Pub Date : 2012-07-01DOI: 10.1179/0265106812Z.0000000004
Michelle Miller
Abstract This article offers a new reading of La Princesse de Clèves by refracting it through Lafayette’s earlier Histoire d’Henriette d’Angleterre and that work’s subtext of jilted friendship and offset social perspective. Lafayette’s experience of having a prestigious younger friend, Princess Henriette, commission a memoir of her life, only to drop the project partway through, pushed Lafayette to recognize how much she had already discerned about the princess even without the latter’s insider information. Drawing on trenchant observations culled from the sidelines of the court, Lafayette developed narrative techniques that valorized what she had observed from afar and from below. Importantly, Lafayette expanded these techniques in La Princesse de Clèves, creating a memorialist narrator and perspicacious characters whose powers of observation and whose ideas about manners resemble her own in the memoir. Though the novel’s narrator has often been described as omniscient, the earlier memoir reveals that Lafayette understands such discernment as deeply rooted in the social. Though painfully aware that she was not the kind of flashy, younger friend Henriette truly favored, Lafayette highlights the value of her years and the solidity of her manners, rooted as they are in ‘la civilité des conditions ordinaires’. In both texts, Lafayette shows readers that at the crossroads of the court, every observer and point of view deserves notice. This reading helps us understand La Princesse de Clèves as less elitist than many previous readers have claimed. It also highlights the larger role of unequal friendship in prompting early modern conversations about manners and bringing prescriptions about them into writing.
本文通过拉斐特早期的《天使亨利埃特的历史》，以及作品中被抛弃的友谊和被抵消的社会视角，对《克莱蒂芙公主》进行了折射，提供了一种新的解读。拉法耶特有一个很有名望的年轻朋友亨利埃特公主，她委托她写一本回忆录，结果中途放弃了这个项目，这让拉法耶特意识到，即使没有亨利埃特的内部信息，她也已经了解了公主的很多事情。拉斐特在法庭旁听的敏锐观察中，发展出了一种叙事技巧，使她从远处和下面观察到的东西变得更有价值。重要的是，拉法耶特在《公主》中扩展了这些技巧，创造了一个追忆式的叙述者和敏锐的人物，他们的观察力和对礼仪的看法与她在回忆录中的观点相似。虽然小说的叙述者经常被描述为无所不知，但早期的回忆录显示，拉法耶特理解这种洞察力深深植根于社会。虽然拉斐特痛苦地意识到她不是亨利埃特真正喜欢的那种浮夸的年轻朋友，但她强调了她的年龄和她的举止的价值，因为他们植根于“la civilit des conditions ordinaires”。在这两篇文章中，拉斐特都向读者表明，在法院的十字路口，每一个观察者和观点都值得注意。这篇阅读有助于我们理解《公主》并不像以前许多读者所说的那样是精英主义。它还强调了不平等的友谊在促进早期现代关于礼仪的对话和将有关礼仪的处方写入文字中的更大作用。
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Pub Date : 2012-07-01DOI: 10.1179/0265106812Z.0000000005
Laura J. Burch
Abstract This paper focuses on the last of five frontispieces from Madeleine de Scudéry’s ten-volume set of works known collectively as the Conversations (1680–1692). At first glance, these frontispieces appear to simply flatter the royal patrons to whom the works are dedicated. However, closer attention reveals that the ‘horizon of expectations’ set by the last image prepares readers to enter in to a new kind of cultural space, largely defined by a (necessarily oblique) challenge to sovereign forms of literary production and consumption. I argue that the object of the final volumes of the Conversations is twofold: to persuade the royal reader of his desire for self-renewal, and to convince him that the singular space of that self-renewal lies within the pages of the book itself. Occurring at the intersection of the verbal and the visual, the final frontispiece figures Louis XIV as an integral part of the book. He is both royal dedicatee, and the ideal, exemplary interlocutor in the type of conversations the volumes propose.
摘要本文主要关注Madeleine de scudsamry的十卷本作品集《对话》(1680-1692)中的五篇扉页中的最后一篇。乍一看，这些扉页似乎只是为了讨好这些作品所献给的皇室赞助人。然而，仔细观察就会发现，最后一幅图像所设定的“期望视野”让读者进入了一种新的文化空间，这种文化空间在很大程度上是由对文学生产和消费的主权形式的挑战(必然是倾斜的)所定义的。我认为，《对话录》最后几卷的目的有两个:一是说服王室读者相信自我更新的愿望，二是让他相信，自我更新的独特空间就在这本书的书页中。发生在口头和视觉的交集，最后的扉页人物路易十四作为书的一个组成部分。他既是皇室的献礼者，也是书中所建议的那种理想的、模范的对话者。
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Pub Date : 2012-07-01DOI: 10.1179/0265106812Z.0000000002
J. Lyons
Abstract Using the chapter ‘De l’amitié’ from Montaigne’s Essais as a guide to the qualities of friendship, this article compares, on one hand, the qualities of seventeenth-century poems of direct address in which the poet assumes a position of friendship with respect to the person addressed to the qualities, on the other hand, of poems claiming love as the basis of the relationship between speaker and explicit reader. Though a category ‘poetry of friendship’ is not so widely accepted as ‘love poems’, this brief note suggests that such a type of poem does exist and that it is dominated by themes of consolation and admonition.
本文利用蒙田《散文集》中的" De l ' amiti "一章作为友谊品质的指南，一方面比较了17世纪直接称呼的诗歌的品质，在这些诗歌中，诗人对称呼这些品质的人采取了一种友谊的立场，另一方面，将爱情作为说话者和明确读者之间关系的基础。虽然“友谊诗”这一类别不像“爱情诗”那样被广泛接受，但这篇简短的笔记表明，这种类型的诗确实存在，而且以安慰和告诫为主题。
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Pub Date : 2012-07-01DOI: 10.1179/0265106812Z.0000000006
E. Forman
Abstract Analyses of the roles of Pylade, Antiochus and Théramène suggest that Racine, alongside his exploration of erotic love, has insight into the workings of friendship in the face of impending catastrophe. Friends are asked to lend support to the protagonists of tragedy, where their more helpful and constructive response might be to challenge the protagonists’ self-image and correct their flawed decision-making processes. All attempts which the friends make to save the protagonists from themselves, however, seem doomed to failure in the bleak Racinian universe, as he demonstrates not only the defeat of reason by passion, but the defeat of friendship by self-centred desire.
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Pub Date : 2012-07-01DOI: 10.1179/0265106812Z.0000000007
R. Parish
Abstract Although the biographical Blaise Pascal seems progressively to have shunned friendships, the two major personae which he adopts in the course of his writing are not only more accepting of the relationship, but indeed depend significantly on it both as a structuring device and as a source of exemplary material for their persuasive strategies. The Lettres provinciales are predicated on a correspondence, first between friends, and then between enemies. In the first phase of the campaign, Montalte’s exchanges with the ami provincial and dialogues with the ami Janséniste initiate a fictive device which was to become a landmark in polemical writing, even if friends in the remaining letters are both more restricted and more consistent in their functions. Turning to the Pensées, we find that, although the term ‘ami’ occurs relatively rarely, this infrequency is countered by the fact that it is found in three of the most centrally important fragments: S 39, an organizational fragment, devoted to an epistolary friend; S 681, which invites the reader’s evaluation of a putative non-friend, who serves as one of Pascal’s most striking counter-examples; and the second exemplary friend, who appears in the wager argument (S 680), showing how certain of the less irretrievable values of the unbeliever are espoused in an active campaign of persuasion. In these ways the strategic efficacy of friendship remains indispensable as one of the most convincing of Pascal’s arts de persuader.
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Pub Date : 2012-07-01DOI: 10.1179/0265106812Z.0000000001
C. Probes
Abstract How might French emblems of the Grand Siècle contribute to our understanding of the concept of amitié? In memory of Amy Wygant and in recognition of her distinguished career at the University of Glasgow, the present study focuses on friends and friendship in French emblems featured in the rich collection found on the Glasgow University Emblem Website. Just as early modern emblems moved between media, so this article will move between studies of emblems and reflections on our dear friend Amy.
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Pub Date : 2011-12-01DOI: 10.1179/175226911X13166031973916
Judith Sribnai
Abstract Si Dassoucy propose, dans les Avantures, une réflexion sur l'usage et la pratique des plaisirs, il se plaint également des difficultés à partager ces plaisirs. Les obligations et les conventions sociales contraignent le corps et l'esprit et faussent l'expérience de la jouissance. À côté de ces espaces normés et hiérarchisés, le cercle d'amis ne parvient pas non plus à offrir une retraite où règne l'égalité, où la reconnaissance ne dépend pas d'une soumission au maître. Les amis, comme les grands et les mécènes, menacent le contentement du sujet. Dassoucy n'imagine donc pas de communauté de compagnons et de lecteurs favorable ou capable de lui donner la légitimité dont il a besoin. Ce manque, en plus du retard de la publication du récit, explique peut-être que les Avantures n'ont pas trouvé leur public: Dassoucy lui-même ne lui a pas donné de visage, se figurant comme un auteur incompris et un jouisseur solitaire.
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Pub Date : 2011-12-01DOI: 10.1179/175226911X13166031973835
M. Lafouge
Abstract L'article se propose d'analyser l'usage et la portée des paradigmes animal et tératologique dans la réflexion sur les genres au XVIIe siècle. Une telle analogie est, semble-t-il, consubstantielle à la poétique, puisqu'on la trouve déjà chez Aristote, et plus tard chez Horace, qui bannit du champ artistique toute forme de monstruosité. Mais elle prend à l'âge dit 'classique' — âge des classifications selon Michel Foucault — une résonance particulière, puisque deux modèles entrent alors en concurrence. Si le bestiaire que propose par exemple Boileau dans son Art poétique relève manifestement de la conception renaissante des genres, qui prend modèle sur la pratique de la collection (ou de l'herbier) et rejette, avec Horace, les espèces monstrueuses, un autre type de catégorisation plus moderne se fait jour qui, de Guarini à Perrault en passant par Chapelain, obéit à une logique de l'arborescence inspirée d'Aristote et visant à «naturaliser» les nouveaux genres. Cette méthode fondée sur le principe de la combinatoire et de l'hybridation ne va pas cependant jusqu'à légitimer la catégorie du monstrueux comme tel, un pas qui ne sera franchi — timidement — qu'à la toute fin du XVIIe siècle.
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