This dissertation aims to analyze the historicity of the literary form of French writer Henri-Marie Beyle (1783-1842), better known by his pen name Stendhal, from its deeply strained relationship with the society he lived in, that is, the reality established in his country after the year 1814. This analysis is originated from a recurrent claim in the author s work: that his countrymen suffered a remarkable change of character from the fall of the Napoleonic Empire (1804-1814), the loss of what he called the ability to have fun. Far from merely mourning the end of this quality, however, Stendhal points out that this change lead to a profound break in the French feeling of belonging: his countrymen had lost a common character background that had made it possible for them to recognize themselves in their particularities, i.e. in the author s view, France had lost its authenticity. I intend, therefore, to investigate how the author represents this loss in his novel The Red and the Black (1830), trying to show that what he meant by authenticity directly connects to the real satisfaction of individuals in their own world, made impossible now during the Bourbon Restoration due to a distancing of the self from itself. From this questioning, I will firstly analyze the aesthetic alternative of Stendhal to this world, described in Racine and Shakespeare (1823 and 1825) and in On Love (1822), regarding, above all, of his concern with the dramatic pleasure; and secondly, how the author paints an ethical possibility based on the tension that the protagonist of his novel, Julien Sorel, establishes with the society around him.