Penguin Classics Charterhouse Of Parma Paperback – Jan 1 1958
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Officer, diplomat, spy, journalist, and intermittent genius, Marie Henri Beyle employed more than 200 aliases in the course of his crowded career. His most famous moniker, however, was Stendhal, which he affixed to his greatest work, The Charterhouse of Parma. The author spent a mere seven weeks cranking out this marvel in 1838, setting the fictional equivalent of a land-speed record. To be honest, there are occasional signs of haste, during which he clearly bypassed le mot juste in favor of narrative zing. So what? Stendhal at his sloppiest is still wittier, and wiser about human behavior, than just about any writer you could name. No wonder so meticulous a stylist as Paul Valéry was happy to forgive his sins against French grammar: "We should never be finished with Stendhal. I can think of no greater praise than that."
The plot of The Charterhouse of Parma suggests a run-of-the-mill potboiler, complete with court intrigue, military derring-do, and more romance than you can shake a saber at. But Stendhal had an amazing, pre-Freudian grasp of psychology (at least the Gallic variant). More than most of his contemporaries, he understood the incessant jostling of love, sex, fear, and ambition, not to mention our endless capacity for self-deception. No wonder his hero, Fabrizio de Dongo, seems to know everything and nothing about himself. Even under fire at the Battle of Waterloo, the young Fabrizio has a tendency to lose himself in Napoleonic reverie:
Suddenly everyone galloped off. A few moments later Fabrizio saw, twenty paces ahead, a ploughed field that seemed to be strangely in motion; the furrows were filled with water, and the wet ground that formed their crests was exploding into tiny black fragments flung three or four feet into the air. Fabrizio noticed this odd effect as he passed; then his mind returned to daydreams of the Marshal's glory. He heard a sharp cry beside him: two hussars had fallen, riddled by bullets; and when he turned to look at them, they were already twenty paces behind the escort.The quote above, a famous one, captures something of Stendhal's headlong style. Until now, most English-speaking readers have experienced it via C.K. Scott-Moncrieff's superb 1925 translation. But now Richard Howard has modernized his predecessor's period touches, streamlined some of the fussier locutions, and generally given Stendhal his high-velocity due. The result is a timely version of a timeless masterpiece, which shouldn't need to be updated again until, oh, 2050. Crammed with life, lust, and verbal fireworks, The Charterhouse of Parma demonstrates the real truth of its creator's self-composed epitaph: "He lived. He wrote. He loved." --James Marcus --This text refers to an out of print or unavailable edition of this title.
"The Charterhouse of Parma has never sparkled in English with such radiance as it does in Richard Howard's new translation."
"[A] superb new translation."
--Bernard Knox, The New York Review of Books
"An epic tale of war, love, sex, politics, and religion...an action-packed narrative."
--The New Yorker --This text refers to the Hardcover edition.
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On 15 May 1796, General Bonaparte made his entry into Milan at the head of the youthful army which had just crossed the bridge at Lodi and let the world know that after all these centuries, Caesar and Alexander had a successor. Read the first page
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Top Customer Reviews
The Modern Library has apparently decided that, with so many good Stendhal translations out there (Slater; Mauldin's Charterhouse; the NEW Penguin R & B; Lowell Bair's Charterhouse), it has a duty to provide bad ones. Richard Howard's translation has errors that even my schoolboy French can pick up. The New Criterion (which may have its own bones to pick w/ Mr. Howard, true) listed a great many flaws in his command of the French. And he's tone deaf to Stendhal in many of my favorite passages (not as bad as the old Shaw Penguins, but bad enough). If you read Howard's Stendhal & think you don't like him, try a better translation.
I think what the reader needs - what I needed - was a feel for the context. Stendhal stands at the crossroads of so much that is interesting in the modern world. He's a Frenchman who is in love with Italy. He's the small town boy who yearns for Paris - but then is shocked to find it has no mountains. He's the soldier who rode with Napoleon - but the wrong way, having accompanied the great man on the retreat from Moscow. Most of all, he is the ultimate romantic and the ultimate anti-romantic-the great enthusiast with a deadly eye for the absurdity of his own enthusiasm. I think I needed to have some sense of all these dimensions before I could catch the ironies and cross-currents that give the book so much of its drive. But lately, I don't know how many times I've found myself reading some later novel or some bit of more recent history and hearing Stendhal's worldly chuckle at my shoulder. It's the mellow wisdom of a life not always well lived, but for that reason perhaps more tangy and flavorful than a duller counterpart.
One of the many charms of the experience to me is to reflect that Stendhal himself was - okay, say it, a loser. He reminds me a bit of the Fusco Brothers in the Sunday funnies: not fat, exactly, maybe a size 40 in a pair of size 38 pants, the guy who never quite gets the girl (don't believe all his stories).Read more ›
Most recent customer reviews
Surprisingly engaging 'antique' novel with wonderful descriptions of the Italian countryside.Published 12 months ago by anticipation
I understand that Stendahl is the French equal of Alessandro Manzoni or Leo Tolstoy. Based on that alone, Hell yes you should read this book!Published on Feb. 17 2004 by some guy
The magic of this classic of French literature will follow you forever after reading Stendahl's work. He was a master of the tale and he was a master of the pen.Published on Aug. 31 2002 by Boris Zubry
Stendhal's great novel follows the life of "our young hero" Fabrizio del Dongo (a Lombard nobleman) through the early 1800s and life in-between the various reactionary... Read morePublished on Aug. 27 2002
After reading The Red and the Black, also by Stendahl, I expected a fascinating read. Instead I'm resisting falling into a coma. Read morePublished on March 19 2002
I don't really know exactly why I was so bored by this novel. Perhaps it's because many of the themes and techniques appeared so familiar to me after having read "The Red and... Read morePublished on Sept. 2 2001 by MR G. Rodgers
Fabrizio's dubious lineage is just a small seed of a hint as to the kind of life he will live for everything Fabrizio does has the distinction of being a dubious undertaking. Read morePublished on Aug. 26 2001 by Doug Anderson
This is an unconventional novel by the very unconventional Stendhal. Many have commented on the unusual structure of the narrative, the frequent and apparently random plot twists,... Read morePublished on May 29 2001 by R. Albin