OperaV1, PascalFrancis, Checkpoint, bibRecord, 000220

Tendresse et pudeur chez Stendhal

Identifieur interne : 000220 ( PascalFrancis/Checkpoint ); précédent : 000219; suivant : 000221

Tendresse et pudeur chez Stendhal

Auteurs : Patrizia Lombardo [Suisse]

Source :

Philosophiques [ 1492-1391 ] ; 2008.

RBID : Francis:10-0222412

Descripteurs français

Pascal (Inist)
- France, Siècle 19, Roman, Stendhal, Ironie, Emotion, Esthétique, Style, Rire, Hobbes (T.).
Wicri :
- geographic : France.

English descriptors

KwdEn :
- Aesthetics, Century 19, Emotion, France, Hobbes (T.), Irony, Laughter, Novel, Stendhal, Style.

Abstract

This article discusses irony as an aesthetic, therefore affective, value, as exemplified in Stendhal's irony. Affective phenomena vary in nature and intensity, and one same emotion can be coloured differently (adjectives indicate its nuances, as, for example, in sweet nostalgia or desperate nostalgia etc.). Irony involves a very complex gamut of aspects and degrees: it can be satiric, comic, tragic, nihilistic, paradoxical etc. I first consider what kinds of irony Stendhal avoided. He discarded both the tragic satire of Chateaubriand and Romantic nihilistic irony. Then I look at Stendhal's theory of laughter, as hinted at in several of his writings where he reflects upon various forms of comedy while developing his own ideal of comedy as it will appear in his major novels (see Journal littéraire, Histoire de la peinture en Italie, Racine et Shakespeare, and Correspondance). Dissatisfied with Hobbes' definition of laughter as involving a feeling of superiority, he considered two conditions for the comic effect: clarity and suddenness. Both become fundamental in his literary style. At the same time Stendhal was convinced of the affective superiority of the moderns over the Ancients: only the moderns, forged by Christian sensitivity, experienced tender emotions. Tenderness should color everything: the novel should aim at the ideal of opera-bouffe, where comedy is a mixture of gaiety and tenderness, while the writer masks his tenderness by using a sweet (douce) irony towards his favourite characters.

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Le document en format XML

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<front><div type="abstract" xml:lang="en">This article discusses irony as an aesthetic, therefore affective, value, as exemplified in Stendhal's irony. Affective phenomena vary in nature and intensity, and one same emotion can be coloured differently (adjectives indicate its nuances, as, for example, in  sweet nostalgia  or  desperate nostalgia  etc.). Irony involves a very complex gamut of aspects and degrees: it can be satiric, comic, tragic, nihilistic, paradoxical etc. I first consider what kinds of irony Stendhal avoided. He discarded both the tragic satire of Chateaubriand and Romantic nihilistic irony. Then I look at Stendhal's theory of laughter, as hinted at in several of his writings where he reflects upon various forms of comedy while developing his own ideal of comedy as it will appear in his major novels (see Journal littéraire, Histoire de la peinture en Italie, Racine et Shakespeare, and Correspondance). Dissatisfied with Hobbes' definition of laughter as involving a feeling of superiority, he considered two conditions for the comic effect: clarity and suddenness. Both become fundamental in his literary style. At the same time Stendhal was convinced of the affective superiority of the moderns over the Ancients: only the moderns, forged by Christian sensitivity, experienced tender emotions. Tenderness should color everything: the novel should aim at the ideal of opera-bouffe, where comedy is  a mixture of gaiety and tenderness,  while the writer masks his tenderness by using a  sweet  (douce) irony towards his favourite characters.</div>
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<fC01 i1="02" l="FRE"><s0>Cet article traite de l'ironie comme valeur esthétique, et donc affective, chez Stendhal. Les phénomènes affectifs varient en nature et en intensité, et une même émotion peut être colorée différemment (les adjectifs indiquent ses nuances, comme « douce nostalgie » ou « nostalgie désespérée »). L'ironie implique une gamme complexe d'aspects et de degrés  : elle peut être satirique, comique, tragique, nihiliste, paradoxale, etc. Je considère d'abord les types d'ironie que Stendhal a évités. Il rejetait à la fois la satire tragique de Chateaubriand et l'ironie romantique nihiliste. Je considère ensuite la théorie stendhalienne du rire, suggérée par plusieurs de ses écrits dans lesquels il réfléchit sur diverses formes de comédie tout en développant son propre idéal tel qu'il apparaîtra dans ses romans principaux (voir Journal littéraire, Histoire de la peinture en Italie, Racine et Shakespeare, et Correspondance). Tout en se référant à Hobbes et à sa définition du rire comme sentiment de supériorité, il ne semble pas tout à fait convaincu par sa théorie et insiste sur les deux conditions indispensables de l'effet comique  : la clarté et la rapidité. Ces deux éléments deviennent essentiels dans son style littéraire. Stendhal n'a pas de doute sur la supériorité affective des modernes sur les anciens  : il ne revient qu'aux modernes, formés par la sensibilité chrétienne, de ressentir des émotions tendres. La tendresse doit colorer tout, et le roman doit atteindre l'idéal de l'opéra-bouffe, où le comique est « un mélange de gaieté et de tendresse », tandis que l'écrivain masque sa propre tendresse par une douce ironie envers ses personnages préférés.</s0>
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Tendresse et pudeur chez Stendhal

Tendresse et pudeur chez Stendhal

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Descripteurs français

English descriptors

Abstract

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