Tämä sivusto käyttää evästeitä palvelujen toimittamiseen, toiminnan parantamiseen, analytiikkaan ja (jos et ole kirjautunut sisään) mainostamiseen. Käyttämällä LibraryThingiä ilmaiset, että olet lukenut ja ymmärtänyt käyttöehdot ja yksityisyydensuojakäytännöt. Sivujen ja palveluiden käytön tulee olla näiden ehtojen ja käytäntöjen mukaista.
The Charterhouse of Parma (1839) is a compelling novel of passion and daring, of prisons and heroic escape, of political chicanery and sublime personal courage. Set at the beginning of the nineteenth century, amidst the golden landscapes of northern Italy, it traces the joyous but ill-starredamorous exploits of a handsome young aristocrat called Fabrice del Dongo, and of his incomparable aunt Gina, her suitor Prime Minister Mosca, and Clelia, a heroine of ethereal beauty and earthly passion.These characters are rendered unforgettable by Stendhal's remarkable gift for psychological insight. `Never before have the hearts of princes, ministers, courtiers, and women been depicted like this,' wrote Honore de Balzac. `Stendhal's tableau has the dimensions of a fresco but the precision ofthe Dutch masters.'The great achievement of The Charterhouse of Parma is to conjure up the excitement and romance of youth while never losing sight of the harsh realities which beset the pursuit of happiness, nor the humour and patient irony with which these must be viewed. This new translation captures Stendhal'snarrative verve, while the Introduction explores the novel's reception and the reasons for its enduring popularity and power.… (lisätietoja)
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.… (lisätietoja)
I guess my biggest takeaway was that I enjoyed The Red and the Black more. The story just never quite engaged me. It takes place at the beginning of the 19th-century in northern Italy and follows a young aristocrat named Fabrice/Fabrizio del Dongo whose political career is nurtured by his aunt/love interest and her husband. The political allegiances of different parts of Italy at the time were confusing enough that I had to consult outside sources several times and my translation (by Richard Howard) seemed somehow “not quite right” from time to time, though mostly quite fluid and easy to read. It didn’t help that I didn’t find our protagonist particularly sympathetic or even likeable. (Interestingly enough, I found the protagonist in The Red and the Black also unlikeable but I thought that that book was much better done and much more believable.) Mostly, I just got tired of the “adventures” and what seemed to me to be Stendhal’s too-obvious techniques for delaying the resolution of the problem of the moment. It read a little bit like a bad Errol Flynn movie. Stendhal wrote it in 52 days they say, and while that could be seen as a great achievement, it could also account for some of the problems. Glad I read it, don’t know that I’d particularly recommend it. ( )
Having enjoyed Stendahl's "The Red and the Black", I thought I would try "The Charterhouse of Parma". To me, not in the same league with "The R & B". Well written but not an engaging psychological portrait just a seemingly endless tale of political, romantic, and aristocratic interludes/intrigues. In the end, the lengthy tale is wrapped up with a hasty and artificial conclusion.
Readable but, in my mind, not a classic read. Just my ill-informed opinion. ( )
En Parma, la sombra de la cartuja se extiende sobre la corte y sobre las intrigas aristocráticas, de los pocos felices que la animan: Gina, la bella duquesa, el conde Mosca, pero sobre todo el joven Fabrice del Dongo, que despierta el amor de todos los que se encuentran con él.
Tiedot italiankielisestä Yhteisestä tiedosta.Muokkaa kotoistaaksesi se omalle kielellesi.
Già mi fur dolci inviti a empir le carte i luoghi ameni. Ariosto, Satira IV
Omistuskirjoitus
Ensimmäiset sanat
Tiedot englanninkielisestä Yhteisestä tiedosta.Muokkaa kotoistaaksesi se omalle kielellesi.
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.
Sitaatit
Viimeiset sanat
Tiedot englanninkielisestä Yhteisestä tiedosta.Muokkaa kotoistaaksesi se omalle kielellesi.
Les prisons de Parme étaient vides, le comte immensément riche, Ernest V adoré de ses sujets qui comparaient son gouvernement à celui des grands-ducs de Toscane.
The Charterhouse of Parma (1839) is a compelling novel of passion and daring, of prisons and heroic escape, of political chicanery and sublime personal courage. Set at the beginning of the nineteenth century, amidst the golden landscapes of northern Italy, it traces the joyous but ill-starredamorous exploits of a handsome young aristocrat called Fabrice del Dongo, and of his incomparable aunt Gina, her suitor Prime Minister Mosca, and Clelia, a heroine of ethereal beauty and earthly passion.These characters are rendered unforgettable by Stendhal's remarkable gift for psychological insight. `Never before have the hearts of princes, ministers, courtiers, and women been depicted like this,' wrote Honore de Balzac. `Stendhal's tableau has the dimensions of a fresco but the precision ofthe Dutch masters.'The great achievement of The Charterhouse of Parma is to conjure up the excitement and romance of youth while never losing sight of the harsh realities which beset the pursuit of happiness, nor the humour and patient irony with which these must be viewed. This new translation captures Stendhal'snarrative verve, while the Introduction explores the novel's reception and the reasons for its enduring popularity and power.
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Google Books — Ladataan...
(3.76)
Group Read, July 2017: Charterhosue of Parma
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