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Aesthetic Suicide in Avant-Garde Literature of the 1920S: Portraits of Self-Destruction by Breton, Gide, and Cocteau

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Aesthetic Suicide in Avant-Garde Literature of the 1920S: Portraits of Self-Destruction by Breton, Gide, and Cocteau Copyright by Stephanie Alexis Brynes 2020 The Dissertation Committee for Stephanie Alexis Brynes Certifies that this is the approved version of the following Dissertation: Aesthetic Suicide in Avant-Garde Literature of the 1920s: Portraits of Self-Destruction by Breton, Gide, and Cocteau Committee: Hervé Picherit, Supervisor Alexandra Wettlaufer Judith Coffin Elizabeth Richmond-Garza Aesthetic Suicide in Avant-Garde Literature of the 1920s: Portraits of Self-Destruction by Breton, Gide, and Cocteau by Stephanie Alexis Brynes Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2020 Dedication For Michael and Jane. Thank you for your loving guidance and for teaching me to uphold my principles amidst all challenges. Acknowledgements I would like to express my gratitude to my supervisor, Dr. Hervé Picherit, for his thoughtful guidance over the past six years. As a mentor, he always encouraged my fascination with the weirdest and most wonderful aspects of literature and this project would not have materialized without his support and counsel. It has been an honor to learn under a scholar whose curiosity, intellect, and enthusiasm for his field I so admire. I would also like to offer my sincere thanks to my committee members, Dr. Alexandra Wettlaufer, Dr. Judith Coffin, and Dr. Elizabeth Richmond-Garza for the many hours of invigorating questions and conversation, and for their valued feedback on this project and on many others over the years. I am grateful to Dr. Susan Grayzel for her sage advice during the developmental phases of this dissertation and to Dr. Kaitlin Shirley for her insight shared often over afternoon tea. To my parents, Nicola and Christopher, who have been a constant source of strength, confidence, comfort, and knowledge throughout this process: thank you for modeling the eagerness, work ethic, and resilience necessary to achieve your dreams. This one has been fourteen years in the making and you have accompanied me every step of the way. Finally, I could not have accomplished this goal without the unwavering love and support of my friends. A very special thank you to Lauren, Patrick, Maxence, Veronica, Nina, and the many others I am fortunate to lean on in trying times and to Vanessa, who gave me the tools to support myself. v Abstract Aesthetic Suicide in Avant-Garde Literature of the 1920s: Portraits of Self-Destruction by Breton, Gide, and Cocteau Stephanie Alexis Brynes, Ph.D. The University of Texas at Austin, 2020 Supervisor: Hervé Picherit “Aesthetic Suicide in Avant-Garde Literature of the 1920s” explores the connection between portraits of suicide and reflections on art and its production in select avant-garde works by André Breton, André Gide, and Jean Cocteau. I suggest more specifically that each author used portraits of suicide as a vehicle to articulate their artistic principles in the early twentieth century. These principles are visible, for instance, in Breton’s construction of the Vaché suicide myth from 1919 to 1924, in Gide’s novel Les Faux-Monnayeurs (1925), and in Jean Cocteau’s novel Les Enfants terribles (1929). The ambiguity that clouds the act of suicide served each author’s representation of art and its production in various ways: by modeling a form of artistic abstention from life as poetry in line with an avant-garde rejection of literary ambition; by holding a mirror to the ways in which counterfeit infiltrates the stories we tell about ourselves and the world, or by expressing the imperfect coalescence of content and form in the production of the work of art. Given the diversity of the select authors’ thematic concerns, their use of diverse forms and mediums, as well as their personal and profession disputes, this project provides a window to a shared attribute across three otherwise discordant oeuvres. In this vi comparative, thematic study, I suggest the unanticipated link between Breton, Gide, and Cocteau implies suicide’s broader association with art and its production within varying factions of the avant-garde during the 1920s. In this way, this project situates itself in the fields of modernist studies and literary suicidology through its evaluation of the suicide as an allegory for the fragmentation of the work of art. To the existing body of research on suicide in modernist literature, which primarily addresses the psychological narrative of the suicidal individual, this project contributes a reading of suicide as a vehicle for the avant-garde criticism of art in French literature from 1919 to 1929. vii Table of Contents Introduction ..........................................................................................................................1 Artistic Production and Self-Destruction in the Avant-Garde ....................................1 Defining “Aesthetic Suicide” ....................................................................................10 Portraying Suicide in a Posthumous Paris ................................................................19 Introduction to Selected Authors ..............................................................................25 André Breton and the Art of Suicide .................................................................................30 Introducing Jacques Vaché .......................................................................................30 André Breton Before Surrealism ..............................................................................36 The Art of Suicide: The Vaché Suicide Myth ..........................................................52 From la Mort d’Art to L’Art de Vivre ......................................................................78 From Murder to Suicide: Form and Counterfeit in André Gide’s Works..........................81 The Avant-Garde’s Classicist ...................................................................................81 Staging Counterfeit through Form ............................................................................91 Misreading in and of Gide’s Sotie ............................................................................99 Misreading Murder: Lafcadio’s Acte Gratuit .........................................................108 Counterfeit and Suicide in Les Faux-Monnayeurs .................................................130 The Puppet and the Puppet-Master .............................................................136 Reframing Kirilov .......................................................................................145 Boris’s Suicide: a Tragedy ......................................................................................150 Suicide as a Creative Act in Jean Cocteau’s Les Enfants terribles..................................161 Suicide in Cocteau’s Oeuvre...................................................................................161 Interpreting the Mythologie enfantine .....................................................................168 viii Prominent Symbols in Les Enfants terribles ..............................................170 Staging Nietzsche’s Aesthetic Theory ....................................................................176 Cocteau’s Characterization of the Apollonian and Dionysian ....................181 The Struggle for Dominance .......................................................................188 The Imposition of Form through Élisabeth’s “Plot” ...............................................191 Self-Destruction as the Creation of the Text ..........................................................202 Making the Textual Space: the Enceinte ....................................................204 The Imperfect Application of Form to Content ..........................................211 Conclusion .......................................................................................................................220 Works Cited .....................................................................................................................233 ix Introduction ARTISTIC PRODUCTION AND SELF-DESTRUCTION IN THE AVANT-GARDE In 1920, André Gide reflected on the post-war Parisian literary milieu, writing: “Et ce ne serait vraiment pas la peine d’avoir combattu durant cinq ans, d’avoir tant de fois supporté la mort des autres et vu remettre tout en question, pour se rasseoir ensuite devant la table à écrire et renouer le fil du vieux discours interrompu” (“Dada” 277). Gide’s remark on the necessity of a new artistic paradigm was discerning. By 1919, the literary movements that appeared revolutionary in the late nineteenth century, including Symbolism and Aestheticism, appeared unnervingly insufficient and out of touch with the pressing concerns of the twentieth century. As a result, each of the authors featured in this dissertation broke with their pre-war artistic interests during the interwar period. André Breton (1896-1966), who was twenty-two years old when the war ended, abandoned the style and vocabulary of Mallarmé’s Symbolism in search for a destructive poetic activity. Forty-nine-year-old André Gide (1869-1951) left behind the moral inquires he had staged in his treatises and novellas in order to give form to the modern novel. Meanwhile, Jean Cocteau (1889-1963), then twenty-nine years old, relinquished the poetic style and Romantic themes of nature and love he had developed under Anna de Noailles’s tutelage to represent
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