Entre diatribe et allégorisme satirique: l’affaire Dreyfus dans “Le Jardin des supplices” et “Le Journal d’une femme de chambre”
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2018
- 20.500.13089/kxf6
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info:eu-repo/semantics/reference/issn/2421-5856
Ce document est lié à :
info:eu-repo/semantics/reference/issn/0039-2944
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https://hdl.handle.net/20.500.13089/l4kh
Ce document est lié à :
https://doi.org/10.4000/studifrancesi.12528
info:eu-repo/semantics/openAccess , https://creativecommons.org/licenses/by-nc-nd/4.0/
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Human emotions Passions FeelingsCiter ce document
Pierre Glaudes, « Entre diatribe et allégorisme satirique: l’affaire Dreyfus dans “Le Jardin des supplices” et “Le Journal d’une femme de chambre” », Studi Francesi
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Résumé
Written in the sizzling atmosphere of the Dreyfus Affair, Le Jardin des supplices and Le Journal d’une femme de chambre mark a step toward satire in Mirbeau’s novels. Diatribes take more and more space, and the traditional themes of initiation and voyage are woven into allegories on the dangers of anti-Dreyfusardism: the aggravation of violence and the acceptance of cynicism. Yet Mirbeau’s hate for anti-Semites and the sarcasms he piles upon them can seem, at a certain level, turned against himself, who was ferociously anti-Semitic at the time he published the weekly «Les Grimaces». His novels are tinged with cruel irony, for they betray his feelings of guilt; the odious anti-Dreyfusard characters who serve as foil to his ideals of justice and freedom also represent his past self – a past self who still lurks inside him, threatening to take over. The present Mirbeau is a just man, but one very aware of his flaws; he knows we all nurse feelings of hate for who is not like us, and that those feelings are harder to eradicate than we like to believe.
