The Red and the Black: A Chronicle of 1830 — Context and Discussion
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The Red and the Black: A Chronicle of 1830 — Context and Discussion can be approached with a clearer sense of reading commitment from its source measurements: 198,957 words, 14 hr 26 min estimated reading time, and 17 detected text sections.
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fferent ways, had been agitating for the last two days all the odious passions of the little town of Verrières.
At the present time they served as the text for the little discussion which M. de Rênal was having with his wife. He had visited the curé earlier in the morning accompanied by M. Valenod, the director of the workhouse, in order to convey their most emphatic displeasure. M. Chélan had no protector, and felt all the weight of their words.
"Well, gentlemen, I shall be the third curé of eighty years of age who has been turned out in this district. I have been here for fifty-six years. I have baptized nearly all the inhabitants of the town, which was only a hamlet when I came to it. Every day I marry young people whose grandparents I have married in days gone by. Verrières is my family, but I said to myself when I saw the stranger, 'This man from Paris may as a matter of fact be a Liberal, there are only too many of them about, but what harm can he do to our poor and to our prisoners?'"
The reproaches of M. de Rênal, and above all, those of M. Valenod, the director of the workhouse, became more and more animated.
"Well, gentlemen, turn me out then," the old curé exclaimed in a trembling voice; "I shall still continue to live in the district. As you know, I inherited forty-eight years ago a piece of land that brings in eight hundred francs a year; I shall live on that income. I do not save anything out of my living, gentlemen; and that is perhaps why, when you talk to me about it, I am not particularly frightened."
M. de Rênal always got on very well with his wife, but he did not know what to answer when she timidly repeated the phrase of M. le curé, "What harm can this Paris gentleman do the prisoners?" He was on the point of quite losing his temper when she gave a cry. Her second son had mounted the parapet of the terrace wall and was running along it, although the wall was raised to a height of more than twenty feet above the vineyard on the other side. The fear of frightening her son and making him fall prevented Madame de Rênal speaking to him. But at last the child, who was smiling at his own pluck, looked at his mother, saw her pallor, jumped down on to the walk and ran to her. He was well scolded.
This little event changed the course of the conversation.
"I really mean to take Sorel, the son of the sawyer, into the house," said M. de Rênal; "he will look after the children, who are getting too naughty for us to manage. He is a young priest, or as good as one, a good Latin scholar, and will make the children get on. According to the curé, he has a steady character. I will give him three hundred francs a year and his board. I have some doubts as to his morality, for he used to be the favourite of that old Surgeon-Major, Member of the Legion of Honour, who went to board with the Sorels, on the pretext that he was their cousin. It is quite possible that that man was really simply a secret agent of the Liberals. He said that the mountain air did his asthma good, but that is something which has never been proved. He has gone through all _Buonaparte's_ campaigns in Italy, and had even, it was said, voted against the Empire in the plebiscite. This Liberal taught the Sorel boy Latin, and left him a number of books which he had brought with him. Of course, in the ordinary way, I should have never thought of allowing a carpenter's son to come into contact with our children, but the curé told me, the very day before the scene which has just estranged us for ever, that Sorel has been studying theology for three years with the intention of entering a seminary. He is, consequently, not a Liberal, and he certainly is a good Latin scholar.
"This arrangement will be convenient in more than one way," continued M. de Rênal, looking at his wife with a diplomatic air. "That Valenod is proud enough of his two fine Norman horses which he has just bought for his carriage, but he hasn't a tutor for his children."
"He might take this one away from us."
"You approve of my plan, then?" said M. de Rênal, thanking his wife with a smile for the excellent idea which she had just had. "Well, that's settled."
Stendhal's The Red and the Black opens with a translator's introduction that frames the novel as intimately tied to its author's life. Horace B. Samuel presents Julien Sorel as a figure who, viewed superficially, is a cad and an assassin, yet one who alternates between sentiment and ferocity. The introduction quotes Stendhal's own defensive remark: 'In the time of the Emperor, Julien would have passed for a very honest man.' This sets up a central tension between personal ambition and the moral codes of a society that has lost its Napoleonic compass.
The excerpts from the novel itself show Julien observing the aristocratic salon of the Hôtel de la Mole with a critical eye. He notes the 'stifling moral atmosphere,' the boredom masked by ices and champagne, and the servants who appear in livery every quarter-hour. The word 'crusade' alone commands genuine respect among the nobles, while their ordinary courtesy carries condescension. Julien's discomfort is palpable: he finds dining with the family 'the most painful part of my employment,' preferring a forty-sous dinner at an obscure inn.
The Translator's Framing of Julien
Horace B. Samuel's introduction does not merely summarize; it actively shapes the reader's expectations. He describes Julien as 'a cad, a scoundrel, an assassin' who nonetheless commands a 'moist eye of the sentimentalist' alongside a 'ferocious grin of the beast of prey.' This duality is presented without apology. Samuel notes that Stendhal 'wallows defiantly in his own alleged wickedness,' quoting the author's retort that under the Emperor, Julien would have been considered honest. The translator also sketches Stendhal's own biography—a childhood orphaned of his mother, hated by his father, and marked by a 'compound of sensibility and hard rebelliousness.' This biographical lens suggests that Julien's character is not merely invented but emerges from the author's own experiences of social climbing and resentment.
Salon Hypocrisy and the Weight of Boredom
In the excerpt from the novel, Julien observes the salon of the Hôtel de la Mole with anthropological detachment. The guests are divided by their newspapers—four swear by La Quotidienne, three by La Gazette de France—and their conversation is so hollow that Julien wonders if they are mocking themselves. He recalls that his own reading of de Maistre is superior to their talk. The boredom is so acute that some guests console themselves with ices or the prestige of having been at the Hôtel. Julien learns that Madame de la Mole rewarded twenty years of a baron's attendance with a prefecture, a fact that whets the zeal of other toadies. The marquis and his wife openly express 'sincere contempt for everyone who was not sprung from people entitled to ride in the carriages of the king.' Julien's only interest is the marquis himself, whose denial of involvement in the promotion reveals the intricate dance of patronage.
Julien's Defiance and Mademoiselle de la Mole's Shift
A key moment occurs when Julien, working with the abbé Pirard, asks whether dining with the family is a duty or a favour. The abbé, scandalized, calls it a 'special honour' that even a fifteen-year academician could not obtain. Julien confesses he finds it 'the most painful part of my employment,' preferring the seminary's austerity. He requests permission to eat at a cheap inn. The abbé, a 'true snob,' tries to correct him, but they are overheard by Mademoiselle de la Mole. She hears Julien's complaint and begins to respect him, thinking, 'He has not been born servile, like that old abbé.' At dinner, she speaks to him kindly. This reversal—where the servant's honesty earns the noblewoman's regard—highlights the novel's exploration of merit versus birth, and the precarious position of a talented commoner in a stratified society.
Readers approaching The Red and the Black should attend to the interplay between the translator's framing and the novel's own scenes. Samuel's introduction offers a lens of biographical resentment and Napoleonic nostalgia, while the excerpts show Julien's sharp observations of aristocratic hypocrisy. The tension between Julien's inner life and his social performance is the novel's engine. Pay close attention to how Stendhal uses small details—a word like 'crusade,' the number of crosses on a guest's chest, the timing of ices—to build a world where every gesture carries political and class weight.
Sometimes I think of Julien Sorel’s restless hunger, that ache for a life just out of reach, and it reminds me of the quieter, smiling defiance I found in Laughing Last — Themes and Context. It’s a different sort of triumph—not storming the barricades, but simply outlasting them. That old book felt like a warm, ironic hug.
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