I. a Comment Made on 31 August 1931, Quoted in Le Journal De Robert Levesque, in BAAG, XI, No
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Notes I. A comment made on 31 August 1931, quoted in Le Journal de Robert Levesque, in BAAG, XI, no. 59, July 1983, p. 337. 2. Michel Raimond, La Crise du Roman, Des lendemains du Naturalisme aux annees vingt (Paris: Corti, 1966), pp. 9-84. 3. Quoted in A. Breton, Manifestes du Surrialisme (Paris: Gallimarde, Collection Idees), p. 15; cf. Gide,j/, 1068;}3, 181: August 1931. 4. Letter to Jean Schlumberger, I May 1935, in Gide, Litterature Engagee (Paris: Gallimard, 1950), p. 79. 5. Alain Goulet studies his earliest verse in 'Les premiers vers d'Andre Gide (1888-1891)', Cahiers Andre Gide, I (Paris: Gallimard, 1969), pp. 123- 49, and shows that by 1892 he had already decided that prose was his forte. 6. Gide-Valery, Correspondance (Paris: Gallimard, 1955), p. 46. 7. See sections of this diary reproduced in the edition by Claude Martin, Les Cahiers et les Poesies d'Andri Walter (Paris: Gallimard, Collection Poesie, 1986), pp. 181-218. 8. See Anny Wynchank, 'Metamorphoses dans Les Cahiers d'Andri Walter. Essai de retablissement de Ia chronologie dans Les Cahiers d'Andri Walter', BAAG, no. 63, July 1984, pp. 361-73; Pierre Lachasse, 'L'ordonnance symbolique des Cahiers d'Andri Walter', BAAG, no. 65,January 1985, pp. 23- 38. 9. 126, 127, 93; 106, 107, 79. The English translation fails to convey Walter's efforts in this direction, translating 'l'orthographie' (93) -itself a wilful distortion of l'orthographe, 'spelling' - by 'diction' (79), and blurring matters further on pp. 106-7. Walter proposes to replace continuellement by continument, and douloureusement by douleureusement, for instance, the better to convey the sensation he is seeking to circumscribe. 10. Compare with the theory behind the works ofMoreas and Huysmans, first-generation symbolists working in the previous decade: Ralph Freedman, The Lyrical Novel (Princeton, New Jersey: Princeton University Press, 1963), pp. 34-8; and Karl D. Uitti, The Concept of Self in the Symbolist Novel (The Hague: Mouton and Co., 1961). II. A. Naville, Bibliographie des icrits d'Andre Gide (Paris: Guy Le Prat, 1949), p. 202. 12. For a detailed study of this process, see Vinio Rossi, Andre Gide. The Evolution of an Aesthetic (New Brunswick, NJ: Rutgers University Press, 1967). 183 184 Andre Gide 13. Andre Gide qui etes-vous?, Entretiens Gide-Amrouche, presentation by Eric Marty (Paris: La Manufacture, 1987), p. 160. Gide published what is in effect a manifesto of his theory concerning the correspondence between landscapes and events, for the re-edition of Le Vcryage d'Urien in 1896; see RRS, pp. 1464-5. 14. Jean Delay, Lajeunesse d'Andri Gide (Paris: Gallimard, 2 vols, 1956- 7), vol. 2, pp. 245-6; The Youth of Andre Gide, abridged and translated by June Guicharnaud (Chicago and London: University ofChicago Press, one volume, 1963), pp. 321-2. 15. Si le Grain ne Meurt, in}II, 535; 234. 16. Delay, vol. 2, 666-8; 487. Italics in original. The English version does not give the full text of this entry in the unpublished diary. 17. }1, 716;}2, 286. See alsojl/, 221-2;}4, 198. 18. See Joseph Frank, 'Spatial Form in Modern Literature', in The Widening Gyre. Crisis and Mastery in Modem Literature (New Brunswick, NJ: Rutgers University Press, 1963), pp. 3-62. 19. Cf. Valery, 'Roman et poesie', in Variete, Oeuvres, I (Paris: Bibliotheque de Ia Pleiade, 1957), pp. 770-2; E. M. Forster: 'Yes- oh dear yes- the novel tells a story', Aspects of the Novel (Harmondsworth: Penguin, 1974), pp. 33-4; D. H. Walker, 'Subversion of narrative in the work of Andre Gide and John Fowles', in Comparative Criticism, ed. E. Schaffer, vol. 2 (Cambridge: Cambridge University Press, 1980), pp. 187-212. 20. }1, 751; }2, 319. Cf. }1, 788, 795, 1070; }2, 353-4, 359; }3, 183. The correspondences abound in references to these readings, as do Mme van Rysselberghe's Les Cahiers de la Petite Dame. 21. Gide makes the same point in a letter to Roger Martin du Gard, l February 1931, Correspondance (Paris: Gallimard, 2 vols., 1968), vol. l, p. 442. 22. See Susan Suleiman and lnge Crosman, eds, The Reader in the Text (Princeton: Princeton University Press, 1980); Elizabeth Freund, The Return of the Reader (London: Methuen, New Accents, 1987); Gerald Prince, Narratology. The Form and Functioning of Narrative (Berlin, New York, Amster dam: Mouton, 1982), pp. 16-26. 23. Manuscript note dated 18 August 1898, quoted in Claude Martin, La Maturite d'Andre Gide. De 'Paludes' a 'L'lmmoraliste' (189~1902) (Paris: Klincksieck, 1977), pp. 302-3. 24. Pritextes (Paris: Mercure de France, 1963), pp. 156-7; Pretexts, pp. 50- I. 25. See Auguste Angles, Andre Gide et Le Premier Groupe de 'La Nouvelle Revue Franr;aise', I. La formation du groupe et les annees d'apprentissage (1890- 1910) (Paris: Gallimard, 1978). 26. I am running together here a number of categories which narratolo gists choose to distinguish from each other as analytical approaches dictate. For discussions of these distinctions seeS. Suleiman, 'Introduction: varieties of audience-oriented criticism', in The Reader in the Text, op. cit., pp. 12-14; S. Rimmon-Kenan, Narrative Fiction: Contemporary Poetics (London: Methuen, New Accents, 1983), pp. 86-9, 103-5; J. M. Adam, Le Texte narratif (Paris: Nathan, 1985), pp. 173-7. Notes 185 27. On narrative as a form of contract, see Roland Barthes, SIZ (Paris: Seuil, Collection Points, 1970), pp. 95--6; C. Prendergast, The Order of Mimesis (Cambridge: Cambridge University Press, 1986), pp. 3~1, 83-7. On narrative as a transaction, see Peter Brooks, Reading for the Plot (Oxford: Clarendon Press, 1984), chapter 8. Brooks's psychoanalytical model, taking desire as the chief motor of the narrative transaction, seems particularly appropriate to Gide's texts, as is evident in the case of La Tentative Amoureuse. See below, the discussion of Les Nourritures Terrestres, and chapter II, the analysis of L'Immoraliste. 28. See R. Freedman, op. cit., pp. 137-43; D. Walker, 'The Dual Composition of Les Nourritures Terrestres: Au tour du 'Recit de Menalque', French Studies, XXIX (1975), pp. 421-33; E. Marty, 'Mythologie d'Andre Gide', in Andre Gide, qui etes-vous?, op. cit., pp. 69-70. 29. For a more detailed discussion of this aspect, see my Gide: 'Les Nourritures terrestres' and 'La Symphonic pastorale' (London: Grant and Cutler, 1990), ch. 2. 30. Preface to the 1930 re-edition of Les Cahiers d'Andre Walter, op. cit., p. 31. 31. Si le Grain ne Meurt, in}J/, 506-7; 199. 32. See Roland Barthes, 'The Structural Analysis ofNarratives', in Image- Music-Text (Glasgow: Fontana, 1977), pp. 79-124. 33. Rossi, op. cit., pp. 127-30. 34. Preface toLe Roi Candaule, OC III, 295. 35. See Rossi, op. cit., pp. 144-61. 36. Cf. G. W. Ireland, Andre Gide. A Study of his Creative Writings (Oxford: Clarendon Press, 1970), pp. 254-7. 37. The critical literature on the mise en abyme is immense, as it has been taken up since Gide by very many modern writers. The best summary of its implications can be found in Lucien Diillenbach, Le Recit Speculaire (Paris: Seuil, 1977). 38. See Raimond, op. cit., pp. 44-59. 39. 'L'Evolution du theatre', lecture given in 1904, in Pretextes, p. 146, note 1; Pretexts, p. 60. 40. Letter to H. Drain, 18 July 1932, quoted in Yvonne Davet, Autour des 'Nourritures terrestres' (Paris: Gallimard, 1948), p. 90. Cf. alsojoumal des Faux-Monnayeurs, p. 53; 28-9. 41. Letter to Roger Martin du Gard, 27 March 1931, Correspondance, vol. 1, p. 471. 42. Pretextes, p. 168; Pretexts, p. 100. 43. 10 May 1894, quoted in Delay, op. cit., vol. II, p. 319; 350. 44. Cf. Journal des Faux-Monnayeurs, p. 103; 61: 'Opinions do not exist outside of individuals and interest the novelist only in relation to those who hold them.... These opinions they profess and which they believe freely accepted, or chosen, or even invented, are as predetermined and ordained as the colour of their hair or the odour of their breath.' 45. Letter to H. Drain, 18July 1932, in Davet, op. cit., p. 90. 46. Letter to Roger Martin du Gard, 29 December 1925, Correspondance, vol. 1, p. 280; the same sentiment is expressed with a slightly different wording injoumal des Faux-Monnayeurs, p. 73; 42. 186 Andre Gide 47. Cf. Genette, Figures III (Paris: Seuil, 1972), pp. 71-2; Mieke Bal, Narratology, translated by Christine van Boheemen (Toronto, London: University ofToronto Press, 1985), pp. 11-13. 48. journal des Faux-Monnayeurs, p. 28; 13. Italics in original. 49. 'Feuillets', OC XIII, pp. 439-40. Italics in original. 50. See Elizabeth Wright, Psychoana!Jtic Criticism (London: Methuen, 1984), pp. 9-17. 51. See Peter Brooks, Reading for the Plot, pp. 269-83; Jonathan Culler, The Pursuit of Signs (London: Routledge and Kegan Paul, 1981), chapter 9, pp. I 78--86. 52. This is the view of A. Oliver, Michel, job, Pierre, Paul: intertextualite de la lecture dans 'L'Immoraliste' (Paris: Archives des Lettres modernes, Archives Andre Gide no. 4, 1979), pp. 55-6. 53. F.J ameson, The Prison-House ofLanguage (Princeton: Princeton U niver sity Press, 1972). Jameson offers an interesting Derridean discussion of Michel's use of the palimpsest image, pointing out that he is caught up willy-nilly in the endless dif.ferance that writing inaugurates, and that he pays the penalty for 'an allegiance to the myth of some absolute and original presence' (pp. 176--8). 54. Roland Barthes, Le Degri Zero de l'Ecriture, suivi de Nouveaux Essais Critiques (Paris: Seuil, Collection Points, 1972), pp. 25-7; Writing Degree Zero and Elements of Semiology, tr.