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Based again on Robert M. Adams’s highly regarded translation of Stendhal’s 1831 novel of ambition, love, and betrayal, this Second Norton Critical Edition of The Red and the Black is the most comprehensive and up-to-date edition available.
An extensively revised “Backgrounds and Contexts” section provides geographical and political insights into mid-nineteenth century France and places the novel in the context of contemporary authors and works. A map of 1830s France, political and literary chronologies, an account of the trial of Antoine Berthet, and related writings by Stendhal, Paul Valéry, and Jules Janin are included.“Criticism” collects nine essays, seven of which are new to this edition, by Erich Auerbach, René Girard, Victor Brombert, Shoshana Felman, Peter Brooks, Sandy Petrey, Alison Finch, Lisa G. Algazi, and Susanna Lee.
A Chronology of Stendhal’s life and work, also new to the Second Edition, and an updated Selected Bibliography are included. 1 map
- Sales Rank: #452550 in Books
- Brand: W. W. Norton & Company
- Published on: 2007-12-20
- Original language: English
- Number of items: 1
- Dimensions: 8.40" h x 1.30" w x 5.10" l, 2.20 pounds
- Binding: Paperback
- 656 pages
- Great product!
About the Author
Susanna Lee’s thoughtful revision of the footnotes for the Second Edition, expanding detailed references to historical figures and nineteenth-century French locales, will greatly assist students in understanding this complicated novel. She is Associate Professor of French at Georgetown University. She is the author of A World Abandoned by God: Narrative and Secularism, and has written numerous articles on nineteenth-century narrative literature, the history of ideas, and American crime fiction.
Robert M. Adams was Professor of English (Emeritus) at the University of California at Los Angeles. He was the author of many books, including Ikon: John Milton and the Modern Critics; Strains of Discord; Proteus, His Lies, His Truth: Discussion of Literary Translation; The Land and Literature of England; and Shakespeare―The Four Romances. In addition to the Norton Critical Edition of Utopia (he was translator and editor of the First and Second Editions), Professor Adams was editor of five other Norton Critical Editions, including The Prince by Machiavelli, Candide by Voltaire, and The Praise of Folly and Other Writings by Erasmus, the texts of which he also translated. He was a founding editor of The Norton Anthology of English Literature.
Most helpful customer reviews
4 of 4 people found the following review helpful.
my favorite book, so it should be yours too
By Jonathan D
This is a nice edition of the Red and the Black. It's compact and yet includes a number of additional materials including short historical and biographical sections, penetrating critical essays, and some excerpts from Stendhal's book on love and the autobiographical Life of Henri Brulard. I found the essays by Auerbach and Girard to be particularly good. Girard provides helpful historical/political context in his discussions of social psychology. His analysis, while being in accord with the tenor of Stendhal's own analyses, introduces a powerful terminology capable of addressing primary issues more explicitly. It's too bad that so much of his work remains untranslated. I think the essays are the real advantage of this edition. That said, I liked the translation, but I did not check it against the French or any other translations. It was clear and unencumbered by flowery or abstruse diction. My only point of comparison is the Oxford edition translated by Catherine Slater, which seems to match up well to the French. But this was some time ago. I couldn't really say if one was better than the other.
11 of 14 people found the following review helpful.
A colourful tale...
By FrKurt Messick
Stendhal's Le Rouge et le Noir (The Red and the Black) is a classic novel that was very important to me in early formation of directions in life. I found I could identify quite strongly with Julien Sorel, who wanted a better life, a life of meaning and importance, and was torn about which direction in which to go.
The Red (symbolising the church, the scarlet of cardinal's robes) and the Black (symbolising the military, the uniform, etc.) were both options held out to me early; in fact, I rejected both for a while, but have found myself drawn back in the red direction.
The story is one of coming of age as a bookish fellow in a working-class family, then ambition (but not overpowering ambition; in fact, Julien's father wishes he had more), then shifting careers (rare in an era and country where one's path is usually set for life early; however, this was the post-revolution era in France, in which some things were giving way, some more than others, it seems). Julien is pulled by events rather than being the director and creator of realities; Julien finds he loves the affect of various roles in life (more than the substance and responsibilities that come with such roles) -- for instance, he loves the swagger and the horsey-ness of being a soldier, but doesn't particularly like to get dirty or have to fight. He likes the trappings of religious office, but isn't inclined so much to spirituality, and Julien ran up against this in seminary:
The seminary director said to Julien: `Truth is austere, sir. But our task in this world is austere, too, is it not? You must take care to guard your conscience carefully from this weakness: Excess of feeling for vain exterior charm.'
There is love, a love triangle in fact, romance and thwarted desires, and loves fulfilled, if not completely. It ends with a dramatic homicidal act, trial, an execution, and a most bizarre funeral. The melodramatic performance of Mathilde (re-enacting an earlier story with which she was familiar in which the heroine carried the severed head of her lover to his grave) provided the most animated conversation among ministers and psychologists I have ever witnessed.
Stendhal often built a character's name out of words that were descriptive, which is sometimes lost in translation as the names often don't get translated in the same way, or may have lost the immediacy of their meanings over time. Julien may be a play on Julian the Apostate, enemy of Christianity; Abbe Castanede is decidedly Spanish and inquisitional; Noiroud and Moirod come from words meaning swarthy and mottled; many other examples abound.
This is a very hard book to encapsulate in such a small space. It is not easy reading, but it is rewarding reading.
And again, an interior dialogue of Julien in seminary helps inform me, and keeps me thinking (both for and against in many ways):
`In the seminary, there's a way of eating a boiled egg which declares how far one has progressed down the saintly path....What will I be doing all my life? he asked himself; I'll be selling the faithful a seat in heaven. How will that seat be made visible to them? by the difference between my exterior and that of a layman.'
Choose your path wisely.
1 of 1 people found the following review helpful.
Stendahl is not to blame for editing vexations
By Keith Fahey
I bought Norton's second edition of The Red and the Black because a translation by another publisher was clearly flawed—flaws detectable even by one who hasn't studied French. I was greatly disappointed when I began to find mistakes even in Norton's Introduction, which gave wrong page numbers for citations in the text.
To aid annoyed students and to assist rushed or lazy Norton editors, the corrections are: p. ix, RB 267 should be 274; p. xi, RB 304 should be 312; p. xii, RB 219 should be 225-226; p. xiii, RB 19-20 should be 25-26; p. xiv, RB 289 should be 297; p. xiv, RB 290 should be 297; p. xv, RB 192 should be 198; p. xvii, RB 265-266 should be 272-273; p. xvii, RB 253 should be 260; p. xviii, RB 149 should be 155.
And then, on the first page of the text, I'm distracted by a footnote that contains two sloppy parentheses, the first with a singular topic preceding the parentheses and containing a plural topic within the parentheses, therefore requiring a clumsy swirl of the head and need to reread when the reader stumbles over a singular verb after the parentheses. By the second set of parentheses I'm increasingly annoyed as I sort it out.
Just not worthy of Norton! How rushed were they to get RB into print that someone couldn't have taken a breath to fix these time-wasting distractions! And speaking of flawed translation, how is it possible that “time passed for [anyone in 1830] with the speed of light” (RB 99)? The phrase may have gained a rare scientific currency in 1865 with the studies of James Maxwell, but not until Einstein's theories swept through the scientific world in the advancing years of the twentieth century did the common man or writer start speaking of "the speed of light.”
Someone should have weeded out such a blatant anachronism—surely not in Stendahl's French prose.
And by the way, never read an Introduction of any book if it's your first reading: Pretend it's an Afterword, and save it for when you complete reading. You'll have a much better chance to weigh your own critical perceptions without being biased by someone else's.
More by the way: The Red and the Black is a comedy whose greatness can survive even these annoyances.
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