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    The Red and the Black: A Chronicle of 1830
    The Red and the Black: A Chronicle of 1830
    The Red and the Black: A Chronicle of 1830
    Ebook751 pages16 hours

    The Red and the Black: A Chronicle of 1830

    By Stendhal

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    About this ebook

    The Red and the Black is a historical psychological novel in two volumes by Stendhal, published in 1830. It chronicles the attempts of a provincial young man to rise socially beyond his modest upbringing through a combination of talent, hard work, deception, and hypocrisy—yet who ultimately allows his passions to betray him.

    The Red and the Black (Le Rouge et le Noir) is the Bildungsroman of Julien Sorel, the intelligent and ambitious protagonist. He comes from a poor family and fails to understand much about the ways of the world he sets out to conquer. He harbours many romantic illusions, but becomes mostly a pawn in the political machinations of the ruthless and influential people about him. The adventures of the hero satirize early 19th-century French society, especially the hypocrisy and materialism of the aristocracy and members of the Roman Catholic Church, foretelling the coming radical changes that will depose them from their leading role in French society.
    LanguageEnglish
    PublisherStendhal
    Release dateJul 11, 2014
    ISBN9786050312515
    The Red and the Black: A Chronicle of 1830
    Author

    Stendhal

    Henri Beyle, Stendhal (Grenoble, 1783 - París, 1842), fue uno de los escritores franceses más influyentes del siglo XIX. Abandonó su casa natal a los dieciséis años y poco después se alistó en el ejército de Napoleón, con el que recorrió Alemania, Austria y Rusia. Su actividad literaria más influyente comenzó tras la caída del imperio napoleónico: en 1830 publicó Rojo y negro, y en 1839 La Cartuja de Parma. Entre sus obras también destacan sus escritos autobiográficos, Vida de Henry Brulard y Recuerdos de egotismo. Tras ser cónsul en Trieste y Civitavecchia, en 1841 regresó a París, donde murió un año más tarde.

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    Reviews for The Red and the Black

    4/5

    1,329 ratings37 reviews

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    • 2/5
      This book was lauded critically at many points in time. However, I did not find the nature of the book to be appealing and the writing felt stilted and forced. The characters I did not especially care for either, despite the extensive efforts of the author to try and describe and invigorate them.

      Overall, disappointing. I do not recommend it.
    • 5/5
      My grandmother Stella lived north of here. I was closer to her than anyone in my family. She loved classic cinema and read voraciously albeit trashy gothic romances. After my grandfather passed away I tried with varying success to ensure that I was with her every Thanksgiving. It should be noted here that she was a terrible cook. Lacking all facility in the kitchen., she approached the culinary arts with an appropriate cynicism I adored immensely. An agreement was reached and rather than suffer through another failed meal, we decided that I would buy pizza and pumpkin pie. It was such a small town Papa Johns that I finished the saga of Julian Sorel. His vagaries remained somewhat mysterious to me, I must admit.

      I read the novel a second time in tandem with my wife. The novel's cryptic core had been elucidated.
    • 4/5
      Stilistisch: Rake type-beschrijvingen (echte archetypen: M. de Renal, abbé de Frilair, Markies de la Mole enz); Opmerkelijk gebruik van de monologue interieure, vooral in deel 2; Duidelijk romantische trekjesFiguren: Niet altijd even consequente karaktererisering.Opmerkelijke vrouwenfiguren: Mathilde en Mme de Renal (geen voornaam), eigenzinnig, slagvaardig, wereldsHoofdfiguur: Julien, symbool van strijd tegen de burgerlijke orde, maar sterk realistische trek (wordt niet afgeschilderd als een sympathiek figuur). Ook politiek element aanwezig: heimwee naar gouden, roemruchtige Napoleontische tijd, toen er nog echte mannen waren.
    • 3/5
      I struggled my way through Stendhal's "The Red and the Black," which is one of those books that I can appreciate for being ahead of its time without thinking it was a particularly enjoyable read.The novel is the story of Julien Sorel, a romantic social climber who lives in Paris at a time where it's nearly impossible to get ahead if you weren't born into money and titles. He somehow convinces himself his avarice is actually the love he feels for various women (all wealthy with all the right connections.) He alternately loves these women and hates them for their position and frivolousness. I found the first half of the book just plain tedious...I was literally reading about five pages in a sitting before putting it down. However, the second half of the book moved from tolerable to interesting -- I'm not sure whether that was because the second half has decidedly more action and less of Julien's thoughts or because I got used to Stendhal's style.I'm glad I plowed through this book, rather than abandoning it, but it's not a book I really liked or got much out of either.
    • 4/5
      I should reread this one, since I read it in...French in Portugal, about 40 years ago. There just weren't all that many books in the small fishing village in which I was spending a lot of that summer, and I was desperate. I liked the book a lot, but I suspect I didn't get a lot of the nuances, given the state of my French (primitive) and my lack of a French/English dictionary to consult. But the memory of those long days, and the beautiful ocean, combine very pleasantly in my mind, drenched in a perpetual sunlight having nothing to do with the plot.
    • 4/5
      I have never been able to read this in translation, so I finally picked it off a shelf in Sherbrooke, Quebec, and was surprised to find it seemed written in haste, almost breathlessly. Maybe no translator can aspire to breathless rendering. This intrigued me, and I read it in a couple weeks, with my "B" level comprehension, but my "A" background in literature.I found it atmospheric, urgent, engaging. Typically, he starts with a provincial portrait built upon Hobbes, the provincials themselves "less bad, but their cage less gay." The respect of fools, the amazement of children: importance (of a provincial mayor)--is it not something? The puzzle is the contentment of these provincials. Julien Sorel is surely not so.Well, his saga, his ironic take on the decadence of the society he claws his way ahead in, sometimes on a lover's parapet, is gripping today as it was when written. (My missing fifth star may well be due to the level of my French comprehension--I may be grading myself, as Julien Sorel seems to now and then.)
    • 4/5
      I don't like 19th century novels. I have tried to explain this many times and got scolded by a certain somebody. My main problem is having any kind of sympathy for the oh-so-rich-yet-so-trapped aristocracy. You are rich, you can do a lot of things without others questioning you, yet you are so oppressed by your "circumstances," by which we mean belonging to a class that imposes a moral and cultural code on you. Well, isn't everyone oppressed by their class (and those above)? So isn't being rich just simply better? Why are these people whining and complaining? How come they are so bored? I don't know, it is hard to get it. I simply failed many times. I understand one is always constrained by peers, society, tradition, class, etc., but it is much easier for rich people to bend the rules; always has been, always will be. I suppose the early novels were all about these people, like early art was all about religion, so there is no escaping this subject.

      What made The Red and the Black stand out is that the main character, despite his high intellect and ambitions, was almost as lost as I was about these high society people and their moral codes. Stendahl does a very good job explaining the things that always puzzle me. Why certain things are not talked about, how the aristocracy thinks of itself and what that means even at the height of emotion or passion, who owes whom what, etc. There is a lot of politics, some of which is apparent, and some, were lost to me (as I do not read every footnote!) In the end, I think I kind of got why people did what they did, well, until the end...

      What's most puzzling, to me at least, is who Julien loves. In a way, this novel is about a sociopath who will charm his way into any household or bosom to get ahead and rise above his "caste." So is he capable of loving anyone? It is clear that he is prone to bouts of hating himself. And others. Towards the end his love seemed fickle to me. And perhaps that's because I didn't get it entirely, perhaps not. And the women? I think Mathilde is easy to figure out eventually (if you can get over the "hypocrisy"). But Madame Renal? Who knows... Religion messes with your head? Is that the lesson here?

      Don't sleep with other people's wives. Don't try to rise above your class. Rural and urban high classes are different, but a sorry bunch nevertheless. Religious authorities are a bunch of scheming petty folk.

      A bleak outlook on humanity, with very nice nature scenes. Though, I must admit, a page turner as well.
    • 3/5
      Stendahl didn't like the aristocracy or the clergy. And he thought ambition was a no-win way to behave.
    • 5/5
      I didn't think I'd wind up liking this book much reading the first dozens of pages. The book is centered on Julian Sorel, the brilliant and ambitious son of a peasant in post-Napoleon France. The "red" and the "black" of the title refer to the two routes to power for someone of humble birth in the France of the era--the military and the clergy. I admit it--I tend to want to spend time with characters I can root for, feel sympathy for. And Julian is about the most unsympathetic character I've followed closely through hundreds of pages. I can't say that even at the end I cared much about Julian or had much liking for him. There's something so calculating about him that left me cold, in spite of an impulsive side that nears too-stupid-to-live territory. And the whole sensibility of the book is one I usually feel out of step with--one of those focusing on, yet disdaining, provincial France and its supposed "money grubbing" spirit. And yet the book after an initial hump held me tightly in its grip--even fascinated me. I think that's because this is one of those books that completely convinces you these are flesh and blood people, closely and intimately--and convincingly--following the thoughts and feelings of the characters. And Julian did have a redeeming feature as a character--he made me laugh, or at least smile. Despite his success with women, he often displays a spectacular social ineptitude and awkwardness. Ultimately he reminded me a bit of that other very famous fictional French provincial--Madame Bovary. Like her, he has aspirations beyond the station he was born into--one sustained by books, even if they're dreams of glory inspired by Napoleon rather than dreams of a grand passion born of too many romance novels. And the women in this book don't come across as porcelain dolls, the way too many of Dickens' heroines have to me. Madame de Renal and Mathilde de la Mole are complex and fascinating characters in their own right. The second a bit larger than life (or unbalanced?) but both are resourceful and intelligent--arguably more so than anyone else in the book. The further I read into the book, the more I fell under its spell. Stendahl is a master of the omniscient point of view--a way of narrative associated with and much more popular in the nineteenth century--and yet the novel feels very contemporary in its sophisticated treatment of the psychology of the characters. Not light, happy reading--no. But ultimately satisfying.
    • 2/5
      A difficult book on many levels. Julien Sorel is not a likeable character and no one else is really either. He rises from poverty, and makes a muddle of things on his rise. It is, I guess, an allegory on class warfare set in 1830 France.
    • 4/5
      Post-Waterloo France is depicted with simple realism as the milieu of Stendhal's flawed hero in this masterly novel. This translation reflects the panache and directness of the original.
    • 5/5
      Obviously a great influence of Proust. Took almost a month to read- but very compelling none the less. Nothing very exciting happened- perhaps it was the main character's daring and extreme reactions to events. Espionage was introduced briefly. I wish there was more of that. The end was very fatalistic.
    • 4/5
      I was really surprised to like this book as much as I did. The main character, Julien, is so calculatingly ambitious and oversensitive that it is hard to really like him. And yet, this novel kept me engaged through witty writing and an ending I did not see coming.
    • 5/5
      If you think you understand love or if you couldn't get through Stendhal's essays on love, try this on for size.
    • 5/5
      Stendhal had the rare talent of making even the trivial and mundane vibrate with meaning. Cold-eyed brilliance and smouldering passion (though not without moments of wildfire), this novel. I need not wonder why the famous French historian Hippolyte Taine read it more than 20 times. This is a masterpiece beyond question.There are several (I counted at least six in print) English translations of this novel. I recommend comparing excerpts. Some of the translations seemed less than engaging.
    • 1/5
      French Naturalism and me will likely never get along very well. This book was a struggle for me, and in the end I gave up and skipped large portions of it. On the face of it, I can without qualms say that Le rouge et le noir has the makings of a very good 19thC psychological novel, in which a well-rounded character with believable issues and tendencies is confronted with various challenges, and their mental world and their social environment is explored skilfully and with great insight in the human condition. The main character is Julien Sorel, a working class lad from small-town, provincial France, who’s got a talent for book-smarts, and who is anxious to climb the social ladder to upper-middle class or lower-upper class levels. The obstacles are well-developed, too. One is that the people on those upper rungs will never accept him as one of their own: he’s at most a pet displaying impressive tricks, but never an equal (this is part of their upbringing, of course). Another obstacle is psychological in nature: Julien’s congenital, knee-jerk disdain for higher-class people and the way they behave towards anyone not from their class. Yet another obstacle is that Julien himself develops a haughty disdain for people from his original class: he’s trying to fit in, but this renders him an outcast almost everywhere. The result is an impossible conundrum, and Julien struggles mightily to navigate it. So far, so professional. What made me want to give up is a combination of vexations I had, all of which are excusable individually, but the cumulative effect proved to be too much. For one thing: most characters, including the main one, are straight-up selfish arseholes, quick to despise anyone qualifying as The Other, which leaves me with precious little patience to tolerate their antics. Many are incompetent, too, unable to stick to a course of action and veering back and forth between two sides of a decision as a new mood overcomes them. This also annoyed me. Watching a moody adolescent failing at his half-hearted attempts at get-riches-and-a-title-quick schemes isn’t a fun experience, either -- whether they be impossible designs, half-baked plans, spur-of-the-moment decisions, or a systematic faking of religious fervor that higher-up clergy are bound to see through. I also had an especially hard time engaging with 19thC concerns, both petty squabbles of the small-town kind (the cost of a servant's uniform, or whether or not someone is allowed to stand in a crowd to see a king’s procession), and the ridiculously quaint class sensitivities (constraints on proper behaviour; everyone’s callousness towards members of another class). I just can't find it in me to care. Then there is the unpleasantness that is Julien’s amorous escapades. Julien seduces two higher-class women -- one is his first employer’s wife, Mme de Rênal, who he decides is pretty even though she’s already thirty. Julien desires her because she represents an ideal to him, and because his self-image would look pretty good with a higher-class mistress. When the adultery becomes known, his reputation (and hers!) is ruined, and Julien has to run from the vengeful husband. A well-placed connection sets him up as the secretary of Marquis de la Mole -- whose teenaged daughter Julien promptly seduces. Again, his motivation is more class envy and a feeling that a man of his pretentions ought to be looked up to by a woman such as Mlle de la Môle. Throughout it all, Julien is consumed by contradictory emotions, passions and wild flights of fancy, which serve as a complex psychological shield for his sometimes-calculating moves in securing money, lovers and status he thinks should be his due. Other people’s sacrifices for his sake barely register in Julien’s self-estimation. Finally, there’s the novelist’s approach to their work: It is clear they have chosen their subject carefully, wishing to show certain societal currents and what kind of effects they have. But I felt as though Stendhal were trying to dissect their characters with such levels of emotional detachment and objectivity that it all felt forced and needlessly explicit. The image I have of Stendhal is that of a droning teacher who fails to realise their pupils have gotten the point but overexplains every step, and nothing is going to deter him. And so subplots and new characters are introduced merely to press a button in Julien’s psychology, or to bring out a conflict Stendhal wishes to turn to next. All the conflicting dilly-dallying between Julien and his female objects of desire is this writ large: their endless drama serves merely to have the occasional realization occur to Julien, or to make points about the rigidity of the class system. As a result, the demonstration of Julien’s psychology and his struggles with himself and with society is done with a graceless lack of subtlety, a tedious plodding through the whole process, step-by-step, that ends up feeling so forced it loses all semblance of realism. In a word: I found this book too noticeably constructed. Taken separately, I would probably be able to overlook these points, but taken together they made working my way through this book an unpleasant chore. They were also magnified by the book’s length: my physical copy has over 820 pages with tiny print. Like Julien, I struggled (though perhaps not mightily), but was unequal to the task, and more or less abandoned this book. I ended up reading to the 52% point (as per my e-reader) before I was ready to give up. I spoiled myself thoroughly on a synopsis and an article or two about the book’s influence and Nachleben, trying to decide whether continuing the drudge was worth it. In the end, I decided not to. I read a chapter here and there, but ended up skipping most of the rest of the book. The final 10% (again, as my e-reader has it) I did read, and so, having reluctantly read some two thirds, I can happily say that I am properly done with this book. Here’s hoping next year’s Big French Classic will be a more agreeable read.
    • 3/5
      A book that as I read it wasnt sure what to make of it. Is it a treatise of love or a comment on the church? A priest with two mistresses, and no one is shocked, including the author. He becomes the cause celebe at the end.
    • 3/5
      I had some trouble getting into this novel, and did not like it as much as I had expected/hoped.In the novel, a young man, Julien Sorel, tries to reach a better position in society. He very much admires Napoleon and wishes for a life of greatness. In his search for greatness he gets wrapped up in two love affairs and ends up attempting to murder one of his lovers; he is subsequently condemned to death.I think my main problem with this novel was that I never really liked Julien or his actions - this made it hard for me to really connect with him. Julien is very much obsessed with improving his position in life and seems to have little regard for others. He decides on a religious career, not because of any religious feeling, but simply because he thinks it's the quickest way to get power and fortune. When he initiates his affair with Mme Renal, he is initially not really in love, but merely interested in getting the attention of a grand lady. When he seduces Mathilde, he also soon finds he has no real feelings for her. Though there are moments in the novel where Julien does show emotion, and he does discover his love for Mme Renal in the end, his main motives are mercenary. I found him an unpleasant and unlikable protagonist. Aside from this though, I have to admit that it is an interesting story, and a great sketch of the time and lives of people living shortly after the defeat of Napoleon. Aside from the story of Julien Stendhal adds a political and social background which gives an insight into the situation in those days.In many ways it is not a bad novel. The setting is great and historically very interesting, Stendhal's style of writing is nice, the descriptions are often beautiful and the characters are vivid and well-rounded. Yet, for me, the lack of likable characters and often negative, cynical views made it not a very pleasant read.
    • 1/5
      This is a classic, but I certainly don’t care for it. There isn’t one likable character, I found the plot and story far less than stellar and, frankly, other than good grammar for the era, couldn’t find one redeeming point in this book other than that, once done, it was finally over. So why, then, bother to read it at all given that I’m long past school? I chose to read it as a group read, and having never read Stendhal before, thought I may as well give it a go. I didn’t read this exact copy, and while I understand that the translator of the library copy I read, Charles Tergie, might not be the best translator of this work around, there is nothing any translator could do to fix the worst parts of this for me.Naturally, at least one person I know is likely to love this novel or at least like it, and, as always, there is nothing personal about disagreeing on novels such as this. After all, not everyone needs to like a novel’s character to enjoy it. They might like the psychological aspects of it, or appreciate points about it that did nothing for me, and given that this is literature and not something involving human rights or safety and so on and so forth, they are entitled to enjoy it. But, honestly, Julien is so unlikable; at one time brilliant in certain ways and on another so doggone shallow, egotistical and self centred, not to mention rather manipulative at times, with absolutely character growth of any value whatsoever that I just didn’t like him, nor based solely on this novel, could I form any good opinion of the author. Don’t even get me started on the inane character Madame de Rênard or the other women who came into Julien’s life. Based on this novel alone, Stendhal’s understanding of women appears to have been extremely limited and superficial. There wasn’t one woman in the lot I could like.However, if you frequently love books I hate, try it and see what you think. If you are passionate about nineteenth century French literature you might love it. I’ll stick to authors such as Victor Hugo. For sure, Hugo tended to ramble and lecture, but at least he knew how to create characters we could get behind and root for passionately.
    • 4/5
      We can't see what we have become without seeing who we were to start with. Trace us. Look into our soul.
    • 4/5
      read the book for a class on the Euoperan novel. I am glad I did, there were some many good parts, reminded me especially the ending of campus the stranger. thought a lot about the idea of bad faith in reading the novel
    • 3/5
      The story:This novel narrates the progress of a Julien Sorel, son to a carpenter, who is rather disenchanted with his family and is very ambitious of becoming a person of value. He progresses thanks to his prodigious memory which he uses first to memorize the bible in latin. This impresses the local church and is admitted to a seminary. This also helps him get a job with the local mayor, where he takes advantage of the mayor's wife, Madame de Rhenal, and becomes her lover. He moves from there to a seminary in Besancon but from then he is able to procure a job with the Marquis de la Mole in Paris. There he falls in love with the marquis' daughter who gets pregnant by him. The marquis, needless to say, is not very happy at the prospect of his daughter marrying this commoner, so he tries to buy him off to get Julien to leave France. Julien refuses and while this activities are going on, Madame de Rhenol at the instigation of a priest writes a letter to the marquis denunciating Julien as a scoundrel who left her. When the marquis shows Julien the letter, the latter becomes enraged, acquires a couple of pistols and goes back to Mathilde's town and shoots her in church. He is apprehended and taken to jail. A trial will take place but while in jail, both Mathilde and the Marquis' daughter come to see him. Mathilde, the marquis' daughter, is his wife since she's expecting his child. At this point, Julien realizes that he is really in love with Madame de Rhenal and despises Mathillde. At the trial, despite the efforts of his friends to buy the jury, Julien goes into a diatribe chastising the jury. So he is found guilty and a few days later faces the guillotine. Julien, like most of the other characters in the novel, is very self-centered and egotist. In fact heis almost a mysoginist- he despises nearly everybody, even those he claims to love. His affections for people are mostly ways to get gains for himself. A striking aspect of the novel is the rigidity of the classes in France at that time (and perhaps today too). The only hope for a person born in te low classes was that he'd be found to be the abandoned child of some nobleman- otherwise he is doomed to a life of poverty and privation. Class distinctions play a crucial role throughout the novel, being the impediment for Julien's progress. And perhaps the reason for his continuous resentment.
    • 3/5
      I think I read a bad translation of this book. The translation was from 1970, so I am hoping there are better ones out there now.Julien is a peasant in the early 1800s France. Napoleon is gone and the monarchy has been restored. Julien secretly idolizes Napoleon and despises the rich and the clergy.His father and brothers are carpenters, and he is weak and studious. They of course pick on him and slap him around, until one day Julien is asked to be a teacher for the children of a local family.Eventually he ends up at a monestery (I think) and then a secretary to a marquis. And then the downfall; and yes, it involves women!I had trouble liking the book until I got to the last 100 pages. I really think I would have liked it more if the translation had been more modern.
    • 3/5
      This book was not what I was expecting. The "Red" and "Black" are more of a setting and minor subplot to the real story, which is a romance (well, multiple romances). The main issue I have is that the tone was initially very light, humorous, even cute-- then it became ridiculously melodramatic-- and ultimately was tragic. I have to believe this was intentional and intended to reflect the outlook and maturation of the protagonist, Julien Sorel. Somehow, it just didn't work for me. It seemed disjointed, unbelievable, and made the characters seem false so it was difficult to rouse any empathy for their situations.There are still many aspects of the novel to be appreciated and even admired. Stendhal clearly had acute insight into the minds of young lovers (both male and female), and the ambitions of the not-yet-cynical or apathetic. The writing is certainly old-fashioned but easy to read, though my translation used and reused some obscure adjectives to death. I would recommend this book to anyone who makes a serious study of literature and wants to understand its influence on later writers. I also think it might be a good choice for an especially precocious teenager.
    • 4/5
      Very enjoyable view of a romantic young social climber in post-Napoleonic France. I especially liked the way the satire rose with Julien's social surroundings. The historical footnotes were enormously helpful in placing the story in its context.
    • 4/5
      I have been living in Grenoble (Stendhal's birth place) for more than thirty years, and I had never read anything by him. (I escaped reading Le Rouge et le Noir at school for an unknown reason.) So I decided that I should do something.The LT automaton had warned me that I would love this book (with a very high probability). The first volume, when Julien Sorel lives in Verrières, is rather solidly built. To me, the great mystery of this first volume is how Stendhal could make his hero so despicable and antipathetic.I was not so sure to meet the LT automaton prediction when I began the second volume : I got the impression to be lost by Stendhal, first in the midst of the atmosphere of a seminary, then in the multitude of characters met in balls and parties in the Parisian high society. It was as if Stendhal was trying to make money in selling pages. Luckily, the end of the novel has a more steady pace and ends romantically, but also in a rather grand guignol way.
    • 5/5
      It seems to be the time to write about the first big novel I have read this year...although I'm already 2 books ahead and otherwise I will loose track completely. As usual - and as I have read the book in German translation - I will write a short comprehension in english, but will discuss everything in German.Stendhal a.k.a. Henri Beyle put the scenery of "Rouge et Noir" in the time of about 1830, the Bourbone restauration in France, and subtitled it as a chronicle of the 19th century - which was still young at his time. But, it was supposed to be a novel taking place right now...and not in the past. Julien Sorell, the unusual intelligent son of a simple wood cutter - at least as being a designated priest he could speak Latin and had an enormous memory that he showed when citing entire parts of the bible by heart (and in Latin) - got the job of a house teacher in the family of the local Mayor M. de Renal. He seduces Mdme. Renal - not really out of love, but more because of his ego - and to avoid a scandal he is forced to leave. He joins the priest seminar - which by the way is one of the most impressive written parts of the book - and finally succeeds in becoming the private secretary of Marquis de la Mole. The Marquis' daugther soon got an eye on Julien and finally - this really takes Julien some time and and also sophisticated strategies - they plan to marry because she became pregnat (by him...). Of course the Marquis is rather dissappointed about this misalliance. Then, he receives a letter written by Mdme. de Renal in which she warnes the Marquis de la Mole about Julien being an imposter, whose only goal is to make carreer out of seducing women in the families where he is put in. Julien also reads the letter and for revenge shoots Mdme. de Renal while she is attending at church. Although she recovers, Julien gets voluntarily adjudged and executed......Die vorliegende neue deutsche Übersetzung von Stendhals Klassiker ""Rot und Schwarz" kann ich allen - egal ob Fan von französoscher Literatur des 19. Jahrhunderts oder nicht - nur wärmstens ans Herz legen. Das Buch ist überaus spannend und unterhaltsam geschrieben. Stendhals mitunter kurze und prägnante Art verzichtet auf ausschweifende Schilderungen der Schauplätze ohne jedoch das jeweils für diese typische außer Acht zu lassen. Üppig, intensiv und wohlüberlegt ausgefallen sind alle Dialoge. Man durchlebt die Höhen und Tiefen von Julien Sorells Dasein - auch wenn man seine Gefühle, seinen Antrieb heute nicht immer recht verstehen kann. Die französische Revolution, Napoleons Kaiserreich und die anschließende Restauration - auf die eine weitere Revolution folgen sollte - prägen das gesellschaftliche Bild, das Stendhal zeichnet. Der Karrierist und bürgerliche Emporkömmling wird ebenso scharf charakterisiert wie der alteingesessene Adel, der ewige Streit zwischen Jesuiten und Jansenisten verfolgt die Handlung wie das gerade im Entstehen begriffene Genre des Stutzers und modebewußten Dandytums. Und natürlich die Frauen...alle scheinen sie in Julien verliebt. Angefangen von der unscheinbaren Kammerzofe, über Mdme. de Renal, einer Kaffeehausangestellten, einer verwittweten Generalin, bis hin zur Marquise de la Mode...alle weiß Julien von sich einzunehmen...und zu enttäuschen. Das Ende jedoch - laut Stendhal Bestandteil der dem Buch zugrundeliegenden wahren Begebenheit - bleibt mir rätselhaft. Wie bereits geschildert versucht Julien Mdme. de Renal in der Kirche zu ermorden und sieht danach, obwohl diese sich von ihren Verletzungen erholt und ihm vergibt, keinen anderen Ausweg, als sich dem Gericht zu überantworten und selbst auf seine Verurteilung zum Tode zu bestehen. Natürlich...nicht gerade ein 'Hollywood'-gerechtes Ende. Aber eindringlich und wirklich kurzweilig erzählt. Besonders hervorzuheben sind in dieser Ausgabe die vielen Zugaben. Neben einem ausführlichen Anhang mit Erklärungen und Anmerkungen Stendhals (die man im laufenden Text jeweils nachschlagen kann..) bietet die Ausgabe noch Entstehungs- und Wirkungsgeschichte, sowie Stendhals eigene Rezension des Werkes. Also: Lesebefehl!
    • 4/5
      A French version of the American success story but with a twist: deception and vice ruin the protagonist after he attains his dream.
    • 5/5
      A well-known music critic once called Puccini's opera Tosca a "shabby little shocker," and that epithet also applies to The Red and the Black (Le Rouge et le Noir). It is surely shocking in its denouement, but it is also a Bildungsroman with picaresque, farcical and melodramatic overtones. It is also in its way a psychological study, something new for 1830. And the title itself signals that it is a novel of contrasts.The novel reflects Romanticism at its heart, but it is firmly — and at the time daringly —grounded in the Realism of the years leading up to the Revolution of 1830 in France. Life there since the 1789 Revolution had been unstable economically, socially and politically and fraught with concerns, especially among the nobility, that the tables could once more turn against them at any moment. Anxiety among the aristocracy is reflected in their constant reference in this novel to "the Emigration," which refers to the mass exodus of the upper class from France beginning in 1789, but is also by extension an oblique reference to the horrors of ten thousand of their kind having been guillotined in 1793. Self-censorship was the order of the day even in the salon as political correctness had almost stifled discourse. Consequently, a new level of boredom had set in among the nobility and the table was laid for exactly the kinds of events that unfold in The Red and the Black. Understanding the historical milieu in which the novel takes place is essential to fully appreciating the plot elements and the behavior of some if not all of its characters. So much more needs to be said about this, but I will leave it here and say that the reader must discover for him or herself how much the novel reveals about these rather tumultuous years.The protagonist of the novel is Julien Sorel a very young man of the lower classes whose mother is dead and whose brutish father and older brothers have consistently abused him. The father is clever enough to have sent him for tutoring, but then he resents his son's interest in books in the face of his own illiteracy.Somewhere in his tutoring Julian discovers his own eidetic memory and perhaps the kindly abbé Chélan encouraged his memorizing the entire New Testament — in Latin! His Latin skills lead to employment as a live-in tutor in the household of the town mayor Monsieur de Rênal. He is more than a servant in that he is allowed to take meals with the family.Julien is a blank slate when he leaves home for the mayor's house, so blank that while he knows the text of the New Testament by rote, much of the meaning seems to have escaped him.The town is Royalist in its politics, but Julian idolizes Napoleon about whom he dare not speak because any form of liberalism is frowned upon, but especially Bonapartism. There is also a division between two factions of Catholicism — Jesuits versus Jansenists — which contributes to tensions among not only the local clergy but also residents of the town. The paternal, political and religious intolerance that Julien has witnessed during his formative years causes him to adopt the posture of a conscious hypocrite. He cannot read in his father's presence without risking a beating, he cannot openly idolize Napoleon, and he cannot reveal his lack of true religious feeling. At age nineteen, his purposeful dissembling, lack of an ethical core and profound ignorance combine to reveal what seems to be a hopelessly feckless youth who has acquired only a few parlor tricks along the way featuring his prodigious memory. Beneath this unschooled exterior, however, lies a better than average intelligence. But resentful of his poverty and hampered by his ignorance of how the world works, he has only the vaguest notions of how to better himself, although occasionally Julien witnesses an event that provides a glimmer of possible future advancement through the Church. His real education begins when he enters the household of M. de Rênal.Julien has been accepted into the mayor's family, and when free of tutorial duties, he finds himself frequently in the company of Madame de Rênal. One day he decides to seduce her — a cold and bloodless calculation devoid of emotion. Once having made the decision, he becomes obsessed with Madame. She of course resists at first but eventually succumbs to the unrelenting onslaught. Madame de Rênal, too, is unschooled, but in every other respect she is the complete opposite of Julien: She is warm and kind and has good instincts with regard to raising her children.We are then treated to a seemingly endless succession of he-loves-me-she-loves-me-not episodes that remind one of scenes from comic opera. Wild swings of emotion are evident on both sides. What began as a calculated move on Julien's part gradually evolves into his belief that he is in love. This becomes a template for Julien's relationships with women.Eventually suspicions of this affair begin to seep into the channels of local gossip, and the elderly abbé Chélan convinces him to leave the mayor's household and enroll in a seminary at nearby Besançon. The director of the seminary, abbé Pirard, becomes Julien's clerical mentor; and eventually they both become beneficiaries of a prominent Parisian aristocrat, the Marquis de la Mole, who provides a living for the abbé and who employs Julien as his private secretary.Once in Paris Julien's education shifts into high gear. The Marquis sees him as a boorish peasant but provides him with a new wardrobe, dancing and riding lessons and begins the process of molding Julien into a competent amanuensis. Julien's rough edges are gradually smoothed out, and he becomes a rival to the best dressed men in Paris. The Marquis also takes Julien into the family, requiring him to live and dine with them every evening and attend the salon and pay attention to the comportment of the aristocratic young men in attendance. Before our eyes we see Julien being transformed from a country peasant to at least the semblance of an aristocratic dandy.The Marquis de la Mole has a young daughter Mathilde who, out of the aristocratic boredom symptomatic of the age, begins to importune Julien. His natural antipathy to the ruling classes creates in him a kind of reverse arrogance, and his initial attitude toward Mathilde is one of contempt.But almost like clockwork, it enters his head to seduce her. Immediately, Julian enters into the same kind of emotional dance with Mathilde that he had led with Madame de Rênal. Funny enough, In both conquests Julian employs ladders in launching his mock-heroic midnight attacks on the ladies' boudoirs. The on-again-off-again farce plays itself out to a breaking point, but this time self-destructive behavior becomes the order of the day, and now the melodrama begins. Prepare to be shocked.So we have a novel featuring passionate love affairs which are fueled largely by jealousy, real or imagined. Love triangles abound. Whether real love is a factor or mere high-strung adolescent emotionalism is for the reader to decide. In addition to emotional intrigues, there are also political intrigues which anticipate the imminent Revolution. Stendhal's omniscient narrator was unique in its abundant use of interior monologue through which the reader gains insight into the psychology of the characters (I almost said patients!), especially Julien. The Red and the Black represents the very best of nineteenth century French fiction. Even though I had accidentally learned of at least part of the outcome in advance, I still wandered around here in a state of stupefaction for a good twenty-four hours when I had finished. Highly recommended.
    • 4/5
      For better or worse The Red and the Black is essentially only the story of Julien Sorel, the third son of a carpenter whose ambition can never be satisfied and whose pride can never be restrained. There are other characters who are depicted with some depth, namely Madame de Rênal and Mathilde de la Mole, but it is Sorel that the book makes into flesh and blood. Julien Sorel is a young man of contradictions: he is obsessed with climbing the social ladder, but seemingly despises the upper class; he is clever enough to memorize the bible, but cannot grasp its meaning and is devoid of any religious faith; he takes action for the sake of form, but even in fake romances of his own design his emotions get the better of him; he idolizes Napoleon and how the Emperor gave the common man a chance, but he participates in loyalist plots meant to keep Napoleon from returning to power. Making a character full of inconsistencies is a difficult line to walk, as making a character inconsistent can make the book feel as though characteristics were inserted by the author to more easily tell the story. Here, however, Julien Sorel's characteristics do not smack of authorial convenience but of reality. In Julien Sorel Stendhal has crafted a character that is all too true to life.

      The question, therefore, is whether bringing a single character to life is enough to make a book great. Besides the rise and fall of Julien Sorel The Red and the Black does little else besides having a backdrop of Parisian society at that time (something Balzac and Proust depict with far more depth and skill in their works). Furthermore, Julien himself is not always a particularly compelling character. From early on it is established that he's a selfish ass, and this remains true throughout the rest of the story. His combination of pride, perpetual dissatisfaction with his lot in life, and lack of superior ability make it clear from very early in the book that his story will end in tragedy. It's still interesting to see how he reaches his end, but the impact of it is dulled when you've seen it coming from 400 pages away.

      For having created one of the most fully-realized characters ever to appear in fiction I give this book four stars. If it had combined that with revelations about virtues and vices that I hadn't thought of before, or a deeper connection with the France of that period, then this could have been a five-star work for me (though perhaps the deeper connection to the time period would have made the character of Sorel feel less timeless, it's hard to say). For many people the character of Sorel alone will be worth five stars, and I understand that, but I require something more than that for a book to climb that high in my esteem. Certainly worth a read, unless you're the type who requires a sympathetic main character.

      A note on my edition: I was happy with the Burton Raffel translation, I found that the prose flowed well.

    Book preview

    The Red and the Black - Stendhal

    The Red and the Black

    A Chronicle of 1830

    by Stendhal

    THE RED AND THE BLACK

    A Chronicle of 1830

    BY

    STENDHAL

    TRANSLATED BY HORACE B. SAMUEL, M.A.,

    INTRODUCTION

    Some slight sketch of the life and character of Stendhal is particularly necessary to an understanding of Le Rouge et Le Noir (The Red and the Black) not so much as being the formal stuffing of which introductions are made, but because the book as a book stands in the most intimate relation to the author's life and character. The hero, Julien, is no doubt, viewed superficially, a cad, a scoundrel, an assassin, albeit a person who will alternate the moist eye of the sentimentalist with the ferocious grin of the beast of prey. But Stendhal so far from putting forward any excuses makes a specific point of wallowing defiantly in his own alleged wickedness. Even assuming that Julien is a villain and that it is my portrait, he wrote shortly after the publication of the book, why quarrel with me. In the time of the Emperor, Julien would have passed for a very honest man. I lived in the time of the Emperor. So—but what does it matter?

    Henri Beyle was born in 1783 in Grenoble in Dauphiny, the son of a royalist lawyer, situated on the borderland between the gentry and that bourgeoisie which our author was subsequently to chastise with that malice peculiar to those who spring themselves from the class which they despise. The boy's character was a compound of sensibility and hard rebelliousness, virility and introspection. Orphaned of his mother at the age of seven, hated by his father and unpopular with his schoolmates, he spent the orthodox unhappy childhood of the artistic temperament. Winning a scholarship at the Ecole Polytechnique at the age of sixteen he proceeded to Paris, where with characteristic independence he refused to attend the college classes and set himself to study privately in his solitary rooms.

    In 1800 the influence of his relative M. Daru procured him a commission in the French Army, and the Marengo campaign gave him an opportunity of practising that Napoleonic worship to which throughout his life he remained consistently faithful, for the operation of the philosophical materialism of the French sceptics on an essentially logical and mathematical mind soon swept away all competing claimants for his religious adoration. Almost from his childhood, moreover, he had abominated the Jesuits, and Papism is the source of all crimes, was throughout his life one of his favourite maxims.

    After the army's triumphant entry into Milan, Beyle returned to Grenoble on furlough, whence he dashed off to Paris in pursuit of a young woman to whom he was paying some attention, resigned his commission in the army and set himself to study with the view of becoming a great man. It is in this period that we find the most marked development in Beyle's enthusiasm of psychology. This tendency sprang primarily no doubt from his own introspection. For throughout his life Beyle enjoyed the indisputable and at times dubious luxury of a double consciousness. He invariably carried inside his brain a psychological mirror which reflected every phrase of his emotion with scientific accuracy. And simultaneously, the critical spirit, half-genie, half-demon inside his brain, would survey in the semi-detached mood of a keenly interested spectator, the actual emotion itself, applaud or condemn it as the case might be, and ticket the verdict with ample commentations in the psychological register of its own analysis.

    But this trend to psychology, while as we have seen, to some extent, the natural development of mere self-analysis was also tinged with the spirit of self-preservation. With a mind, which in spite of its natural physical courage was morbidly susceptible to ridicule and was only too frequently the dupe of the fear of being duped, Stendhal would scent an enemy in every friend, and as a mere matter of self-protection set himself to penetrate the secret of every character with which he came into contact. One is also justified in taking into account an honest intellectual enthusiasm which found its vent in deciphering the rarer and more precious manuscripts of the human document.

    With the exception of a stay in Marseilles, with his first mistress Mélanie Guilhert (a charming actress who had the most refined sentiments and to whom I never gave a sou,) and a subsequent sojourn in Grenoble, Stendhal remained in Paris till 1806, living so far as was permitted by the modest allowance of his niggard father the full life of the literary temperament. The essence, however, of his character was that he was at the same time a man of imagination and a man of action. We consequently find him serving in the Napoleonic campaigns of 1806, 1809 and 1812. He was present at the Battle of Jena, came several times into personal contact with Napoleon, discharged with singular efficiency the administration of the State of Brunswick, and retained his sangfroid and his bravery during the whole of the panic-stricken retreat of the Moscow campaign.

    It is, moreover, to this period that we date Stendhal's liaison with Mme. Daru the wife of his aged relative, M. Daru. This particular intrigue has, moreover, a certain psychological importance in that Mme. Daru constituted the model on whom Mathilde de la Mole was drawn in The Red and the Black. The student and historian consequently who is anxious to check how far the novelist is drawing on his experience and how far on his imagination can compare with profit the description of the Mathilde episode in The Red and the Black with those sections in Stendhal's Journal entitled the Life and Sentiments of Silencious Harry, Memoirs of my Life during my Amour with Countess Palfy, and also with the posthumous fragment, Le Consultation de Banti, a piece of methodical deliberation on the pressing question. Dois-je ou ne dois-je pas avoir la duchesse? written with all the documentary coldness of a Government report. It is characteristic that both Bansi and Julien decide in the affirmative as a matter of abstract principle. For they both feel that they must necessarily reproach themselves in after life if they miss so signal an opportunity.

    Disgusted by the Restoration, Stendhal migrated in 1814 to Milan, his favourite town in Europe, whose rich and varied life he savoured to the full from the celebrated ices in the entreates of the opera, to the reciprocated interest of Mme. Angelina Pietragrua (the Duchesse de Sansererina of the Chartreuse of Parma), a sublime wanton à la Lucrezia Borgia who would appear to have deceived him systematically. It was in Milan that Stendhal first began to write for publication, producing in 1814 The Lives of Haydn and Mozart, and in 1817 a series of travel sketches, Rome, Naples, Florence, which was published in London.

    It was in Milan also than Stendhal first nursed the abstract thrills of his grand passion for Métilde Countess Dunbowska, whose angelic sweetness would seem to have served at any rate to some extent as a prototype to the character of Mme. de Rênal. In 1821 the novelist was expelled from Milan on the apparently unfounded accusation of being a French spy. It is typical of that mixture of brutal sensuality and rarefied sentimentalism which is one of the most fascinating features of Stendhal's character, that even though he had never loved more than the lady's heart, he should have remained for three years faithful to this mistress of his ideal.

    In 1822 Stendhal published his treatise, De l'Amour, a practical scientific treatise on the erotic emotion by an author who possessed the unusual advantage of being at the same time an acute psychologist and a brilliant man of the world, who could test abstract theories by concrete practice and could co-ordinate what he had felt in himself and observe in others into broad general principles.

    In 1825 Stendhal plunging vigorously into the controversy between the Classicists and the Romanticists, published his celebrated pamphlet, Racine and Shakespeare, in which he vindicated with successful crispness the claims of live verse against stereotyped couplets and of modern analysis against historical tradition. His next work was the Life of Rossini, whom he had known personally in Milan, while in 1827 he published his first novel Armance, which, while not equal to the author's greatest work, give none the less good promise of that analytical dash which he was subsequently to manifest. After Armance come the well-known Promenades Rome, while the Stendhalian masterpiece Le Rouge et Le Noir was presented in 1830 to an unappreciative public.

    Enthusiasm for this book is the infallible test of your true Stendhalian. Some critics may prefer, possibly, the more Jamesian delicacy of Armance, and others fortified by the example of Goethe may avow their predilection for The Chartreuse de Parme with all the jeune premier charm of its amiable hero. But in our view no book by Stendhal is capable of giving the reader such intellectual thrills as that work which has been adjudged to be his greatest by Balzac, by Taine, by Bourget. Certainly no other book by Stendhal than that which has conjured up Rougistes in all countries in Europe has been the object of a cult in itself. We doubt, moreover, if there is any other modern book whether by Stendhal or any one else, which has actually been learnt by heart by its devotees, who, if we may borrow the story told by M. Paul Bourget, are accustomed to challenge the authenticity of each other's knowledge by starting off with some random passage only to find it immediately taken up, as though the book had been the very Bible itself.

    The more personal appeal of what is perhaps the greatest romance of the intellect ever written lies in the character of Julien, its villain-hero. In view of the identification of Julien with Stendhal himself to which we have already alluded, it is only fair to state that Stendhal does not appear to have ever been a tutor in a bourgeois family, nor does history relate his ever having made any attempt at the homicide of a woman. So far, in fact, as what we may call the external physical basis of the story is concerned, the material is supplied not by the life of the author, but by the life of a young student of Besançon, of the name of Berthet, who duly expiated on the threshold that crime which supplied the plot of this immortal novel. But the soul, the brain of Julien is not Berthet but Beyle. And what indeed is the whole book if not a vindication of beylisme, if we may use the word, coined by the man himself for his own outlook on life? For the procedure of Stendhal would seem to have placed his own self in his hero's shoes, to have lived in imagination his whole life, and to have recorded his experience with a wealth of analytic detail, which in spite of some arrogance, is yet both honest and scientific.

    And the life of this scoundrel, this ingrate, this assassin, certainly seems to have been eminently worth living. In its line, indeed, it constitutes a veritable triumph of idealism, a positive monument of self-help. For judged by the code of the Revolution, when the career was open to talents, the goodness or badness of a man was determined by the use he made of his opportunities. Efficiency was the supreme test of virtue, as was failure the one brand of unworthiness. And measured by these values Julien ranks high as an ethical saint. For does he not sacrifice everything to the forgiving of his character and the hammering out of his career? He is by nature nervous, he forces himself to be courageous, fighting a duel or capturing a woman, less out of thirst for blood or hunger for flesh, than because he thinks it due to his own parvenu self-respect to give himself some concrete proof on his own moral force. Pose and affection will sneer those enemies whom he will have to-day as assuredly as he had them in his lifetime, the smug bourgeois and Valenods of our present age. But the spirit of Julien will retort, I made myself master of my affectation and I succeeded in my pose. And will he not have logic on his side? For what after all is pose but the pursuit of a subjective ideal, grotesque no doubt in failure, but dignified by its success. And as M. Gaultier has shown in his book on Bovarysme, is not all human progress simply the deliberate change from what one is, into what one is not yet, but what nevertheless one has a tendency to be? Viewed from this standpoint Julien's character is what one feels justified in calling a bonâ fide pose. For speaking broadly his character is two-fold, half-sensitive tenderness, half ferocious ambition, and his pose simply consists in the subordination of his softer qualities for the more effective realization of his harder. Considered on these lines Le Rouge et Le Noir stands pre-eminent in European literature as the tragedy of energy and ambition, the epic of the struggle for existence, the modern Bible of Nietzschean self-discipline. And from the sheer romantic aspect also the book has its own peculiar charm. How truly poetic, for instance, are the passages where Julien takes his own mind alone into the mountains, plots out his own fate, and symbolizes his own solitary life in the lonely circlings of a predatory hawk.

    Julien's enemies will no doubt taunt him with his introspection, while they point to a character distorted, so they say, by the eternal mirror of its own consciousness. Yet it should be remembered that Julien lived in an age when introspection had, so to speak, been only recently invented, and Byronism and Wertherism were the stock food of artistic temperaments. In the case of Julien, moreover, even though his own criticisms on his own acts were to some extent as important to him as the actual acts themselves, his introspection was more a strength than a weakness and never blunted the edge of his drastic action. Compare, for instance, the character of Julien with the character of Robert Greslou, the hero of Bourget's Le Disciple, and the nearest analogue to Julien in fin de siècle literature, and one will appreciate at once the difference between health and decadence, virility and hysteria.

    One of the most essential features of the book, however, is the swing of the pendulum between Julien's ambition and Julien's tenderness. For our hunter is quite frequently caught in his own traps, so that he falls genuinely in love with the woman whom, as a matter of abstract principle, he had specifically set himself to conquer. The book consequently as a romance of love, ranks almost as high as it does as a romance of ambition. The final idyll in prison with Mme. de Rênal, in particular, is one of the sweetest and purest in literature, painted in colours too true ever to be florid, steeped in a sentiment too deep ever to be mawkish. As moreover, orthodox and suburban minds tend to regard all French novels as specifically devoted to obscene wallowings, it seems only relevant to mention that Stendhal at any rate never finds in sensualism any inspiration for ecstatic rhapsodies, and that he narrates the most specific episodes in the chastest style imaginable.

    Though too the sinister figure of the carpenter's son looms large over the book, the characterization of all the other personages is portrayed with consummate brilliancy. For Stendhal standing first outside his characters with all the sceptical scrutiny of a detached observer, then goes deep inside them so that he describes not merely what they do, but why they do it, not merely what they think, but why they think it, while he assigns their respective share to innate disposition, accident, and environment, and criticizes his creations with an irony that is only occasionally benevolent. For it must be confessed that Stendhal approves of extremely few people. True scion of the middle-classes he hates the bourgeois because he is bourgeois, and the aristocrat because he is aristocrat. Nevertheless, as a gallery of the most varied characters, patricians and plebeians, prudes and profligates, Jesuits and Jansenists, Kings and coachmen, bishops and bourgeois, whose mutual difference acts as a most effective foil to each other's reality, Le Rouge et Le Noir will beat any novel outside Balzac.

    We would mention in particular those two contrasted figures, Mme. de Rênal the bourgeoise passionée, and Matilde de la Mole the noble damozel who enters into her intrigue out of a deliberate wish to emulate the exploits of a romantic ancestress. But after all these individuals stand out not so much because their characterization is better than that of their fellow-personages, but because it is more elaborate. Even such minor characters, for instance, as de Frilair, the lascivious Jesuit, Noiraud, the avaricious gaoler, Mme. de Fervaques, the amoristic prude, are all in their respective ways real, vivid, convincing, no mere padded figures of the imagination, but observed actualities swung from the lived life on the written page.

    The style of Stendhal is noticeable from its simplicity, clear and cold, devoid of all literary artifice, characteristic of his analytic purpose. He is strenuous in his avoidance of affection. Though, however, he never holds out his style as an aesthetic delight in itself, he reaches occasionally passages of a rare and simple beauty. We would refer in particular to the description of Julien in the mountains, which we have already mentioned, and to the short but impressive death scene. His habit, however, of using language as a means and never as an end, occasionally revenges itself upon him in places where the style, though intelligible, is none the less slovenly, anacoluthic, almost Thucydidean.

    After the publication of Le Rouge et Le Noir Stendhal was forced by his financial embarrassment to leave Paris and take up the post of consul at Trieste. Driven from this position by the intrigues of a vindictive Church he was transferred to Civita Vecchia where he remained till 1835, solacing his ennui by the compilation of his autobiography and thinking seriously of marriage with the rich and highly respectable daughter of his laundress. He then returned to Paris where he remained till 1842, where he died suddenly at the age of fifty-nine in the full swing of all his mental and physical activities.

    His later works included, La Chartreuse de Parme, Lucien, Leuwen and Lamiel, of which the Chartreuse is the most celebrated, but Lamiel certainly the most sprightly. But it is on Le Rouge et Le Noir that his fame as a novelist is the most firmly based. It is with this most personal document, this record of his experiences and emotions that he lives identified, just as D'Annunzio will live identified with Il Fuoco or Mr. Wells with the New Machiavelli. Le Rouge et Le Noir is the greatest novel of its age and one of the greatest novels of the whole nineteenth century. It is full to the brim of intellect and adventure, introspection and action, youth, romance, tenderness, cynicism and rebellion. It is in a word the intellectual quintessence of the Napoleonic era.

    HORACE B. SAMUEL,

    TEMPLE,

    Oct., 1913.

    THE RED AND THE BLACK

    A CHRONICLE OF 1830

    CHAPTER I. A SMALL TOWN

    Put thousands together less bad,

    But the cage less gay.—Hobbes.

    The little town of Verrières can pass for one of the prettiest in Franche-Comté. Its white houses with their pointed red-tiled roofs stretch along the slope of a hill, whose slightest undulations are marked by groups of vigorous chestnuts. The Doubs flows to within some hundred feet above its fortifications, which were built long ago by the Spaniards, and are now in ruins.

    Verrières is sheltered on the north by a high mountain which is one of the branches of the Jura. The jagged peaks of the Verra are covered with snow from the beginning of the October frosts. A torrent which rushes down from the mountains traverses Verrières before throwing itself into the Doubs, and supplies the motive power for a great number of saw mills. The industry is very simple, and secures a certain prosperity to the majority of the inhabitants who are more peasant than bourgeois. It is not, however, the wood saws which have enriched this little town. It is the manufacture of painted tiles, called Mulhouse tiles, that is responsible for that general affluence which has caused the façades of nearly all the houses in Verrières to be rebuilt since the fall of Napoleon.

    One has scarcely entered the town, before one is stunned by the din of a strident machine of terrifying aspect. Twenty heavy hammers which fall with a noise that makes the paved floor tremble, are lifted up by a wheel set in motion by the torrent. Each of these hammers manufactures every day I don't know how many thousands of nails. The little pieces of iron which are rapidly transformed into nails by these enormous hammers, are put in position by fresh pretty young girls. This labour so rough at first sight is one of the industries which most surprises the traveller who penetrates for the first time the mountains which separate France and Helvetia. If when he enters Verrières, the traveller asks who owns this fine nail factory which deafens everybody who goes up the Grande-Rue, he is answered in a drawling tone "Eh! it belongs to M. the Mayor."

    And if the traveller stops a few minutes in that Grande-Rue of Verrières which goes on an upward incline from the bank of the Doubs to nearly as far as the summit of the hill, it is a hundred to one that he will see a big man with a busy and important air.

    When he comes in sight all hats are quickly taken off. His hair is grizzled and he is dressed in grey. He is a Knight of several Orders, has a large forehead and an aquiline nose, and if you take him all round, his features are not devoid of certain regularity. One might even think on the first inspection that it combines with the dignity of the village mayor that particular kind of comfortableness which is appropriate to the age of forty-eight or fifty. But soon the traveller from Paris will be shocked by a certain air of self-satisfaction and self-complacency mingled with an almost indefinable narrowness and lack of inspiration. One realises at last that this man's talent is limited to seeing that he is paid exactly what he is owed, and in paying his own debts at the latest possible moment.

    Such is M. de Rênal, the mayor of Verrières. After having crossed the road with a solemn step, he enters the mayoral residence and disappears from the eye of the traveller. But if the latter continues to walk a hundred steps further up, he will perceive a house with a fairly fine appearance, with some magnificent gardens behind an iron grill belonging to the house. Beyond that is an horizon line formed by the hills of Burgundy, which seem ideally made to delight the eyes. This view causes the traveller to forget that pestilential atmosphere of petty money-grubbing by which he is beginning to be suffocated.

    He is told that this house belongs to M. de Rênal. It is to the profits which he has made out of his big nail factory that the mayor of Verrières owes this fine residence of hewn stone which he is just finishing. His family is said to be Spanish and ancient, and is alleged to have been established in the country well before the conquest of Louis XIV.

    Since 1815, he blushes at being a manufacturer: 1815 made him mayor of Verrières. The terraced walls of this magnificent garden which descends to the Doubs, plateau by plateau, also represent the reward of M. de Rênal's proficiency in the iron-trade. Do not expect to find in France those picturesque gardens which surround the manufacturing towns of Germany, like Leipsic, Frankfurt and Nurenburgh, etc. The more walls you build in Franche-Comté and the more you fortify your estate with piles of stone, the more claim you will acquire on the respect of your neighbours. Another reason for the admiration due to M. de Rênal's gardens and their numerous walls, is the fact that he has purchased, through sheer power of the purse, certain small parcels of the ground on which they stand. That saw-mill, for instance, whose singular position on the banks of the Doubs struck you when you entered Verrières, and where you notice the name of SOREL written in gigantic characters on the chief beam of the roof, used to occupy six years ago that precise space on which is now reared the wall of the fourth terrace in M. de Rênal's gardens.

    Proud man that he was, the mayor had none the less to negotiate with that tough, stubborn peasant, old Sorel. He had to pay him in good solid golden louis before he could induce him to transfer his workshop elsewhere. As to the public stream which supplied the motive power for the saw-mill, M. de Rênal obtained its diversion, thanks to the influence which he enjoyed at Paris. This favour was accorded him after the election of 182-.

    He gave Sorel four acres for every one he had previously held, five hundred yards lower down on the banks of the Doubs. Although this position was much more advantageous for his pine-plank trade, father Sorel (as he is called since he has become rich) knew how to exploit the impatience and mania for landed ownership which animated his neighbour to the tune of six thousand francs.

    It is true that this arrangement was criticised by the wiseacres of the locality. One day, it was on a Sunday four years later, as M. de Rênal was coming back from church in his mayor's uniform, he saw old Sorel smiling at him, as he stared at him some distance away surrounded by his three sons. That smile threw a fatal flood of light into the soul of the mayor. From that time on, he is of opinion that he could have obtained the exchange at a cheaper rate.

    In order to win the public esteem of Verrières it is essential that, though you should build as many walls as you can, you should not adopt some plan imported from Italy by those masons who cross the passes of the Jura in the spring on their way to Paris. Such an innovation would bring down upon the head of the imprudent builder an eternal reputation for wrongheadedness, and he will be lost for ever in the sight of those wise, well-balanced people who dispense public esteem in Franche-Comté.

    As a matter of fact, these prudent people exercise in the place the most offensive despotism. It is by reason of this awful word, that anyone who has lived in that great republic which is called Paris, finds living in little towns quite intolerable. The tyranny of public opinion (and what public opinion!) is as stupid in the little towns of France as in the United States of America.

    CHAPTER II. A MAYOR

    Importance! What is it, sir after all? The respect of fools, the wonder of children, the envy of the rich, the contempt of the wise man.—Barnave

    Happily for the reputation of M. de Rênal as an administrator an immense wall of support was necessary for the public promenade which goes along the hill, a hundred steps above the course of the Doubs. This admirable position secures for the promenade one of the most picturesque views in the whole of France. But the rain water used to make furrows in the walk every spring, caused ditches to appear, and rendered it generally impracticable. This nuisance, which was felt by the whole town, put M. de Rênal in the happy position of being compelled to immortalise his administration by building a wall twenty feet high and thirty to forty yards long.

    The parapet of this wall, which occasioned M. de Rênal three journeys to Paris (for the last Minister of the Interior but one had declared himself the mortal enemy of the promenade of Verrières), is now raised to a height of four feet above the ground, and as though to defy all ministers whether past or present, it is at present adorned with tiles of hewn stone.

    How many times have my looks plunged into the valley of the Doubs, as I thought of the Paris balls which I had abandoned on the previous night, and leant my breast against the great blocks of stone, whose beautiful grey almost verged on blue. Beyond the left bank, there wind five or six valleys, at the bottom of which I could see quite distinctly several small streams. There is a view of them falling into the Doubs, after a series of cascades. The sun is very warm in these mountains. When it beats straight down, the pensive traveller on the terrace finds shelter under some magnificent plane trees. They owe their rapid growth and their fine verdure with its almost bluish shade to the new soil, which M. the mayor has had placed behind his immense wall of support for (in spite of the opposition of the Municipal Council) he has enlarged the promenade by more than six feet (and although he is an Ultra and I am a Liberal, I praise him for it), and that is why both in his opinion and in that of M. Valenod, the fortunate Director of the workhouse of Verrières, this terrace can brook comparison with that of Saint-Germain en Laye.

    I find personally only one thing at which to cavil in the COURS DE LA FIDELITE, (this official name is to be read in fifteen to twenty places on those immortal tiles which earned M. de Rênal an extra cross.) The grievance I find in the Cours de la Fidélité is the barbarous manner in which the authorities have cut these vigorous plane trees and clipped them to the quick. In fact they really resemble with their dwarfed, rounded and flattened heads the most vulgar plants of the vegetable garden, while they are really capable of attaining the magnificent development of the English plane trees. But the wish of M. the mayor is despotic, and all the trees belonging to the municipality are ruthlessly pruned twice a year. The local Liberals suggest, but they are probably exaggerating, that the hand of the official gardener has become much more severe, since M. the Vicar Maslon started appropriating the clippings. This young ecclesiastic was sent to Besançon some years ago to keep watch on the abbé Chélan and some cures in the neighbouring districts. An old Surgeon-Major of Napoleon's Italian Army, who was living in retirement at Verrières, and who had been in his time described by M. the mayor as both a Jacobin and a Bonapartiste, dared to complain to the mayor one day of the periodical mutilation of these fine trees.

    I like the shade, answered M. de Rênal, with just a tinge of that hauteur which becomes a mayor when he is talking to a surgeon, who is a member of the Legion of Honour. "I like the shade, I have my trees clipped in order to give shade, and I cannot conceive that a tree can have any other purpose, provided of course it is not bringing in any profit, like the useful walnut tree."

    This is the great word which is all decisive at Verrières. BRINGING IN PROFIT, this word alone sums up the habitual trend of thought of more than three-quarters of the inhabitants.

    Bringing in profit is the consideration which decides everything in this little town which you thought so pretty. The stranger who arrives in the town is fascinated by the beauty of the fresh deep valleys which surround it, and he imagines at first that the inhabitants have an appreciation of the beautiful. They talk only too frequently of the beauty of their country, and it cannot be denied that they lay great stress on it, but the reason is that it attracts a number of strangers, whose money enriches the inn-keepers, a process which brings in profit to the town, owing to the machinery of the octroi.

    It was on a fine, autumn day that M. de Rênal was taking a promenade on the Cours de la Fidélité with his wife on his arm. While listening to her husband (who was talking in a somewhat solemn manner) Madame de Rênal followed anxiously with her eyes the movements of three little boys. The eldest, who might have been eleven years old, went too frequently near the parapet and looked as though he was going to climb up it. A sweet voice then pronounced the name of Adolphe and the child gave up his ambitious project. Madame de Rênal seemed a woman of thirty years of age but still fairly pretty.

    He may be sorry for it, may this fine gentleman from Paris, said M. de Rênal, with an offended air and a face even paler than usual. I am not without a few friends at court! But though I want to talk to you about the provinces for two hundred pages, I lack the requisite barbarity to make you undergo all the long-windedness and circumlocutions of a provincial dialogue.

    This fine gentleman from Paris, who was so odious to the mayor of Verrières, was no other than the M. Appert, who had two days previously managed to find his way not only into the prison and workhouse of Verrières, but also into the hospital, which was gratuitously conducted by the mayor and the principal proprietors of the district.

    But, said Madame de Rênal timidly, what harm can this Paris gentleman do you, since you administer the poor fund with the utmost scrupulous honesty?

    "He only comes to throw blame and afterwards he will get some articles into the Liberal press."

    You never read them, my dear.

    But they always talk to us about those Jacobin articles, all that distracts us and prevents us from doing good.[1] Personally, I shall never forgive the curé.

    [1] Historically true.

    CHAPTER III. THE POOR FUND

    A virtuous curé who does not intrigue is a providence for the village.—Fleury

    It should be mentioned that the curé of Verrières, an old man of ninety, who owed to the bracing mountain air an iron constitution and an iron character, had the right to visit the prison, the hospital and the workhouse at any hour. It had been at precisely six o'clock in the morning that M. Appert, who had a Paris recommendation to the curé, had been shrewd enough to arrive at a little inquisitive town. He had immediately gone on to the curé's house.

    The curé Chélan became pensive as he read the letter written to him by the M. le Marquis de La Mole, Peer of France, and the richest landed proprietor of the province.

    I am old and beloved here, he said to himself in a whisper, they would not dare! Then he suddenly turned to the gentleman from Paris, with eyes, which in spite of his great age, shone with that sacred fire which betokens the delight of doing a fine but slightly dangerous act.

    Come with me, sir, he said, but please do not express any opinion of the things which we shall see, in the presence of the jailer, and above all not in the presence of the superintendents of the workhouse.

    M. Appert realised that he had to do with a man of spirit. He followed the venerable curé, visited the hospital and workhouse, put a lot of questions, but in spite of somewhat extraordinary answers, did not indulge in the slightest expression of censure.

    This visit lasted several hours; the curé invited M. Appert to dine, but the latter made the excuse of having some letters to write; as a matter of fact, he did not wish to compromise his generous companion to any further extent. About three o'clock these gentlemen went to finish their inspection of the workhouse and then returned to the prison. There they found the jailer by the gate, a kind of giant, six feet high, with bow legs. His ignoble face had become hideous by reason of his terror.

    Ah, monsieur, he said to the curé as soon as he saw him, is not the gentleman whom I see there, M. Appert?

    What does that matter? said the curé.

    The reason is that I received yesterday the most specific orders, and M. the Prefect sent a message by a gendarme who must have galloped during the whole of the night, that M. Appert was not to be allowed in the prisons.

    I can tell you, M. Noiroud, said the curé, that the traveller who is with me is M. Appert, but do you or do you not admit that I have the right to enter the prison at any hour of the day or night accompanied by anybody I choose?

    Yes, M. the curé, said the jailer in a low voice, lowering his head like a bull-dog, induced to a grudging obedience by fear of the stick, only, M. the curé, I have a wife and children, and shall be turned out if they inform against me. I only have my place to live on.

    I, too, should be sorry enough to lose mine, answered the good curé, with increasing emotion in his voice.

    What a difference! answered the jailer keenly. As for you, M. le curé, we all know that you have eight hundred francs a year, good solid money.

    Such were the facts which, commented upon and exaggerated in twenty different ways, had been agitating for the last two days all the odious passions of the little town of Verrières.

    At the present time they served as the text for the little discussion which M. de Rênal was having with his wife. He had visited the curé earlier in the morning accompanied by M. Valenod, the director of the workhouse, in order to convey their most emphatic displeasure. M. Chélan had no protector, and felt all the weight of their words.

    Well, gentlemen, I shall be the third curé of eighty years of age who has been turned out in this district. I have been here for fifty-six years. I have baptized nearly all the inhabitants of the town, which was only a hamlet when I came to it. Every day I marry young people whose grandparents I have married in days gone by. Verrières is my family, but I said to myself when I saw the stranger, 'This man from Paris may as a matter of fact be a Liberal, there are only too many of them about, but what harm can he do to our poor and to our prisoners?'

    The reproaches of M. de Rênal, and above all, those of M. Valenod, the director of the workhouse, became more and more animated.

    Well, gentlemen, turn me out then, the old curé exclaimed in a trembling voice; I shall still continue to live in the district. As you know, I inherited forty-eight years ago a piece of land that brings in eight hundred francs a year; I shall live on that income. I do not save anything out of my living, gentlemen; and that is perhaps why, when you talk to me about it, I am not particularly frightened.

    M. de Rênal always got on very well with his wife, but he did not know what to answer when she timidly repeated the phrase of M. le curé, What harm can this Paris gentleman do the prisoners? He was on the point of quite losing his temper when she gave a cry. Her second son had mounted the parapet of the terrace wall and was running along it, although the wall was raised to a height of more than twenty feet above the vineyard on the other side. The fear of frightening her son and making him fall prevented Madame de Rênal speaking to him. But at last the child, who was smiling at his own pluck, looked at his mother, saw her pallor, jumped down on to the walk and ran to her. He was well scolded.

    This little event changed the course of the conversation.

    I really mean to take Sorel, the son of the sawyer, into the house, said M. de Rênal; "he will look after the children, who are getting too naughty for us to manage. He is a young priest, or as good as one, a good Latin scholar, and will make the children get on. According to the curé, he has a steady character. I will give him three hundred francs a year and his board. I have some doubts as to his morality, for he used to be the favourite of that old Surgeon-Major, Member of the Legion of Honour, who went to board with the Sorels, on the pretext that he was their cousin. It is quite possible that that man was really simply a secret agent of the Liberals. He said that the mountain air did his asthma good, but that is something which has never been proved. He has gone through all Buonaparte's campaigns in Italy, and had even, it was said, voted against the Empire in the plebiscite. This Liberal taught the Sorel boy Latin, and left him a number of books which he had brought with him. Of course, in the ordinary way, I should have never thought of allowing a carpenter's son to come into contact with our children, but the curé told me, the very day before the scene which has just estranged us for ever, that Sorel has been studying theology for three years with the intention of entering a seminary. He is, consequently, not a Liberal, and he certainly is a good Latin scholar.

    This arrangement will be convenient in more than one way, continued M. de Rênal, looking at his wife with a diplomatic air. That Valenod is proud enough of his two fine Norman horses which he has just bought for his carriage, but he hasn't a tutor for his children.

    He might take this one away from us.

    You approve of my plan, then? said M. de Rênal, thanking his wife with a smile for the excellent idea which she had just had. Well, that's settled.

    Good gracious, my dear, how quickly you make up your mind!

    "It is because I'm a man of character, as the curé found out right enough. Don't let us deceive ourselves; we are surrounded by Liberals in this place. All those cloth merchants are jealous of me, I am certain of it; two or three are becoming rich men. Well, I should rather fancy it for them to see M. de Rênal's children pass along the street as they go out for their walk, escorted by their tutor. It will impress people. My grandfather often used to tell us that he had a tutor when he was young. It may run me into a hundred crowns, but that ought to be looked upon as an expense necessary for keeping up our position."

    This sudden resolution left Madame de Rênal quite pensive. She was a big, well-made woman, who had been the beauty of the country, to use the local expression. She had a certain air of simplicity and youthfulness in her deportment. This naive grace, with its innocence and its vivacity, might even have recalled to a Parisian some suggestion of the sweets he had left behind him. If she had realised this particular phase of her success, Madame de Rênal would have been quite ashamed of it. All coquetry, all affectation, were absolutely alien to her temperament. M. Valenod, the rich director of the workhouse, had the reputation of having paid her court, a fact which had cast a singular glamour over her virtue; for this M. Valenod, a big young man with a square, sturdy frame, florid face, and big, black whiskers, was one of those coarse, blustering, and noisy people who pass in the provinces for a fine man.

    Madame de Rênal, who had a very shy, and apparently a very uneven temperament, was particularly shocked by M. Valenod's lack of repose, and by his boisterous loudness. Her aloofness from what, in the Verrières' jargon, was called having a good time, had earned her the reputation of being very proud of her birth. In fact, she never thought about it, but she had been extremely glad to find the inhabitants of the town visit her less frequently. We shall not deny that she passed for a fool in the eyes of their good ladies because she did not wheedle her husband, and allowed herself to miss the most splendid opportunities of getting fine hats from Paris or Besançon. Provided she was allowed to wander in her beautiful garden, she never complained. She was a naïve soul, who had never educated herself up to the point of judging her husband and confessing to herself that he bored her. She supposed, without actually formulating the thought, that there was no greater sweetness in the relationship between husband and wife than she herself had experienced. She loved M. de Rênal most when he talked about his projects for their children. The elder he had destined for the army, the second for the law, and the third for the Church. To sum up, she found M. de Rênal much less boring than all the other men of her acquaintance.

    This conjugal opinion was quite sound. The Mayor of Verrières had a reputation for wit, and above all, a reputation for good form, on the strength of half-a-dozen chestnuts which he had inherited from an uncle. Old Captain de Rênal had served, before the Revolution, in the infantry regiment of M. the Duke of Orleans, and was admitted to the Prince's salons when he went to Paris. He had seen Madame de Montesson, the famous Madame de Genlis, M. Ducret, the inventor, of the Palais-Royal. These personages would crop up only too frequently in M. de Rênal's anecdotes. He found it, however, more and more of a strain to remember stories which required such delicacy in the telling, and for some time past it had only been on great occasions that he would trot out his anecdotes concerning the House of Orleans. As, moreover, he was extremely polite, except on money matters, he passed, and justly so, for the most aristocratic personage in Verrières.

    CHAPTER IV. A FATHER AND A SON

    E sara mia colpa

    Se cosi è?

    —Machiavelli.

    My wife really has a head on her shoulders, said the mayor of Verrières at six o'clock the following morning, as he went down to the saw-mill of Father Sorel. It had never occurred to me that if I do not take little Abbé Sorel, who, they say, knows Latin like an angel, that restless spirit, the director of the workhouse, might have the same idea and snatch him away from me, though of course I told her that it had, in order to preserve my proper superiority. And how smugly, to be sure, would he talk about his children's tutor!... The question is, once the tutor's mine, shall he wear the cassock?

    M. de Rênal was absorbed in this problem when he saw a peasant in the distance, a man nearly six feet tall, who since dawn had apparently been occupied in measuring some pieces of wood which had been put down alongside the Doubs on the towing-path. The peasant did not look particularly pleased when he saw M. the Mayor approach, as these pieces of wood obstructed the road, and had been placed there in breach of the rules.

    Father Sorel (for it was he) was very surprised, and even more pleased at the singular offer which M. de Rênal made him for his son Julien. None the less, he listened to it with that air of sulky discontent and apathy which the subtle inhabitants of these mountains know so well how to assume. Slaves as they have been since the time of the Spanish Conquest, they still preserve this feature, which is also found in the character of the Egyptian fellah.

    Sorel's answer was at first simply a long-winded recitation of all the formulas of respect which he knew by heart. While he was repeating these empty words with an uneasy smile, which accentuated all the natural disingenuousness, if not, indeed, knavishness of his physiognomy, the active mind of the old peasant tried to discover what reason could induce so important a man to take into his house his good-for-nothing of a son. He was very dissatisfied with Julien, and it was for Julien that M. de Rênal offered the undreamt-of salary of 300 fcs. a year, with board and even clothing. This latter claim, which Father Sorel had had the genius to spring upon the mayor, had been granted with equal suddenness by M. de Rênal.

    This demand made an impression on the mayor. It is clear, he said to himself, that since Sorel is not beside himself with delight over my proposal, as in the ordinary way he ought to be, he must have had offers made to him elsewhere, and whom could they have come from, if not from Valenod. It was in vain that M. de Rênal pressed Sorel to clinch the matter then and there. The old peasant, astute man that he was, stubbornly refused to do so. He wanted, he said, to consult his son, as if in the provinces, forsooth, a rich father consulted a penniless son for any other reason than as a mere matter of form.

    A water saw-mill consists of a shed by the side of a stream. The roof is supported by a framework resting on four large timber pillars. A saw can be seen going up and down at a height of eight to ten feet in the middle of the shed, while a piece of wood is propelled against this saw by a very simple mechanism. It is a wheel whose motive-power is supplied by the stream, which sets in motion this double piece of mechanism, the mechanism of the saw which goes up and down, and the mechanism which gently pushes the piece of wood towards the saw, which cuts it up into planks.

    Approaching his workshop, Father Sorel called Julien in his stentorian voice; nobody answered. He only saw his giant elder sons, who, armed with heavy axes, were cutting up the pine planks which they had to carry to the saw. They were engrossed in following exactly the black mark traced on each piece of wood, from which every blow of their axes threw off enormous shavings. They did not hear their father's voice. The latter made his way towards the shed. He entered it and looked in vain for Julien in the place where he ought to have been by the side of the saw. He saw him five or six feet higher up, sitting astride one of the rafters of the roof. Instead of watching attentively the action of the machinery, Julien was reading. Nothing was more anti-pathetic to old Sorel. He might possibly have forgiven Julien his puny physique, ill adapted as it was to manual labour, and different as it was from that of his elder brothers; but he hated this reading mania. He could not read himself.

    It was in vain that he called Julien two or three times. It was the young man's concentration on his book, rather than the din made by the saw, which prevented him from hearing his father's terrible voice. At last the latter, in spite of his age, jumped nimbly on to the tree that was undergoing the action of the saw, and from there on to the cross-bar that supported the roof. A violent blow made the book which Julien held, go flying into the stream; a second blow on the head, equally violent, which took the form of a box on the ears, made him lose his balance. He was on the point of falling twelve or fifteen feet lower down into the middle of the levers of the running machinery which would have cut him to pieces, but his father caught him as he fell, in his left hand.

    So that's it, is it, lazy bones! always going to read your damned books are you, when you're keeping watch on the saw? You read them in the evening if you want to, when you go to play the fool at the curé's, that's the proper time.

    Although stunned by the force of the blow and bleeding profusely, Julien went back to his official post by the side of the saw. He had tears in his eyes, less by reason of the physical pain than on account of the loss of his beloved book.

    Get down, you beast, when I am talking to you, the noise of the machinery prevented Julien from hearing this order. His father, who had gone down did not wish to give himself the trouble of climbing up on to the machinery again, and went to fetch a long fork used for bringing down nuts, with which he struck him on the shoulder. Julien had scarcely reached the ground, when old Sorel chased him roughly in front of him and pushed him roughly towards the house. God knows what he is going to do with me, said the young man to himself. As he passed, he looked sorrowfully into the stream into which his book had fallen, it was the one that he held dearest of all, the Memorial of St. Helena.

    He had purple cheeks and downcast eyes. He was a young man of eighteen to nineteen years old, and of puny appearance, with irregular but delicate features, and an aquiline nose. The big black eyes which betokened in their tranquil moments a temperament at once fiery and reflective were at the present moment animated by an expression of the most ferocious hate. Dark chestnut hair, which came low down over his brow, made his forehead appear small and gave him a sinister look during his angry moods. It is doubtful if any face out of all the innumerable varieties of the human physiognomy was ever distinguished by a more arresting individuality.

    A supple well-knit figure, indicated agility rather than strength. His air of extreme pensiveness and his great pallor had given his father the idea that he would not live, or that if he did, it would only be to be a burden to his family. The butt of the whole house, he hated his brothers and his father. He was regularly beaten in the Sunday sports in the public square.

    A little less than a year ago his pretty face had begun to win him some sympathy among the young girls. Universally despised as a weakling, Julien had adored that old Surgeon-Major, who had one day dared to talk to the mayor on the subject of the plane trees.

    This Surgeon had sometimes paid Father Sorel for taking his son for a day, and had taught him Latin and History, that is to say the 1796 Campaign in Italy which was all the history he knew. When he died, he had bequeathed his Cross of the Legion of Honour, his arrears of half pay, and thirty or forty volumes, of which the most precious had just fallen into the public stream, which had been diverted owing to the influence of M. the Mayor.

    Scarcely had he entered the house, when Julien felt his shoulder gripped by his father's powerful hand; he trembled, expecting some blows.

    Answer me without lying, cried the harsh voice of the old peasant in his ears, while his hand turned him round and round, like a child's hand turns round a lead soldier. The big black eyes of Julien filled with tears, and were confronted by the small grey eyes of the old carpenter, who looked as if he meant to read to the very bottom of his soul.

    CHAPTER V. A NEGOTIATION

    Cunctando restituit rem.—Ennius.

    Answer me without lies, if you can, you damned dog, how did you get to know Madame de Rênal? When did you speak to her?

    I have never spoken to her, answered Julien, I have only seen that lady in church.

    You must have looked at her, you impudent rascal.

    Not once! you know, I only see God in church, answered Julien, with a little hypocritical air, well suited, so he thought, to keep off the parental claws.

    None the less there's something that does not meet the eye, answered the cunning peasant. He was then silent for a moment. But I shall never get anything out of you, you damned hypocrite, he went on. As a matter of fact, I am going to get rid of you, and my saw-mill will go all the better for it. You have nobbled the curate, or somebody else, who has got you a good place. Run along and pack your traps, and I will take you to M. de Rênal's, where you are going to be tutor to his children.

    What shall I get for that?

    Board, clothing, and three hundred francs salary.

    I do not want to be a servant.

    Who's talking of being a servant, you brute, do you think I want my son to be a servant?

    But with whom shall I have my meals?

    This question

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