The Charterhouse of Parma: Analysis of Major Characters
"The Charterhouse of Parma" is a novel that intricately explores the lives and complexities of its major characters, primarily set against a backdrop of political intrigue and personal ambition in early 19th-century Italy. Central to the narrative is Fabrizio del Dongo, a young nobleman driven by Napoleonic ideals, who forsakes his privileged life to experience the brutal realities of war and court politics, ultimately leading to moral dilemmas and personal tragedies. Clelia Conti, the daughter of a traitor, grapples with her feelings for Fabrizio while navigating societal expectations and her own marital obligations.
Another key figure is Gina Pietranera, a captivating duchess who adeptly maneuvers through the courts of power, deeply influencing both Fabrizio and the political landscape of Parma. Her partner, Count Mosca, embodies the Machiavellian ethos, blending political acumen with personal loyalty and sacrifice. Supporting characters such as Father Blanés, the priest-astrologer, and Ludovico, the loyal servant, contribute to the rich tapestry of relationships that challenge and shape Fabrizio's journey. The narrative also introduces figures like Marietta Valsera, an actress whose actions lead to significant consequences, highlighting themes of ambition, love, and treachery. Overall, the novel paints a vivid picture of human desires and the often convoluted paths they lead individuals down.
The Charterhouse of Parma: Analysis of Major Characters
Author: Stendhal
First published: La Chartreuse de Parme, 1839 (English translation, 1895)
Genre: Novel
Locale: Italy
Plot: Historical
Time: Early ninetenth century
Fabrizio del Dongo (fah-BREE-zeeoh), an Italian nobleman destined to become an archbishop in the family tradition. A romantic youth, devotedly attached to Napoleonic ideals, the sixteen-year-old adventurer abandons the security of wealth and position to engage in the Battle of Waterloo under an assumed name, with the papers and uniform of a deceased hussar, and in complete ignorance of the ways of war and the world. This episode leads him gradually into deceptions of a higher order, an education he does not want, and an ecclesiastical post for which he is unfitted. Gentle and considerate in private friendships and devoted to humanitarian principles, he nevertheless resorts to intrigue and even murder to attain his ends in the Italian court at Parma. Never really in love until the romantic hopelessness of an affair makes him act in an unorthodox way, Fabrizio gains and loses patronage and affection. He spends his declining years in quiet meditation in the Charterhouse of Parma, a monastery.
Clelia Conti (KLEHL-lee-ah KOHN-tee), the beautiful daughter of a traitor count. As a girl, Clelia sets her heart on the handsome and chivalrous young soldier lately home from France. Although she takes a vow never to set eyes on the man who becomes her father's prisoner after his arrest for murder, she finally takes him as her lover in spite of her marriage vows to a marchese whom she cannot love. Clelia is one of the two great beauties of the Parmese court, both enamoured of the young monsignor. She dies soon after the death of the child fathered by Fabrizio, now an archbishop.
Gina Pietranera (pee-eh-trah-NAY-rah), the duchess of Sanseverina, the mistress and later wife of Count Mosca, and the aunt and benefactress of Fabrizio del Dongo. Widowed before she is thirty, the unorthodox and spirited beauty becomes the chief ornament of the court of the Prince of Parma. Taking part in political intrigue, Gina effects the escape of her nephew, the discomfiture of the prince, and the devotion of her lover. Though greatly attracted to her nephew, she never pleads the cause of what the whole court assumes to be an established fact, a menáge. Capable of acting under the whim of a moment, Gina is also able to act with cool precision and great foresight.
Count Mosca (MOHS-kah), Gina's lover, a prime minister under two heads of state, and the jealous friend of Fabrizio. the count, against all reason, successfully wooes the penniless Gina, finds her a husband who needs a court accomplice and preferment, and then gives up his portfolio in order to live as her husband in penury. He is an inspired Machiavelli, a generous nobleman, and a clear-headed cynic.
Father Blanés (blan-EHS), a priest-astrologer and a friend of Fabrizio. This ghostly cleric, the surrogate father of the impressionable young mystic whose real father early disowned him, proves to be the awakener of spiritual qualities as well as churchly ambitions in his protégé.
Ludovico (lew-doh-VEE-koh), the trusted servant of the duchess and the great friend and protector of Fabrizio. Valorous and canny, Ludovico protects the headstrong and amorous young man from many intrigues and aids the imaginative poet, Ferrante, who supervised his eventual escape from prison.
Marietta Valsera (mah-ree-EH-tah vahl-SEH-rah), the actress whose jealous lover is killed by Fabrizio. A young and not very talented performer, Marietta unconsciously leads her admirer into an ambush. She redeems herself by protecting her lover's identity even at her own peril. For Fabrizio, she personifies conquest and no more.
Fausta, a beautiful and famous soprano who inspires Fabrizio to imaginative and romantic heights.
Count Conti, the treacherous militia officer and keeper of the prison where Fabrizio is confined. He acquiesces in a plot on the life of his political prisoner.
Rassi (RAHS-see), a plebian but brilliant lawyer of the Parmese court who sells preferment among the nobility to his best advantage.
Giletti (jee-LEHT-tee), Marietta Valsera's rascally protector and lover. Jealous of Fabrizio, he attacks the young man and is killed during the scuffle. His death creates a scandal that leads to Fabrizio's arrest when the young cleric returns to Parma.