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La Chartreuse de Parme by Stendhal
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La Chartreuse de Parme (1839)

by Stendhal (Author)

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3,303512,459 (3.76)161
Member:WoolfLibrary
Title:La Chartreuse de Parme
Authors:Stendhal (Author)
Info:Paris : Calmann-Lévy, [n.d.].
Collections:Your library, Washington State University
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The Charterhouse of Parma by Stendhal (Author) (1839)

  1. 20
    The Red and the Black by Stendhal (Anonymous user)
  2. 10
    The Leopard by Giuseppe Tomasi di Lampedusa (P_S_Patrick)
    P_S_Patrick: These two books have a fair bit in common, though much is different between them too. They both are set in Italy and are concerned with court and family life, with politics, and the state of the country at the time they were written. The Charterhouse is set mainly in the north, around Milan, Parma, and Lake Como, near the Swiss border, in the first half of the 19th Century. The Leopard is set in the South, much of it in Sicily, starting over halfway through the 19th Century and ending in the next one. Stendhal writes dramatically about adventures and high emotions, whereas Lampedusa is far less baroque about it and writes with greater reserve and elegance. Together these books complement each other and give the reader a reasonably balanced view of Italian life over around a 100 years. Readers are likely to prefer one book over the other, but I am sure that if they enjoyed one they are very likely to enjoy the other. There are passages in the Charterhouse that outshine the best in the Leopard, but I prefer the latter due to it being nearer to perfection when taken as a whole.… (more)
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English (37)  Italian (3)  Spanish (3)  French (2)  Dutch (2)  Vietnamese (1)  Hebrew (1)  Swedish (1)  Danish (1)  All languages (51)
Showing 1-5 of 37 (next | show all)
Read in Morocco, particularly along the Atlantic Coast, I found Fabrice's childish worldview refreshing, almost an antipode to Julien Sorel. ( )
  jonfaith | Feb 22, 2019 |
Got to chapter 12, and was awfully bored of Fabrice del Dongo. Maybe I will pick it up again when I'm able to stomach it. ( )
  CinnamonAndSpite | Jul 18, 2018 |
O lance é que não atinge o nível de excelência presente em O Vermelho e o Negro, quer dizer há todas aquelas intrigas socio-políticas belamente delineadas, especialmente capitaneadas pela duquesa Gina, uma das melhores personagens femininas do século XIX, mas algo no seu desenrolar torna-lhe falho principalmente pela falta de simpatia que inspira Fabrício Del Dongo. ( )
  Adriana_Scarpin | Jun 12, 2018 |
My very brief review: Great in places but a bit rambling. Not as good as 'The Red and the Black' in my opinion. Disappointing. ( )
  dairylea | May 12, 2018 |
(6) This was a bit of a slog for me especially at the beginning. This is the story of Fabrizio del Dongo and his beautiful aunt the Duchessa of Sanserverino. They live in the court of the duchy of Parma in post-napoleonic times where local passions and petty court power struggles obsess daily lives. It is hard to suss out who is who - liberal, Jacobins, Marcheses, Contis, etc., etc. seem to be bamboozling and inscrutable for the bulk of this book - but the central conflicts of unrequited love; unjust imprisionment; overwhelming passion win out and eventually one is sucked into the melodrama. The best part of the book is Fabrizio's imprisonment in the Farnese Tower and perhaps the only part I can say that I truly enjoyed.

I am not entirely sure why this novel is considered a classic and is in 1001 Books. . . It is melodramatic and uneven and I thought the prose was a bit all over the place. The ending was incredibly rushed (apparently this was forced on Stendhal by the publisher to save money?) and all was a bit unsatisfying. For me as I mentioned, it was saved by Fabrizio's time in the tower which was written with clarity, dramatic tension, and attention to setting and detail that made these scenes memorable and romantic.

I am not sure I will be in a hurry to read Stendhal's other classic 'The Red and the Black,' but I feel accomplished that I at least added another well regarded author to my reading repertoire. But in truth, this was just 'OK' for me and at times a bit of a chore. ( )
  jhowell | Feb 3, 2018 |
Showing 1-5 of 37 (next | show all)
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» Add other authors (67 possible)

Author nameRoleType of authorWork?Status
StendhalAuthorprimary authorall editionsconfirmed
Bair, LowellTranslatorsecondary authorsome editionsconfirmed
Balzac, Honoré deCommentarysecondary authorsome editionsconfirmed
Bellocchio, PiergiorgioIntroductionsecondary authorsome editionsconfirmed
Bengtsson, GunTranslatorsecondary authorsome editionsconfirmed
Bengtsson, Nils A.Translatorsecondary authorsome editionsconfirmed
Berges, ConsueloTranslatorsecondary authorsome editionsconfirmed
Busoni, RafaelloIllustratorsecondary authorsome editionsconfirmed
Cantwell, RobertEditorsecondary authorsome editionsconfirmed
Gimferrer, PereTranslatorsecondary authorsome editionsconfirmed
Hill, JamesCover artistsecondary authorsome editionsconfirmed
Howard, RichardAfterwordsecondary authorsome editionsconfirmed
Howard, RichardTranslatorsecondary authorsome editionsconfirmed
Levin, HarryIntroductionsecondary authorsome editionsconfirmed
Loyd, Lady MaryTranslatorsecondary authorsome editionsconfirmed
Martineau, HenriEditorsecondary authorsome editionsconfirmed
Mendelsohn, DanielCommentarysecondary authorsome editionsconfirmed
Moncrieff, C. K. ScottTranslatorsecondary authorsome editionsconfirmed
Parker, Robert AndrewIllustratorsecondary authorsome editionsconfirmed
Sbarbaro, CamilloTranslatorsecondary authorsome editionsconfirmed
Scott Moncrieff, C. K.Translatorsecondary authorsome editionsconfirmed
Shaw, Margaret R. B.Translatorsecondary authorsome editionsconfirmed
Sturrock, JohnEditorsecondary authorsome editionsconfirmed
Sturrock, JohnIntroductionsecondary authorsome editionsconfirmed
Sturrock, JohnTranslatorsecondary authorsome editionsconfirmed
Tadini, EmilioTranslatorsecondary authorsome editionsconfirmed
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Già mi fur dolci inviti a empir le carte
i luoghi ameni.
Ariosto, Satira IV
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Le 15 mai 1796, le général Bonaparte fit son entrée dans Milan à la tête de cette jeune armée qui venait de passer le pont de Lodi, et d'apprendre au monde qu'après tant de siècles César et Alexandre avaient un successeur.
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Amazon.com Amazon.com Review (ISBN 0679783180, Paperback)

Officer, diplomat, spy, journalist, and intermittent genius, Marie Henri Beyle employed more than 200 aliases in the course of his crowded career. His most famous moniker, however, was Stendhal, which he affixed to his greatest work, The Charterhouse of Parma. The author spent a mere seven weeks cranking out this marvel in 1838, setting the fictional equivalent of a land-speed record. To be honest, there are occasional signs of haste, during which he clearly bypassed le mot juste in favor of narrative zing. So what? Stendhal at his sloppiest is still wittier, and wiser about human behavior, than just about any writer you could name. No wonder so meticulous a stylist as Paul Valéry was happy to forgive his sins against French grammar: "We should never be finished with Stendhal. I can think of no greater praise than that."

The plot of The Charterhouse of Parma suggests a run-of-the-mill potboiler, complete with court intrigue, military derring-do, and more romance than you can shake a saber at. But Stendhal had an amazing, pre-Freudian grasp of psychology (at least the Gallic variant). More than most of his contemporaries, he understood the incessant jostling of love, sex, fear, and ambition, not to mention our endless capacity for self-deception. No wonder his hero, Fabrizio de Dongo, seems to know everything and nothing about himself. Even under fire at the Battle of Waterloo, the young Fabrizio has a tendency to lose himself in Napoleonic reverie:

Suddenly everyone galloped off. A few moments later Fabrizio saw, twenty paces ahead, a ploughed field that seemed to be strangely in motion; the furrows were filled with water, and the wet ground that formed their crests was exploding into tiny black fragments flung three or four feet into the air. Fabrizio noticed this odd effect as he passed; then his mind returned to daydreams of the Marshal's glory. He heard a sharp cry beside him: two hussars had fallen, riddled by bullets; and when he turned to look at them, they were already twenty paces behind the escort.
The quote above, a famous one, captures something of Stendhal's headlong style. Until now, most English-speaking readers have experienced it via C.K. Scott-Moncrieff's superb 1925 translation. But now Richard Howard has modernized his predecessor's period touches, streamlined some of the fussier locutions, and generally given Stendhal his high-velocity due. The result is a timely version of a timeless masterpiece, which shouldn't need to be updated again until, oh, 2050. Crammed with life, lust, and verbal fireworks, The Charterhouse of Parma demonstrates the real truth of its creator's self-composed epitaph: "He lived. He wrote. He loved." --James Marcus

(retrieved from Amazon Thu, 12 Mar 2015 18:11:36 -0400)

(see all 6 descriptions)

Follows the adventures of young Fabrizio del Dongo as he joins Napoleon's army just before the Battle of Waterloo, and struggles to keep hidden his love for Clelia amid the intrigues and secrets of the small court of Parma.

(summary from another edition)

» see all 7 descriptions

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