brilliancy. For Stendhal standing first outside his characters with all the sceptical scrutiny of a detached observer, then goes deep inside them so that he describes not merely what they do, but why they do it, not merely what they think, but why they think it, while he assigns their respective share to innate disposition, accident, and environment, and criticizes his creations with an irony that is only occasionally benevolent. For it must be confessed that Stendhal approves of extremely few people. True scion of the middle-classes he hates the bourgeois because he is bourgeois, and the aristocrat because he is aristocrat. Nevertheless, as a gallery of the most varied characters, patricians and plebeians, prudes and profligates, Jesuits and Jansenists, Kings and coachmen, bishops and bourgeois, whose mutual difference acts as a most effective foil to each other's reality, Le Rouge et Le Noir will beat any novel outside Balzac.
We would mention in particular those two contrasted figures, Mme. de Rênal the bourgeoise passionée, and Matilde de la Mole the noble damozel who enters into her intrigue out of a deliberate wish to emulate the exploits of a romantic ancestress. But after all these individuals stand out not so much because their characterization is better than that of their fellow-personages, but because it is more elaborate. Even such minor characters, for instance, as de Frilair, the lascivious Jesuit, Noiraud, the avaricious gaoler, Mme. de Fervaqus, the amoristic prude, are all in their respective ways real, vivid, convincing, no mere padded figures of the imagination, but observed actualities swung from the lived life on the written page.
The style of Stendhal is noticeable from its simplicity,
