Victor Hugo proscrit et Chateaubriand mort Hovasse, Jean-Marc
Dix-neuf : journal of the Society of Dix-Neuviémistes,
10/1/2016, Letnik:
20, Številka:
3-4
Journal Article
Recenzirano
It was in 1863 that Victor Hugo's famous declaration from 1816 was first published: 'I want to be Chateaubriand or nothing'. After briefly retracing the relationship between the two contemporary ...writers (1802-1848), this article then considers Hugo's celebrated saying through the lens of his exile, which reinvigorated its meaning. Hugo had indeed become Chateaubriand, or thereabouts, in the first instance (and rapidly so) through his work and his career (almost becoming a minister), but then lost everything during exile, which for him was a mode of death. At this time, he rediscovered the old model that was literally never out of his sight, with Saint-Malo directly facing the Channel Islands. However, he reflected so much on Chateaubriand that this model ended up falling from sight: especially after 1848, one of Chateaubriand's characteristics in Hugo's oeuvre is to be yet more present in those spaces where we do not expect him to be named.
Cette thèse propose une lecture de l’œuvre monumentale de Chateaubriand, les Mémoires d’outre-tombe à propos du thème de la satire comme genre littéraire et comme tonalité d’écriture. La démarche est ...très ambitieuse étant donné la complexité des niveaux de lecture, de l’autobiographie à la fresque historique en passant par la critique sociale et politique. De même l’écriture épique, poétique, satirique et comique fait découvrir un autre Chateaubriand. Face à ce monument souvent considéré comme inclassable, cette thèse présente un plan clair avec une première partie qui dresse d’abord un tableau des grands évènements au centre des Mémoires. L’introduction et la première partie dégagent la double face de cette thèse entre civilisation et sociocritique, entre un tableau de la France et une étude de genre : Qu’est-ce que la satire ? et l’évolution du genre de Juvénal à Chateaubriand.Dans la deuxième partie et la troisième partie, sont exposés les objets de la satire, à savoir la politique et son image, puis la question sociale. Les informations sont nombreuses, car elles dressent un portrait nuancé de cet aristocrate fier et blessé : il condamne les tyrannies, les révolutions et leurs violences, mais il exalte la liberté des peuples et surtout reste lucide, malgré sa foi en eux, sur les erreurs des derniers Bourbons.La quatrième partie répond à la problématique de la recherche : la satire et sa rhétorique. Les différentes nuances de l’écriture satirique sont analysées : de l’ironie au cynisme en passant par le comique. Le comique n’est jamais gratuit, il sert souvent à cacher l’amertume des sentiments et la dérision des situations. De même, le cynisme ne vient pas d’une froideur d’esprit, mais d’une blessure intérieure ou de désillusions blessantes pour l’amour-propre. Pour cette raison, le sarcasme est une étape entre le comique et le cynisme, le premier masquant le deuxième dans les Mémoires
This thesis offers a reading of monumental work of Chateaubriand’s Memoirs from beyond the grave about the theme of satire as a literary genre and tone as writing. The approach is very ambitious given the complexity of reading levels, from autobiography to historical epic through the social and political critique. Similarly writing an epic, poetic, satirical and comic reveals another Chateaubriand. Face the monument often considered unclassifiable, this thesis presents a clear plan with a first part which first draws up a schedule of major events in the center of the Memoirs. The introduction and release the first part of this double-sided argument between civilization and social criticism, among an array of France and a study of gender: What is satire? and evolution of the kind of Juvenal to Chateaubriand.In part two and part three, exposed objects of satire, namely politics and his image, then the social question. Information are many, because they paint a nuanced portrait of this proud and wounded aristocrat: he condemns tyranny, revolution and violence, but it enhances the freedom of peoples and especially remains lucid, despite his faith in them, on errors the last Bourbons.The fourth section addresses the research problem: satire and rhetoric. The different shades of satirical writing are analyzed: the irony to cynicism through the comic. The comedy is never free, it is often used to hide the bitterness of feeling and derision situations. Similarly, cynicism is not from a cold mind, but an inner hurt or disappointment hurtful to self-esteem. For this reason, sarcasm is a step between comedy and cynicism, the first masking the second in the Memoirs
... the monarchy itself appears as a corpse, quite possibly the already missing corpse that haunted the many empty tombs he saw everywhere. ... ?En outre, je suis mort? could be said to convey ...Chateaubriand?s somber assessment of his political commitment: ?en Ultra, je suis mort? (?As an ultra royalist, I am dead?).
On 17 May, "in the year of grace 1793," the acclaimed memoirist Chateaubriand arrived at Southhampton from Jersey. The next day British authorities handed him a "way-bill," a legal document drawn up ...under the Alien Bill, which permitted the refugee of the French Revolution to go to London. It described the man as follows: "François de Chateaubriand, French officer in the emigrant army, five feet four inches high, thin shape, brown hair and whiskers."(1) This is one of the few portraits Chateaubriand leaves of himself. Five feet four inches, thin, whiskers -- we see him, perhaps a bit short but nevertheless fixed in the mind's eye. Yet this summation, which Chateaubriand laconically adds "ran in English," is scarcely recognizable. From Southhampton, he remembered traveling in virtual obscurity, in the company of errant sailors; in London, he took a garret room "at the end of a little street off the Tottenham Court Road." "Poor, sick and unknown," Chateaubriand was undistinguished as he entered that "wealthy and famous city." Recollecting his impoverished condition thirty years later, when he returned to London as French ambassador, he found his present, much-celebrated self completely estranged from its past counterpart. Succession to fame and fortune was "incongruous"; his brothers in emigration were long scattered, alone, unhappy or dead; even the old cemetery that had lain beyond his dormer-window had disappeared beneath a newly laid-out factory terrain.(2) Chateaubriand's Memoirs acknowledged the extent to which the links of continuity had been broken; five feet four inches, thin, whiskers -- the "way-bill" can get Chateaubriand from Southhampton to London, but not from 1793 to 1822. The disruption to memory-work is even more serious than simply a sense of alienation from a remembered past. The melancholic sense of loss, which is the foundation of so much of Chateaubriand's thought, is itself vulnerable to decay since this or that ruin, this or that memory, is itself in a state of continuous ruin. "On a beautiful evening of the month of July last" -- Chateaubriand wrote from Rome, ten years later (1803) -- "I visited the Coliseum." At that time, the effect of the setting sun, the barking of dogs, the striking of a clock had generated a series of stark images and illuminating ironies, but these could not be summoned up the following January when he returned and saw before him a mere "pile of dreary and misshapen ruins." Thus, the work of meditating over "the wreck of empires" is impaired by the fact that the meditator himself is a wreck, with "his lukewarm hope, his wavering faith, his limited charity, his imperfect sentiments, his insufficient thoughts, his broken heart." For Chateaubriand, memory is a slight impression that crumbles at the touch into "dust and ashes."(5) It is so feeble, in addition, that the "unforgettable" ends up crushing the "not-yet-forgotten." After seeing the spectacle at Niagara Falls, for example, he realized with horror that he would never again experience either the memory of earlier waterfalls or encounter later waterfalls except in terms set at Niagara. "My memory constantly counterposes voyages with voyages, mountains with mountains, rivers with rivers," he explained. "My life destroys itself."(6) This is so because past memories govern present experiences and later encounters erase previous recollections. Chateaubriand anticipated Walter Benjamin, who remarked that memory was not the sure "instrument for exploring the past," but was the "theater" of the past, a ceaseless exchange of scenes and characters.(7) In this sense, souvenirs call forth the instability of representation as forcefully as they recall the otherness of the past.(8)
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