570:; that is, one desires a person only when he or she is desired by someone else. Girard's proposition is that a person's desire for another always is mediated by a third party. This triangulation thus accounts for the perversity of the MathildeâJulien relationship, which is most evident when Julien begins courting the widow Mme de Fervaques to pique Mathilde's jealousy, and it accounts for Julien's fascination with and membership in the high society he simultaneously desires and despises. To help achieve a literary effect, Stendhal wrote most of the epigraphsâliterary, poetic, historic quotationsâthat he attributed to others.
447:(game of love) taught to him by Prince Korasoff, a Russian man-of-the-world. At great emotional cost, Julien feigns indifference to Mathilde, provoking her jealousy with a sheaf of love letters meant to woo Madame de Fervaques, a widow in the social circle of the de la Mole family. Consequently, Mathilde sincerely falls in love with Julien, eventually revealing to him that she carries his child; nevertheless, while he is on diplomatic mission in England, she becomes officially engaged to Monsieur de Croisenois, an amiable and wealthy young noble, heir to a
664:, has been, like his other translations, characterised as one of his "fine, spirited renderings, not entirely accurate on minor points of meaning...Scott Moncrieff's versions have not really been superseded." The version by Robert M. Adams for the Norton Critical Editions series is highly regarded; it "is more colloquial; his edition includes an informative section on backgrounds and sources, and excerpts from critical studies." Other translators include Margaret R. B. Shaw (as
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439:, who is exiled in England; but the callow Julien is distracted by an unrequited love affair and learns the message only by rote, missing its political significance as part of a legitimist plot. Unwittingly, he risks his life in service to the monarchists he most opposes; to himself, he rationalises these actions as merely helping the Marquis, his employer, whom he respects.
1471:
455:
bless their marriage, the marquis changes his mind after receiving a character-reference letter about Julien from the AbbĂ© ChĂ©lan, Julien's previous employer in VerriĂšres. Written by Madame de RĂȘnal at the urging of her confessor priest, the letter warns the marquis that Julien is a social-climbing cad who preys upon emotionally vulnerable women.
443:
unattractive, but his interest is piqued by her attentions and the admiration she inspires in others; twice, she seduces and rejects him, leaving him in a miasma of despair, self-doubt, and happiness (for having won her over her aristocratic suitors). Only during his secret mission does he learn the key to winning her affections: a cynical
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Madame de RĂȘnal, still in love with him, refuses to testify and pleads for his acquittal, aided by the priests who have looked after him since his early childhood. Yet Julien is determined to die, for the materialistic society of
Restoration France has no place for a low-born man, whatever his intellect or sensibilities.
458:
On learning that the marquis now withholds his blessing of his marriage, Julien Sorel returns with a gun to VerriĂšres and shoots Madame de RĂȘnal during Mass in the village church; she survives, but Julien is imprisoned and sentenced to death. Mathilde tries to save him by bribing local officials, and
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of 1830, Julien Sorel lives in Paris as an employee of the de la Mole family. Despite his sophistication and intellect, Julien is condescended to as an uncouth plebeian by the de la Moles and their friends. Meanwhile, Julien is acutely aware of the materialism and hypocrisy that permeate the
Parisian
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Chélan, the local
Catholic prelate, who secures for Julien a job tutoring the children of Monsieur de RĂȘnal, the mayor of VerriĂšres. Although representing himself as a pious, austere cleric, Julien is uninterested in religious studies beyond the Bible's literary value and his ability to use memorized
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of Julien Sorel, the intelligent and ambitious protagonist. He comes from a poor family and fails to understand much about the ways of the world he sets out to conquer. He harbours many romantic illusions, but becomes mostly a pawn in the political machinations of the ruthless and influential people
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Stendhal repeatedly questions the possibility and the desirability of "sincerity" because most of the characters, especially Julien Sorel, are acutely aware of having to play a role to gain social approval. In that 19th-century context, the word "hypocrisy" denoted the affectation of high religious
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When Julien learns that Madame de RĂȘnal survived her gunshot wound, his authentic love for her is resurrected, having lain dormant throughout his
Parisian sojourn, and she continues to visit him in jail. After he is guillotined, Mathilde de la Mole reenacts the cherished 16th-century French tale of
293:
The title is taken to refer to the tension between the clerical and secular interests of the protagonist, represented by each of the title colors, but it could also refer to the then-popular card game "rouge et noir", with the card game being the narratological leitmotiv of a novel in which chance
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Learning of Julien's liaison with
Mathilde, the Marquis de la Mole is angered, but he relents before her determination and his affection for Julien and bestows upon Julien an income-producing property attached to an aristocratic title as well as a military commission in the army. Although ready to
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sees this use of specific historical context as something entirely new in literature: "So logically and systematically to situate the tragically conceived life of a man of low social position (as here that of Julien Sorel) within the most concrete kind of contemporary history and to develop it
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was a novel ahead of its time, that it was a novel for readers in the 20th century. In
Stendhal's time, prose novels included dialogue and descriptions from omniscient narrator; Stendhal's great contribution to literary technique was the describing of the psychologies (emotions, thoughts, and
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Meanwhile, the
Marquis's languorous daughter, Mathilde de la Mole, has become emotionally torn between her romantic attraction to Julien for his admirable personal and intellectual qualities and her revulsion at becoming sexually intimate with a lower-class man. At first Julien finds her
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321:, but like most of the chapters' epigraphs it is fictional. The title refers (among other things--see meanings in previous section) to the contrasting uniforms of the army and the church. Accordingly, early in the story, Julien Sorel observes that under the
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Meanwhile, Monsieur de
Croisenois, the presumptive duke and one of the fortunate few of Bourbon France, is killed in a duel over a slur upon the honour of Mathilde de la Mole. Her undiminished love for Julien, his imperiously intellectual nature and
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is getting a new lease on life with an updated
English-language version by the renowned translator Burton Raffel. His version has all but replaced the decorous text produced in the 1920s by the Scottish-born writer-translator C.K. Scott-Moncrieff".
257:, published in 1830. It chronicles the attempts of a provincial young man to rise socially beyond his modest upbringing through a combination of talent, hard work, deception, and hypocrisy. He ultimately allows his passions to betray him.
394:
He begins a love affair with
Monsieur de RĂȘnal's wife, which ends when her chambermaid, Elisa, who is also in love with Julien, makes it known to the village. The AbbĂ© ChĂ©lan orders Julien to a seminary in
479:, to kiss the forehead of his severed head. Mathilde then erects a shrine at Julien's tomb in the Italian fashion. Madame de RĂȘnal, more quietly, dies in the arms of her children only three days later.
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elite and that the counterrevolutionary temper of the time renders it impossible for even well-born men of superior intellect and aesthetic sensibility to participate in the nation's public affairs.
534:
629:, whose protagonist is named Julien: "The idea of a duty to be performed, and the fear of making himself ridiculous if he failed to perform it, immediately removed all pleasure from his heart."
270:), indicates its twofold literary purpose as both a psychological portrait of the romantic protagonist, Julien Sorel, and an analytic, sociological satire of the French social order under the
399:, which he finds intellectually stifling and populated by social cliques. The initially cynical seminary director, the Abbé Pirard, likes Julien and becomes his protector. When the Abbé, a
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for Penguin Classics, 1953), Lowell Blair (Bantam Books, 1959), Lloyd C. Parks (New York, 1970), Catherine Slater (Oxford World's Classics, 1991), and Roger Gard (Penguin Classics, 2002).
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518:-supported legitimists, notably the Marquis de la Mole, whom Julien serves for personal gain. Presuming a knowledgeable reader, Stendhal only alludes to the historical background of
403:, leaves the seminary, he fears Julien will suffer for having been his protégé and recommends Sorel as private secretary to the diplomat Marquis de la Mole, a Catholic
1694:
838:, was made in 1965, starring John Stride, June Tobin, and Karin Fernald. It is unknown if the serial still exists as it has not been seen or documented in decades.
386:'s long-disbanded army than work in his father's timber business with his brothers, who beat him for his intellectual pretensions. He becomes an acolyte of the
1134:«Wie kleidet sich ein KĂŒnstler?», in: KulturPoetik 14:2, 2014, 182â204; Naomi Lubrich, Die Feder des Schriftstellers. Mode im Roman des französischen Realismus
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about him. The adventures of the hero satirize early 19th-century French society, accusing the aristocracy and Catholic clergy of being hypocritical and
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Julien accompanies the Marquis de la Mole to a secret meeting, then is dispatched on a dangerous mission to communicate a letter from memory to
620:, "whose class-conscious hero Julien Sorel is less idealistic, greedier, and crueler than Jules Wendall but is clearly his spiritual kinsman."
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In complete editions, the first book ("Livre premier", ending after Chapter XXX) concludes with the quotation "To the Happy Few" from
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and starred Hanayo Sumi, Kaoru Yodo, and Yachiyo Ootori. Since then it has been performed in 1975, 1989, 2008 and 2020.
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for the Modern Library edition generally earned positive reviews, and Salon.com stated " exciting new translation of
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A passage describing Julien Sorel's sexual indifference is deployed as the epigraph to Paul Schrader's screenplay of
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599:(1948), the protagonist Hugo Barine suggests pseudonyms for himself, including Julien Sorel, whom he resembles.
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tells the story of Julien Sorel's life in France's rigid social structure restored after the disruptions of the
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The first volume's epigraph "La vérité, l'ùpre vérité" ("The truth, the harsh truth") is attributed to
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Napoleonic Friendship: Military Fraternity, Intimacy, and Sexuality in Nineteenth- Century France
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532:(1834), one of Stendhal's unfinished novels, posthumously published in 1894. Erich Auerbach in
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and luck determine the fate of the main character. There are other interpretations as well.
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interior monologues) of the characters. As a result, he is considered the creator of the
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Julien Sorel, the ambitious son of a carpenter in the fictional village of VerriĂšres, in
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exhibitionism render Mathilde's prison visits to him a duty to endure and little more.
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class to distinguish himself in the (red-uniformed) army (as he might have done under
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E. Bradford Burns, A History of Brazil, Columbia University Press, 1993, p. 451.
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654:(1830) first was translated into English ca. 1900; the best-known translation,
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526:("Chronicle of 1830"). Similarly, the historical background is depicted in
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therefromâ this is an entirely new and highly significant phenomenon."
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as the Abbé Pirard. A notable addition to the plot was the spirit of
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blasts Stendhal into the twenty-first century." Michael Johnson for
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and directed by François Chouquet and Laurent Seroussi; it starred
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Mimesis: The Representation of Reality in Western Literature
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it connotes the contradiction between thinking and feeling.
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Mimesis: The Representation of Reality in Western Literature
1080:, by Stendhal, C. K. Scott-Moncrief, trans., 1926, p. xvi.
895:), who advises Sorel (McGregor) through his rise and fall.
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1292:"Opinion | Stendhal at his best: A 'worthless' historian"
1264:, by Stirling Haig, Cambridge University Press, 1989.
360:
The Red and the Black: A Chronicle of the 19th Century
268:
The Red and the Black: A Chronicle of the 19th Century
51:
Henri Dubouchet's illustration for an 1884 edition of
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The Oxford Guide to Literature in English Translation
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was broadcast in 1997 by Koch Lorber Films, starring
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as a nod to classic 19th-century novels, among them
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391:Latin passages to impress his social superiors.
780:of the novel was released in 1954, directed by
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850:) is a 1976 Soviet film version, directed by
8:
263:Le Rouge et le Noir: Chronique du XIX siĂšcle
200:
75:
39:
1490:has original text related to this article:
1226:"A Moment of Clarity on Candidates' Status"
1067:(in Italian). Milan: Garzanti. p. 874.
711:, commander of the Third Army, ordered, in
566:the triangular structure he denominates as
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952:was produced by all-female theater troupe
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612:wrote that she had titled the manuscript
419:The second volume of the 1831 edition of
552:Mensonge romantique et vérité romanesque
1184:Oates, Joyce Carol (21 February 2018).
1065:Enciclopedia Garzanti della letteratura
1047:
1290:Johnson, Michael (11 September 2008).
834:A BBC TV miniseries in five episodes,
29:The Red and the Black (disambiguation)
811:is a 1961 French TV film directed by
494:(1814â1830) and the days of the 1830
238:
7:
796:award for the best film of the year.
1224:Kurtz, Howard (12 September 2000).
932:. This version is available on DVD.
843:ĐŃĐ°ŃĐœĐŸĐ” Đž ŃŃŃĐœĐŸĐ” (Krasnoe i ÄĂ«rnoe)
794:French Syndicate of Cinema Critics
742:) is a silent 1928 German film by
574:Literary and critical significance
490:is set in the latter years of the
325:it is impossible for a man of his
152:(published before the ISBN system)
25:
1808:Novels set in 19th-century France
1390:Takarazuka Revue Official Website
1190:. Random House Publishing Group.
869:Another BBC TV miniseries titled
1813:French novels adapted into films
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1516:
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1214:. Faber and Faber, 2002, p. 123.
1092:, Fourth Edition, (1996) p. 859.
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968:Le Rouge et le Noir LâOpĂ©ra Rock
875:was broadcast in 1993, starring
558:, 1961), philosopher and critic
506:and his nostalgic allegiance to
1818:Cultural depictions of Napoleon
1262:Stendhal: the red and the black
948:(蔀ăšé»). The first adaptation by
427:In the years leading up to the
898:A TV film of the novel titled
602:In the afterword to her novel
510:and the realistic politics of
475:, who visited her dead lover,
131:Print (hardback and paperback)
1:
1386:"ăLe Rouge et le Noirăïœè”€ăšé»ïœă"
1336:"The Red and the Black Casts"
1090:Benét's Reader's Encyclopedia
556:Deceit, Desire and the Novel
522:âyet did subtitle the novel
1545:public domain audiobook at
1526:public domain audiobook at
1001:in 2023 and was staged in
997:. It was also performed by
632:Former U.S. Vice President
593:In Jean-Paul Sartre's play
278:variously is translated as
1839:
1252:, by Peter France, p. 276.
1003:Tokyo Metropolitan Theater
698:1964 Brazilian coup d'Ă©tat
477:Joseph Boniface de La Mole
26:
1660:The Charterhouse of Parma
1644:The Life of Henry Brulard
1590:
1136:. Aisthesis. p. 200.
836:The Scarlet and the Black
652:, Chronique du XIX siĂšcle
274:(1814â1830). In English,
44:
1798:French historical novels
1440:Burt, Daniel S. (2003).
788:, Antonella Lualdi, and
671:The 2006 translation by
290:, without the subtitle.
260:The novel's full title,
240:[lÉÊuÊel(É)nwaÊ]
1734:The Courier of the King
1361:"The Red and the Black"
1212:Collected Screenplays 1
1132:Lubrich, Naomi (2015).
1103:"The Red and The Black"
864:Natalya Belokhvostikova
778:Another film adaptation
764:The Courier of the King
1652:The Pink and the Green
640:as his favorite book.
424:
339:The Vicar of Wakefield
201:
76:
40:The Red and the Black
34:1830 novel by Stendhal
1793:French bildungsromans
1742:The Red and the Black
1709:The Red and the Black
1628:Memoirs of an Egotist
1620:The Red and the Black
1523:The Red and the Black
1493:The Red and the Black
1476:The Red and the Black
1157:Martin Brian Joseph.
1078:The Red and the Black
945:The Red and the Black
923:Jean-Daniel Verhaeghe
921:; it was directed by
900:The Red and the Black
856:Nikolai Yeryomenko Ml
774:, and Irasema DiliĂĄn.
754:, and Valeria Blanka.
717:The Red and the Black
692:Burned in 1964 Brazil
685:The Red and the Black
677:The Red and the Black
662:C. K. Scott Moncrieff
657:The Red and the Black
638:The Red and the Black
618:The Red and the Black
583:The Red and the Black
545:The Red and the Black
512:counter-revolutionary
500:Kingdom of the French
498:that established the
421:The Red and the Black
418:
288:The Red and the Black
246:The Red and the Black
236:French pronunciation:
220:The Red and the Black
1803:Psychological novels
1478:at Wikimedia Commons
1392:. Hankyu Corporation
1365:Baguette on Broadway
1161:. UPNE, 2011, p. 123
829:Jean-Roger Caussimon
702:Justino Alves Bastos
483:Structure and themes
27:For other uses, see
1823:Novels set in Paris
1542:Le Rouge et le noir
1503:Le Rouge et Le Noir
1448:. Checkmark Books.
1230:The Washington Post
1113:on 19 November 2016
942:A Japanese musical
893:Christopher Fulford
801:Le Rouge et le Noir
650:Le Rouge et le Noir
588:psychological novel
564:Le Rouge et le Noir
520:Le Rouge et le Noir
492:Bourbon Restoration
488:Le Rouge et le Noir
437:the Duc d'AngoulĂȘme
323:Bourbon Restoration
303:Le Rouge et le Noir
276:Le Rouge et le Noir
272:Bourbon Restoration
251:psychological novel
231:Le Rouge et le Noir
203:Le Rouge et le Noir
190:PQ2435.R72 H35 1989
77:Le Rouge et le Noir
72:Original title
55:, Paris: L. Conquet
53:Le Rouge et le Noir
41:
18:Le rouge et le noir
1788:Novels by Stendhal
1783:1830 French novels
1726:The Secret Courier
1596:A Life of Napoleon
1416:Umeda Arts Theater
1296:The New York Times
1007:Umeda Arts Theater
860:Natalya Bondarchuk
782:Claude Autant-Lara
759:Il Corriere del re
740:The Secret Courier
735:Der geheime Kurier
681:The New York Times
425:
368:Napoleon Bonaparte
253:in two volumes by
249:) is a historical
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1761:Scarlet and Black
1670:
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1508:Project Gutenberg
1474:Media related to
1278:978-0-521-34982-6
1107:www.nytheatre.com
965:A French musical
872:Scarlet and Black
817:Robert Etcheverry
790:Danielle Darrieux
772:Valentina Cortese
713:Rio Grande do Sul
666:Scarlet and Black
610:Joyce Carol Oates
524:Chronique de 1830
366:and the reign of
364:French Revolution
284:Scarlet and Black
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568:"mimetic desire"
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784:. It stars
752:Lil Dagover
723:Adaptations
705: [
683:wrote "Now
560:René Girard
445:jeu d'amour
215:Translation
1777:Categories
1488:Wikisource
1117:5 February
1042:References
700:, General
660:(1926) by
579:André Gide
405:legitimist
298:Background
243:; meaning
209:Wikisource
207:at French
1582:Works by
1309:5 January
1304:0362-4331
1063:(1974) .
401:Jansenist
348:The Vicar
178:843/.7 19
102:Publisher
1704:Stendhal
1584:Stendhal
1547:LibriVox
1528:LibriVox
1340:TAKAWIKI
1014:See also
1009:in 2024.
889:Napoleon
508:Napoleon
465:romantic
397:Besançon
384:Napoleon
331:Napoleon
327:plebeian
255:Stendhal
165:18684539
84:Language
65:Stendhal
1604:Armance
1235:10 June
937:Theater
883:, and
854:, with
815:, with
634:Al Gore
411:Book II
305:is the
139:2 vols.
1745:(1954)
1737:(1947)
1729:(1928)
1712:(1830)
1663:(1839)
1655:(1837)
1647:(1836)
1639:(1835)
1631:(1832)
1623:(1830)
1615:(1829)
1607:(1827)
1599:(1818)
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1396:22 May
1370:22 May
1345:22 May
1302:
1276:
1272:, and
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917:, and
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374:Book I
319:Danton
286:, and
123:France
87:French
61:Author
1412:"蔀ăšé»"
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449:duchy
136:Pages
92:Genre
1718:Film
1450:ISBN
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1398:2024
1372:2024
1347:2024
1311:2022
1300:ISSN
1274:ISBN
1266:ISBN
1237:2022
1192:ISBN
1187:them
1119:2016
984:CĂŽme
958:1957
728:Film
605:them
388:Abbé
354:Plot
159:OCLC
145:ISBN
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