Hostname: page-component-cd9895bd7-7cvxr Total loading time: 0 Render date: 2024-12-28T03:16:29.641Z Has data issue: false hasContentIssue false
  • English
  • Français

For Whom the Beyle Toils: Stendhal and Pseudonymous Authorship

Published online by Cambridge University Press:  23 October 2020

Ralph Schoolcraft
Get access Rights & Permissions [Opens in a new window]

Abstract

The most famous of Henri Beyle's pseudonyms is Stendhal, but it is only one of hundreds adopted by Beyle. I argue that his pseudonyms fall into three categories: those used in personal correspondence to strengthen affective bonds, those used for publication and thus for entry into the literary market, and those developed in the creative process and reserved for private use. The pseudonym Stendhal belongs to the second group, which is characterized by Beyle's attempt to co-opt the prestige of particular predecessors (in this instance, the art historian J. J. Winckelmann, from the village Stendal). The pen names Mocenigo and Dominique are significant examples of the third group, which most closely resembles the Portuguese writer Fernando Pessoa's heteronyms and heralds a modernist vision of authorship.

Type
Research Article
Information
PMLA , Volume 119 , Issue 2 , March 2004 , pp. 247 - 264
Copyright
Copyright © Modern Language Association of America, 2004

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Andrieu, René. Stendhal ou le bal masqué. Paris: Lattès, 1983.Google Scholar
Paul, Arbelet. “L'abbé Lanzi et Stendhal.” «L'Histoire de la peinture en Italie» et les plagiats de Stendhal. Paris: Calmann-Lévy, 1914.Google Scholar
Erich, Auerbach. “In the Hôtel de la Mole.” Mimesis: The Representation of Reality in Western Literature. Trans. Willard R. Trask. Garden City: Anchor-Doubleday, 1957. 400–13.Google Scholar
Samuel, Beckett. Three Novels: Molly, Malone Dies, The Unnameable. New York: Grove, 1958.Google Scholar
Henri, Beyle. Armance. Romans et nouvelles de Stendhal. Bibliothèque de la Pléiade. Vol. 1. Paris: Gallimard, 1952. 9–189.Google Scholar
Henri, Beyle. La Chartreuse de Parme. Romans et nouvelles de Stendhal. Bibliothèque de la Pléiade. Vol. 2. Paris: Gallimard, 1952. 9–493.Google Scholar
Henri, Beyle. Chroniques de l'Angleterre. Ed. McWatters, K. G. Trans. Renée Dénier. Vol. 1. Grenoble: U des Langues et Lettres de Grenoble, 1980. 5 vols.Google Scholar
Henri, Beyle. Correspondance. 2 vols. Bibliothèque de la Pléiade. Paris: Gallimard, 1962.Google Scholar
Henri, Beyle. De l'amour. Paris: Garnier, 1965.Google Scholar
Henri, Beyle. Journal. Vols. 1-2 of Beyle, Œuvres intimes.Google Scholar
Henri, Beyle. Journal littéraire. Ed. Victor Del Litto and Ernest Abravanel. 3 vols. Œuvres complètes. Vols. 33-35. Geneva: Édito-Service, 1970.Google Scholar
Henri, Beyle. Œuvres intimes. Ed. Litto, Victor Del. Bibliothèque de la Pléiade. 2 vols. Paris: Gallimard, 1981.Google Scholar
Henri, Beyle. “Les privilèges.” Beyle, Œuvres intimes 2: 982–88.Google Scholar
Henri, Beyle. Souvenirs d'égotisme. Beyle, Œuvres intimes 2: 425–521.Google Scholar
Henri, Beyle. Vie de Henry Brulard. Beyle, Œuvres intimes 2: 523–963.Google Scholar
Henri, Beyle. Voyages en Italie. Ed. Litto, Victor Del. Bibliothèque de la Pléiade. Paris: Gallimard, 1972.Google Scholar
Blum, Léon. “A Theoretical Outline of Beylism.” Stendhal. Ed. Brombert, Victor. Englewood Cliffs: Prentice, 1962. 101–13.Google Scholar
Chaudenay, Roland de. Dictionnaire des plagiaires. Paris: Perrin, 1990.Google Scholar
Francis, Claudon. “Stendhal et Winckelmann.” Stendhal Club 98 (1983): 300–03.Google Scholar
Corredor, Corredor Marie Rose. “Du «Beylisme» au «Stendhalisme»: Réflexions sur un parcours idéologique.” Le Temps du Stendhal-Club (1880-1920). Ed. Berthier, Philippe and Rannaud, Gérald. Toulouse: PU du Mirail, 1994. 149–58.Google Scholar
Stephen, Crites. “Pseudonymous Authorship as Art and Act.” Kierkegaard: A Collection of Critical Essays. Ed. Thompson, Josiah. Garden City: Anchor, 1972. 183–229.Google Scholar
Michel, Crouzet. Stendhal et le langage. Paris: Gallimard, 1981.Google Scholar
Michel, Crouzet. Stendhal ou Monsieur Moi-même. Paris: Flammarion, 1990.Google Scholar
Del Litto, Victor. “Notice.” Beyle, Voyages 1295–320.Google Scholar
Del Litto, Victor. La vie intellectuelle de Stendhal: Genèse et évolution de ses idées (1802–1821). Paris: PUF, 1959.Google Scholar
Daniel, Desormeaux. “Tombeau de bibliomane: Les livres secrets de Stendhal.” La figure du bibliomane. Histoire du livre et stratégie littéraire au XIXe siècle. Saint-Genouph: Nizet, 2001. 127–50.Google Scholar
Dieter, Diefenbach. “Stendhal: Un pseudonyme et ses variantes.” Stendhal Club 113 (1986): 43–48.Google Scholar
“Faits divers.” Le national 25 Mar. 1842. Stendhal Club 134 (1992): 125.Google Scholar
Faultrier-Travers, Sandra de. Le droit d'auteur dans l'édition. Paris: Imprimerie Nationale Éditions, 1993.Google Scholar
Romain, Gary. La promesse de l'aube. Paris: Gallimard, 1960.Google Scholar
Genette, Gérard. “‘Stendhal.‘” Figures of Literary Discourse. Trans. Alan Sheridan. New York: Columbia UP, 1982. 147-82. Trans. of “«Stendhal».” Figures II. Paris: Seuil, 1969. 155–93.Google Scholar
Pierre, Jourda, ed. Stendhal raconté par ceux qui l'ont vu: Souvenirs, lettres, documents. Paris: Stock, 1931.Google Scholar
Vincent, Kaufmann. Post Scripts: The Writer's Workshop. Trans. Deborah Triesman. Cambridge: Harvard UP, 1994. Trans. of L'équivoque épistolaire. Paris: Minuit, 1990.Google Scholar
Maurice, Laugaa. La pensée du pseudonyme. Paris: PUF, 1986.Google Scholar
Lautréamont, . Les chants de Maldoror. Œuvres complètes. Paris: Gallimard, 1973. 17–266.Google Scholar
Giacomo, Lechi. “Stendhal à Brescia. Mocenigo, le «socinien», les Borroni.” Stendhal Club 39 (1968): 265–76.Google Scholar
Leclerc, Gérard. Le sceau de l'œuvre. Paris: Seuil, 1998.Google Scholar
Henri, Martineau. “Le «Mocenigo» de Stendhal.” Le divan 250 (1944): 271–74.Google Scholar
Michel, François. “Les alibis de Stendhal.” Le divan 246-47 (1943): 67-77, 123–36.Google Scholar
Nerval, Gérard de. “Angélique.” Œuvres. Paris: France Loisirs, 1987. 440–516.Google Scholar
Charles, Nodier. Questions de littérature légale: Du plagiat, de la supposition d'auteurs, des supercheries qui ont rapport aux livres. Ed. Jeandillou, Jean-François. Geneva: Droz, 2003.Google Scholar
Pierre, Pachet. Les baromètres de l'âme: Naissance du journal intime. Paris: Hatier, 1990.Google Scholar
Fernando, Pessoa. “Apresentação dos Heterônimos.” Alguma prosa. Ed. Berardinelli, Cleonice. Rio de Janeiro: Nova Fronteira, 1990. 41–44.Google Scholar
Quérard, Jean-Marie. Les supercheries littéraires dévoilées. Vol. 1. Paris: n.p., 1847.Google Scholar
Nicholas, Rand. “The Red and the Black, Author of Stendhal: Pseudonyms and Cryptonyms of Beyle.” Romanic Review 80 (1989): 391–403.Google Scholar
Rannaud, Gérald. “La marge et la pensée. Notes sur la «marginale» chez Stendhal.” Recherches et travaux 53 (1997): 113–25.Google Scholar
George, Sand. Histoire de ma vie. Vols. 1-2 of Œuvres autobiographiques. Bibliothèque de la Pléiade. Paris: Gallimard, 1971.Google Scholar
Michel, Schneider. Les voleurs de mots. Essai sur le plagiat, la psychanalyse et la pensée. Paris: Gallimard, 1985.Google Scholar
Ralph, Schoolcraft. Romain Gary: The Man Who Sold His Shadow. Philadelphia: U of Pennsylvania P, 2002.Google Scholar
Jean, Starobinski. “Stendhal pseudonyme.” L'œil vivant. Paris: Gallimard, 1961. 193–244.Google Scholar