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The Catholic Plays of Henry De Montherlant. Denys John Gary Louisiana State University and Agricultural & Mechanical College

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The Catholic Plays of Henry De Montherlant. Denys John Gary Louisiana State University and Agricultural & Mechanical College Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1969 The oM dern French Theatre: the Catholic Plays of Henry De Montherlant. Denys John Gary Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Gary, Denys John, "The odeM rn French Theatre: the Catholic Plays of Henry De Montherlant." (1969). LSU Historical Dissertations and Theses. 1544. https://digitalcommons.lsu.edu/gradschool_disstheses/1544 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been 69-17,108 microfilmed exactly as received GARY, Denys John, 1923- THE MODERN FRENCH THEATRE: THE CATHOLIC PLAYS OF HENRY DE MONTHER­ LANT. [Portions of Text in French], The Louisiana State University and Agricultural and Mechanical College, Ph.D., 1969 Speech-Theater University Microfilms, Inc., Ann Arbor, Michigan THE MODERN FRENCH THEATRE* THE CATHOLIC PLAYS OF HENRY DE MONTHERLANT A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the requirements for the degree of Doctor of Philosophy In The Department of Speech b y r Denys J. Gary M.A., Louisiana State University, 1955 January, 1969 ACKNOWLEDGMENTS The author wishes to acknowledge the constant help and encouragement of many friends and colleagues who have seen this work through Its beginning and completion stages. He Is particularly grateful to Dr. Claude Shaver who dlreoted the dissertation and who gave generously of his time and assistance and whose encouragement and solicitude were Important factors In the longf arduous task of com­ pleting this dissertation. The author Is also grateful to the members of his committee whose careful reading and Judicious counsel helped formulate the broad outlines of the project as well as the more detailed matters of form and composition - In addition to serving on the committee, Dr. Waldo Braden was a constant source of encouragement with his gentle prodding and constant checking on the development of the dissertation. Finally, the author wishes to thank Brother Ernest Cocagne, FSC, for his painstaking proofreading of several preliminary drafts of the text. His help Is most appre­ ciated In his careful scrutiny of the French portions of the dissertation. 11 TABLE OF CONTENTS CHAPTER PAGE I. INTRODUCTION 1 II. THE MODERN THEATRE IN FRENCH CULTURE k Modern French Culture 4 Catholicism in Modem French Culture 12 Modem French Theatre 32 III. HENRY DE MONTHERLANT AS PLAYWRIGHT 55 Bloaraphy 55 Montherlant the Playwrlp-ht 77 Montherlant's Style 100 Montherlant's Catholicism 107 IV. THE CATHOLIC PLAYS OF HENRY DE MONTHERLANT 13U La "Trilo^ie Catholique" 1U5 How Catholic is Port-Royal? 16 0 Le Maftre de Santlago 1 ^ Is le Maftre de Sant 1ago Catholic? 176 La Vllle Pont le Prince Est un Enfant 179 Is la Vllle Pont le Prince Est un Enfant Catholic? 188 V. CONCLUSION 192 BIBLIOGRAPHY 1Q8 VITA 217 ill ABSTRACT While certain French playwrights such as Anouilh, Glraudoux and Ionesco have gained popularity in America, other prominent French playwrights such as Lenormand and Montherlant remain virtually unknown. Perhaps the former group's popularity can be attributed to the pithy, trenchant nature of Its dramas, while in the case of the latter group, the psychological, poetic nature of its plays does not appeal to American tastes. American audiences by and large lean toward the theatre of action, which has no appeal to playwrights such as Lenormand and Montherlant who concern themselves primarily with the theatre of the word, the theatre of ideas. Montherlant is a prolific writer. He established himself as a novelist and poet before gaining prominence as a playwrivht. Early in his career he gave promise of becoming a champion of the Catholic intellectual movement of the 1930‘s» but his rejection of traditional Catholicism and his preoccupation with the mores of Ancient Rome abruptly severed any ties with religious and political causes. Yet, Montherlant continued to write religious plays. This dissertation is concerned with three such plays which iv Montherlant calls his "trilogle catholique"* Port-Royal. le Maftre de Santiago and la Vllle dont le Prince est un Enfant. In order to present a meaningful critical analysis of the Catholic Trilogy, the study Includes two background chapters. Chapter I, "The Modem Theatre In French Culture," describes the literary bent of the French people, the strong Influence of the Catholic Church In the social and political life of the French, and the nature of French theatre tradition. Chapter II, "Henry de Montherlant as Playwright," demonstrates the close relation­ ship between Montherlant's life and his writing,-and outlines the Influence of his special brand of Catholicism on his work, particularly on his plays. Chapter III, "The Catholic Plays of Henry de Monther­ lant," takes up each of the plays of the trilogy In an effort to determine their Catholic nature.^ The conclusion states that In spite of the pessimism, nihilism and rigorism evident in each of the plays of the trilogy, there Is ample reason to accept them as Catholic plays since they demonstrate a particular aspect of Christianity, namely, Its asceticism. All of the principal characters In the trilogy discover God as a manifestation of "le neant," a concept borrowed both from Christian and Roman philosophy, Soeur Angllique (Port-Royal) ultimately finds herself on v the brink of despair, having lost her faith In God and meni Mariana and Alvaro (Le Maftre de Santiago) give themselves up to a life of solitude and penance In an act of total renunciation, for only In this desire for nothingness can they hope to find Godi Sevrals and l'abbe de Pradts (la Vllle dont le Prince est un Enfant) find themselves shorn of all human comfort with the abbe discovering in himself the very traits he unrelentingly condemns In the youth he despises and completely mis­ understands . vl INTRODUCTION It Is curious that Henry de Montherlant, one of the most prominent French playwrights of the last three decades, remains virtually unknown in the English-speaking world. The majority of Henry de Montherlant’s plays have not been translated into English which explains in part why he is not played in England and America, but it also raises the question as to why there are so few English translations of Montherlant, The most weighty reasons center upon a cluster of circumstances which could be accepted at face value were it not that all French playwrights of Montherlant's genera­ tion labor within this same framework. The English-speaking world, and Americans in particular, find it difficult to understand and appreciate playwrights such as Montherlant whose work is serious, elevated, highly poetic, static and concerned mainly with ideas rather than with action. This is part of the cluster referred to, and when there is added to it the difficulties inherent in understanding the French mind, the French culture, then the problem is compounded. Still another circumstance militating against the popularization of Montherlant in America is his treatment 2 of religious subjects which stress the rigorous, ascetic* side of religion seen through the struggles of characters whose vision Is distorted, whose minds are warped and whose frame of reference Is conditioned by their nihilism and pessimism. Such subjects are not pretty. Yet strangely enough there Is little morbidity In Montherlant's plays, but there Is much talk. Here again is an obstacle to American audi­ ences who look for action in their theatre. The psycholog­ ical nature of Montherlant's plays forces him to concentrate on meaning and Interpretation rather than on action, thus rendering his plays static in the Classical style which he successfully attempts to imitate. Montherlant is a prolific writeri he has written countless essays, numerous poems, several novels and more than a dozen plays. Three of these plays he classifies as his "Catholic trilogy," and It is these plays with which this study Is concerned. They are Port-Royal, the story of the dispersal of the Sisters of the Jansenlst convent of Port-Royal in the seventeenth centuryi le Maftre de Santiago, the story of the declining military Order of St. Jamesi and Ijfc Vllle dont le Prince est un Enfant. the story of life in a Catholic boarding school. It was felt that in order to understand the context of the "Catholic trilogy," something should be said about Montherlant both as playwright and as Catholic. In addition it was thought that American readers would profit from orientation to the modem French theatre and to French Catholicism, neither of which can be properly understood unless there is some acquaintance with French cultural history. Therefore, in order to speak meaningfully of the Catholic trilogy, this study lays a background for Monther­ lant the Frenchman, Montherlant the Catholic and Montherlant the playwright. Chapter I considers the French culture, its artistic or literary nature, its integration with religion, or more specifically the Catholic religion, and its enduring tastes in theatre. Chapter II treats of Montherlant the playwright with sufficient biographical material to shed light on the close relationship of his life to his work. It also treats of Montherlant the writer and of his special brand of Catholicism. Chapter III delves into the Catholic trilogy with some background material on the nature of religious art included in an effort to establish standards for judging the Catholic elements in Port-Royal, le Maftre de Santiago and la Vllle dont le Prince Est un Enfant.
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