The Red and the Black

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Le Rouge et le Noir (The Red and the Black) is a novel by Stendhal, published in 1830. The title has been translated into English variously as Scarlet and Black, Red and Black, and The Red and the Black. It is set in 1830s France relating a young man's attempts to rise above his plebeian birth through deception and hypocrisy, only to find himself betrayed by his own passions.

As in Stendhal's The Charterhouse of Parma (La Chartreuse de Parme), the protagonist, Julien Sorel, believes himself to be a driven and intelligent man, but is in reality a simpleton, a romantic, and a piece in a chess game played by others. Stendhal uses his addled hero to satirize French society of the time, particularly the hypocrisy and materialism of its aristocracy and the Catholic Church, and to foretell a radical change in French society that will remove both of those forces from their positions of power.

The most common and most likely explanation of the title is that red and black are the contrasting colors of the army uniform of the times and of the robes of priests, respectively. Alternative explanations include: red could stand for love, and black for death and mourning; red and black are the colors of the roulette wheel, and may indicate the unexpected changes in the hero's career.

1 Plot summary
2 Literary significance
3 Trivia
4 See also
5 External links

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Plot summary

Spoiler warning: Plot and/or ending details follow.

The Red and the Black is the story of Julien Sorel, the aesthete son of a carpenter in the fictional French village of Verrières, and his attempts to overcome his poor birth through posturing and telling people what they want to hear. The novel comprises two “books,” but each book has two major stories within it.

The first book introduces Julien, who would rather spend his time with his nose in books or daydreaming about being in Napoleon’s (by then defunct) army than work with his carpenter father and brothers, who beat him for his pseudo-intellectual tendencies. Julien ends up becoming an acolyte for the local Catholic Abbé, who later secures him a post as tutor for the children of the Mayor of Verrières, M. de Rênal. Julien acts as a pious cleric, but in reality has little interest in the Bible beyond its literary value and the way he can use memorized passages to impress important people. Over time, Julien begins an affair with the wife of M. de Rênal, one that ends badly when the affair is exposed throughout the town by a servant, Eliza, who had designs of her own on Julien. M. de Rênal then banishes Julien, who moves on to a seminary that he finds cliquish and stifling. The director of the seminary, M. Pirard, takes a liking to Julien, and when M. Pirard leaves the seminary in disgust at the political machinations of the Church’s hierarchy, he recommends Julien as a candidate for secretary to the diplomat and reactionary M. de la Mole.

Book II chronicles Julien’s time in Paris with the family of M. de la Mole. Julien tries to participate in the high society of Paris, but the nobles look down on him as something of a novelty – a poor-born intellectual. Julien, meanwhile, finds himself torn between his ambitions to rise in society and his disgust at the base materialism and hypocrisy of the Parisian nobility.

Mathilde de la Mole, the daughter of Julien’s boss, seduces Julien, and the two begin a comical on-again, off-again affair, one that Julien feeds by feigning disinterest in Mathilde at one point and using the letters written by a lothario he knows to woo a widow in the de la Mole’s social circle. Eventually, Julien and Mathilde reunite when she reveals she is pregnant with his child. M. de la Mole is livid at the news, but relents and grants Julien a stipend, a place in the army, and his grudging blessing to marry his daughter. But M. de la Mole relents when he receives a letter from Mme. de Rênal warning him that Julien is nothing but a cad and a social climber who preys on vulnerable women. (In a perfect example of irony, Julien had suggested to M. de la Mole that he write to Mme. de Rênal for a character reference.) On learning of this treachery and M. de la Mole’s decision to rescind all he had granted the couple, Julien races back to Verrières, buys bullets for his pistols, heads to the Church, and shoots Mme. de Rênal twice – missing once and hitting her shoulder blade the second time – during Mass. Although Mme. de Rênal lives, Julien is sentenced to death, in part due to his own rambling, anti-patrician speech at his trial. Mathilde attempts to bribe a high official to sway the judgment against Julien, but the trial is presided over by a former romantic rival for Mme. de Rênal’s affections.

The last few chapters show Julien in prison, reconsidering all of his actions over the three years during which the story takes place and considering his place in the world and the nature of society. Mme. de Rênal forgives Julien, and she and Mathilde both attempt to bribe and cajole local officials to overturn Julien’s death sentence. Julien’s affections, meanwhile, have returned to Mme. de Rênal. The novel closes with Julien’s execution; Mme. de Rênal, who pledged to Julien that she would not take her own life and that she would care for Mathilde’s baby, dies three days later, most likely of grief.

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Literary significance

A "writer's writer," Stendhal is known more in literary circles than to the public at large. Many writers have acknowledged his influence on their work and used his technique of detailed psychological description in their own stories. Leo Tolstoy considered Stendhal an enormous influence. André Gide felt that The Red and the Black was a novel far ahead of its time, and called it a novel for readers in the 20th century. Emile Zola and his fellow French realists considered Stendhal the founder of their movement.

At the time Stendhal wrote The Red and the Black, the prose in novels included dialogue or omniscient descriptions, but Stendhal's great contribution was to spend much of the novel inside the characters' heads, describing their feelings and emotions and even their inner conversations. As a result of this book, Stendhal is considered the inventor of the psychological novel.

Stendhal's style was highly allusive, with copious references to the works of Voltaire, Friedrich Schiller, and William Shakespeare; quotes from Racine's play Phèdre and Don Juan de Marco; and to philosophers and thinkers who influenced Stendhal, such as John Locke and Jean-Jacques Rousseau.

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Trivia

Most of the chapters begin with epigrams that appear to be quotes from literature, poetry, or from famous personages. In reality, Stendhal himself wrote the majority of these epigrams, but attributed them to writers whom he thought capable of writing or saying such things.
Stendhal left the last four chapters untitled. These are also the only four chapters that lack epigrams.
The novel ends with Stendhal's standard closing quote, "To the Happy Few." This is often interpreted as a dedication to the few who could understand his writing, or a sardonic reference to the happy few who are born into prosperity.

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