom
M 
We have waited so long for the appearance of Madame de Renal, and finally the artist condescended and showed us this charming woman. Looking at the figure, we can quite understand the intention of the chapter and its character. Yakovlev perfectly expressed the timidity of the young man and the friendliness of the lady. There is nothing to add here, as everything is quite clear.
VII Affinity of Souls 
Here we see the first manifestation of Madame de Renal's concern. When the unfortunate Julien, beaten by his brothers, lay in the garden. In this chapter, a woman's interest in an intelligent, handsome young man is shown. And I agree with the artist that it would be difficult to portray caring otherwise. Especially since it fits 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
IN 
this chapter describes a lot of 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 that there are a lot of other events that should be shown. I would portray one of the following: a rejected maid, an illness of a mistress, communication with a priest. Since it was the consequences of these actions that led to friendly conversations of young people.
IX Evening in the countryside
IN 
from this chapter just can be attributed to the previous image. After all, it is here that Julien takes his first steps - exploits in relation to Madame de Renal. You can also portray how the lady is looking for a portrait of Napoleon in the mattress. But the artist considered it right to depict classes with students, who are given very little attention in this chapter. No, all the same, my opinion diverges from the views of the artist. If the images in the book would go through my criticism, then I would definitely not give consent to this image.
X Big heart and small means
IN 
this short chapter could have been emphasized on the emotional dialogue between Monsieur de Renal and Julien. But Yakovlev portrayed the nature and emotional state of Sorel.
XI Evening
TO 
a short chapter in which more the experiences of Madame de Renal are shown. And emotions are so overwhelmed by her that she flared up at the maid, whom Julien was jealous of. The artist showed us exactly this plot. We again see the perfectly conveyed mood of the characters. The ability to convey the mood of the artist does not hold.
XII Journey
In this chapter we are talking more about Fouquet's friend's offer to do business with him. And about Julien's peculiar rest, a change of scenery. Natalya illustrations, we see Madame de Renal with her son.
At the beginning of the chapter, the parting of Madame de Renal and Julien is described, but this is not given much attention. And having depicted such a moment, there is a lack of a seeing-off glance, a turned head towards the departing Julien.
XIII Fishnet stockings
H 
and 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 portray Julien satisfied with his achievements and plans. Expressing thoughts is very difficult when depicting a large canvas, and when depicting such a small black and white even more format.
XIV English scissors
Julien's behavior goes beyond what is permitted 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, believing otherwise, 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 scissors, a ball of wool, needles, so that Julien's movement would pass for clumsiness. Despite the fact that I would depict a different scene, I think that this one also corresponds to the chapter.
XV The rooster crowed 
Very interesting image, initially leads to different thoughts. Very interestingly presented, Julien at the feet of the lady, all this in the twilight. To be honest, there's not even a need to read the chapter. It is worth noting the impeccable choice of the artist.
XVI The next day
Perhaps the artist wanted to show the early morning they met in Madame de Renal's room, and that is why he chose this subject. 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 
the lava is small and has no major events. As I said, expressing the thoughts of the characters is very difficult. Therefore, Yakovlev depicted the scene where the mistress gives instructions to the servant. Julien was very interested in the assignment, and he, having questioned de Renal, found out interesting fact. Also, the artist could depict those small lessons life in high society that she gave him. But he focused his attention on another action, which he showed well.
XVIII King in Verrieres
AND 
having depicted Sorel moving in the guard of honor, the artist would have shown the main character in a different guise. It was still possible to depict the dialogue between the Bishop of Agde and Julien. Thus, Yakovlev would show little achievement. But the artist considered it right to show the service ceremony. Though personally I would not betray her of great importance. Since the scene has no direct relation to the main character.
XIX Out of Thought Suffering Is Born
The chapter is heavily filled with feelings, thoughts main character. The author showed us so many experiences. Madame de Renal is a deeply religious woman.
And in this chapter we see all those sufferings, pangs of conscience that she experiences, blaming herself for her son's illness. The artist chose a good plot. He showed the coldness of de Renal and the humble 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 an anonymous letter to Julien, which the cook furtively gave him. After reading the title of the chapter, when we see the image, it is clear what's what.
XXI Conversation with the Lord
IN 
this chapter, in my opinion, the illustration could be different. It could have been more successful when the excited Madame de Renal tells the anonymous to her husband. The previous chapter and the beginning of this one led to this. But the artist depicted the moment when Julien handed over the finished anonymous letter. It's a pity we can't see that determination in Madame de Renal's eyes that Stendhal writes about. Yes, and it is difficult to assume, without reading the chapter, that Julien conveys something in general ...
XXII Mode of action in 1830
Again, I disagree with the artist. He depicted what is said in this chapter, but the writer does not emphasize this. 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 pictured lunch. But the artist considered it necessary to show Julien with a heavy burden in front of everyone. Yes, he did it professionally, but once again I repeat that I do not agree with the choice of plot.
XXIII The Suffering of an Official
WITH 
It's completely unclear what the image is for. Neither the title fits nor the plot of the chapter. The writer gave us a detailed description of the auction. And Yakovlev could have portrayed one of the sales scenes 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 
we see the scene for the first time 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 sex. How carefully Amanda had seated him away from the noisy contingent of the bar. I do not think that the artist chose an unworthy scene. But it would be possible to add the arrival of the girl's boyfriend. A small scene of jealousy.
XXV Seminary 
In the first paragraph, Sorel comes to the seminary and the artist could show this scene by depicting the seminary itself with a gilded cross and the gatekeeper who opened the door. But the artist preferred a deeper scene and showed a meager room in which the priests live. The artist expressed the expectation in which Julien froze while the man in the worn cassock paid no attention to him. I agree with the artist, this is a good option for displaying this chapter.
XXVI Environment or what else does a rich man need
X 
the artist could show Sorel coming down to the others belatedly, standing among a large number 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 who made his way to the seminary. But, without reading the chapter, we certainly will not guess who is depicted on it (with the exception of Julien, of course). It is difficult to imagine 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 The Beginnings of Life Experience
TO 
This chapter doesn't fit at all. And, after reading the next one, we will be convinced that there was an obvious mistake of other specialists and an illustration for the next chapter. But the mistake is clearly not the artist, but those who brought his creation to life.
I would like to note the regularity very well noticed by the author, “that difference breeds hatred”. For this phrase, do not draw pictures, but it fits the title of the chapter. To the reasoning of the hero about life. After all, that's what he's been doing throughout the chapter. And we can imagine Julien absorbed in thinking about being.
XXVIII Procession
As I said, the image of the previous chapter was clearly planned to be used in this one. In my criticism, I will consider 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.
Madame de Renal's fainting at the sight of Julien is touching. We see a fragile woman who tried to forget everything and pray for her sins, and now, as if a test sent by God. Very touching story and I think it should not be missed.
XXIX First Promotion
H 
e little an important event for Julien occurs in this chapter, he is promoted for the first time. Although the illustration does not show an increase, it is still not a little important event. It's not every day you can talk to a bishop, especially at dinner. The image is quite clear. We see Julien talking enthusiastically and the bishop listening with interest. The artist showed a peculiar solemnity of what is happening. One can only imagine how many emotions Sorel will have, and how much he will still remember this dialogue. At least there can be no doubt. That the bishop himself is pleased with the ardor and knowledge of the young man.
XXX Ambitious
Here is Julien's new occupation. New life line. He was offered the position of Assistant to the Marquis. This is a good start, influencing society. Another big step. Going on a further journey, and in all likelihood for a long time, he could not fail to see the one who loved him. And so he took a chance, climbed to her window. Julien was very surprised at what he saw. Poor Madame de Renal has exhausted herself to the point of being barely alive. I can not dispute the correctness of the selected image. So I think that it corresponds to the chapter, but the artist had a choice.
Part two.
I Pleasures of village life
P 
in all likelihood, the artist considered it right to show Julien's departure for Paris. Without even beginning to depict his companions and, in general, any excesses, he marked the beginning of the second part with a detour. I cannot but agree, since we clearly understand that our hero begins new life, and nothing can more accurately depict it than the departure itself.
II B high society
E 
the first feast that we see, though not very large. Respectively main character for the first time in the company of so many noble people. But Julien did not lose his head and feels quite relaxed. This we can see in his light, relaxed posture. This time I also agree with the artist in the correctness of the plot he has chosen.
III First Steps
WITH 
once the title of the chapter and the illustration are associated with the first attempts to learn horseback riding. But no, meaning by the first steps of the author, he wants to show us how Julien enters society. Julien is not a risky person, but he would not like to appear stupid or incompetent. And here we see his courageous act. Sorel is the second time in his life to sit on horseback, but not entirely successful. So falling in the middle of the street is not just awkward for him, but this fall served as his further training in riding. We once again admire the perseverance and courage of the hero.
IV House de La Mole
IN 
In this chapter, the author pays attention to Julien's infusion into society during dinners. The artist 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 young man. We can only assume that we see Julien during the recording of the characteristics of the personalities of the incoming guests. But these are just my guesses. I believe that the page further begins more interesting events which were worth depicting.
V 
impressionability and
God-fearing noble lady
This chapter of Stendhal is absolutely nothing. It could not be subdivided, but simply combined with the previous or subsequent one. It is not necessary to judge the correctness of the choice of the artist. For the reason that the author writes like a little about everything, but at the same time about nothing. In the chapter we read literally two lines about 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 depict fencing than Julien, exhausted by a bunch of work. But we can judge with confidence that the artist read in good faith.
VI Features of pronunciation
IN 
In this case, I'm ready to argue with the artist. Since I think the picture of the duel could look more interesting. But after previous fencing lessons, it’s difficult to portray a pistol wound. To depict a duel with pistols, you need to redraw the previous illustration. Most likely, therefore, the artist chose to confine himself to a quarrel in a bar and a challenge. But the image is incomprehensible, and besides, there were enough other subjects in the big chapter.
VII Gout attack
I cannot dispute the image due to its clarity and accessibility. After looking at the image, we understand that the marquis is not healthy and see the obliging Julien. After reading the title of the chapter, we are convinced that we are right. Fully agree with the choice of the artist.
VIII What makes a person stand out from the crowd
AND 
the illustration is chosen, right, there is nothing to complain about. We see Julien already in the image of a secular man, to whom Matilda is drawn. Against the backdrop 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 to whom she preferred.
IX Ball
H 
Let's start with the fact that the first part of the chapter could have ended the previous one, since the continuation of the ball is described there. Or divide the chapter into two parts and depict a furtive glance at Julien and his interlocutor Matilda. And the next chapter should be called “Meeting in the Library” and the illustration that we see is ideal for it. There are no complaints about the artist, he did not repeat himself, and singled out quite an important situation.
X Queen Margarita
In Chapter X, Julien learns the history of the family, which changes his mind about Matilda. But we won't see it in the image.
But we are clearly shown the continuation of the chapter. How the relationship between the most enviable bride and Julien becomes friendly. How they talk while walking in the garden.
XI The power of the girl
D 
Remaining often the artist depicts a static conversation. But the image is not always appropriate. And in this case, I think the choice of the artist is wrong. The conversation of friends in the chapter is allocated only a few lines, and more interesting points are thus missed. It seems to me that the artist should look for a plot in the first part of this chapter. And show the girl's power over boyfriends or in the family.
XII Isn't that Danton?
G 
Looking at the image, we can assume that a peaceful dialogue is taking place between the gathering. Natalya, in fact, in the chapter, the writer shows us the anxiety of young people who are not happy with Matilda's obvious interest in Julien. But if the artist depicted a storm of emotions in the poses, facial expressions of young people, then it would simply look indecent for high society. And 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
H 
Despite the fact that the chapter is large and there are enough events in it, I consider the choice of this image to be correct. He most of all characterizes them already warm friendly relations and manifestations of the passionate feelings of Mademoiselle de La Mole. It is quite difficult to portray mockery of a brother and a boyfriend, and the emphasis is not on them in the chapter. Having depicted Julien reading a love letter and his thoughts at the same time would not be possible. Thus, this picture chosen from my point of view correctly.
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 characters.
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 his room and was thinking about leaving. Although we see a suitcase with things, but the pose of the hero and the tension of his face speaks more about his interest in the bust. Perhaps by depicting him packing his suitcase, the reader could assume the hero's imminent departure, and even after reading the chapter, comfort himself with the fact that he remains.
XVI Hour of the night
IN 
In this chapter, I think that more interesting points could be depicted. For example, how Julien climbs out the window, how he hugged Matilda, or how he hid in the closet. Thus, it would be possible to assume the essence of the chapter, and in this image we see Matilda deviating from her lover and Julien has a dagger in his hand that leads to bloody thoughts.
XVII Ancient sword
IN 
The chapter expresses a lot of emotions, a lot of 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 the movements of the body. Julien's developing tailcoat makes it clear that he just jumped onto the chair in order to get his sword, and despite the fact that he just jumped up, the sword was already unsheathed. The surge of emotions of the Marquise de La Mole is expressed in a questioning-shouting movement of the body.
I think that the artist was able to perfectly show the main scene of this chapter.
XVIII Torturous Moments
IN 
The illustrations for this chapter raise many questions. First, why is the girl sitting at the piano if there is not a word about him in the chapter. The second is not even a question, but an opinion that the plot was not chosen by Vern. In the chapter, the emphasis is completely different. We can assume from the outset that Mademoiselle de La Mole indulges in dreams while playing the piano. That she represents sweet moments. But these are just my guesses. Personally, I'd choose a different story. Depicting Sorel and Matilda walking in the park. Happy faces and fun in motion could say a lot.
XIX Comic Opera
P 
rochta head, everything falls into place. Again, the publisher mixed up the images. Matilda sitting 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 did not read anything about a broken vase here. I will not judge publishing errors. After all, the task is different. Let's look at the picture in right order as they should be. This means that our artist from the whole chapter preferred the image of Matilda playing the piano to many others. But personally, I would choose Matilda at the opera. After all, at the moment of the second act, her love for Julien again lit up. And a strong surge of emotion. This beautiful state could be conveyed without difficulty. And that moment when our hero is unrestrained and climbed the stairs to her room ... With what passion she rushed to him. The artist could also convey passionate embraces. The moment of her oath of servitude before him. Personally, I think that these plots would look better.
XX Japanese vase
We will not repeat the mistakes of the publisher and show the image with the broken vase again. We can simply recommend turning your eyes a little higher and taking 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 corresponds to its title. We see the frustrated Marquise de La Mole, wailing at a broken vase, and we see a calm Julien. The illustration is quite clear.
XXI Secret Message
Very well shown secret meeting. It cannot be said that before reading the chapter you understand that it is secret, but in any case, after reading it, you understand who these people are. We see Julien busily sharpening his feathers. He is the only one who does not participate in the discussion, he is ignored, only looking slightly wary. I think the choice of the artist is correct.
XXII Discussion
X 
The artist did not have to guess and choose which image would be successful. The whole chapter is devoted to the secret meeting. Where dignitaries were gathered and Julien as a 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 agree with the artist, a very good choice of plot. The artist showed what was being led to in the previous two chapters. Meeting Sorel with the Duke to convey the message. Sorel plausibly looks like a beggar. 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 would be high time for Julien to learn some subtleties between a man and a woman.
Finally he met a man who told him a way out of this situation. The artist showed us the meeting of two friends. Initially, you understand by greeting that a pleasant meeting has taken place, and, after reading the chapter, you reinforce the first impression with facts.
XXV In the Office of Virtue
The illustration is more than clear. There is no need to read the chapter to understand that Julien carried out the plan to return Matilda's love to him. Although it has not yet worked, we see from the plot that, in any case, it has come into action. The artist was able to show us everything he wanted.
XXVI Spiritually - moral love
G 
lava is small and not so full of events. But the artist found what to depict in such a way that it would not be repeated. We see the moment of handing over the love letter. 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 the fault of the artist.
XXVII Best Church Offices
H 
Despite Julien's pessimistic thoughts, throughout the chapter, the artist picked up the moment where our hero had a feeling of impatience. And in the illustration we see his burning interest in the delivered letter. We can appreciate the choice of the artist and be glad that he did not portray the boredom in which Julien arrived at the attraction of the head.
XXVIII Manon Lescaut
M 
We see the game of two actors and regularly changing roles. Now Matilda furtively watching Julien, then Julien jealous of Matilda. The artist showed that Julien is suffering and does not see the results of his efforts. Efforts to return Matilda even for a moment. And that's exactly what this chapter is about.
XXIX Boredom
P 
reading the chapter to the end, you understand why the author preferred to separate it, to 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 achieve confirmation of love from Matilda. The artist depicted Matilda subdued, lying in a swoon at the feet of Julien, standing with an arrogant, self-satisfied look at the lifeless body of such a strong, wayward beauty.
XXX Lodge in comic opera
H 
The title of the chapter fully corresponds to the illustration. Without this hint, we can guess what is depicted, but the title confirms the correctness. It would be banal to portray the dialogue of lovers, the artist preferred to diversify and once again show Julien's willpower. Who, despite the terrible internal state, overcame himself and came to the opera, moreover, he gained strength and looked into the box where Matilda was.
XXXI Keep her at bay
H 
I don't agree with my recent opinion. Still, 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 admire his imagination more and more. It is rather difficult to take out something new and important from this chapter, but he was found and depicted our heroes in a secluded place, with fiery speeches and passions.
XXXII Tiger
AND 
Again, I jumped to conclusions. All the same, I do not agree with the artist in choosing 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 placed on the letter, depicting Matilda writing it, or his 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, characteristic only of expectant mothers, the artist could easily
hand over.
XXXIII The Hellish 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 have looked more successful. But the choice of the artist cannot be particularly disputed. After all, Sorel left, leaving Matilda at her own request. And now they are separated, and the artist has a lot to choose this plot for this very purpose.
XXXIV Smart man
TO 
What 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 eyes. But, unfortunately, we can not read everything experienced by the hero in gestures. And yet, it remains to be glad that there are wonderful authors who convey everything to us by text. The artist, if possible, conveyed the emotional state of Matilda. Unfortunately, we do not see the face of the Marquis and cannot judge his condition by his gestures. But we understand the importance and long-awaited moment.
XXXV Storm
A 
second very beautiful name gave the head. It seems to me that "thunder" could still be used. 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 insulting that you have to leave to describe the image provided by the artist. As far as I can guess, the artist showed us Sorel in rank on 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
H 
no, after all, it was not worth the author to intrigue and combine 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 portrayed, but it was worth it to depict Julien sitting behind bars. The reader would be more than clear what lies ahead. Or by depicting the court. In a word, I completely disagree with the artist.
XXXVII Tower
We have read so much about the miracles of friendship in this chapter. About the glorious, open Fouquet, which perhaps should have shown the meeting of two friends. And the joy that an old friend brought with his arrival. How Julien rushed to embrace him. But the artist chose to show a different picture. More touching and heartbreaking. After all, reading the beginning of the chapter and detailed description the arrival of a clergyman, the imagination is played out very strongly, in addition, you look at the work of the artist. Which further emphasizes the touchingness of the moment. And our hero no longer seems such a villain.
XXXVIII The Mighty Man
M 
We see how our brave Matilda came to ask the Abbé de Friler for Julien. Dressed in a peasant dress, the girl is ready to do anything for the sake of her beloved, even to communicate with people like the abbot. Most of the chapter is taken up by their dialogue, in which each shows his strength. The artist correctly chose the plot for the image, since the dialogue could not have aroused such visual interest.
XXXIX Intrigue
WITH 
how many feelings overwhelm our heroes. How different their characters are, yet how similar 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 soul from everything that happens to our heroes. But the artist wonderfully portrayed that tenderness, that care. The guardianship that Matilda gives to her beloved. And how indifferent he is to her now. At the sight of this scene, one feels sorry for the lovely girl.
XL Tranquility
T 
How well the title of the chapter speaks for itself when you see the image. And even if it's not best plot which could be, then, in any case, it would not be possible to better characterize the name. We see Julien calmly walking. His calmness in his gait while smoking a cigar. And also the peace around. Mountains, clouds, nothing that could upset 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 with a clear image of the main persons and more weakly displayed the crowd of those present.
Perhaps it was worthwhile to portray the assembled audience a little more clearly in order to show that most of it consists of women who, during Julien's speech, held handkerchiefs to their eyes. Yes, if I were an artist, that's exactly what I would do.
XLII
WITH 
strangely, but this is the first chapter that the author did not name it. The chapter itself is rather dark. The thought of guillotining has never brought joy to anyone. And the artist rendered the camera in dark colors, the gloominess of which is aggravated by the tired, exhausted appearance of Matilda. But on the other hand, Julien's calmness is not at all compatible with the situation. All the same, the artist notices all the details and conveys them in images.
XLIII
D 
It will remain a mystery to me why the artist chose such a useless scene. Perhaps there will be an explanation for this in the next chapter. I would prefer to depict Sorel sleeping and Madame Renal weeping over him. Or them crying in an embrace. 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 begging beggar. The appearance of a priest gives him only a cassock and a cross.
XLIV
What is most captivating about 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 talking with them that he began to think so emotionally. But communication with his 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 match the author with a pencil to convey everything exactly. Initially, when I saw 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. That as it is the finale and it is expressed clearly. There simply were 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 then, at a more mature age. So the work of Yakovlev, when reading the novel, was probably not admired by many. Most often, we simply do not notice the work done. And if we notice, we do not think about its complexity and painstakingness. But thanks to the literature assignment, for the first time, I gave meaning to illustration.
This book is very richly illustrated. You look at the pictures and each time you find new details. A very exciting process. Moreover, we were very lucky with the artist, he turned out to be a very talented person. Despite the fact that Stendhal is a great psychologist, the artist was well able to feel the essence of the novel. Even in such seemingly insignificant, petty work, he conveyed the mood of the heroes, their state of mind, ardor, awe, femininity and masculinity. Looking at his work, we seem to find ourselves in a different world - the world of heroes. I can not say that everything was perfect, in some places I do not agree 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 satisfied with the work done by the artist, a complete harmony of text and images was created.
^ Comparison of Stenadal's work
"Red and black"
between novel and screen adaptation
Screen adaptation of Stendhal's novel "Red and Black"
Script writers
Jean Orani, Pierre Bost
Operator
Michel Kelbe
Composer
René Klorek
Director
Claude Autan - Lara
Starring:
Julien Sorel
Gerard Philippe
Madame de Renal
Daniel Darier
Mathilde de la Mole
Antonella Lualdi
Mr. de Renal
Jean Martinelli
Marquis de la Mole
Jean Mercure
A novel by Stendhal
"Red and black"
Moscow "EKSMO"
Translation from French by N. Lyubimov
Introduction
Stendhal(Stendhal) [pseudonym; real name and surname Henri Marie Beyle (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 republican. In 1799 he entered the service of war ministry. 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 of 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 kept in touch with the leaders of the Carbonari, became close to the Italian romantics, and became friends with J. Byron. Since 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) is subtitled 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 acquisitiveness of the bourgeoisie, the obscurantism of churchmen, and the convulsive attempts of the aristocracy to preserve their class privileges. But the main thing in the novel is the description of the dramatic single combat of young Julien Sorel with himself: natural honesty, innate generosity and nobility, elevating this son of a simple carpenter above the crowd of moneybags surrounding him, bigots and titled nonentities, come into conflict with his ambitious thoughts, with attempts break through at any cost. This discord between the lust for power and disgust for 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 - assistant director, director. Under the influence of "Avant-garde" (direction in French cinema) he made several experimental films. In 1930 he directed one of the first large-format films, Laying a Fire (based on J. London). He made his sound film debut with the comedy Lukovka (1933). During the years of the 2nd World War 1939-45, he staged film adaptations: The Marriage of Chiffon (1941), Love Letters (1942) and Tender (1943), distinguished by the poetic subtlety of the transfer of the psychological experiences of the characters, the drama of events related to by the beginning of the century. In the post-war works of the director, a social orientation, an anti-war protest are increasingly felt: The Devil in the Flesh (1947), Through Paris (1956), Thou shalt Not Kill (1963), Potato (1969) and others. best films- 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) and others. based on the novel by Georges Simenon, young Brigitte Bardot (born in 1934) undresses with ease, flirting with the master Gobillot. This film is rightfully considered one of the best by both Bardo and Otan-Lar. Yes, and Jean Gabin (1904-1976) by the mid-50s found a "second wind" and became no less popular with the new generation of viewers than with their fathers in the 30s.
Comparison of the film adaptation with the novel
The director of the film allows the audience to relax and begin to immerse 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 at the end of the novel. Thanks to this, we can initially guess. About how it all ends. I don't think this is the right move. Besides, we don't have the pleasure of seeing small town Verrières with its landscapes and sawmills. Due to the fact that the first five chapters were omitted, or rather simply replaced. It can be assumed that the director simply acted according to circumstances and he did not have the opportunity to make a film in right conditions. But finding nature and forest is not so difficult.
Well, let's move on to the description of what we have. Stendhal's description of the courtroom looked much more beautiful, and at the sight of the village premises into which the director transferred us, I was upset. I think that the actor playing the role of Julien did not marvel at the beauty of architecture just like his hero. And the hall that we see on the screen bears little resemblance to Gothic. Instead of brick columns, we see wooden arches. Also in the novel, Stendhal focuses on the female audience, which is watching the events with tears in their eyes. 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 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, to be more precise, reduced to a minimum. Instead of de Renal's dialogue with Sorel's father and their deal, instead of doubts about his later life. We see the abbot, Sorel and his son riding in a wagon. 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 Full description novel. Only it is a great pity that the scene where Madame de Renal met Julien at the gate was omitted. In the film, we see a different story. The son of Madame de Renal saw through the window the tutor who had arrived, and assuming that it would be the abbot, and not the young Sorel, expressed his fears. I consider another nuance, which puzzled me, to be very important. Reading the novel, I was sure that de Renals had three sons, since such a phrase “The youngest of the sons” 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 learned the name of the middle son. Next, we see Sorel's reception at the de Renal home. And we see a maid who shows a strong interest in our hero. The director shows the character of Julien well. The hero thinks a lot about the poverty in which he lived and about the high position in which the de Renals are. The director also showed in his own way Julien's attitude towards his father when he refused to come down to say goodbye. By his refusal, our hero showed disrespect for his father. The scene in the room shows Julien's interest in Napoleon's politics and his admiration for Bonaparte. But we initially guess that the scene with the photo in the mattress will be missed, since Sorel puts the photo of Bonaparte on the wardrobe. Also omitted was the scene where Madame de Renal first showed affection for Julien. Also, we still didn't see Valno, who was mentioned more than once in the book. So. The scene in the garden where Julien was beaten by the brothers was cut out.
According to the film, Sorel quickly got used to it. The director showed us the relationship between Sorel, Madame de Renal and the children in two minutes. 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 with this the director wanted to once again show the character of Julien 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 characterized their somewhat different views on life and attitudes towards people. And she also showed that Madame de Renal is more reverent towards Sorel than towards an ordinary tutor. It is also in this scene from the lips of her 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 maid herself admitted this.
Further, the novel was again cut down. And we do not have time to meet Madame de Renal's friend. With whom they spent a lot of time in conversations. And the scene that we see is turned upside down very much. According to the novel, the first touch on 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 maid who, from Sorel's room, watches everything that happens in the park. And it was she, upset by what she saw, that 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, evilly went to seduce his wife. The bedroom scene was also cut and twisted. According to the novel, Sorel came not a single night. And there was no scene where de Renal breaks into his wife's room, and she, having plucked up courage, calmly covers Julien, opens the door and communicates nicely with her husband, 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 pleased the sick woman. In the film, Eliza breaks the news while combing her mistress's hair in the presence of de Renal, with obvious reproach and claim to Madame de Renal. Which at that time de Renal did not understand. And certainly we will not meet 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 as Madame de Renal is excellent. Despite the fact that all the characters look older than in my imagination, they all play their roles with dignity. The cold prudence of Julien, the ardor and selflessness of Louise. And how 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 Louise is ready for for the sake of her servant - the tutor. Also, the maid Eliza looks like an offended, abandoned and angry girl.
The scene is mesmerizing when Louise secretly 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 goes back to his room again. How they stand and listen to each other through the door. How they confess their love, how the two return to Madame de Renal's room at night. We will 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 disappointed he was in Louise when she did not appreciate his predilections for Napoleon. I referred to this moment, as it was the only one used in the film, but it is so nondescript that a viewer who has not read the novel will not notice it. But on the other hand, 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 Lule rumor about the relationship between Sorel and Madame de Renal.
The scene with the bishop was also missing. Which Julien admired so much. But the scene of the service, which, while reading the novel, I did not attach importance to, was performed very beautifully in the film. Catchy outfits, splendor of the hall. Julien arriving again in doubt. His internal disputes resumed. And he already doubted the greatness of the army, he believed that everyone, just like the king, bowed to the clergy. He is overwhelmed with feelings again. He presents the king and beautiful girls at his feet.
What a pity, but the illness of the youngest son is missed. But Stendhal so perfectly showed Louise's piety in this difficult period for her. THEN when she lost self-control and was ready to confess everything to her husband.
Immediately after the arrival of the bishop, the director took us to the scenes with anonymous letters. Here we also see only the essence, but alteration 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 maid. In the film, she herself came and gave the text of her anonymous letter to Julien and verbally said what to do. After an anonymous letter supposedly commissioned by Madame de Renal, a dialogue between husband and wife follows, where Louise demands to excommunicate Julien from their home. Once again, the acting is excellent. They managed to convey everything that the director wanted to express.
But further, with the movement of events, we see a sick son and the grief that was brought into the house with the disease. Such a great game at the bedside. The pangs of conscience of Madame de Renal, 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 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, who are mentioned more than once in the novel. The scene, once again showing the love of the children for their tutor, was also missed, even though it was followed by another no less interesting one. The arrival of Geronim, who is unlikely to appear in the film again, has already been crossed out here.
In short, two large chapters were omitted from the film. And only the end of XXIII was changed. In the end, you can’t deprive the viewer of the scene of the farewell of lovers. But the scenario did not go deep and show three-day expectations. Immediately after his son's illness, he sent Julien on his way. Showing the farewell which, according to the novel, happened later.
And here is Julien big city in an attractive cafe. The scene in the cafe is very shortened, but the essence is shown. Julien was pleased with himself.
It is very difficult to assume from the film that the children of the poor study in 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 was constantly hypocritical. He was a hypocrite, not knowing how to do it. And this inability to further emphasize their difference from them.
The film did not miss 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 occurred, which was not in the novel itself. Whose idea it was will remain a mystery, but I really liked it. When Abbe Pirrar instructed his students, he explained to them that someone would become a bishop, someone would serve for the benefit of the 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 guessed the penultimate one on the left. And it was extinguished by the abbot. This scene ended with Perrar's words "God forgive them" and a loudly playing organ. But such a touching scene is replaced by another less attractive and more pretentious. 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 the meeting with Madame de Renal in the church. And Julien's arrival at her house. After all, 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 did not exist in the novel. And offended, hurt, he challenges the man who threw off his boots to a duel. There was a duel in Stendhal's novel, but it started 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. Acquainted with 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. And only after shoe store followed by an acquaintance with the de La Moles. Where what was said in the novel itself is embodied in sufficient detail on the screen. But after meeting with the house of de La Molay, he went to the planned duel. Where there really was a mistake, or rather the coachman, having taken business cards from the owner, impersonated him. But the duel took place, as it was in the novel.
In just a few scenes, we see Matilda enchanted by Julien. Which in three weeks sees in him something English and nothing from the son of a carpenter.
The head of horseback riding, a gout attack, was cut out. We didn't see it either. But maybe we will see her later, the screenwriter likes to swap them. And also all of Julien's works were reduced to a minimum of one scene. When the marquis thanked Sorel by handing him a warrant of patronage. And the jealousy of Norel, who for many years could not receive such an honor.
And now the director immerses us in the atmosphere of the past, where there are many beautiful ladies and cavaliers. Matilda was once again struck by Julien's wit, his speeches. But he was still cold towards her. In the morning they met in the library. A small difference between the novel and the film adaptation is that in the film, at the entrance of Matilda, Julien did not think about Mirabeau, Danton, but was about to leave. According to the novel, he was not to leave Paris soon. They got to know each other even more by walking in the park and a note with an invitation to come to her, Mademoiselle de La Mole personally handed over to Julien. In the film, everything happens very quickly and the dialogue between them and the story of the guillotining of Boniface de La Mole, which was told in the novel 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 are all of Julien's doubts about which we read in the novel. All the same, the director conveys important moments very well.
And here comes the night The scriptwriter did not miss a single moment. He showed Matilda's terrible 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 the gun in Julien's pocket. And the ropes prepared by the girl. Having lowered the ladder, Julien felt himself in an ambush and began to check if there was anyone in the room.
And now comes the height of new feelings new love. It wasn't long. Matilda's feelings have changed, but the reason is not clear from the film. On the same morning, the girl hated herself for her weakness and showed contempt for Julien, who, tearing a 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 is quite plausible and will not even affect those who have not read the novel.
As soon as I decided that the cutting of chapters from the novel was over, the screenwriter immediately dissuaded me. And again we skip such chapters as, Comic Opera, Japanese Vase, Secret Epistle, Discussion, Clergy, Forests, Liberty, Strasbourg, The Order of Virtue, Spiritually Moral Love, The Best Ecclesiastical Offices, Manon, Lesko, Boredom. All of the above chapters have been omitted. 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 and no 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 at the moment of playing the piano, Matilda sees Julien climbing the stairs. They again spend the night and in the morning, Matilda speaks of her belonging to the full Julien, as a proof she cuts off a lock of her master's hair. 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 show the writing of the letter from Madame de Renal. The novel does not emphasize the actual writing of the letter. And in the film, we see Louise dictating from the priest these terrible words that will lead to the verdict.
At a time when Sorel himself enthusiastically admires his uniform as a lieutenant. The screenwriter reduced the cost of the film and did not show the scene where the fifteenth hussars lined up on the Strasbourg parade ground. He simply expressed again 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 screenwriter portrayed the scene in the church very beautifully, he did not begin to depict the preludes of how Julien bought pistols. We still hear the text of the letter and see the thoughtful, tired face of Louise. Sorel enters, he admires Louise for a while. But without thoughts, he shoots the woman. Louise falls, Sorel barely understanding. What makes is going to leave. But he is missed as in the novel by the police. And just a second pause, Sorel's calm, thoughtful 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 resumes. Sorel is sentenced to death. But further events do not develop at all like in the novel. We see the carriage de Renals and Louise who leaves her family in order to go to Sorel. There she meets Abbé Chelan, who urged Julien to repent. In Stendhal's novel itself, the old clergyman barely understood what he was saying, and even more so was not in such good health. Matilda, who by all means tried to influence the course of events, never appeared in court. And we still do not know that she is expecting a child from Julien.
How she tried to persuade her lover to file an epilation. And how Sorel was cold to her, and she, realizing that he loves another, continued to take care of him. We never saw the glorious, faithful friend of Fouquet. All the rabble of people was not shown, and everything that happened outside. And Julien's calmness was expressed not in those 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 from the memories of Boniface de La Mole and Marguerite of Navarre. After all, it was Matilda who arranged Sorel's funeral. After all, it was she who interred Julien's head. But as for Louise, here the screenwriter did not deviate from the novel, albeit without showing, but simply as an epilogue at the end, he announced that Louise died three days after Julien's death, hugging her children. Morality, unfortunately, the screenwriter also ruled out. But despite all the cutouts, the ending was very beautiful. Julien in front of the towers and clear sky going to his death with a calm expression on his face, all this to touching singing. Probably many women shed quite a few tears as jurors 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 film adaptation. In my opinion, Stendhal himself showed us not only crazy love, but also the characters of people, their principles, their fears. He approached his work like a true psychologist, and screenwriters Orani and Bost emphasized love more. For her sake, they deleted many heroes from Romano, many events and many talents of Julien Sorel. We have never seen his gift for memorizing large texts. We also see our hero not as narcissistic as Stendhal's. Which sometimes opens Julien to us from such a side, when we are ready to simply hate him, when he causes a feeling of rejection in us. In the film adaptation, his qualities and thoughts are not so deeply expressed. Although the actors have no complaints. They played great. But if I understand correctly the task set by the screenwriters to show love, which is not a hindrance to different status in society, then they perfectly fulfilled their task. I would also like to note that they minimized the cost of shooting this film. The most expensive scenes were either removed. Or moved to a simpler environment. For any producer, these writers are just a godsend. Probably none feature film, which will accurately convey the works of the author, but there are films that you want to watch again and again. And so this creation, despite the old shooting, refers to such a film adaptation, viewing which will not get bored.
Frederich Stendhal (Henri Beyle), entered literature late. He was a cultist of Napoleon (his cousin was a participant in the Italian campaign with Napoleon).
From 1801 begins literary activity. Writes "Notes on Art", about the composer. Fascinated by Russians and writes a novel about Russian women "Armanda" (1827).
He writes "Red and Black" (1831), "Parma Monastery" (1839), Autobiography: "The Life of Henri Bular", "Memories of an Egoist" - inclined towards the philosophy of egocentrism.
Didn't finish: Lucien Leven, Red and White, about revolution and monarchy; "Laniel".
For him, the way of depicting the world in which he lives is romanticism. This is a way to give people modern works, and classicism is what grandfathers liked.
Stendhal did not like German romanticism. He also said that Shakespeare is loved, because. he wrote about his contemporaries, but there is no need to imitate him now. Because COLORITY is important, the category of morals. To show the development of passion, you need to know the time, move around and write in prose. No need to imitate nature, art is just a beautiful lie - describe the psychology of a modern European.
"Red and Black" - a chronicle of the 19th century (1831). A novel framed by an Italian chronicle.
In the epigraph of Danton's line "The truth, only the bitter truth." The novel 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. The critics of today's writer just so ingenuously assessed the novel, taking its subtitle on faith: reviewers for the most part practiced tug-of-war - true or Stendhal incorrectly described France in 1830. A narrow circle of actors, the author dwells on the activities of the hero. An attempted murder-by-action is chronicled. The author avoided dialogues, preferring descriptions to them.
This is the story of the upstart Julien Sorel, from the son of a sawmill owner to a diplomat. (but this does not correspond to historical behavior, character type, they don’t behave like that, and Julien had too much passion. You had to be ordinary.
Stendhal portrayed the fate of an ambitious man from the lower strata of society, an energetic and gifted young man, before whom all doors are closed. This ambitious man does not find a direct outlet for his talents and is forced to take a detour. He must be hypocritical and lie. Instead of benefiting society and thereby becoming famous, as would happen in another, more democratic era, he becomes a criminal. The contemporary society is guilty of this, a political reaction that is contrary to the democratic trends of the century.
** In Musset's "Confessions of the Son of the Century": the disappointment of a contemporary in time. "black" in this novel is hypocrisy, contemporaries seek to destroy love, religion, folk energy - this is Julien time characteristic .
Julien the Nietzschean superman. With great vanity, strive to take a place: whoever has set a goal for himself, for that all means are good. Napoleon is an idol for Julien, and in his time Julien would have been the highest person. And who can become in due time? Bishop and put on a black cassock.
In one of the fragments, Julien admires the 28-year-old Bishop of Agde, and decides to make a career in the church himself. For this you need to be hypocritical, change, curb the character=it's black. Red - blood (assassination attempt on Mrs. De'Renal);
The title is ambiguous:
*This weird name fashion violent novels (such as "Cucaracha" by Eugene Sue)
*roulette colors : binary language of fate, chance; However, there are no hints in the novel gambling. Julien does not throw his fate on any green cloth, and love plays a completely different role in his life. Julien Sorel is by no means a player; this is a strong-willed person, consciously going to the intended goal. He does not want to trust chance or "inspiration of the moment"
* revolution (cr) and the color of the abbot's cassock (h); (During the French Revolution, for some time, the red color appeared in the symbolism of the state - the tricolor banner of the reaction). In addition, Stendhal's friend Emil Forg, after his death, reported that Stendhal himself explained the name this way: ““ Red ” means that if Julien had been born earlier, he would have been a soldier, but in his time he had to put on a cassock, hence "black". Stendhal served in the imperial army for a long time. But not a single red uniform is mentioned either in his memoirs or in his diaries. The official uniform of the military commissars was blue. Yes, and the color of Napoleon was green. If Stendhal wanted to contrast the military uniform with the cassock in his novel, he would call it "Blue and Black", or "Blue and Purple" (after the color of the clothes of the Bishop of Agde), or "Blue and Red" (after the color of the cardinal's clothes); if he meant Napoleon and the Bourbons, he would call it "Green and White"
*it's a crime and a punishment (assassination and execution);
* as a characteristic of two possible life paths those that open before Julien (this interpretation is considered by Henri Jacoubet). To live for Julien means in the midst of dangers and catastrophes, in the struggle of conflicting feelings. Red is the flame of passions, spilled blood, one's own and others', splashes of blood on the scaffold. Black is a repulsive and sinister color, everything that can plunge a person into everyday life, into servility, vanity, ambition, seminary.
* These are 2 heroines, 2 different loves :G- Ms. De'Renal (red - life; real love- 3 days after the execution, Julien died) and Matilda (black is the love of death; the main thing for her is to play death: and she organizes the funeral of Julien's head, where she reminds herself of Margarita Navarskaya; she believes that only a death sentence makes a person be himself) - in 1822, 4 types are distinguished in a treatise on love love-love-passion (De'Renal); Love attraction; physical love; love of vanity-Matilda)
* This name can still be judged on such fragments . Red, when, before getting a job as a tutor to the De'Renals, Julien enters the church, where everyone is in burgundy on the occasion of the holiday. sits down on a bench with the coat of arms of the De'Renals, sees a piece of newspaper with an article about the execution, noticed that the name of the executed person ends in the same way as "Sorel" imagines blood. Julien is ashamed of his fear, but it's like a prophecy!! In the novel, Julien will try to kill G-Ju De'Renal , and there will also be a pool of blood in the middle of the temple and Sorel will be condemned by the court of Besancon and guillotined.
The second scene is painted black. Julien comes to Paris. Mathilde de La Mole comes to the table in deep mourning for Boniface de La Mole, who was beheaded on April 30, 1574 in the Place de Greve. Marguerite of Navarre, beloved of Boniface, ransomed his head from the executioner and at midnight buried it with her own hands at the foot of the Montmartre hill. The behavior of Margaret of Navarre delights Matilda. She will also act at the end of the novel with Julien's severed head.
Having written almost the entire novel, Stendhal suddenly noticed that both prophetic scenes had pronounced colorful properties. To emphasize the ideological and plot structure of the novel, he decided to give it this "color" title.
Julien- a man of unbridled passions, a parody character (he feels like Napoleon, but by the way he holds himself in the parade, a farcical image of Napoleon comes out). J. Julien refers himself to the Napoleonic time. "If you commit crimes, then do it with joy." Julien and Matilda are mirror heroes. He is not Napoleon, she is not a court lady. In relations with Mrs. De'Renal: I will not just be a tutor, but a lover. Relationship with Matilda is a game, they both do not fit into historical time. In relations with her, the idea of money and power dominates: “He loved Matilda for what he did not have: toilets and a regal appearance” - superego. He is not a man of his time.
Ms. de'Renal -a rich heiress of a God-fearing aunt, a beauty. She was given in marriage at the age of 16 to the elderly Monsieur de Renal. Smart emotional, but timid and shy, a little naive. shied away from entertainment, because in society they call her proud, they consider her stupid. The courtship of Mr. Valno, who liked her, only frightened her. Madame de Renal's life was dedicated to man and children. But falls in love. With difficulty he introduces Julien into the guard of honor. Two forces are fighting in it - a natural feeling, the desire for happiness and a sense of duty towards the family, imposed by society, civilization, religion. So it goes to extremes. When her son Xavier-Stanislav fell ill, she perceives the disease as God's punishment for adultery, after recovery she gives herself to her love. She didn’t condemn him for his attempt on her, she blamed herself that he was in prison. She stopped reckoning with moral condemnation and the last days she was next to him. Three days after the execution, Julien died, hugging her children. Her feelings are true love!
Matilda de la Mole - The proud and cold beauty reigns at the balls, witty and mocking (she hates young people who come to the ball, mocks them), reads Voltaire, Rousseau, is interested in the history of France, the heroic eras of the country with contempt for all noble fans who claim to be her hand and heart. (from the Marquis de Croisnoy, whose marriage will bring Matilda the ducal title that her father dreams of). she is seduced by the element of chance. Matilda lives in the past, regrets that there is no longer the court of Catherine de Medici or Louis XIII. Julien is interesting to her because "... was not born to crawl." Fluctuating between love and hatred for Julien, self-contempt, she either pushes him away, or gives herself up with all the force of passion. Julien will have to subdue her. Matilda loves her reflection in him. When he finds out that he loves her, he feels contempt for him. M. refers to the 16th century, "He is a destroyer, that's why I love him," says Matilda. Having finally fallen in love with Julien, Matilda is ready to sacrifice her reputation, title, and wealth. She would save Julien from execution if he wanted it. After the death of her beloved, she fulfilled his last request - she buried him in a cave on a high mountain that rises above Verrieres.
11. Genre nature of the novel "Red and Black". Julien Sorel in different genre readings.
It is not easy to determine what genre the novel belongs to. Standpl says that these are chronicles, but the features of other genres are also guessed in the novel.
Genre reading:
1) adventurous romance - how a rogue makes his way to social heights (through the bedroom, kitchen, eavesdropping - you need to plan the next step up in advance) the story of the upstart Julien Sorel - from the son of the owner of the sawmill became a diplomat.
He works out every step to make Madame De'Renal fall in love with him, plays with Mathilde, gets very angry when she rejects him when she walks in the garden with another; carefully prepare for a dinner party - having an excellent memory, he memorizes chapters from church books and recites them to guests.
As in any adventure, he is bold and merciless towards the object of love and the object-bag of money. Sneaks at night with the help of a ladder through the window of Mrs. De'Renal, leaves the chase of her husband, servants. Through lisivots and planning, he achieves the location of the governor, the main persons of the capital.
2)chronicle : The novel is subtitled "The Chronicle of the 19th Century": in it, Stendhal paints a broad picture of French society on the eve of the July Revolution of 1830. Contemporary criticism of the writer just so ingenuously assessed the novel, taking its subtitle on faith: reviewers for the most part practiced tug of war - right or incorrectly described Stendhal France in 1830.
3) analytical novel : scheme of action: As for the act - Act - The result of the act, reflections (author's explanations). The young man is ambitious and vain. A secret admirer of Napoleon, he hates the rich and at the same time craves wealth, which will bring him power over people (anticipates the main characters of Dostoevsky's novels Crime and Punishment and The Teenager). Having perfectly mastered the art of pretense, Julien strikes up a close acquaintance with Madame de Fervac, to whom he is completely indifferent, but who should arouse jealousy in Matilda de la Mole (rewrites Russian love letters and sends to her) and suddenly discovers that now he is no different from those whom he has hitherto despised, who live in idleness at the expense of the people. Only at the end of the novel, after the attempted murder, does he awaken a sense of remorse. Throughout the story, the protagonist is tormented by one question: why does he live, what is his role? Everything that surrounds him - what is all this for? For love, for love? He learns about what true love is not in loving embraces, but only when he finds himself in prison, where he suddenly clearly understands that the connection with Matilda flattered his pride, and nothing more. Julien Sorel, who grew up without a mother, knew true happiness only with Louise de Renal.
4) socio-historical Roma n-historical time is depicted one, and social action from another time (Julien’s speech at the trial: “I am judged by those who are not equal to me! I don’t see here on the jury benches not a single peasant who has become rich, but only indignant bourgeois”; “I see people here who who, without thinking that my youth deserves some compassion, will wish to punish and break once and for all in my face this breed of young people of low origin, crushed by poverty, who were fortunate enough to receive a good education, by virtue of which they dared to worm their way into an environment that arrogance The rich are called good society. Julien is a man of the wrong time and the wrong circle. With great vanity, strive to take a place: "who has set an end for himself, for him all means are good." Napoleon is an idol for Julien, and in his time Julien would have been the highest person. And who can become in due time? Bishop and put on a black cassock. In one of the fragments, Julien admires the 28-year-old Bishop of Agde, and decides to make a career in the church himself. For this you need to be hypocritical, change, curb the character
With whom did he fight?
With myself, with myself...
B. Pasternak
At the center of Stendhal's novel is the fate of a lowly man who is trying to make his way into high society, to fame and fortune. The author traces in detail the entire path of the hero, from the first success to death on the guillotine. But the spring of the novel's action is not only Julien Sorel's overcoming of obstacles on the way to his ideal, to his goal, but also the hero's struggle with himself, the conflict between once and for all established principles and spiritual movements.
The young man, who received the rudiments of education from an old doctor, raved about Napoleon and a military career. Fragile, dreamy, possessing a natural mind and an excellent memory, Julien was very different from ordinary village guys. He despised them, they (even the brothers) hated him. Very early, Julien realized that he wanted to escape from the musty provincial town in Big world where he could find a use for his abilities.
But how to get out? Times have changed, a military career was inaccessible to the son of a carpenter. There was a spiritual calling. Not feeling the slightest inclination towards him, almost not believing in God, Sorel begins to pretend to enlist the support of the good abbe Chelan. Soon Julien becomes tutor in the house of the mayor, Mr. de Renal. In the town of Verrieres, where the nobles and the bourgeoisie are accustomed to measuring everything by the money they receive, the moneybags both despised the poor teacher and involuntarily respected him because, knowing his own worth, he refused to curry favor with them. But as soon as he rose, they began to fawn before the carpenter's son and slander each other (then, four years later, they would take revenge on Julien by sending him to the chopping block together).
Sorel constantly felt like a scout in the camp of enemies. Therefore, he worked out a line of conduct and a plan of action, from which he tried not to deviate. And the fact that Monsieur de Renal's wife fell in love with him seemed to him a class victory, and not a love adventure. It was a matter of honor to defeat her. And then he suddenly fell in love with her for real. The first pure and bright love came into conflict with cynical principles, and to Sorel's credit, it must be said that feeling won.
To avoid publicity and scandal, Julien enters the seminary. And then his well-adjusted promotion system suddenly fails. It turned out that in an atmosphere of total surveillance and general ostentatious humility and hypocrisy, Sorel's inability to hide his intelligence, abilities, desire for knowledge, even just his cleanliness, turns out to be a crime.
But among the spiritual and secular nobles there were people who appreciated the mind and abilities of the young man. He becomes the secretary of the Marquis de La Mole. The Marquis often mentally compares Sorel with his son and other youths from secular society. And pays tribute to the purposefulness, energy and resourcefulness of this commoner, while noting his proud dignity. Julien was expecting a fast brilliant career. But the affair with the daughter of the Marquis Matilda, which looked more like a duel according to all the rules than a sincere hobby, upset all the plans of the hero. The bored secular beauty decided that she could only love a hero, a man of action. Having surrendered to Julien under the influence of a moment, she began to despise him and herself. This romance, where periods of proud cooling alternated with outbursts of jealousy, this competition of two ambitious people could end in a complete break, but almost ended in marriage. The Jesuit brothers did not miss an opportunity to get even with the upstart, intimidating Madame de Renal and sending a letter discrediting Sorel with her hands. A consistent careerist would have gone to America, accepting compensation from the Marquis. But the hero of Stendhal values his own honor too highly. And, seeking revenge, he shoots Madame de Renal. material from the site
In court and on death row, we have before us a completely different Julien, who has finally reached agreement with himself. He sees all the lies and meanness of the world around him and does not want to participate in this universal game anymore. Therefore, he does not ask for pardon: to return to life means to accept the conditions of the game again. No, Sorel prefers to frankly tell the whole truth in court and soberly assesses those whose society he so recently sought to get into: “But if they had a chance to be promoted at court, or, say, to receive or lose a ministerial portfolio - here are my honest gentlemen from secular living rooms will go to any crimes ... "
So, the conflict between a person from the people and society is resolved: society gets rid of an unnecessary hero. There is no place for heroes in an era of timelessness. And harmony in the soul of the hero himself also reigns at the cost of a complete rejection of the vital principles of an immoral society, from which he leaves in death.
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The novel "Red and Black" is a socio-psychological novel that traces the life path of the protagonist - a young man of the generation of the 20s of the 19th century, Julien Sorel. What is the novel "Red and Black" about? And why "red" and "black"?
The title of the novel is symbolic and ambiguous. These two colors - red and black - reflect both the ideas of the novel and social problems society, and the dialectic of the hero's soul.
Red and black. Past and present - the era of Napoleon and the period of the Restoration. The idol for many young people in the early 19th century was Napoleon. In the era of Napoleon, Julien Sorel could, thanks to his energy and will, become famous on the battlefield, accomplish a feat - make a military career thanks to his personal qualities. He always carried a portrait of Napoleon with him, he assessed all his actions and deeds from the point of view of Napoleon, because "... Bonaparte, an unknown and poor lieutenant, became the master of the world with the help of a sword ..." But in the society where our hero, only origin and money are important, people of his class have no place in "good society." Speaking at the trial, Julien says: “... I see people here who wish to punish and break in my face once and for all this breed of young people of low origin, crushed by poverty ...”
Red and black. Revolution and reaction. Julien Sorel bears little resemblance to the revolutionary at the beginning of the novel. And yet, at the end of the novel, at the trial, we no longer see just a criminal or an egoist - we see an accuser. “Beware of this young man with an energetic character ... start the revolution again, he will send us all to the guillotine,” Matilda’s brother says about Julien Sorel. It is the vigor, assertiveness, determination and courage of the protagonist that will allow him to pronounce in court indictment against high society.
Red and black. It is in the soul of the hero himself: a thirst for achievement, a search for oneself, dreams of good education, about love - and excessive vanity, self-interest, the desire to break through, not shunning any means; dreams of life - and a crime, a scaffold.
Julien Sorel would like, like his idol Napoleon, to become famous with the help of a sword, the military, but Napoleon's times have passed, and Sorel's low origin will not allow him to make a career. And then he decides to become a priest, but not because he sincerely believes in God, but for self-interest. And one more thing: he wants to prove to everyone - Monsieur de Renal, Valno, Abbé Pirard, the Marquis de La Mole and others - that he will achieve his goal, make a career. material from the site
Julien dreams of love, but he does not really love anyone. The only feeling he has for people of the upper class is hatred. And when he finally realizes that he loves Madame de Renal and is loved by her, he goes to the scaffold.
“Two creatures really coexist in a person,” Julien thinks, being on death row.
Red and black. Uniform of an officer and cassock of a priest; the blood of Madame de Renal and mourning clothes Matilda. Love, repentance, faith, obedience and fear, despair, irritation, rage...
Stendhal did not explain to us what meaning he put into the title of his novel, and everyone is free to understand this meaning in their own way.
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