In The Vicar of Wakefield, "the happy few" refers ironically to the small number of people who read the title character's obscure and pedantic treatise on monogamy. [27] As a literary critic, such as in Racine and Shakespeare, Stendhal championed the Romantic aesthetic by unfavorably comparing the rules and strictures of Jean Racine's classicism to the freer verse and settings of Shakespeare, and supporting the writing of plays in prose.

Berthet's story, reduced to this pattern, is the story of Julien Sorel, hero of the novel. The three successive stages in Julien's adventure have their counterparts in Berthet's life. Few details about the third phase of Berthet's life were available from the Grenoble trial records, and Stendhal was forced to stray from the facts in his creation of Julien's experiences with Mathilde in the Mole episode. Critics still debate as to how successfully Stendhal extricated himself from the dilemma resulting from the implicit divergence in the careers of Julien and Antoine in the third phase. The 2007 French film Molière was more loosely based on the life of Molière, starring Romain Duris, Fabrice Luchini and Ludivine Sagnier. Dieter, Anna-Lisa, Eros - Wunde - Restauration. Stendhal und die Entstehung des Realismus, Paderborn: Wilhelm Fink, 2019 (Periplous. Münchener Studien zur Literaturwissenschaft). Under French law at the time, actors were not allowed to be buried in the sacred ground of a cemetery. However, Molière's widow, Armande, asked the King if her spouse could be granted a normal funeral at night. The King agreed and Molière's body was buried in the part of the cemetery reserved for unbaptised infants.a b Au, Susan (2002). Ballet and Modern Dance - Second Edition. London: Thames & Hudson LTD. p.24. ISBN 978-0-500-20352-1. The hotel is perfectly located for culture vultures with The Musée d'Orsay and The Louvre under ten minutes on foot.

a b c d e Au, Susan (2002). Ballet and Modern Dance - Second Edition. London: Thames & Hudson LTD. p.23. ISBN 978-0-500-20352-1. Nietzsche, Friedrich Wilhelm (1973). Beyond Good and Evil: Prelude to a Philosophy of the Future. Translated by Hollingdale, R. J. Penguin. ISBN 978-0-14-044267-0. Bellinger, Martha Fletcher (1927). A Short History of the Drama. New York: Henry Holt & Company. pp.178–81 . Retrieved November 27, 2007– via Theatredatabase.com.

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Gaines, James F., editor (2002). The Molière Encyclopedia. Westport, Connecticut: Greenwood Press. ISBN 9780313312557. Molière (1622–73) is universally recognized as France's greatest comic playwright. He was also, by all accounts, the finest comic actor of his generation. He himself performed the leading roles in his plays, and at the same time was a director and manager: a complete man of the theatre. To focus on his plays as written texts, and to ignore questions of performance and stagecraft, would obscure our appreciation of his dramatic virtuosity, his specifically theatrical achievements and the remarkable variety of his work. Moreover, he was a highly self-conscious artist whose work constitutes a reflection, in the context of his times, on the nature and possibilities of comic drama. His achievement, as writer-actor-manager, was to renew comic drama in France and to give it something of the status of tragedy. Angela Pietragrua is cited twice: during their first meeting in 1800; and when he fell in love with her in 1811. Stendhal: definition of Stendhal in Oxford dictionary (American English) (US)". Oxforddictionaries.com. 2014-01-23. Archived from the original on March 26, 2013 . Retrieved 2014-01-28. Philip Wadsworth, Molière and the Italian Theatrical Tradition (Birmingham AL: Summa, 1987), 7; ISBN 9780917786709