{"id":1367,"date":"2024-03-17T09:50:40","date_gmt":"2024-03-17T13:50:40","guid":{"rendered":"https:\/\/sites.smith.edu\/frn372-sp24\/maupassant-et-bel-ami-copy\/"},"modified":"2024-11-04T11:54:39","modified_gmt":"2024-11-04T16:54:39","slug":"le-roman-au-xixe-siecle","status":"publish","type":"post","link":"https:\/\/sites.smith.edu\/frn372-fa24\/le-roman-au-xixe-siecle\/","title":{"rendered":"Le roman au XIXe si\u00e8cle"},"content":{"rendered":"\n

Le roman et le d\u00e9sir comme moteur du r\u00e9cit<\/h2>\n\n\n\n
<\/div>\n\n\n\n
\n

By the nineteenth century, the p\u00edcaro<\/em>\u2019s scheming to stay alive has typically taken a more elaborated and socially defined form: it has become ambition<\/strong>. It may in fact be a defining characteristic of the modern novel (as of bourgeois society) that it takes aspiration<\/strong>, getting ahead, seriously, rather than simply as the object of satire (which was the case in much earlier, more aristocratically determined literature), and thus it makes ambition the vehicle and emblem of Eros<\/strong>, that which totalizes the world as possession and progress. Ambition provides not only a typical novelistic theme, but also a dominant dynamic of plot<\/strong>: a force that drives the protagonist forward<\/strong>, assuring that no incident or action is final or closed in itself until such a moment as the ends of ambition have been clarified, through success or else renunciation. [\u2026] The ambitious heroes of the nineteenth-century novel\u2014those of Balzac, for instance\u2014may regularly be conceived as \u201cdesiring machines<\/strong>\u201d whose presence in the text creates and sustains narrative movement through the forward march of desire, projecting the self onto the world through scenarios of desire imagined and then acted upon<\/strong>. <\/p>\nPeter Brooks, Reading for the Plot (1992), pp. 39-40<\/cite><\/blockquote>\n\n\n\n

\n\n\n\n
\n

Je vais vous r\u00e9v\u00e9ler en peu de mots un grand myst\u00e8re de la vie humaine. L\u2019homme s\u2019\u00e9puise par deux actes instinctivement accomplis qui tarissent les sources de son existence. Deux verbes expriment toutes les formes que prennent ces deux causes de mort: VOULOIR<\/strong> et POUVOIR<\/strong>. <\/p>\nBalzac, La Peau de chagrin, 1831<\/a><\/cite><\/blockquote>\n\n\n\n

\n\n\n\n
\n

\u00catre jeune, avoir soif du monde, avoir faim d\u2019une femme, et voir s\u2019ouvrir pour soi deux maisons<\/strong> ! mettre le pied au faubourg Saint-Germain chez la vicomtesse de Beaus\u00e9ant, le genou dans la Chauss\u00e9e-d\u2019Antin chez la comtesse de Restaud ! plonger d\u2019un regard dans les salons de Paris en enfilade, et se croire assez joli gar\u00e7on pour y trouver aide et protection dans un c\u0153ur de femme ! se sentir assez ambitieux pour donner un superbe coup de pied \u00e0 la corde raide sur laquelle il faut marcher avec l\u2019assurance du sauteur qui ne tombera pas, et avoir trouv\u00e9 dans une charmante femme le meilleur des balanciers !<\/strong> Avec ces pens\u00e9es et devant cette femme qui se dressait sublime aupr\u00e8s d\u2019un feu de mottes, entre le Code et la mis\u00e8re, qui n\u2019aurait comme Eug\u00e8ne sond\u00e9 l\u2019avenir par une m\u00e9ditation, qui ne l\u2019aurait meubl\u00e9 de succ\u00e8s ?<\/strong> <\/p>\nBalzac, Le P\u00e8re Goriot, 1835<\/a><\/cite><\/blockquote>\n\n\n\n

\n\n\n\n
\n

Rastignac, rest\u00e9 seul, fit quelques pas vers le haut du cimeti\u00e8re, et vit Paris<\/strong> tortueusement couch\u00e9 le long des deux rives de la Seine o\u00f9 commen\u00e7aient \u00e0 briller les lumi\u00e8res. Ses yeux s\u2019attach\u00e8rent presque avidement entre le colonne de la place Vend\u00f4me et le d\u00f4me des Invalides, l\u00e0 o\u00f9 vivait ce beau monde dans lequel il avait voulu p\u00e9n\u00e9trer ! Il lan\u00e7a sur cette ruche bourdonnante un regard qui semblait par avance en pomper le miel<\/strong>, et dit ce mot grandiose : \u2014\u00c0 nous deux maintenant !<\/strong><\/p>\nBalzac, Le P\u00e8re Goriot, 1835<\/a><\/cite><\/blockquote>\n\n\n\n

\n\n\n\n

Litt\u00e9rature, scandale, moralit\u00e9<\/h2>\n\n\n\n

L’exemple de Madame Bovary<\/em> de Flaubert (1857) :<\/h3>\n\n\n\n
\n

La noirceur de l\u2019intrigue, l\u2019immoralit\u00e9 des personnages, mais aussi la neutralit\u00e9 narrative<\/strong> refusant toute norme et toute v\u00e9rit\u00e9 d\u00e9finitive, choquent les lecteurs et la censure. Flaubert, ainsi que le g\u00e9rant de la revue et son imprimeur, sont jug\u00e9s pour \u00ab outrage \u00e0 la morale publique et religieuse et aux bonnes m\u0153urs \u00bb. Le procureur Ernest Pinard lui reproche notamment le \u00ab r\u00e9alisme vulgaire et souvent choquant de la peinture des caract\u00e8res \u00bb, ses \u00ab tableaux lascifs \u00bb et ses \u00ab images voluptueuses m\u00eal\u00e9es aux choses sacr\u00e9es \u00bb.<\/p>\nChristine Genin, BnF Essentiels, \u00abMadame Bovary\u00bb<\/a><\/cite><\/blockquote>\n","protected":false},"excerpt":{"rendered":"

Le roman et le d\u00e9sir comme moteur du r\u00e9cit By the nineteenth century, the p\u00edcaro\u2019s scheming to stay alive has typically taken a more elaborated and socially defined form: it has become ambition. It may in fact be a defining characteristic of the modern novel (as of bourgeois society) that it takes aspiration, getting ahead,… Continue reading Le roman au XIXe si\u00e8cle<\/span> →<\/span><\/a><\/p>\n","protected":false},"author":4992,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5,6,10],"tags":[],"class_list":["post-1367","post","type-post","status-publish","format-standard","hentry","category-ressources","category-supplements","category-unite3"],"_links":{"self":[{"href":"https:\/\/sites.smith.edu\/frn372-fa24\/wp-json\/wp\/v2\/posts\/1367","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.smith.edu\/frn372-fa24\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sites.smith.edu\/frn372-fa24\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sites.smith.edu\/frn372-fa24\/wp-json\/wp\/v2\/users\/4992"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.smith.edu\/frn372-fa24\/wp-json\/wp\/v2\/comments?post=1367"}],"version-history":[{"count":4,"href":"https:\/\/sites.smith.edu\/frn372-fa24\/wp-json\/wp\/v2\/posts\/1367\/revisions"}],"predecessor-version":[{"id":3511,"href":"https:\/\/sites.smith.edu\/frn372-fa24\/wp-json\/wp\/v2\/posts\/1367\/revisions\/3511"}],"wp:attachment":[{"href":"https:\/\/sites.smith.edu\/frn372-fa24\/wp-json\/wp\/v2\/media?parent=1367"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.smith.edu\/frn372-fa24\/wp-json\/wp\/v2\/categories?post=1367"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.smith.edu\/frn372-fa24\/wp-json\/wp\/v2\/tags?post=1367"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}