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LE DYNAMISME DU DEVENIR CHEZ ROGER MARTIN DU GARD By

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LE DYNAMISME DU DEVENIR CHEZ ROGER MARTIN DU GARD By LE DYNAMISME DU DEVENIR CHEZ ROGER MARTIN DU GARD by Ronald Oldham A Theais submitted in Partial Fulfilment of The Requirements for the Degree of Master of Arts in the Department of French The University of British Columbia April, 1947 1 AVANT-PROPOS Je voudrais. exprimer a Monsieur 0. 0. Evans,, chef du . departement,Aerangais a l.'Universite'-de la Colombie Britannique,.ma . reconnaissance et mes. remerciments sinceres pour son encouragement et pour ses conseils savants pendant la.preparation de cet essai.. R.O. 2 n Ce qui paraitra le plus vieux, c'est ce qui dJabord*.aura.,paru; leiplus,;moderne, Chaque complaisance^ chaque, affectation est la . promesse d'une ride." Andre" Gide ABSTRACT of LE DYNAMISME DU DEVENIR CHEZ ROGER MARTIN DU GARD by Ronald Oldham 1 This thesis is neither a philosophical essay nor a study of the theory of evolution. Its title, Le dyriamiame du devenir chez Roger Martin du Gard, is chosen to indicate that the concept of change, of the flow of things, has profoundly influenced the novelist of the twentieth century. He wants to be free from temporal limits and from sharply defined contours in order to express the continuity he feels in the world about him. The serial novel, or roman-fleuve, is an admirable vehicle for such an expression. The genre is skilfully used by Roger Martin du Gard in his masterpiece Les Thibault. From volume to volume the reader has the sensa• tion of continuous movement and change, the panorama is always new, as though a river is carrying him downstream. The figure of a river which flows incessantly epitomizes the roman-fleuve. In this essay the writer has attempted to trace the various concepts of time' and duration from Plato to the present day. Consideration has been given to Heraclitus, Spinoza, the cult of the eternal and the unchangeable in the Classical period, Leibniz and the theory of continuity, and finally the investigation of the question of duration as postulated by Bergson. Since life, virile and pulsating, is intrinsic in the modern novel the writer believes that Bergson's conception of dynamism has influenced contemporary literature more than is generally accepted. It is however true that the rhythm of movement is often broken. This is inevitable. The reader of James Joyce, for example, has. a telescopic view of the past and the present because Joyce handles time as an aspect of local colour. Indeed it may be local colour. And similarly in Martin du Gard there are often long intervals in duration in juxtaposition with brief moments, where the rhythm is destroyed temporarily and the effect of discontinuity is intentionally evident. The pulse of life may become weak and it may grow strong, but it never '. ceases to beat. It is just this continual and incessant change from tranquillity to disquietude that is reflected in the ambient milieu of Roger Martin du Gard. In this essay three aspects of the milieu of Les Thibault are studied. These include the family, medicine and politics. The scientific vocabulary, the sustained use of dialogue throughout whole chapters, and the many interior monologues to express the subconscious thoughts of the characters _ all these help to fix the ambience and to intensify it under the light of veracity. Not only does Martin du Gard observe, he interprets and develops with logic and clarity the phenomena of human behaviour. And this essay is concerned with the milieu of Les Thibault to show the evolution and the dynamism of the characters who frequent it. One chapter is assigned to the ethics of Roger Martin du Gard. He bears the mark of Andre* Gide's philosophy of fervour and disponibilite'. not to mention his philanthropy and idealism. The author of this essay rejects the view that this idealism is a thinly disguised form of obscurantism. Rather, he has tried to show that the philosophy of Martin du Gard is one of hope, that if one will only seek, he will be rewarded to find that life is a source of inexhaustible possibilities. It is felt that the bibliography is comprehensive in that it includes the works of Roger Martin du Gard, translations in English and German of Lea Thibault and numerous articles from Parisian reviews. Grateful acknowledgement is made to Dr. D. 0. Evans, Head of the Department of French, for reading the MS and for his valuable help in suggesting reference material. R.O. April, 1947 University of B.C. 5 Introduction Dans un recueil d'essais j?ntitule Pleins Pouvoirs, Jean Giraudoux presents une consideration qui, a nos yeux, appara£t bien convenable comme note d'introduction a cet essai et, de plus, d'une application ge'ne'rale. Giraudoux a dit que nous vivons a une epoque ou l'ecrivain n'a plus le loisir de choisir son sujet : que c'est plutot le sujet, - aujourdlfaui,, qui le choisit. Dans; cet ouvrage nous avons essaye* de traiter deux themes principaux : 1'inquietude de la dure*e dans la litterature contemporaine, surtout dans le roman-fleuve duXXe. sieele, et d'autre part quelques aspects de la peinture du milieu dans 1'oeuvre de Roger Martin du Gard, principalement les Ihibault. En meme temps il faut avouer que la beauts, la dignity et la profondeur de pens£e de cet auteur Eremite nous semblent plus, importantes et plus fructueuses que nous, ne 1'avions ' d'abord suppose, et ce n'est pas entierement par hasard que nous avons permis aux aspects philosophiques de son oeuvre de nous eloigner quelque peu du sujet lequel nous a aussi choisis. L'influence morale de Gide sur 1'oeuvre de Roger Martin du Gard est incontestable. Ainsi a-t-il ete necessaire d'introduire. dans cet-essai, plus que le .germs. embryonnaire de la-pensee: gidienne pour que 1'on. comprenne mieux la base et 1'evolution de la pensee du romanoier des Thibault. Neanmoins, il serait mal a propoa de suggerer que Martin du Gard n'est pas un individualiste. En admettant 1'influence k formative de. Gide il lui reate une since'rite' et un enthousiasme fort personnels. Dans son opposition au de"sordre de 1'esprit et dans-son deBir de vouloir tout mettre en question Martin du Gard suit la grande tradition, des ecrivains francais. Chez lui on trouve des qualite"s que le lecteur cultive' tient danB la. plus, haute estime : la moderation, la tolerance, la lucidity etquelque chose, de fort repandu dans la litteVature d'aujourd'hui 11 idealismeAucune e"tude de Roger Martin du Gard ne serait.complete sans mettre au jour la foi et 1'optimisms qu'il repose en 1'humanity. R.O. 5 CHAPITRE I LA DUREE. La question du temps, a pris. une importance de premier ordre dans la pensee philosophique et dans la litterature contemporainee. Le bruit qu'a fait la th^orie devolution de Charles Darwin dans , 1 'Origine des especes .( 1859 )» la. pensee d'Henri Bergson dans son Evolution creatrice (1907 ), et les theories relativistesd'Einstein nous ont accoutumes a l'idee. d'un temps eiastique ou malleable. II exists, neanmoins, d'aucuns qui se plaisent a croire que .le passe avec son culte du fixe, ses traditions, et.sa —staphysique est demode, qu'en effet il. faut denigrer tout ce qui vient d'un age>anterieur. Aujourd'hui. les sciences et les arts paraissent etre penetree d'un dynamisme lequel est, surtout dans la litterature contemporaine, fort repandu. Nous voyons. apparaitre, par exemple, le roman-fleuve a 1'instar des Thibault de Roger Martin du Gard. On ne peut contempler cette. oeuvre, d'un seul coup d'oeil.. L'envergure en est si grande, la dimension temporelle si etendue que les contours sont loin d'etre nets. Les poetes memes ont les yeux tournes vers ce flux universel. 6 Un d'entre- eux a ecrit : ." Je die que tout. 1'univers n'est qu'une machine a marquer le temps.".(1) II semble qu'une ancienne conception de stability ait c£de* la place a une nouvelle conception dynamique. II sera done, utile d,'examiner,.la philosophie..de I'antiquite pour euivre le mouvement jusqu'a. nos jours de l'idee de la temporalite. Platon ( 427-547 A.C. ) pose la doctrine que la realite" ( ou l'etre ) se compose d'Ide*es. Lee choses du monde, que le phllosophe appelle phenomenes, sont pour, lui .des images:, des copies infe'rieures des Ide'es ^ternelles. et immuables. Pour illustrer cette doctrine Platon invents le mythe de la caverne.(2) II represents des prisonniers dans une caverne enchain^s des leur enfance. Lorsqu'un grand-feu au-dessus, d'eux. et derriere eux projette quelques ombres sur la muraille en face, les prisonniers croient que les ombres sont des realit^s. C'est la, pour Platon, 1'image de notre connaissance du monde; sensible. La base du Platonisme est une faeon de peneer par concepts, e'est-a-dire par id^es. generales ou abstraites. Le concept.selon Platon est, aussi une verity universelle. Son concept de 1'immortalite* est inte'reesant. Chaque homme. tend, toujours.a se- perpe"tuer. autant (1) Claudel, P. Art poe'tique. p. J4. (2) Platon. R^publique. VII,.514. ( Les citations de. Platon-dans cet ouvrage sont prises de la traduction anglaise de Jowett.) 7 que possible et une fores, divine le pousse vers 1*objet--.de son amour. L'ame est quelque,.chose de superieur au corps de 1 'homme. " Quand l'ame. et le. corps marchent de compagnie, la nature ordonne a l'un d'obeir en esclave, et 1'autre de dominer et de commander.
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