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Justine: a Sadian Transformation of the French Literary Fairy Tale Ivy J

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Justine: a Sadian Transformation of the French Literary Fairy Tale Ivy J Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Justine: A Sadian Transformation of the French Literary Fairy Tale Ivy J. Dyckman Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES JUSTINE: A SADIAN TRANSFORMATION OF THE FRENCH LITERARY FAIRY TALE By IVY J. DYCKMAN A Dissertation submitted to the Department of Modern Languages and Linguistics in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2007 Copyright © 2007 Ivy J. Dyckman All Rights Reserved The members of the Committee approve the dissertation of Ivy J. Dyckman defended on March 1, 2007. __________________________________ William Cloonan Professor Directing Dissertation __________________________________ Stanley E. Gontarski Outside Committee Member __________________________________ Aimée M.C. Boutin Committee Member __________________________________ Deborah J. Hasson Committee Member __________________________________ Lori J. Walters Committee Member Approved: _____________________________________________________________ William Cloonan, Chair, Department of Modern Languages and Linguistics _____________________________________________________________ Joseph Travis, Dean, College of Arts and Sciences The Office of Graduate Studies has verified and approved the above named committee members. ii To Martin, The Greatest Dictionary of All iii ACKNOWLEDGMENTS I wish to thank Florida State University's Winthrop-King Institute for Contemporary French and Francophone Studies, which made possible a six-week summer session of research in Paris, the Congress of Graduate Students for a grant in support of that research, and the French Division of the Florida State University Department of Modern Languages and Linguistics for the opportunity to serve as a lectrice at the Sorbonne during the academic year 2002-2003. I owe special thanks to my adviser Dr. William Cloonan for his diligent advice and emphasis on perfection and to the members of my committee--Dr. Stanley E. Gontarski, Dr. Aimée M.C. Boutin, Dr. Deborah J. Hasson, and Dr. Lori J. Walters--for agreeing to serve. My experience as a research assistant for Drs. Boutin and Walters helped me with my own scholarship. Four professors at other institutions--Gaëton Brulotte, Philippe Roger, Ronald Schechter, and Catherine Velay-Vallantin--as well as researcher Maryse Delisle generously contributed their knowledge, advice, and time. Lastly, I want to express my heartfelt appreciation to family and friends for their persistent encouragement and hand-holding. iv TABLE OF CONTENTS Abstract vi INTRODUCTION 1 1. «L'AUTEUR DE JUSTINE» 8 2. À QUOI SERVENT LES CONTES DE FÉES? 25 3. «L'INFORTUNÉE JUSTINE» 46 4. «ON NE TE DEMANDE POINT D'ÊTRE VRAI, MAIS SEULEMENT D'ÊTRE VRAISEMBLABLE.» 70 5. «JAMAIS, ENFIN, JE LE RÉPÈTE, JAMAIS JE NE PEINDRAI LE CRIME QUE SOUS LES COULEURS DE L'ENFER. JE VEUX QU'ON LE VOIE À NU, QU'ON LE CRAIGNE, QU'ON LE DÉTESTE, ET JE NE CONNAIS POINT D'AUTRE FAÇON, POUR EN ARRIVER LÀ, QUE DE LE MONTRER AVEC TOUTE L'HORRREUR QUI LE CARACTÉRISE.» 94 CONCLUSION 114 NOTES 122 SELECTED BIBLIOGRAPHY 130 BIOGRAPHICAL SKETCH 151 v ABSTRACT Although various writers have made fleeting references to fairy-tale aspects found in the Marquis de Sade's libertine texts, no one has placed him squarely in the fairy-tale tradition. This thesis argues that Sade's Justine, his maiden libertine publication that appeared during the waning years of the French literary fairy-tale vogue (1690-1789), is in fact a tragic fairy tale. Using conventional motifs and narrative forms associated with the fairy tale, Sade transformed Justine into a tale that served to entertain and deliver a critical message of the mores and especially the institutions of his era. Sade borrowed elements from all three waves of the one- hundred year vogue to produce the darkest tale of all, which, placed in a socio-historical context, reflected the tumultuous final years of the Enlightenment. The fairy tales of the earliest writers, most of whom were women, served as models for other writers of the genre throughout the vogue. Like the conteuses (early female fairy-tale writers), Sade used the frame-tale device to communicate potentially subversive ideas. Justine resembles the Perraldian heroine in that she is physically and spiritually beautiful and survives victimization with courage and dignity. The influence of the second wave, characterized by the oriental tale, is felt in the exotic-erotic fantasy tableaux in Justine and in his designation of the heroine as the storyteller. Finally, Sade integrates satiric, parodic, and libertine features of the tales produced during the third wave. Justine is a mélange of fairy-tale elements from each wave transformed into an original work of dark extremes. Sade borrowed from past writers of the genre to create a story so provocative that it was at once banned and influential. He continued the tradition of using the fairy tale as a means of entertainment disguising social criticism. In the context of what many considered to be a frivolous literary form, he spoke about the nature of power and its association with evil. He used the fairy-tale format to portray crime and thus perpetuate evil through countless retellings. vi INTRODUCTION « . L'HISTORIEN DOIT DIRE ET NE RIEN CRÉER, TANDIS QUE LE ROMANCIER PEUT S'IL LE VEUT NE DIRE QU'IL CRÉE.» (SADE, PRÉFACE D’ISABELLE 21) Donatien Alphonse François, Marquis de Sade (1740-1814), arouses a variety of passionate reactions. His tragic, adventurous life story is as compelling as his writings are controversial. Notorious as he was, Sade owes his fame to the five libertine works written and/or published between 1785 and 1800: Les Cent Vingt Journées de Sodome, ou l’École du libertinage (1785), Justine, ou les Malheurs de la vertu (1791), La Philosophie dans le boudoir, ou les Instituteurs immoraux (1795), Histoire de Juliette, ou les Prospérités du vice (1796 ?),1 and La Nouvelle Justine, ou les Malheurs de la vertu (1800). The combination of sexual matters with the presumably inherent brutality of man has had a singular impact on intellectuals, psychoanalysts, and literary critics. On a more popular level, he attracts the curious and sensational-seeking reading public. These works are not for the faint of heart; the material is neither light nor trivial. Yet, Sade's Justine, ou les Malheurs de la vertu--or more simply Justine--exhibits elements of the fairy tale, a genre often associated with a lack of seriousness. I will argue that Sade used the conte de fées (French literary fairy tale), in vogue from 1690 to 1789, as the major structuring device in Justine to make observations about the moeurs (mores), institutions, and the philosophies identified with the Age of Enlightenment, particularly from the vantage point of its waning years. Considering that Sadian scholars have traditionally approached the marquis as an exponent of evil and sexual perversity, the association of Sade with the literary fairy tale is a distinct way of looking at him.2 Sade was surely acquainted with the French literary fairy tales of the one-hundred year vogue. Given his noble background, close family ties to men of letters (i.e., his father the count and his uncle the abbé), and formal education at the prestigious Collège Louis-le-Grand in Paris, Sade was exposed to all sorts of literature. As an adult, he was a voracious reader, even while in prison. In a catalog submitted to him by the clan of Parisian booksellers Mérigot during his incarceration at Vincennes, we find references to fairy tales from the first and second phases of the vogue (1690-1720) among the titles listed for his selection. They are: Antoine Galland's translation/adaptation of Les Mille et Une Nuits, Mme d'Aulnoy's Histoire d'Hypolite, comte de Duglas (1690 novel incorporating the trendsetting literary tale L'Île de la Félicité), Charles 1 Perrault's Histoires ou Contes du temps passé avec des moralités , and Anthony Hamilton’s Oeuvres (H-U. Seifert 279, 283, 285). Various writers have made fleeting references to fairy-tale aspects found in Sade's libertine texts. Roland Barthes evokes the isolated château in Les Cent Vingt Journées de Sodome as: . hermétiquement isolé du monde par une suite d'obstacles qui rappellent assez ceux que l'on trouve dans certains contes de fées: un hameau de charbonniers- contrebandiers (qui ne laisseront passer personne), une montagne escarpée, un précipice vertigineux qu'on ne peut franchir que sur un pont (que les libertins font détruire, une fois enfermés), un mur de dix mètres de haut, une douve profonde, une porte, que l'on fait murer, sitôt entrés, une quantité effroyable de neige enfin. (21-22) John Phillips observes that in Sade's writings, characters that exude excess " . are essentially adult fairy-tale figures . " (Sade 30). Gernande, the phlebotomist in Justine, is one such example. For Phillips, Saint-Fond and Noirceuil in Juliette are "no less human-seeming" than "the witch in Hansel and Gretel" (30). Like fairy tales, the libertine texts of Sade bring adult readers face to face with horror (i.e., the darker side) via a filter of fantasy. Jean Paulhan, who defended Pauvert's scholarly publication of Sade's complete works during the French censorship trials of 1956-1957, states that Justine should be read as a fairy tale: "Je l'ai dit, Justine se lit, on se devrait lire comme un conte de fées" (Marquis 46). However, Paulhan, like Barthes and Phillips, does not go into further analysis. In her 1990 article, "Cendrillon and the Ogre: Women in Fairy Tales and Sade," Carol de Dobay Rifelj makes the connection between the representation of women in the writings of Charles Perrault and Sade. While her argument centers on the heroine, a significant feature of the fairy tale, other essential elements are not treated in depth.
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