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Traduire Les Voix Dans the Mill on the Floss De George Eliot

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Traduire Les Voix Dans the Mill on the Floss De George Eliot Traduire les voix dans The Mill on the Floss de George Eliot par Savoyane Henri-Lepage Département de langue et littérature françaises Université McGill, Montréal Mémoire soumis à l'Université McGill en vue de l'obtention du grade de M.A. en langue et littérature françaises Août 2004 ©Savoyane Henri -Lepage, 2004 Library and Bibliothèque et 1+1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada Your file Votre référence ISBN: 0-494-06512-5 Our file Notre référence ISBN: 0-494-06512-5 NOTICE: AVIS: The author has granted a non­ L'auteur a accordé une licence non exclusive exclusive license allowing Library permettant à la Bibliothèque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans loan, distribute and sell th es es le monde, à des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, électronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in et des droits moraux qui protège cette thèse. this thesis. Neither the thesis Ni la thèse ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent être imprimés ou autrement may be printed or otherwise reproduits sans son autorisation. reproduced without the author's permission. ln compliance with the Canadian Conformément à la loi canadienne Privacy Act some supporting sur la protection de la vie privée, forms may have been removed quelques formulaires secondaires from this thesis. ont été enlevés de cette thèse. While these forms may be included Bien que ces formulaires in the document page count, aient inclus dans la pagination, their removal does not represent il n'y aura aucun contenu manquant. any loss of content from the thesis. ••• Canada Remerciements Je remercie chaleureusement Annick Chapdelaine pour ses nombreuses relectures et ses conseils toujours judicieux. Sa générosité, sa confiance, et par-dessus tout son humanité, m'ont inspirée tout au long de mes études de premier et de deuxième cycles. Je lui dédie ce mémoire. Je tiens à remercier le Fonds québécois de la recherche sur la société et la culture pour leur soutien financier m'ayant permis de réaliser ce projet en toute tranquillité d'esprit. Mes remerciements vont également à Mahigan Lepage, mon frère et lecteur attitré, pour ses lumières, ainsi qu'à ma mère, Josée Henri, la première personne à avoir cru en moi, pour m'avoir donné la clé de son appartement où j'ai pu m'isoler pour faire mes lectures. Enfin, merci à Dominique Tasse! de m'avoir fait découvrir les romans de George Eliot et à Tom Tassel d'avoir été là, à mes côtés, à toutes les étapes de ce projet. ii Résumé The Mill on the Floss, de la romancière victorienne George Eliot, est un roman plurilinguistique au sens que donne Bakhtine à ce terme, c'est-à-dire qu'il intègre en son sein la diversité langagière de la société de laquelle il émerge. Ce roman publié en 1860, quoique traduit six fois en français, n'a jamais connu un grand succès en France. Nous étudions trois traductions dans ce mémoire: la première est signée François D'Albert-Durade (1863), la deuxième est de Lucienne Molitor (1957) et la troisième est l'œuvre d'Alain Jumeau (2003). La traduction de D'Albert-Durade évacue la diversité langagière du roman original pour le faire cadrer dans les normes du polysystème littéraire d'accueil. Molitor, en homogénéisant la prose éliotienne, tire le roman anglais canonisé vers le grand public français. Jumeau, quant à lui, entreprend un travail de réhabilitation du sociolecte paysan dans sa traduction française, et par conséquent, de réhabilitation de George Eliot en France. Cette étude, par l'analyse de la voix de quelques personnages clés, veut donc retracer le «parcours traductif» de The Mill on the Floss dans l'Hexagone. iii Abstract The Mill on the Floss, by Victorian novelist George Eliot, is a polylinguistic novel in Bakhtine's sense of the word in that it integrates the linguistic diversity of the society which it depicts. This novel published in 1860 was translated six times into French but never enjoyed a great reception in France. We examine three translations in this thesis: the first is by François D'Albert-Durade (1863), the second is by Lucienne Molitor (1957) and the last is by Alain Jumeau (2003). D' Albert-Durade' s translation evacuates the linguistic diversity in order to shape the novel to the requirements of the target literary polysystem. Molitor, by homogenising the eliotian prose, tums the canonised English novel into a French popular novel. Jumeau, for his part, by rehabilitating the peasant sociolect in his translation, marks the beginning of a rehabilitation movement of George Eliot in France. This study, through the analysis of the voice of a few key characters, attempts to follow the French « translative joumey » of The Mill on the Floss. iv TABLE DES MATIÈRES Flemerciements i Flésumé ii Abstract iii Table des matières iv Introduction 1 Chapitre 1 - The Mill on the Floss : les voix au service du réalisme Il Le réalisme selon George Eliot Il Le sociolecte romanesque: entre réel et littéraire 14 Mikhaïl Bakhtine et le plurilinguisme dans le roman 22 Fléalisme et plurilinguisme dans The Mill on the Floss 24 La voix de Mr. Tulliver 24 La voix de Bob Jakin 30 La voix de Mrs. Glegg 33 La voix narrative 37 Chapitre II - Le Moulin sur la Floss de François D'Albert-Durade : les voix « que le français se refuse à rendre» 46 La voix de M. Tulliver 49 La voix de Bob Jakin 55 La voix narrative 58 Chapitre III -Le Moulin sur la Floss de Lucienne Molitor: du canon littéraire au roman populaire 66 La voix de Mr. Tulliver 70 La voix de Bob Jakin 74 La voix narrative 75 Chapitre IV - Le Moulin sur la Floss d'Alain Jumeau: rendre les voix originales au texte français 81 La voix de M. Tulliver 83 La voix de Bob Jakin 87 La voix narrative 90 Conclusion 96 Bibliographie 98 « 1 particularly wish my books to be weil translated into French, because the French read so !iule Eng!ish, and ifthere is any healthy truth in my art, surely they need if to purifY their liferary air! » « For my part, 1 should not care if my books were never turned into other words than those in which 1 wrote them, so as to furnish poor reading to foreigners ignorant ofEng!ish. » - George Elioe Introduction George Eliot, Mary Ann Evans de son vrai nom, est une grande romancière victorienne. Née en 1819 dans les Midlands anglais d'un père charpentier devenu agent de domaine, elle passe les trente premières années de sa vie dans le comté de Warwickshire. La seconde partie de sa vie se déroulera à Londres, mais elle restera toujours attachée aux Midlands de son enfance. Mary Ann est élevée dans la foi évangéliste et elle est fervente croyante à l'adolescence. En 1828, elle est envoyée comme pensionnaire dans une école menée par un pasteur évangéliste à Coventry, une ville de quelque 30 000 habitants près de chez elle. À la mort de sa mère en 1836, elle regagne le domicile familial pour prendre soin de son père et tenir la maison. Autodidacte, elle poursuit son éducation grâce à la lecture, un privilège que son père ne lui refuse jamais. Sa curiosité intellectuelle, mais aussi linguistique, la pousse à apprendre l'allemand, l'italien et le français, ainsi que le latin et le grec ancien. L'élargissement de son horizon intellectuel la mène à une remise en question de sa foi évangéliste. Elle perd finalement la foi, au grand dam de son père, qui ira jusqu'à la jeter hors de son foyer. 2 Dans les années 40, en plus de publier des comptes rendus anonymes dans des revues littéraires, Mary Ann Evans met à profit ses connaissances linguistiques en traduisant des traités théologiques de l'allemand (Strauss) et du latin (Spinoza). Ces traductions étant le fruit d'un dur labeur et ne lui rapportant qu'une rémunération minime, elle se jurera de ne jamais recommencer. Pourtant, elle traduira plus tard un ouvrage qui aura une grande influence sur sa pensée et son œuvre romanesque : The Essence ofChristianity de Ludwig Feuerbach. Mary Ann Evans était loin d'être une beauté et elle en souffrait beaucoup. Encore célibataire à trente ans à la mort de son père, elle part en voyage à travers l'Europe, où elle fait la rencontre des D'Albert-Durade. Elle vit temporairement avec eux à Genève, en Suisse, et se lie d'amitié avec celui qui deviendra son premier traducteur, le peintre François D'Albert-Durade. Elle s'établit finalement à Londres, où elle devient rédactrice en chef du Westminster Review. Là-bas, elle subit deux déceptions amoureuses avant de rencontrer l'homme de sa vie: George Henry Lewes. Auteur et critique littéraire, Lewes est marié et père de trois fils, mais sa femme a une liaison avec un autre homme et il assume la charge de deux enfants illégitimes. Marian (qui a francisé l'orthographe de son nom depuis son séjour en Suisse) et G.
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