Editing Stendhal (section)

==Works==
[[File:Le rouge et le noir 1831.JPG|thumb|upright=.8|The second volume of the 1831 edition of ''The Red and the Black'', considered to be Stendhal's most notable and well-known work.]]
Contemporary readers did not fully appreciate Stendhal's realistic style during the [[Romanticism|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" (in English in the original). This can be interpreted as a reference to Canto 11 of [[Lord Byron]]'s ''[[Don Juan (poem)|Don Juan]]'', which refers to "the thousand happy few" who enjoy high society, or to the "we few, we happy few, we band of brothers" line of [[William Shakespeare]]'s ''[[Henry V (play)|Henry V]]'', but Stendhal's use more likely refers to ''[[The Vicar of Wakefield]]'' by [[Oliver Goldsmith]], parts of which he had memorized in the course of teaching himself English.{{sfn|Martin|2011|p=123}}

In ''The Vicar of Wakefield'', "the happy few" refers ironically to the small number of people who read the title character's obscure and pedantic treatise on monogamy.{{sfn|Martin|2011|p=123}} As a literary critic, such as in ''Racine and Shakespeare'', Stendhal championed the Romantic aesthetic by unfavorably comparing the rules and strictures of [[Jean Racine]]'s classicism to the freer verse and settings of Shakespeare, and supporting the writing of plays in prose.

According to the literary theorist [https://sr.wikipedia.org/sr-el/%D0%9A%D0%BE%D1%80%D0%BD%D0%B5%D0%BB%D0%B8%D1%98%D0%B5_%D0%9A%D0%B2%D0%B0%D1%81 Kornelije Kvas]: "In his novel ''The Red and the Black'', Stendhal refers to a novel as a mirror being carried in a basket. The metaphor of the realistic novel as a mirror of contemporary reality, accessible to the narrator, has certain limitations, which the artist is aware of. A valuable realistic work exceeds the Platonic meaning of art as a copy of reality. A mirror does not reflect reality in its entirety, nor is the artist's aim to document it fully. In ''The Red and the Black'', the writer emphasizes the significance of selection when it comes to describing reality, with a view to realizing the cognitive function of a work of art, achieved through the categories of unity, coherence and typicality".<ref name=":3">{{Cite book|last=Kvas|first=Kornelije|title=The Boundaries of Realism in World Literature|publisher=Lexington Books|year=2020|isbn=978-1-7936-0910-6|location=Lanham, Boulder, New York, London|pages=8}}</ref> Stendhal was an admirer of Napoleon and his novel ''Le Rouge et le Noir'' is considered his literary tribute to the emperor.<ref>{{Cite book|last=Clarke|first=Stephen|title=How the French Won Waterloo - or Think They Did|publisher=Random House|year=2015|isbn=978-1-4735-0636-7|language=en}}</ref>

Today, Stendhal's works attract attention for their [[irony]] and [[psychological fiction|psychological]] and historical dimensions. Stendhal was an avid fan of music, particularly the works of the composers [[Domenico Cimarosa]], [[Joseph Haydn]], [[Wolfgang Amadeus Mozart]] and [[Gioacchino Rossini]]. He wrote a biography of Rossini, ''Vie de Rossini'' (1824), now more valued for its wide-ranging musical criticism than for its historical content. He also idealized aristocracy, noting its antiegalitarianism but appreciating how it is liberal in its love of liberty.<ref>{{Cite book|last=Goodheart|first=Eugene|title=Modernism and the Critical Spirit|publisher=Routledge|year=2018|isbn=978-1-351-30910-3|location=Oxon|language=en}}</ref>

In his works, Stendhal [[reprise]]d excerpts [[Appropriation (art)|appropriated]] from [[Giuseppe Carpani]], [[Théophile Frédéric Winckler]], [[Sismondi]] and others.<ref>{{cite book| last= Randall| first= Marilyn |year= 2001|url=https://archive.org/details/pragmaticplagiar0000rand | url-access= registration|title= Pragmatic plagiarism: authorship, profit, and power| publisher= University of Toronto Press| page=[https://archive.org/details/pragmaticplagiar0000rand/page/199 199] | isbn= 9780802048141 |quote=If the plagiarisms of Stendhal are legion, many are virtually translations: that is, cross-border plagiarism. Maurevert reports that Goethe, commenting enthusiastically on Stendhal's ''Rome, Naples et Florence'', notes in a letter to a friend: 'he knows very well how to use what one reports to him, and, above all, he knows well how to appropriate foreign works. He translates passages from my ''Italian Journey'' and claims to have heard the anecdote recounted by a marchesina.'}}</ref><ref>Victor Del Litto in ''Stendhal'' (1986) p.500, quote (translation by Randall 2001 p.199): "used the texts of Carpani, Winckler, Sismondi et 'tutti quanti', as an ensemble of materials that he fashioned in his own way. In other words, by isolating his personal contribution, one arrives at the conclusion that the work, far from being a cento, is highly structured such that even the borrowed parts finally melt into a whole ''a l'allure bien stendhalienne''."</ref><ref>{{cite book| first=Paul |last= Hazard| author-link= Paul Hazard| year= 1921| title= Les plagiats de Stendhal}}</ref><ref>{{cite book| first1= Catherine |last1= Dousteyssier-Khoze| first2= Floriane |last2= Place-Verghnes |year= 2006|url=https://books.google.com/books?id=g9h9fbAXMUIC |title= Poétiques de la parodie et du pastiche de 1850 à nos jours| page= 34|publisher= Peter Lang|isbn= 9783039107438}}</ref>

===Novels===
*''[[Armance (novel)|Armance]]'' (1827)
*''[[The Red and the Black|Le Rouge et le Noir]]'' (''The Red and the Black'', 1830)
*''[[Lucien Leuwen]]'' (1835, unfinished, published 1894)
*''[[The Pink and the Green]]'' (1837, unfinished)
*''[[The Charterhouse of Parma|La Chartreuse de Parme]]'' (1839) (''The Charterhouse of Parma'')
*''[[Lamiel (novel)|Lamiel]]'' (1839–1842, unfinished, published 1889)
[[File:Stendhal par Ducis.jpg|thumb|right|Melancholy portrait of Stendhal by Ducis, 1835, in Milan.]]

===Novellas===
* ''[[Vanina Vanini]]'' (1829)
*''Mina de Vanghel'' (1830, later published in the Paris periodical ''[[La Revue des Deux Mondes]]'')
* ''[[Italian Chroniques]]'', 1837–1839
**''[[Vittoria Accoramboni (novella)|Vittoria Accoramboni]]''
** ''[[The Cenci (Stendhal)|The Cenci]]'' (''Les Cenci'', 1837)
** ''[[The Duchess of Palliano]]'' (''La Duchesse de Palliano'')
** ''[[The Abbess of Castro]]'' (''L'Abbesse de Castro'', 1832)

===Biography===
*''[[A Life of Napoleon]]'' (1817–1818, published 1929)
*''[[A Life of Rossini]]'' (1824)

===Autobiography===
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)
*''[[Memoirs of an Egotist|Souvenirs d'égotisme]]'' (written in 1832 and published in 1892) 
*''Journal (1801–1817)'' (''[[The Private Diaries of Stendhal]]'')

===Non-fiction===
* ''Rome, Naples et Florence'' (1817)
*''De L'Amour'' (1822) (''{{Interlanguage link multi|On Love|fr|De l'amour (Stendhal)|vertical-align=sup}}'')
*''Racine et Shakespéare'' (1823–1825) (''Racine and Shakespeare'')
*''Voyage dans le midi de la France'' (1838; though first published posthumously in 1930) (''Travels in the South of France'')

His other works include short stories, journalism, travel books (''A Roman Journal''), a famous collection of essays on Italian painting, and biographies of several prominent figures of his time, including [[Napoleon]], [[Joseph Haydn|Haydn]], [[Wolfgang Amadeus Mozart|Mozart]], [[Gioachino Rossini|Rossini]] and [[Metastasio]].