A Study On The Italian Factors Of Stendhal’s Works

The world-renowned Stendhal is one of the most famous critical realist writer in the nineteenth century of France literature. His writing career started later and he began to write after entering Milan, Italy. Throughout his works, most of them are about Italy, which involving travel, biographies, novels and essays etc. The most dramatic scene was he wrote his own epitaph: “Henry Bell, Milanese, lived, wrote, and loved.” During his lifetime, he regarded himself as Milanese, putting this in the first place of the epitaph. After death, he still wanted to be Italian. In order to reveal the reason that why Stendhal loves Italy deeply, we can explore his works by contacting his life experience. Stendhal went and returned to Italy many times during his lifetime. And his works about Italy is highly praised the Italian humanistic and natural style. This caused the thinking and research of most scholars at all times and in all countries. Researchers paid attention to Stendhal’s "the Italian romance", the works of Italian characters personality and the critical consciousness behind them. For that reason, this thesis takes a close reading on Stendhal’s Italian works- the Charterhouse of Parma and Italian Chronicles, contacting Stendhal’s autobiography, theory monographs, and related travel, getting down to study the Italian factors of Stendhal’s works on the basis of previous studies.This thesis will be divided into three chapters about the Italy factors:Chapter one begins from “passionate love” and analyses the specific performance which the basic of producing the love-sincerity, the audacity of love, the madness of love and hate as well as the tragic atmosphere, exploring the reason of passionate love from Stendhal’ personal experience and the cultural factors;Chapter two mainly talks about Italy "nature art". First of all, this thesis analyzes the "nature", discussing the fundamental of identity which is inherent quality of the Italian national and the related Stendhal family’s identity. Then it elaborates "art", focusing on the art of the Italian Renaissance and the type of art that Stendhal perceived during the trip. Finally, it explains the performance of works that art brought Stendhal the "ascension of the aesthetic ";Chapter three is "the belief of ‘ego’". First, it interprets political and religious which being criticized by Stendhal contracting his works, revealing the resistance of Stendhal against the two represents of belief of substances form and spirit medium in political and religious. And specific deeply into the Stendhal’s ideological level, this leads to the final section that is in favor of the true faith- " egoism", to ascertain the meaning, the concrete manifestation and the reason.The conclusion part points out that the three factors complement each other although they are in parallel, which also points a kind of "egoism" publicity that is the show of nature. The reason of the late bloomer and far-reaching impact is his loyal and concerned with the inner self selection and reciprocity, and hope to get the resonance of all mankind. After the analysis of his epitaph, the thesis draws the sublimation.