Stendhal: Wikis


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Marie-Henri Beyle

Born 23 January 1783(1783-01-23)
Grenoble, France
Died 23 March 1842 (aged 59)
Paris, France
Occupation Writer
Literary movement Realism

Marie-Henri Beyle (January 23, 1783 â€“ March 23, 1842), better known by his pen name Stendhal, was a 19th-century French writer. Known for his acute analysis of his characters' psychology, he is considered one of the earliest and foremost practitioners of realism in his two novels Le Rouge et le Noir (The Red and the Black, 1830) and La Chartreuse de Parme (The Charterhouse of Parma, 1839).



Born in Grenoble, Isère, he had an unhappy childhood in what he found to be stifling provincial France, disliking his "unimaginative" father and mourning his mother, who had died when he was young. His closest friend was his younger sister, Pauline, with whom he maintained a steady correspondence throughout the first decade of the 19th century.

Plaque on Vilnius house where Stendhal stayed in December 1812 during Napoleon's retreat from Russia

The military and theatrical worlds of the First French Empire were a revelation to Beyle. He was named an auditor with the Conseil d'État on August 3, 1810, and thereafter took part in the French administration and in the Napoleonic wars. He travelled extensively in Germany and was part of Napoleon's army in the 1812 invasion of Russia.

After the 1814 Treaty of Fontainebleau, he left for Italy, where he settled in Milan. He formed a particular attachment to Italy, where he spent much of the remainder of his career, serving as French consul at Trieste and Civitavecchia. His novel The Charterhouse of Parma, written in 52 days, is set in Italy, which he considered a more sincere and passionate country than Restoration France. An aside in that novel, referring to a character who contemplates suicide after being jilted, speaks volumes about his attitude towards his home country: "To make this course of action clear to my French readers, I must explain that in Italy, a country very far away from us, people are still driven to despair by love."

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Beyle used the pseudonym "Stendhal" (and over 100 others), and scholars in general believe he borrowed this nom de plume from the German city of Stendal in homage to Johann Joachim Winckelmann.

Stendhal was a dandy and wit about town in Paris, as well as an inveterate womaniser who was obsessed with his sexual conquests. His genuine empathy towards women is evident in his books; Simone de Beauvoir spoke highly of him in The Second Sex. He seems to have preferred desire to consummation. One of his early works is On Love, a rational analysis of romantic passion that was based on his unrequited love for Mathilde, Countess Dembowska, whom he met while living at Milan. This fusion of, and tension between, clear-headed analysis and romantic feeling is typical of Stendhal's great novels; he could be considered a Romantic realist.

Stendhal suffered miserable physical disabilities in his final years as he continued to produce some of his best work. As he noted in his journal, he was taking iodide of potassium and quicksilver to treat his syphilis, resulting in swollen armpits, difficulty swallowing, pains in his shrunken testicles, sleeplessness, giddiness, roaring in the ears, racing pulse and tremors so bad he could scarcely hold a fork or a pen. Indeed, he dictated Charterhouse in this pitiable state. Modern medicine has shown that his health problems were more attributable to his treatment than to his syphilis.

Stendhal died on March 22, 1842, a few hours after collapsing with a seizure on the streets of Paris. He is interred in the Cimetière de Montmartre.


Contemporary readers did not fully appreciate Stendhal's realistic style during the Romantic period in which he lived; he was not fully appreciated until the beginning of the 20th century. He dedicated his writing to "the Happy Few." This is often interpreted as a dedication to the few who could understand his writing, or as a sardonic reference to the happy few who are born into prosperity (the latter interpretation is supported by the likely source of the quotation, Canto 11 of Byron's Don Juan, a frequent reference in the novel, which refers to "the thousand happy few" who enjoy high society), or as a reference to those who lived without fear or hatred. It may also refer, given Stendhal's experience of the Napoleonic wars, to the "we few, we happy few, we band of brothers" line of Shakespeare's Henry V.

Today, Stendhal's works attract attention for their irony and psychological and historical dimensions. Stendhal was an avid fan of music, particularly the works of the composers Cimarosa, Mozart and Rossini. He wrote a biography about Rossini, Vie de Rossini (1824), now more valued for its wide-ranging musical criticism than for its historical content.



  • The Pink and the Green (1837, unfinished)
  • Mina de Vanghel (1830, later published in La Revue des Deux Mondes)
  • Vittoria Accoramboni
  • Italian Chroniques, 1837–1839
    • The Cenci (Les Cenci)
    • The Duchess of Palliano (La Duchesse de Palliano)
    • The Abbess of Castro (L'Abbesse de Castro, 1832)
    • Vanina Vanini


  • A Life of Napoleon (1817–1818, published 1929)


Stendhal's brief memoir, Souvenirs d'Égotisme (Memoirs of an Egotist) was published posthumously in 1892. Also published was a more extended autobiographical work, thinly disguised as the Life of Henry Brulard.

  • The Life of Henry Brulard (1835–1836, published 1890)
  • Souvenirs d'Égotisme (Memoirs of an Egotist, published in 1892)
  • Journal (1801–1817) (The Private Diaries of Stendhal)


  • De L'Amour (1822) (On Love)

His other works include short stories, journalism, travel books (among them Rome, Naples et Florence and Promenades dans Rome), a famous collection of essays on Italian painting, critical essays on Racine and Shakespeare, and biographies of several prominent figures of his time, including Napoleon, Haydn, Mozart, Rossini and Metastasio.


In Stendhal's 1822 classic On Love he describes or compares the “birth of love”, in which the love object is 'crystallized' in the mind, as being a process similar or analogous to a trip to Rome. In the analogy, the city of Bologna represents indifference and Rome represents perfect love:

Stendhal's depiction of "crystallization" in the process of falling in love.

When we are in Bologna, we are entirely indifferent; we are not concerned to admire in any particular way the person with whom we shall perhaps one day be madly in love; even less is our imagination inclined to overrate their worth. In a word, in Bologna “crystallization” has not yet begun. When the journey begins, love departs. One leaves Bologna, climbs the Apennines, and takes the road to Rome. The departure, according to Stendhal, has nothing to do with one’s will; it is an instinctive moment. This transformative process actuates in terms of four steps along a journey:

  1. Admiration â€“ one marvels at the qualities of the loved one.
  2. Acknowledgement â€“ one acknowledges the pleasantness of having gained the loved one's interest.
  3. Hope â€“ one envisions gaining the love of the loved one.
  4. Delight â€“ one delights in overrating the beauty and merit of the person whose love one hopes to win.

This journey or crystallization process (shown above) was detailed by Stendhal on the back of a playing card while speaking to Madame Gherardi, during his trip to the Salzburg salt mine.

Stendhal syndrome

In 1817 Stendhal reportedly was overcome by the cultural richness of Florence he encountered when he first visited the Tuscan city. As he described in his book Naples and Florence: A Journey from Milan to Reggio:

As I emerged from the porch of Santa Croce, I was seized with a fierce palpitation of the heart (that same symptom which, in Berlin, is referred to as an attack of the nerves); the well-spring of life was dried up within me, and I walked in constant fear of falling to the ground.

The condition was diagnosed and named in 1979 by Italian psychiatrist Dr. Graziella Magherini, who had noticed similar psychosomatic conditions (racing heart beat, nausea and dizziness) amongst first-time visitors to the city.

In homage to Stendhal, Trenitalia named their overnight train service from Paris to Venice the Stendhal Express.

See also


  • Ann Jefferson, Reading Realism in Stendhal (Cambridge Studies in French), Cambridge, UK: Cambridge University Press, 1988.
  • Joanna Richardson, Stendahl: A Biography, Gollancz, 1974. ISBN 0575018704

External links


Up to date as of January 14, 2010

From Wikiquote

Love has always been the most important business in my life; I should say the only one.

Marie-Henri Beyle (January 23, 1783 – March 23, 1842), better known by his penname Stendhal, was a 19th century French writer.



  • Presque tous les malheurs de la vie viennent des fausses idĂ©es que nous avons sur ce qui nous arrive. ConnaĂ®tre Ă  fond les hommes, juger sainement des Ă©vĂ©nements, est donc un grand pas vers le bonheur.
    • Almost all our misfortunes in life come from the wrong notions we have about the things that happen to us. To know men thoroughly, to judge events sanely, is, therefore, a great step towards happiness.
    • Journal entry (1801-12-10)
  • Comme homme, j'ai le cĹ“ur 3 ou 4 fois moins sensible, parce que j'ai 3 ou 4 fois plus de raison et d'expĂ©rience du monde, ce que vous autres femmes appelez duretĂ© de cĹ“ur.

    Comme homme, j'ai la ressource d'avoir des maîtresses. Plus j'en ai et plus le scandale est grand, plus j'acquiers de réputation et de brillant dans le monde.

    • Since I am a man, my heart is three or four times less sensitive, because I have three or four times as much power of reason and experience of the world — a thing which you women call hard-heartedness.

      As a man, I can take refuge in having mistresses. The more of them I have, and the greater the scandal, the more I acquire reputation and brilliance in society.

    • Letter to his sister Pauline (1804-08-29)
  • Je ne vois qu'une règle: ĂŞtre clair. Si je ne suis pas clair, tout mon monde est anĂ©anti.
    • I see but one rule: to be clear. If I am not clear, all my world crumbles to nothing.
    • Letter to HonorĂ© de Balzac (Civita Vecchia, 1840-10-30)
  • Le mĂŞme esprit ne dure que deux cents ans.
    • Wit lasts no more than two centuries.
    • Letter to HonorĂ© de Balzac (1840-10-30)
  • Ce sera la noblesse de leur style qui, dans quarante ans, rendra illisibles nos Ă©crivains de 1840.
    • It is the nobility of their style which will make our writers of 1840 unreadable forty years from now.
    • Marginalia note, first edition of La Chartreuse de Parme (1840)
  • L'amour a toujours Ă©tĂ© pour moi la plus grande des affaires ou plutĂ´t la seule.
    • Love has always been the most important business in my life; I should say the only one.
    • La Vie d'Henri Brulard (1890)
    • Variant translation: Love has always been the most important business in my life, or rather the only one.

De L'Amour (On Love) (1822)

  • I call "crystallization" that action of the mind that discovers fresh perfections in its beloved at every turn of events.
    • Ch. 1
  • The great majority of men, especially in France, both desire and possess a fashionable woman, much in the way one might own a fine horse—as a luxury befitting a young man.
    • Ch. 1
  • In love, unlike most other passions, the recollection of what you have had and lost is always better than what you can hope for in the future.
    • Ch. 1
  • Beauty is nothing other than the promise of happiness.
    • Ch. 17, footnote
  • A wise woman never yields by appointment. It should always be an unforeseen happiness.
    • Ch. 60
  • It is better to have a prosaic husband and to take a romantic lover.
    • Fragments, sec. 10
  • True love makes the thought of death frequent, easy, without terrors; it merely becomes the standard of comparison, the price one would pay for many things.
    • Fragments, sec. 46
  • One can acquire everything in solitude—except character.
    • Fragments
  • Prudery is a kind of avarice, the worst of all.
    • Fragments
  • In matters of sentiment, the public has very crude ideas; and the most shocking fault of women is that they make the public the supreme judge of their lives.
    • Fragments

Armance (1827)

  • Pourquoi ne pas en finir? se dit-il enfin; pourquoi cette obstination Ă  lutter contre le destin qui m'accable? J'ai beau faire les plans de conduite les plus raisonnables en apparence, ma vie n'est qu'une suite de malheurs et de sensations amères. Ce mois-ci ne vaut pas mieux que le mois passĂ©; cette annĂ©e-ci ne vaut pas mieux que l'autre annĂ©e; d'oĂą vient cette obstination Ă  vivre? Manquerais-je de fermetĂ©? Qu'est-ce que la mort? se dit-il en ouvrant la caisse de ses pistolets et les considĂ©rant. Bien peu de chose en vĂ©ritĂ©; il faut ĂŞtre fou pour s'en passer.
    • "Why not make an end of it all?" he asked himself. "Why this obstinate resistance to the fate that is crushing me? It is all very well my forming what are apparently the most reasonable forms of conduct, my life is a succession of griefs and bitter feelings. This month is no better than the last; this year is no better than last year. Why this obstinate determination to go on living? Can I be wanting in firmness? What is death?" he asked himself, opening his case of pistols and examining them. "A very small matter, when all is said; only a fool would be concerned about it."
    • Ch. 2
  • Cette manie des mères de ce siècle, d'ĂŞtre constamment Ă  la chasse au mari.
    • This mania of the mothers of the period, to be constantly in pursuit of a son-in-law.
    • Ch. 5
  • Ce qui est fort beau est nĂ©cessairement toujours vrai.
    • What is really beautiful must always be true.
    • Ch. 6
  • Je ne suis plus si content de cette bonne compagnie par excellence, que j'ai tant aimĂ©e. Il me semble que sous des mots adroits elle proscrit toute Ă©nergie, toute originalitĂ©. Si l'on n'est copie, elle vous accuse de mauvaises manières. Et puis la bonne compagnie usurpe. Elle avait autrefois le privilège de juger de ce qui est bien; mais depuis qu'elle se croit attaquĂ©e, elle condamne, non plus ce qui est grossier et dĂ©sagrĂ©able sans compensation, mais ce qu'elle croit nuisible Ă  ses intĂ©rĂŞts.
    • I no longer find such pleasure in that preeminently good society, of which I was once so fond. It seems to me that beneath a cloak of clever talk it proscribes all energy, all originality. If you are not a copy, people accuse you of being ill-mannered. And besides, good society usurps its privileges. It had in the past the privilege of judging what was proper, but now that it supposes itself to be attacked, it condemns not what is coarse and disagreeable without compensation, but what it thinks harmful to its interest.
    • Ch. 10
  • Depuis que la machine Ă  vapeur est la reine du monde, un titre est une absurditĂ©, mais enfin, je suis affublĂ© de cette absurditĂ©. Elle m'Ă©crasera si je ne la soutiens. Ce titre attire l'attention sur moi.
    • Now that the steam engine rules the world, a title is an absurdity, still I am all dressed up in this title. It will crush me if I do not support it. The title attracts attention to myself.
    • Ch. 14

Le Rouge et le Noir (The Red and the Black) (1830)

  • Dans notre Ă©tat, il faut opter; il s'agit de faire fortune dans ce monde ou dans l'autre, il n'y a pas de milieu.
    • In our calling, we have to choose; we must make our fortune either in this world or in the next, there is no middle way.
    • Vol. I, ch. VIII
  • Quitte-t-on sa maĂ®tresse, on risque, hĂ©las! d'ĂŞtre trompĂ© deux ou trois fois par jour.
    • When a man leaves his mistress, he runs the risk of being betrayed two or three times daily.
    • Vol. I, ch. XII
  • Jamais il ne s'Ă©tait trouvĂ© aussi près de ces terribles instruments de l'artillerie fĂ©minine.
    • Never had he found himself so close to those terrible weapons of feminine artillery.
    • Vol. I, ch. XVI
  • NapolĂ©on Ă©tait bien l'homme envoyĂ© de Dieu pour les jeunes Français! Qui le remplacera?
    • Napoleon was indeed the man sent by God to help the youth of France! Who is to take his place?
    • Vol. I, ch. XVII
  • Les vraies passions sont Ă©goĂŻstes.
    • Our true passions are selfish.
    • Vol. I, ch. XXI
  • C'est Ă  coups de mĂ©pris public qu'un mari tue sa femme au XIXe siècle; c'est en lui fermant tous les salons.
    • It is with blows dealt by public contempt that a husband kills his wife in the nineteenth century; it is by shutting the doors of all the drawing-rooms in her face.
    • Vol. I, ch. XXI
  • Que ne sait-il choisir ses gens? La marche ordinaire du XIXe siècle est que, quand un ĂŞtre puissant et noble rencontre un homme de cĹ“ur, il le tue, l'exile, l'emprisonne ou l'humilie tellement, que l'autre a la sottise d'en mourir de douleur.
    • Why does he not know how to select servants? The ordinary procedure of the nineteenth century is that when a powerful and noble personage encounters a man of feeling, he kills, exiles, imprisons or so humiliates him that the other, like a fool, dies of grief.
    • Vol. I, ch. XXIII
  • Étrange effet du mariage, tel que l'a fait le XIXe siècle! L'ennui de la vie matrimoniale fait pĂ©rir l'amour sĂ»rement, quand l'amour a prĂ©cĂ©dĂ© le mariage. Et cependant, dirait un philosophe, il amène bientĂ´t chez les gens assez riches pour ne pas travailler, l'ennui profond de toutes les jouissances tranquilles. Et ce n'est que les âmes sèches parmi les femmes qu'il ne prĂ©dispose pas Ă  l'amour.
    • A strange effect of marriage, such as the nineteenth century has made it! The boredom of married life inevitably destroys love, when love has preceded marriage. And yet, as a philosopher has observed, it speedily brings about, among people who are rich enough not to have to work, an intense boredom with all quiet forms of enjoyment. And it is only dried up hearts, among women, that it does not predispose to love.
    • Vol. I, ch. XXIII
  • Les contemporains qui souffrent de certaines choses ne peuvent s'en souvenir qu'avec une horreur qui paralyse tout autre plaisir, mĂŞme celui de lire un conte.
    • People who have been made to suffer by certain things cannot be reminded of them without a horror which paralyses every other pleasure, even that to be found in reading a story.
    • Vol. I, ch. XXVII
  • Les signes ne peuvent pas figurer, dans un rapport d'espion, aussi avantageusement que des paroles.
    • Signs cannot be represented, in a spy’s report, so damningly as words.
    • Vol. I, ch. XXVII
  • J.-J. Rousseau, rĂ©pondit-il, n'est Ă  mes yeux qu'un sot, lorsqu'il s'avise de juger le grand monde; il ne le comprenait pas, et y portait le cĹ“ur d'un laquais parvenu... Tout en prĂŞchant la rĂ©publique et le renversement des dignitĂ©s monarchiques, ce parvenu est ivre de bonheur, si un duc change la direction de sa promenade après dĂ®ner, pour accompagner un de ses amis.
    • "Jean Jacques Rousseau," he answered, "is nothing but a fool in my eyes when he takes it upon himself to criticise society; he did not understand it, and approached it with the heart of an upstart flunkey.... For all his preaching a Republic and the overthrow of monarchical titles, the upstart is mad with joy if a Duke alters the course of his after-dinner stroll to accompany one of his friends."
    • Vol. II, ch. VIII
  • Tel est le malheur de notre siècle, les plus Ă©tranges Ă©garements mĂŞme ne guĂ©rissent pas de l'ennui.
    • This is the curse of our age, even the strangest aberrations are no cure for boredom.
    • Vol. II, ch. XVII
  • Un roman est un miroir qui se promène sur une grande route. TantĂ´t il reflète Ă  vos yeux l’azur des cieux, tantĂ´t la fange des bourbiers de la route. Et l’homme qui porte le miroir dans sa hotte sera par vous accusé‚ d’être immoral ! Son miroir montre la fange, et vous accusez le miroir ! Accusez bien plutĂ´t le grand chemin oĂą est le bourbier, et plus encore l’inspecteur des routes qui laisse l’eau croupir et le bourbier se former.
    • A novel is a mirror carried along a high road. At one moment it reflects to your vision the azure skies at another the mire of the puddles at your feet. And the man who carries this mirror in his pack will be accused by you of being immoral! His mirror shews [sic] the mire, and you blame the mirror! Rather blame that high road upon which the puddle lies, still more the inspector of roads who allows the water to gather and the puddle to form.
    • Vol. II, ch. XIX
  • La politique au milieu des intĂ©rĂŞts d'imagination, c'est un coup de pistolet au milieu d'un concert. Ce bruit est dĂ©chirant sans ĂŞtre Ă©nergique. Il ne s'accorde avec le son d'aucun instrument. Cette politique va offenser mortellement une moitiĂ© des lecteurs et ennuyer l'autre qui l'a trouvĂ©e bien autrement spĂ©ciale et Ă©nergique dans le journal du matin.
    • Politics in the middle of things of the imagination is like a pistol shot in the middle of a concert. The noise is loud without being forceful. It isn't in harmony with the sound of any instrument. This political discussion will mortally offend half my readers and bore the others, who have found a much more precise and vigorous account of such matters in their morning newspapers.
    • Vol. II, ch. XXII
  • Les Russes copient les moeurs françaises, mais toujours Ă  cinquante ans de distance.
    • The Russians imitate French ways, but always at a distance of fifty years.
    • Vol. II, ch. XXIV
  • Le dĂ®ner fut mĂ©diocre et la conversation impatientante. C'est la table d'un mauvais livre, pensait Julien. Tous les plus grands sujets des pensĂ©es des hommes y sont fièrement abordĂ©s. Ecoute-t-on trois minutes, on se demande ce qui l'emporte de l'emphase du parleur ou de son abominable ignorance.
    • The dinner was indifferent and the conversation irritating. "It's like the table of contents of a dull book," thought Julien. "All the greatest subjects of human thought are proudly displayed in it. Listen to it for three minutes, and you ask yourself which is more striking, the emphasis of the speaker or his shocking ignorance."
    • Vol. II, ch. XXVII
  • Il n’y a point de droit naturel: ce mot n'est qu’une antique niaiserie... Avant la loi il n’y a de naturel que la force du lion, ou le besoin de l’être qui a faim, qui a froid, le besoin en un mot.
    • There is no such thing as "natural law": this expression is nothing but old nonsense... Prior to laws, what is natural is only the strength of the lion, or the need of the creature suffering from hunger or cold, in short, need.
    • Vol. II, ch. XLIV

La Chartreuse de Parme (The Charterhouse of Parma) (1839)

  • La guerre n'Ă©tait donc plus ce noble et commun Ă©lan d'âmes amantes de la gloire qu'il s'Ă©tait figurĂ© d'après les proclamations de NapolĂ©on!
    • War was then no longer this noble and unified outburst of souls in love with glory that he had imagined from Napoleon’s proclamations.
    • Ch. 3
  • Comme on craint peu de choquer la vanitĂ©, on arrive fort vite en Italie au ton de l'intimitĂ©, et Ă  dire des choses personnelles.
    • Because one has little fear of shocking vanity in Italy, people adopt an intimate tone very quickly and discuss personal things.
    • Ch. 6
  • A la Scala, il est d'usage de ne faire durer qu'une vingtaine de minutes ces petites visites que l'on fait dans les loges.
    • At La Scala it is customary to take no more than twenty minutes for those little visits one pays to boxes.
    • Ch. 6
  • Le goĂ»t de la libertĂ©, la mode et le culte du bonheur du plus grand nombre, dont le XIXe siècle s'est entichĂ©, n'Ă©taient Ă  ses yeux qu'une hĂ©rĂ©sie qui passera comme les autres.
    • The taste for freedom, the fashion and cult of happiness of the majority, that the nineteenth century is infatuated with was only a heresy in his eyes that would pass like others.
    • Ch. 7
  • Les plaisirs et les soins de l'ambition la plus heureuse, mĂŞme du pouvoir sans bornes, ne sont rien auprès du bonheur intime que donnent les relations de tendresse et d'amour. Je suis homme avant d'ĂŞtre prince, et, quand j'ai le bonheur d'aimer, ma maĂ®tresse s'adresse Ă  l'homme et non au prince.
    • The pleasures and the cares of the luckiest ambition, even of limitless power, are nothing next to the intimate happiness that tenderness and love give. I am man before being a prince, and when I have the good fortune to be in love, my mistress addresses a man and not a prince.
    • Ch. 7
  • Cette religion Ă´te le courage de penser aux choses inaccoutumĂ©es, et dĂ©fend surtout l'examen personnel, comme le plus Ă©norme des pĂ©chĂ©s; c'est un pas vers le protestantisme.
    • This religion takes away the courage of thinking of unusual things and prohibits self-examination above all as the most egregious of sins. It is one step away from protestantism.
    • Ch. 12
  • La vanitĂ© piquĂ©e peut mener loin un jeune homme riche et dès le berceau toujours environnĂ© de flatteurs.
    • Wounded pride can take a rich young man far who is surrounded by flatterers since birth.
    • Ch. 13
  • De loin nous ne nous faisons pas d'idĂ©e de ce que c'est que l'autoritĂ© d'un despote qui connaĂ®t de vue tous ses sujets.
    • At a distance, we cannot conceive of the authority of a despot who knows all his subjects on sight.
    • Ch. 16
  • Quand je devrais acheter cette vie de dĂ©lices et cette chance unique de bonheur par quelques petits dangers, oĂą serait le mal? Et ne serait-ce pas encore un bonheur que de trouver ainsi une faible occasion de lui donner une preuve de mon amour?
    • Were I to buy this life of pleasure and this only chance at happiness with a few little dangers, where would be the harm? And wouldn’t it still be fortunate to find a weak excuse to give her proof of my love?
    • Ch. 20
  • Une femme de quarante ans n'est plus quelque chose que pour les hommes qui l'ont aimĂ©e dans sa jeunesse!
    • A forty-year-old woman is only something to men who have loved her in her youth!
    • Ch. 23


  • A very small degree of hope is sufficient to cause the birth of love.
  • All religions are founded on the fear of the many and the cleverness of the few.
  • The only excuse for God is that He does not exist. - quoted in Albert Camus's The Rebel
  • When you want to court a woman, court her sister first

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Simple English

Henri-Marie Beyle (January 23, 1783March 23, 1842) is better known by his pen name Stendhal. He was a 19th century French writer. He is known for his precise analysis of his characters' psychology. His two most famous novels are Le Rouge et le Noir (The Red and the Black, 1830) and La Chartreuse de Parme (The Charterhouse of Parma, 1839).

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