02654cam a22003133u 450000100060000000300070000600500170001300600020003000700050003200800410003704000110007804100170008905000070010610000330011324500300014626400510017630000470022733600260027433700260030033800360032650000310036250801370039352016230053053400490215365300240220285600520222685600430227899900190232178379UtSlPG20260610134822.0mcr n260607r20261929utu|||||o|||||||||||||| d  aUtSlPG 7afr2iso639-1 4aPQ1 aBoylesve, René,d1867-192610aRéflexions sur Stendhal 1aSalt Lake City, UT :bProject Gutenberg,c2026  a1 online resource :bmultiple file formats  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier  aRelease date is 2026-04-06  aLaurent Vogel (This file was produced from images generously made available by the Bibliothèque nationale de France (BnF/Gallica))  aRéflexions sur Stendhal by René Boylesve is a collection of literary reflections and reading notes written in the early 20th century. It is a work of literary criticism that sketches a thoughtful, unsystematic portrait of Stendhal as a psychologist of passion and a fiercely independent observer, considering how his inner vision resists social conventions; the likely topic is Stendhal’s temperament, aesthetics, and the ethical-emotional creed often called “beylism.”

The book moves through brief, pointed dossiers: on Stendhal’s paradoxical fame and solitary stance; on insights drawn from The Life of Henri Brulard (hatred of grandiloquence, judgments born of passion, Italian fervor, a romantic impulse that hardens into realism); on Léon Blum’s Stendhal et le beylisme (the primacy of the youthful self, heroes as autobiographical projections, energy rooted in emotion rather than utilitarian action, the elite and contradictory logic of “beylism,” distinctions among kinds of love, and a defense of Julien Sorel against the charge of arrivisme). Boylesve then weighs Sainte-Beuve, Taine, and Bourget, praising Stendhal’s psychological invention while correcting critical blind spots about his “anti-social” method and inner life. He closes with compact notes on The Charterhouse of Parma, admiring Fabrice’s blithe courage and the vivid, picturesque detail, yet faulting the melodramatic tangle of intrigue and the coolness of its emotional effect, suggesting the tale is essentially resolved once Fabrice begins to long for his prison. (This is an automatically generated summary.)  pOriginally published:cParis: Le Divan, 1929  aStendhal, 1783-18424 uhttps://gallica.bnf.fr/ark:/12148/bpt6k9613338z40uhttps://www.gutenberg.org/ebooks/78379  c119099d119099