Abstract
Stendhal’s composition of the Chartreuse de parme takes us through an operatic scenario where all is stage effect, the excitation of the audience through conventional devices. We have a political novel acted out for emotional logic, a historical romance following Scott but subjected to classical irony. The subject disappears in the fireworks of words, and we have through exciting actions an example of the text digesting itself, a game, a novel (shockingly!) about nothing. It is a different direction for the novel craft, a novel acting the part of a novel. It is Stendhal.
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