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Convergences With, and Divergences From, the Goethean Paradigm in Gérard De Nerval's Translations and Adaptations of Faust

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Convergences With, and Divergences From, the Goethean Paradigm in Gérard De Nerval's Translations and Adaptations of Faust CONVERGENCES WITH, AND DIVERGENCES FROM, THE GOETHEAN PARADIGM IN GÉRARD DE NERVAL'S TRANSLATIONS AND ADAPTATIONS OF FAUST A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2016 Stephen Butler School of Arts, Languages and Cultures 2 CONTENTS Page Numbers INTRODUCTION ................................................................................................. 8 CHAPTER 1: CONTEXTUALISATION 1.1 NERVAL AND FAUST .................................................................................... 17 Introduction ............................................................................................................. 17 Nerval, Germany and German Culture .................................................................... 19 Nerval, Women and Love ........................................................................................ 22 Nerval, Religion and Spirituality ............................................................................. 23 1.2 FAUST IN FRANCE ........................................................................................... 24 THE LITERARY ARTS ......................................................................................... 24 Introduction ............................................................................................................. 24 The Faust Chapbook in France ................................................................................ 25 Translations of Goethe’s Faust ................................................................................ 27 Other Faustian Texts in France .................................................................................. 32 THE VISUAL ARTS ............................................................................................... 36 Introduction ............................................................................................................. 36 Significant Visual Fausts: Cornelius, Delacroix, Retzsch ...................................... 38 Delacroix’s Faust Lithographs ................................................................................ 40 Delacroix’s Faust Lithographs and The Devil and Doctor Faustus ........................ 42 THE MUSICAL ARTS ............................................................................................ 43 Introduction ............................................................................................................. 43 Hector Berlioz’s La Damnation de Faust ................................................................ 44 1.3 THE WIDER LITERARY CONTEXT ............................................................... 47 SHAKESPEARE ....................................................................................................... 47 Shakespeare in France .............................................................................................. 47 Shakespeare in Germany .......................................................................................... 52 German Translations of Shakespeare ....................................................................... 54 The Importance of Shakespearean Aesthetics to the Goethean Faustian Paradigm..56 Beyond the Polarisation of Racine and Shakespeare? Nerval’s Impartiality ............ 58 Conclusion ................................................................................................................ 64 DANTE .................................................................................................................... 66 Introduction ............................................................................................................. 66 French Translations of Dante .................................................................................. 67 Dante and the Visual Arts in the Early Nineteenth Century .................................... 68 The Nervalian Perception of Dante: Romantic and Faustian .................................. 68 Conclusion ................................................................................................................ 70 SIR WALTER SCOTT ............................................................................................ 72 Introduction ............................................................................................................. 72 Visual Interpretations of Scott’s Novels .................................................................. 74 Echoes of Scott in Nerval’s Writing ........................................................................ 75 Conclusion ................................................................................................................ 77 3 BYRON .................................................................................................................... 79 Introduction ............................................................................................................. 79 Nerval and Byron ...................................................................................................... 81 Goethe and Byron .................................................................................................... 85 Conclusion ................................................................................................................ 88 CHAPTER 2: A CLOSE READING OF STAPFER’S, SAINTE-AULAIRE’S, AND NERVAL’S FRENCH TRANSLATIONS OF GOETHE’S FAUST 2.1 INTRODUCTION ............................................................................................. 90 2.2 CONTEXTUALISATION OF THE FRENCH TRANSLATIONS OF GOETHE’S FAUST ...................................................................................................................... 93 The Issue of Domestication and Foreignisation in Translation ................................ 93 Contemporary Cultural Tensions: Lingering Neoclassical Aesthetic Values and Incipient Romantic Values ........................................................................................................ 100 Censorship and Self-Censorship in the French Translations of Goethe’s Faust 109 2.3 COMMUNICATION BARRIERS: THE DIFFICULTIES OF TRANSLATING GOETHE’S FAUST INTO FRENCH ....................................................................... 113 Linguistic Barriers to Translation: Inherent Difficulties in the Translation of German into French ........................................................................................................................ 113 The Transference of Metaphor and Connotation: Evidence of Nerval’s Poetic Ability in his Faust Translations ............................................................................................... 139 2.4 PERVASIVE DIVERGENCES FROM THE GOETHEAN FAUSTIAN PARADIGM IN THE FRENCH TRANSLATIONS OF FAUST .................................................. 147 The Reduction of Goethean Ideology in the French Translations of Faust ............. 147 Theatricality and Commercial Considerations in the French Translations of Faust 168 The Closeness of Nerval’s Faust Translations to Stapfer’s Earlier Translation ..... 177 The French Translators’ Treatment of Religious and Spiritual Aspects of Faust .... 181 A More Traditional Devil in France ........................................................................ 187 French Constructions of Margarete ......................................................................... 192 2.5 CONCLUSION .................................................................................................. 198 CHAPTER 3: NERVAL’S ORIGINAL FAUSTIAN DRAMAS: THE FAUST FRAGMENT, NICOLAS FLAMEL, AND L’IMAGIER DE HARLEM 3.1 NERVAL’S FAUST FRAGMENT AND NICOLAS FLAMEL: INTRODUCTION AND CONTEXTUALISATION ...................................................................................... 201 Paul Lacroix, ‘Le Bibliophile Jacob’, and his Soirées de Walter Scott à Paris (1829) ................................................................... 204 Friedrich Maximilian Klinger and his Fausts Leben, Thaten und Höllenfahrt (1791) ........................................................ 205 René-Charles Guilbert de Pixerécourt and Melodrama ........................................... 208 3.2 AN INVESTIGATION INTO THE ORIGINALITY OF NERVAL’S FAUST FRAGMENT AND NICOLAS FLAMEL ................................................... 211 The Character of the Protagonists in the Faust Fragment and Nicolas Flamel ....... 213 4 The Idealisation of the Principal Female Characters in Nerval’s Faustian Fragments..219 Nerval’s Portrayal of the Devil in the Faust Fragment and Nicolas Flamel ............ 224 ‘Auerbachs Keller’in Paris? ...................................................................................... 232 3.3 NERVAL’S FAUSTIAN DRAMAS IN THE LIGHT OF SYNCHRONIC ROMANTIC CULTURAL DEVELOPMENTS IN FRANCE ................................. 234 Nerval’s Divided Aesthetic Loyalties at the Beginning of his Literary Career……. 235 Conclusion ................................................................................................................ 244 3.4 NERVAL’S FINAL FAUSTIAN DRAMA: L’IMAGIER DE HARLEM (1851) 246 Introduction .............................................................................................................. 246 Contextualisation ...................................................................................................... 247 A Summary of L’Imagier de Harlem .......................................................................
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