The reason for the tragedy of Julien Sorel is red black. The image of Julien Sorel (composition based on the novel "Red and Black" by Stendhal). Red and black in the life of Julien Sorel

Julien Sorel is the protagonist of Stendhal's novel Red and Black.
The tragedy of Julien Sorel- lies, first of all, in the impossibility of realizing one's ideals in the reality surrounding it. Julien does not feel at home either among the aristocrats, or among the bourgeoisie, or among the clergy, and, moreover, among the peasants.

The image of Julien Sorel "Red and Black"

Julien Sorel is a representative of the generation of the early 20s of the 19th century. He has the traits of a romantic hero: independence, self-esteem, the desire to change fate, the desire to fight and achieve goals. He is a bright personality, everything in him is above the norm: the strength of the mind, will, dreaminess, purposefulness.
Our hero is the carpenter's son. He lives in the small provincial town of Verrieres with his brothers and father and dreams of breaking out of here into the big world. No one in Verrieres understands him. “All the households despised him, and he hated his brothers and father…” The young man raved about military service from early childhood, his idol was Napoleon. After much deliberation, he decides: the only way to achieve something in life and escape from Verrieres is to become a priest. “To break the road for Julien first of all meant to break out of Verrieres; he hated his country. Everything he saw here chilled his imagination.”

And here is the first victory, the first "appearance". Julien is invited to his house as a teacher of children by the mayor of Verrieres, Mr. de Renal. A month later, the children adored the young teacher, the father of the family was imbued with respect for him, and Madame de Renal felt for him something more than simple respect. However, Julien felt like a stranger here: “he only felt hatred and disgust for this high society, where he was admitted only to the edge of the table ...”
Life in the house of Mr. de Renal was filled with hypocrisy, the desire for profit, the struggle for power, intrigue and gossip. “Julien's conscience began to whisper to him: “Here it is - this is dirty wealth, which you can achieve and enjoy, but only in this company. Oh Napoleon! How wonderful your time was! ..” Julien felt alone in this world. Thanks to the patronage of the curé Chelana, Sorel enters the Besancon Theological Seminary. “If Julien is only a hesitant reed, let him perish, but if he is a man of courage, let him make his way,” Abbe Pirard said about him. And Julien began to break through.
He studied diligently, but kept aloof from the seminarians. Very soon I saw that "knowledge here is not worth a penny," because "success in the sciences seems suspicious." Julien understood what was encouraged: hypocrisy, "ascetic piety." No matter how hard the young man tried to pretend to be a fool and a nonentity, he could not please either the seminarians or the seminary authorities - he was too different from the others.

And finally - the first promotion: he was appointed a tutor in the New and Old Testaments. Julien felt the support of Abbé Pirard and was grateful to him for it. And suddenly - an unexpected meeting with the bishop, which decided his fate. Julien moves to Paris, to the house of the Marquis de La Mole and becomes his personal secretary. Another victory. Life begins in the mansion of the Marquis. What does he see? “No flattering remarks about Beranger, about opposition newspapers, about Voltaire, about Rousseau, about anything that even slightly smacked of free thought and politics were allowed in this mansion. The slightest living thought seemed rude.
A new light opened before him. But this new light was the same as the light at Verrieres and Besançon. Everything was based on hypocrisy and profit. Julien accepts all the rules of the game and tries to make a career. A brilliant victory awaited him. But the affair with the daughter of the Marquis Matilda upset all Julien's plans. Matilda, this satiated secular beauty, was attracted to Julien by his intelligence, originality and boundless ambition. But this love was not at all like the bright and bright feeling that connected Julien with Madame de Renal. The love of Matilda and Julien was more like a duel between two ambitious people. But she might well have ended in marriage if not for Madame de Renal's letter, written under the influence of the Jesuit brothers. “How many magnificent plans - and in an instant ... it all crumbles to dust,” Sorel thinks.
Madame de Renal's letter ruined all Julien's plans and put an end to his career. In an effort to take revenge, he commits a reckless act - in the church of Verrieres he shoots Madame de Renal.

So, everything that Julien had so long and purposefully sought, proving that he was a Personality, was destroyed. After that, there will be a prison, a trial, a sentence. Thinking for a long time before the court, Julien understands that he has nothing to repent of: it was precisely the society where he so sought to get that wished to break him, in his person it decided to punish those young people of low class who dared to penetrate into the "good society". Julien finds the courage to face death with dignity. This is how an intelligent and outstanding person dies, who decided to make a career, not shunning any means.

In 1830, Stendhal's novel Red and Black was published. The work has a documentary basis: Stendhal was struck by the fate of a young man sentenced to death - Berthe, who shot at the mother of the children whose tutor he was. And Stendhal decided to tell about a young man who could not find his place in the society of the XIX century.

The protagonist of the novel is a young man from the provinces, endowed with a deep mind and imagination, but poor and humble. In the family, Julien felt like a stranger, he had no friends even among his peers. “All the household despised him, and he hated his brothers and father. In festive games on the city square, he was always beaten ... ”And the guys offended him not only for physical weakness, but also because he was not like them, he was smarter. And so Julien plunged into loneliness, the world of imagination, where he "ruled".

Julien dreamed of breaking out into the people. He saw that wealthy gentlemen have more than he does - they have position, money, respect. The desire to achieve, like Napoleon, a high position, took possession of the young man. He, of course, truncated that the ability to succeed in society depends not so much on his great abilities, but on the powerful of this world, that is, the rich. This humiliated his pride, hence his protest, but he tried to maintain personal dignity even before the people on whom he depended. Julien did not yet understand that the new society needed not smart individuals, but thoughtless performers.

By chance, for himself, Julien became the tutor of Mr. de Renal's children. To the highest nobility, the young man feels only "hatred and disgust" and behaves independently. Apparently, thanks to this, "less than a month after his appearance in the family of Monsieur de Renal, even the owner himself began to respect Julien." Only Madame de Renal treated the tutor as if she were her equal. At first, the feeling that arose between him and Madame de Renal, Julien regarded as a victory over life, but then this relationship grew into true love. For the protagonist, Madame de Renal became the only person who understood him and with whom it was easy and simple for him.

Wanting to make a career, Julien enters a theological seminary. He stands out among the dull-witted seminarians for his erudition, knowledge, and ability to think. For this, both abbots and students hated him and gave him the nickname "Martin Luther". But Julien steadfastly endures everything, just to get the highest position in society.

For the patronage of the abbe Pirard, Julien goes to Paris and becomes the secretary and librarian of the Marquis de La Mole. And here, in high society, Julien was able to command respect. "This one won't crawl," Matilda de La Mole thought of him.

Thanks to Matilda's love, Julien's dream could come true. The Marquis de La Mole appointed him an annuity, received the rank of hussar lieutenant and the name Chevalier de La Verne.

And suddenly everything dies. The Marquis de La Mole, having received from Madame de Renal a letter written under the onslaught of a Jesuit confessor, where she exposes Julien as a hypocrite and seducer, greedy for the wealth of his victim, refuses to consent to Matilda's marriage to him. Julien rushes to Verrieres, buys pistols, enters the church where Madame de Renal is praying, and shoots her.

His dreams and hopes were interrupted by these shots. Prisoner Julien is not afraid of death and does not feel the need for repentance. A sober analysis of what he has done leads him to the logical conclusion: "I was severely abused, I killed, I deserve to die." Here sounds indignation against the whole world, which rebelled against Julien because he, Sorel, dared to rise above his class.

Julien is executed. Who is to blame? The answer can be found in Julien's speech at the trial - an unjust society is to blame.

Julien Sorel (fr. Julien Sorel) - the hero of F. Stendhal's novel "Red and Black" (1830). The subtitle of the novel is "Chronicle of the 19th century". Real prototypes - Antoine Berte and Adrien Lafargue. Berte is the son of a rural blacksmith, a pupil of a priest, a teacher in the family of the bourgeois Michou in the town of Brang, near Grenoble. Ms. Michou, Berthe's mistress, upset his marriage to a young girl, after which he tried to shoot her and himself in the church during the service. Both remained alive, but Berthe was tried and sentenced to death, executed (1827). Lafargue is a cabinet maker who killed his mistress out of jealousy, repented and asked for the death penalty (1829). The image of Zh.S. - a hero who commits a criminal offense on the basis of love passion and at the same time a crime against religion (since the attempted murder took place in a church), repentant and executed - was used by Stendhal to analyze the ways of social development.

Literary type Zh.S. characteristic of French literature XIX "Sw. - a young man from the bottom, making a career, relying only on his personal qualities, the hero of an educational novel on the theme of "disillusionment". Typologically Zh.S. akin to the images of romantic heroes - "higher personalities", who proudly despise the world around them. Common literary roots can be observed in the image of an individualist from the "Confessions" by Jean-J. Rousseau (1770), who declared a person (a noble soul) who is sensitive and capable of introspection as an "exceptional personality" (1'homme different). In the image of J.S. Stendhal comprehended the experience of rationalistic philosophy of the 17th-18th centuries, showing that a place in society is obtained at the cost of moral losses. On the one hand, J.S. is the direct heir to the ideas of the Enlightenment and the French Revolution, the three key figures of the beginning of the "bourgeois age" - Tartuffe, Napoleon and Rousseau; on the other hand, the extrapolation of the moral throwing of romantics - his talent, individual energy, intelligence are aimed at achieving a social position. In the center of the image of Zh.S. is the idea of "alienation", confrontation "against everyone" with the final conclusion about its absolute incompatibility with any way of life. This is an unusual criminal who daily commits crimes to assert himself as a person, defending the "natural right" to equality, education, love, who decides to kill in order to justify himself in the eyes of his beloved woman, who doubted his honesty and devotion, a careerist guided by the idea of his chosenness . The psychological drama of his soul and life is a constant fluctuation between the noble sensitive nature and the Machiavellianism of his sophisticated intellect, between diabolical logic and kind, humane nature. The phenomenon of Zh.S.'s personality, emancipated not only from age-old social foundations and religious dogmas, but also from all principles, caste or class, reveals the process of the emergence of individualistic ethics with its egoism and egocentrism, with its neglect of means in achieving the goals. J.S. fails to kill his noble soul to the end, he tries to live, guided by internal duty and the laws of honor, at the end of his odyssey, having come to the conclusion that the idea of asserting the “nobility of the spirit” through a career in society is erroneous, to the conclusion that earthly hell is more terrible than death . He renounces the desire to rise "above all" in the name of an unbridled feeling of love as the only meaning of existence. The image of Zh.S. had a great influence on the further understanding of the problem of "exceptional personality" in literature and philosophy. Immediately after the release of the novel, critics called Zh.S. "monster", guessing in him the type of the future "plebian with education". J.S. became the classic ancestor of all the lonely conquerors of the world who are failing: Martin Eden of J. London, Clyde Griffith T. Dreiser. Nietzsche has noteworthy references to searches in the author J.S. "missing features" of a philosopher of a new type, who declared the primacy of a "higher personality" of a certain "will to power". However, Zh.S. served as a prototype for heroes experiencing catharsis and repentance. In Russian literature, his successor is F.M. Dostoyevsky's Raskolnikov. According to Nicolò Chiaromonte (The Paradoxes of History, 1973), “Stendhal does not teach us the self-centeredness that he proclaimed as his creed. He teaches us to give a merciless assessment of the delusions in which our feelings are guilty, and all sorts of fables with which the world around us is full. The famous performer of the role of Zh.S. the French film adaptation of the novel featured Gérard Philippe (1954).

Lit.: Fonvieille R. Le veritable Julien Sorel. Paris et Grenoble, 1971; Remizov B.G. Stendhal. L., 1978; Gorky A.M. Foreword // Vinogradov A.K. Three colors of time. M., 1979; Timasheva O.V. Stendhal. M., 1983; Andrie R. Stendhal, or Masquerade Ball. M., 1985; Esenbayeva R.M. Stendhal and Dostoevsky: typology of the novels "Red and Black" and "Crime and Punishment". Tver, 1991.

In his understanding of art and the role of the artist, Stendhal came from the enlighteners. He always strived for the accuracy and truthfulness of the reflection of life in his works.

Stendhal's first great novel, Red and Black, came out in 1830, the year of the July Revolution.

Already its name speaks of the deep social meaning of the novel, of the clash of two forces - revolution and reaction. As an epigraph to the novel, Stendhal took the words of Danton: "True, harsh truth!", And, following him, the writer put the true incident at the heart of the plot.

The title of the novel also emphasizes the main features in the character of Julien Sorel, the protagonist of the work. Surrounded by people hostile to him, he defies fate. Defending the rights of his personality, he is forced to mobilize all means to fight the world around him. Julien Sorel - comes from a peasant environment. This determines the social sound of the novel.

Sorel, a commoner, a plebeian, wants to take a place in society, to which he has no right by his origin. On this basis, a struggle with society arises. Julien himself well defines the meaning of this struggle in the scene at the court, when he says his last word: "Lord! I have no

honor to belong to your class, In my face you see a peasant who rebelled against the baseness of his lot ... But even if I were guilty, it's all the same. I see people in front of me who are not inclined to heed the feeling of compassion ... and who want to punish in me and once and for all frighten a whole class of young people who were born in the lower classes ... had the good fortune to receive a good education and dare to join what the rich proudly called society."

Thus, Julien realizes that he is being judged not so much for a really committed crime, but for the fact that he dared to cross the line that separates him from high society, tried to enter that world to which he has no right to belong. For this attempt, the jury must pass a death sentence on him.

But the struggle of Julien Sorel is not only for a career, for personal well-being; The question in the novel is put much deeper. Julien wants to establish himself in society, "go out into the people", take one of the first places in it, but on the condition that this society recognizes in him a full-fledged personality, an outstanding, talented, gifted, intelligent, strong person.

He does not want to give up these qualities, to refuse them. But an agreement between Sorel and the world of Renal and La Mole is possible only on the condition that the young man is fully adapted to their tastes. This is the main meaning of Julien Sorel's struggle with the outside world. Julien is doubly alien in this environment: both as a person from the social lower classes, and as a highly gifted person who does not want to remain in the world of mediocrity.

Stendhal convinces the reader that the struggle waged by Julien Sorel with the surrounding society is a struggle not for life, but for death. But in bourgeois society there is no place for such talents. The Napoleon that Julien dreams of is already a thing of the past; instead of heroes, hucksters, self-satisfied shopkeepers have come; that's who became the true "hero" at the time in which Julien lives. For these people, outstanding talents and heroism are ridiculous - all that is so dear to Julien.

Julien's struggle develops in him great pride and heightened ambition. Obsessed with these feelings, Sorel subordinates to them all other aspirations and affections. Even love ceases to be joy for him. Without hiding the negative aspects of the character of his hero, Stendhal at the same time justifies him. Firstly, the difficulty of the struggle he leads: speaking alone against everyone, Juliec is forced to use any weapon. But the main thing that, according to the author, justifies the hero is the nobility of his heart, generosity, purity - features that he did not lose even in moments of the most cruel struggle.

In the development of Julien's character, the episode in prison is very important. Until then, the only stimulus that guided all his actions, limiting his good intentions, was ambition. But in prison, he is convinced that ambition led him the wrong way. In prison, there is also a reassessment of Julien's feelings for Madame de Renal and for Matilda.

These two images, as it were, mark the struggle of two principles in the soul of Julien himself. And in Julien there are two beings: he is proud, ambitious and at the same time - a man with a simple heart, almost a childish, direct soul. When he overcame ambition and pride, he moved away from the equally proud and ambitious Matilda. And the sincere Madame de Renal, whose love was deeper, became especially close to him.

Overcoming ambition and the victory of real feelings in Julien's soul lead him to death.

Julien gives up trying to save himself. Life seems to him unnecessary, aimless, he no longer values it and prefers death on the guillotine.

Stendhal could not resolve the issue of how the hero, who overcame his delusions, but remained in bourgeois society, should rebuild his life.

-O- O-<

HONORE DE BALZAC

"What is life but a machine driven by money?"

(According to the novel by O. Balzac "Gobsek")

The image of a miser and a hoarder is not new in world literature. A similar type is depicted in the drama - "The Merchant of Venice" by W. Shakespeare and in the comedy "The Miser" by J. B. Moliere.

Observations on the life of bourgeois society led to the creation of the image of Gobseck, some moments of the story are autobiographical. The hero of Balzac studies at the Faculty of Law at the Sorbonne and works as a clerk in the attorney's office, where he learns a lot from the practice of monetary relations.

In his story, Balzac confronts two philosophical points of view, two views on life: Gobsek and Derville.

Here is Gobsek's point of view: "Of all earthly goods, there is only one that is reliable enough to make it worth a person to chase after it. This is ... gold. To fulfill our whims, we need time, we need material opportunities and efforts. germ, and it gives everything in reality. Derville thinks differently: "Is it really all about money?" And in his words: "Life and people inspired me at that moment with horror" we feel that Derville does not accept the philosophy of Gobsek.

In translation, "Gobsek" means "liver". And the whole work is a vivid confirmation of this. And the main rule, from which the Balzac hero never deviates, can be formulated as follows: "Do not feel sorry for anyone, do not help anyone, but use everything that you can take for free." The fact that the path to wealth necessarily involves cruelty does not bother him. He knows no mercy for those with whom he does business. “Sometimes his victims were indignant, raised a frantic cry, then suddenly there was dead silence, like in a kitchen when a duck is slaughtered in it,” says Balzac. Gobsek, with impeccable scrupulousness, refers to the execution of all documents, accounting receipts, receipts and their implementation. This is appreciated in the commercial world. For him there is a deal, a benefit, but not a person.

Gobsek has studied the psychology of people well, so he cannot refuse someone who has a "bag of gold" in his hands. He made millions for himself in dirty ways. He bought stolen goods, as he did with the Comtesse de Restaud's family diamonds. He was engaged in speculation with paintings by old masters and everything that debtors carried to him. He took bribes from former Haitian planters to liquidate their property. And these mysterious 20 years in the East Indies, where Gobsek grew rich and ruined, and subsequent years, when, according to Derville, he "traded in diamonds or people, women or state secrets."

The last picture painted by Balzac in "Gobsek" makes a great impression: "We would see a hidden picture if we could look into the souls of the heirs surrounding the deathbed. How many intrigues, calculations, malicious tricks are there - and all because of money."

The short story depicts a grotesque ugly figure of the true master of life, an example of a huge generalizing power: a usurer, a money maker. The entire extraordinary stock of feelings is subordinated to one single goal: to accumulate as many material resources as possible, and to own them undividedly, as long as possible. However, after reading the work of Balzac, you are convinced that there are other values in the world. Health, love, friendship can not be bought for any money.

The novel "Red and Black" is a true story about the society of the Restoration era in France. This is a socio-psychological novel, which is based on the conflict of the individual with society. The path of the protagonist Julien Sorel leads to the idea that in the era of Napoleon he could become a hero, and in the era of the Restoration he is forced to either adapt or perish.

Julien Sorel is a representative of the generation of the early 20s of the XIX century. He has the traits of a romantic hero: independence, self-esteem, the desire to change fate, the desire to fight and achieve goals. He is a bright personality, everything in him is above the norm: the strength of the mind, will, dreaminess, purposefulness.

Our hero is the carpenter's son. He lives in the small provincial town of Verrieres with his brothers and father and dreams of breaking out of here into the big world. No one in Verrieres understands him. “All the households despised him, and he hated his brothers and father...” The young man raved about military service from early childhood, his idol was Napoleon. After much deliberation, he decides: the only way to achieve something in life and escape from Verrieres is to become a priest. “To break the road for Julien first of all meant to break out of Verrieres; he hated his country. Everything he saw here chilled his imagination.”

Life in the house of Mr. de Renal was filled with hypocrisy, the desire for profit, the struggle for power, intrigue and gossip. “Julien's conscience began to whisper to him: “Here it is - this is dirty wealth, which you can achieve and enjoy, but only in this company. Oh Napoleon! How wonderful your time was! ..” Julien felt alone in this world. Thanks to the patronage of the curé Chelana, Sorel enters the Besancon Theological Seminary. “If Julien is only a hesitant reed, let him perish, but if he is a man of courage, let him break through on his own,” Abbé Pirard said of him. And Julien began to break through.

He studied diligently, but kept aloof from the seminarians. Very soon I saw that "knowledge here is not worth a penny," because "success in the sciences seems suspicious." Julien understood what was encouraged: hypocrisy, "ascetic piety." No matter how hard the young man tried to pretend to be a fool and a nonentity, he could not please either the seminarians, Nor the administration of the seminary - he was too different from the others.

A new light opened before him. But this new light was the same as the light at Verrieres and Besançon. Everything was based on hypocrisy and profit. Julien accepts all the rules of the game and tries to make a career. A brilliant victory awaited him. But the affair with the daughter of the Marquis Matilda upset all Julien's plans. Matilda, this satiated secular beauty, was attracted to Julien by his intelligence, originality and boundless ambition. But this love was not at all like the bright and bright feeling that connected Julien with Madame de Renal. The love of Matilda and Julien was more like a duel between two ambitious people. But she might well have ended in marriage if not for Madame de Renal's letter, written under the influence of the Jesuit brothers. “How many magnificent plans - and in an instant ... it all crumbles to dust,” Sorel thinks.

Madame de Renal's letter ruined all Julien's plans and put an end to his career. In an effort to take revenge, he commits a reckless act - in the Verrier church, he shoots Madame de Renal.

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