The Charterhouse of Parma (Modern Library Classics)
Richard Howard's exuberant and definitive rendition of Stendhal's stirring tale has brought about the rediscovery of this classic by modern readers. Stendhal narrates a young aristocrat's adventures in Napoleon's army and in the court of Parma, illuminating in the process the whole cloth of European history. As Balzac wrote, "Never before have the hearts of princes, ministers, courtiers, and women been depicted like this...one sees perfection in every detail."
With beautiful illustrations by Robert Andrew Parker.
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Community Reviews
Stendhal didn’t know how to edit himself—this is a bit too long and, at times, redundant.
However, this is Romanticism in its purest form.
And guys, take note: this is how you write Romance, how you write the relationships between men and women—even in a kind of fantasy style. Yes, we have the issue of all the women falling for Fabrice, but they also judge him for his immature approach to love, and they act—or more accurately, react—the way women of the highest society would or could in this time period. This makes their interactions feel both authentic and historically grounded.
What’s truly remarkable is how the story follows our hero from youth to adulthood. We see him grow, even in the way he speaks, how desperately he craves adventure—going to war and experiencing the world—and ultimately, how the greatest adventure he undertakes is his pursuit and understanding of love: not just with women, but with his friends, his family, and life itself.
Another fantastic element is the way Stendhal blends history, fiction, and even touches of fantasy, all while weaving in political views and high-stakes drama. It gives the story a richness and complexity that makes it much more than a simple love story.
And it’s impressive to see women portrayed as independent agents, with real emotions, making decisions for themselves and others. I’d go so far as to say that Fabrice is the hero, but the women in his life are the ones truly moving the story forward.
It’s sad to see how, nowadays, female characters often feel interchangeable—portrayed as symbols of empowerment, but in reality reduced to stereotypical and unoriginal roles.
However, this is Romanticism in its purest form.
And guys, take note: this is how you write Romance, how you write the relationships between men and women—even in a kind of fantasy style. Yes, we have the issue of all the women falling for Fabrice, but they also judge him for his immature approach to love, and they act—or more accurately, react—the way women of the highest society would or could in this time period. This makes their interactions feel both authentic and historically grounded.
What’s truly remarkable is how the story follows our hero from youth to adulthood. We see him grow, even in the way he speaks, how desperately he craves adventure—going to war and experiencing the world—and ultimately, how the greatest adventure he undertakes is his pursuit and understanding of love: not just with women, but with his friends, his family, and life itself.
Another fantastic element is the way Stendhal blends history, fiction, and even touches of fantasy, all while weaving in political views and high-stakes drama. It gives the story a richness and complexity that makes it much more than a simple love story.
And it’s impressive to see women portrayed as independent agents, with real emotions, making decisions for themselves and others. I’d go so far as to say that Fabrice is the hero, but the women in his life are the ones truly moving the story forward.
It’s sad to see how, nowadays, female characters often feel interchangeable—portrayed as symbols of empowerment, but in reality reduced to stereotypical and unoriginal roles.
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