More than any other nineteenth-century writer, Stendhal was imbued with the spirit of the French Revolution and its Napoleonic aftermath, and this spirit gives The Charterhouse of Parma, the masterpiece he published in 1839, a freshness and radical originality we normally associate with the great texts of the twentieth century. Remarkable for its detail, its political prescience, and the far-reaching psychological insight with which its characters and their passions are developed, this picture of the intricate intrigues at the court of a small Italian duchy illuminates, through its intense concentration on local events, a whole epoch of European history.
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Henri Marie Beyle, known through his writing as Stendhal, was born in Grenoble in 1783 and educated there at the École Centrale. A cousin offered him a post in the Ministry of War, and from 1800 he followed Napoleon’s campaigns in Italy, Germany, Russia and Austria. In between wars, he spent his time in Paris drawing rooms and theatres.After the fall of Napoleon, he retired to Italy, adopted his pseudonym and started to write books on Italian painting, Haydn and Mozart, and travels in Italy. In 1821 the Austrian police expelled him from the country, and on returning to Paris he finished his book De l’amour. This was followed by Racine et Shakespeare, a defense of Romantic literature. Le Rouge et le noir was his second novel, and he also produced or began three others, including La Chartreuse de Parme and Lucien Leuwen. None of his published works was received with any great understanding during his lifetime.
Beyle was appointed Consul at Civitavecchia after the 1830 revolution, but his health deteriorated and six years later he was back in Paris and beginning A Life of Napoleon. In 1841 he was once again recalled for reasons of illness, and in the following year suffered a fatal stroke. Various autobiographical works, Journal, Souvenirs de l’egotisme and La Vie de Henri Brulard, were published later, as his fame grew.
Milan in 1796
On May 15, 1796, General Bonaparte entered Milan at the head of that young army which had lately crossed the Lodi bridge and taught the world that after so many centuries Caesar and Alexander had a successor. The miracles of valor and genius Italy had witnessed in a few months wakened a slumbering nation: just eight days before the French arrived, the Milanese still regarded them as no more than a band of brigands who habitually fled before the troops of His Imperial and Royal Majesty: at least so they were told three times a week by a little news-sheet the size of a man's hand, printed on dirty paper.
In the Middle Ages, republican Lombards had displayed a valor equal to that of the French, and were entitled to see their city utterly razed by the German emperors. Since they had become loyal subjects, their chief concern was to print sonnets on tiny pink taffeta handkerchiefs for the weddings of a young lady belonging to some rich or noble family. Two or three years after that great event in her life, the same young lady would take a cavaliere servente: sometimes the name of the cicisbeo chosen by the husband's family occupied an honorable place in the marriage contract. It was a far cry from such effeminate manners to the deep emotions produced by the French army's unexpected arrival. Soon new and impassioned standards of behavior were observed. On May 15, 1796, a whole nation realized that whatever it had hitherto respected was sovereignly absurd and on occasion odious. The departure of the last Austrian regiment marked the fall of the old ideas: risking one's life became fashionable; happiness depended, after centuries of insipidity, upon loving one's country with a passion, upon seeking out heroic actions to perform. People had been plunged into darkness by the persistence of the jealous despotism of Charles V and Philip II; they pulled down their statues and were forthwith flooded with light. For the last fifty years, even as the Encyclopédie and Voltaire were exploding in France, the monks had adjured the good people of Milan that learning to read, or learning anything at all, was a worthless effort, and that by promptly paying one's tithe to the curé and by offering him a faithful account of all one's petty sins, a fine place in paradise was virtually assured. To complete the enfeeblement of this people once so argumentative and so bold, Austria had sold them cheap the privilege of not supplying recruits to her army.
In 1796 the Milanese army consisted of twenty-four wretches in red uniforms who guarded the city with the help of four magnificent regiments of Hungarian grenadiers. Moral freedom was extreme, but passion extremely rare; moreover, aside from the nuisance of having to tell one's curé everything (or be ruined even in this world), the good people of Milan were still subject to certain minor monarchical restrictions which continued to vex them. For instance the Archduke, who resided in Milan and governed in the name of his cousin the Emperor, had conceived the lucrative notion of speculating in wheat. Consequently, no peasant could sell his crop until His Highness's granaries were full.
In May 1796, three days after the entry of the French, a young miniaturist named Gros, slightly mad and subsequently famous, arrived with the army and overheard talk in the great Caffè dei Servi (fashionable at the time) of the exploits of the Archduke, who happened to be extremely fat. Snatching up the list of ices stamped on a sheet of coarse yellow paper, he drew on the back a French soldier thrusting his bayonet into the obese Archduke's belly: instead of blood out poured an incredible quantity of grain. The idea of caricature or cartoon was unknown in this nation of wary despotism. The sketch Gros had left on the table of the Caffé dei Servi seemed a miracle from Heaven; it was printed overnight, and twenty thousand copies were sold the next day.
That same day, notices were posted of a war-tax of six million levied for the needs of the French army, which, having just won six battles and conquered twenty provinces, lacked only shoes, jackets, caps, and trousers.
So much pleasure and happiness poured into Lombardy with these Frenchmen, however ill-dressed, that only the priests and certain noblemen remarked this burden of six million, soon followed by many others. These French soldiers laughed and sang all day long; most were not yet twenty-five, and at twenty-eight their commanding general was accounted the oldest man in his army. Such youth, such gaiety, such free and easy ways offered a fine answer to the furious imprecations of the monks who for six months had preached that the French were monsters under orders, on pain of death, to burn down everything and cut off everyone's head; to which end, each regiment marched with a guillotine in its front ranks.
Throughout the countryside French soldiers could be seen dandling babies at farmhouse doors, and almost every evening some drummer scraping his fiddle would improvise a ball. Since French contredanses were far too intricate for the soldiers, who scarcely knew them themselves, to teach the local girls, it was the latter who showed the young Frenchmen the monferrina, the saltarello, and other Italian dances.
The officers had been billeted on the rich as often as possible; they were in great need of recuperation. For instance, a certain Lieutenant Robert was assigned to the Marchesa del Dongo's palace, which this unscrupulous young conscript entered with one scudo (worth six francs) as his sole wealth, having just received his pay at Piacenza. After crossing the Lodi bridge, he had stripped a handsome Austrian officer killed by a cannonball of a magnificent pair of brand-new nankeen trousers, and never had a garment been so timely. His officer's epaulettes were of wool, and the ragged fabric of his jacket was patched with the lining from its sleeves to hold the pieces together; sadder still, the soles of his shoes consisted of scraps of visors, similarly gleaned from the battlefield the other side of Lodi bridge. These extempore soles were quite visibly tied to the uppers of his shoes with bits of string, so that when the major-domo appeared in Lieutenant Robert's bedroom to invite him to dine with the Signora Marchesa, the officer was mortally embarrassed. He and his orderly spent the two hours until this fatal dinner attempting to patch the jacket and to conceal the lamentable pieces of string with black ink. At last the dreadful moment arrived. "I never felt so uncomfortable in all my life," Lieutenant Robert told me; "the ladies expected me to terrify them, and I was trembling much more than they. I glanced at my shoes and could not imagine how to walk gracefully. The Marchesa del Dongo," he added, "was then in the prime of her beauty: you have seen her yourself--those fine eyes of an angelic sweetness, that lovely dark-blond hair which so perfectly framed the oval of her charming face. In my bedroom hung a Salomé after da Vinci which seemed her portrait. Thank God I was so overcome by this divine beauty that I forgot how I was dressed. For two years I had seen nothing but ugliness and misery in the mountains around Genoa: I ventured to mention my rapture to her.
"But I had too much sense to waste my time on compliments. Even as I was turning my phrases, I noticed that the marble dining-hall was filled with lackeys and footmen dressed in what then seemed to me the height of magnificence. You realize, these wretches wore not only fine shoes, but silver buckles! Out of the corner of my eye I saw them all staring stupidly at my jacket, and perhaps at my shoes as well, which stabbed me to the heart. I might have terrorized every one of them with a word, but how to put them in their place without running the risk of alarming the ladies? For the...
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