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Le Récit De Voyage Canadien-Francais Au X.Yc DEPARTEMENTDES LE~SET COM~?~UNICATIONS Faculté des lettres et sciences humaines Université de Sherbrooke LE RÉCIT DE VOYAGE CANADIEN-FRANCAISAU X.YC SIECLE : ANALYSE DU SUC& D'UNE PRATIQUE LI'ITÉRAIRE par MÇOISCOUTURE Bachelier es lettres (études françaises) de l'université de Sherbrooke MÉMOIRE PRÉSENTE pour obtenir LA MA~TISEÈS ARTS (ÉTUDES WÇAISES) Sherbrooke NOVEMBRE 1997 National tibrary Bibliothèque nationale I*I of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. nie Wellington OttawaON K1AON4 OttawaON K1A ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seli reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de rnicrofiche/£ïIm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Le récit de voyage a maqué le XI?(= siècle canadien-fraiiçais. Nous avons recensé environ 150 récits publiés en volume pour cette période, soit le double de la production romanesque. La production du récit de voyage montre un comporterneiit singulier. Cela se manifeste surtout pendant la décennie 1880, alors que la pratique connaît une croissance éditoriale inégalée. Ce « boum H s'explique par plusieurs facteurs : évolution des transports; influence du français, surtout Chateaubriand; désir de constituer une littérature nationale; flexibilité de la pratique face aux idéologies ultramontaine et colonisatrice. Des écrivains comme F.4. Garneau, A.-B. Routliier, Faucher de Saint-Maurice, H. Beaugraiid et J.-P. Tardive1 utilisent le récit de voyage pour se représenter sous les traits d'hommes d'élite. Les années 1880 voient coexister deux conceptions de la pratique, l'une informative, axée sur la description du réel; l'autre impressionniste, tournée vers le narrateur subjectif. TABLEDES MATIÈRES TABLE DES MATIÈRES 2 REMERCIEMENTS 5 INTRODUCTION 7 CHAPITRE I PRODUCTION ET PRODUCTEURS DU RÉCIT DE VOYAGEErreur! Signe 1.1 Essai de définition et établissement du corpus 18 1.2 Description du corpus 24 1.3 Publication annuelle du récit de voyage 28 1.4 Production du récit de voyage et production globale 34 1.5 L'édition du récit de voyage 41 1.6 Les 6crivains-voyageurs 45 1.7 Conclusion 43 CHAPITRE II CONTEXTE SOCIO-HISTORIQUE 51 2.1 Le progrès de!? transports 2.1.1 Le transport maritime 2.1.2 Le chemin de fer 2.1.3 Le tourisme organisé 2.1.4 Les lieux visités 2.2 L'influence littéraire fran~aise 61 2.3 L'outil d'une recherche d'identité 2.3.1 L'effort de colonisation 2.3.2 Les ultramontains et la littérature 2.4 L'institutionalisation de la littérature 69 2.5 Conclusion 74 CHAPITRE III ACTIVITÉS CULTURELLES DU VOYAGEUR 75 3.1 LR contact avec la littérature 3.1.1 La lecture 3.1.2 Le théâtre 3.1.3 Bibliothèques et monuments 3.2 L'écriture 86 3.3 Les réseaux associatifs 3 -3.1 Les ricti\.ités de groupes 3.3.2 Rencontres indi~iduelles 3 -3-3 Le hrecomme monnaie d'échange 3.3.4 Jouer de son iduence 3.4 Conclusion 108 CHAPITRE IV DISCOURS DES PRÉ-TEXTES 109 4.1 Corpus et méthode 4.1.1 La cote C 4.2 Éléments justificateurs principaux 4.2.1 La littérarité 4.2.2 L'intention 4.2.3 Les circonstances atténuantes 4.2.4 Les autres déments 4.2.5 Sdvnthèse 4.3 L'esthétique de l'utile 4.3.1 La tradition du récit de voyage 4.3.2 Pour une Wlogie du récit de voyage 4.3.3 Valeurs de l'esthétique de I'utile 4.4 L'esthétique de l'agréable 4.4.1 Chateaubriand et le récit personnel 4.4.2 Valeurs de 1'esthétique de l'agréable 4.5 Conclusion 134 CHAPITRE V LA RÉCEPTION CRITIQUE DU RÉCIT DE VOYAGE : DEUX CONCEPTIONS, DEUX HORIZONS 135 5.1 La critique littéraire canadienne-française au XIXe siècle 5.1.1 La cri tique et le récit de voyage 5.2 Deux esthétiques : l'utile et l'agréable 5.2.1 Le schisme esthétique 5.2.2 L'horizon descriptif 5.2.3 L'horizon persomcl 5.3 Vers un horizon unifie 5.3.1 Buies ou te récit de voyage qui n'en est pris un 5.3.2 Huard ou l'atteinte d'un horizon unifié SA Conclusion 16 1 CONCLUSION 163 APPENDICE I NOMBRE DE PÉRIODIQUES PUBLIÉS PAR ANNÉE AU QUÉBEC 168 APPENDICE II QUELQUES CRITIQUES SUR LE RÉCIT DE VOYAGE 169 Benjamin Sulte sur les Lcttrcs de voyagc d'Honoré Beaugrand 169 Jean-Baptiste Bdrard sur De Quebec a Mexico de N.-A.-& Faucher de Saint-Maurice 171 Jules-Paul Tardive1 sur De tribord à babord de N.-H.-É, Faucher de Saint-Maurice 174 Grammaticus sur La vallée de la Mantawa de Joseph RopI 183 Adjutor Rivard sur Labrador et Anticosti de Victor Alphonse Huard 185 Adolphe-Basile Routhier sur Labrador et Anticosti de Victor Alphonse Huard. 187 *** sur En canot d'Adolphe-Basile Routhier 190 Léon Lorrain sur En canot d'Adolphe-Basile Routhier 192 BIBLIOGRAPHIE 208 A. Récits de voyage 1. Corpus 2. Autres récits B. Recensions critiques 233 C. Études 1. Lh~es 2. Articles et chapitres de livres 3. Théses et documents manuscrits 4. Dictionnaires, encyclopédies et répertoires INDEX 247 Ce mémoire n'aurait pu voir le jour sans la confiance et le soutien cuiitiiiuel de moii directeur, Pierre Rajotte, que nous remercions chaleureusement. Merci également aux membres du juiy, fichard Giguère et Jacques Michon, pour leur aide. Je tiens également à remercier mes collègues Pascal Gemme et Anne-Marie Cade pour leurs idées et leurs remarques. Et un merci et des excuses aux amis négligés au cours de cette entreprise, à la compréhensive josée et à Mimi, Émile, Siegfried, Raoul et Flocon qui m'ont laissé travailler malgré tout. Et a Dali. Des ricifsde voyage! BI a vuns -nozzs IZLS depuis qrrelques mkes? Léon Ledieu, chroniqueur au hionde iI2usf1-é. Peiidaiit longtemps Iliistoire littéraire québécoise, en se limitant à l'étude des u grandes H oeuvres et des (1 grands w auteurs, a calqué la méthode française, en y puisant ses catégories et ses critères de sélection, avec des ré.ésultats plus ou moins concluants. Maintenant que les chercheurs tiennent compte du contexte spécifique au Québec, la nécessité d7erplorer des corpus autres que les genres canoniques (roman, poésie et théiitre) s'est rapidement imposée. s La nécessité de recourir à des textes nouveaux, en nature, en genre et en nombre, explique Manon Brunet, devient plus qu'une exigence en soi : c'est également une exigence de la nouvelle histoire littéraire. B' Lucie Robert précise : ... la recherche sur la littérature québécoise offre un certain nombre de point de vue tout à fait originaux (notamment sur la question de l'institution littéraire ou sur le récit de voyage) qui permettent, d'une part, de relativiser les affirmations de la théorie française (qui a souvent cette fâcheuse habitude de généraliser à partir de la seule étude de textes français) et, d'autre part, de théoriser des problèmes que la littérature francpise n'a pas ou a peu rencontrés.' Ainsi, le récit de voyage se révèle un nouveau sujet d'études, une voie qui permettrait d'appréhender différemment l'histoire littéraire québécoise. En effet, même si les critiques considèrent aujourd'hui ce genre comme appartenant au domaine paralittéraire, celui-ci, avant la Seconde Guerre moiidiale, faisait partie intégrante de la littérature. N'oublions pas qu'alors, ce mot couvrait un domaine beaucoup plus l M. BRUNET, Bilan et propositions pour la recherche sur la linératute québécoise du XIX. siècle : espaces texîuels et théoriques D, dans L. MILOT et F. DUMONT (dir.), Pour un bihn prospectif de lu recherche en littérature québécoise, Que'bec, Nuit Blanche, 1993, p. 159. 'ROBERT, Lucie, « L'avenir de la recherche sur la Littérature québécoise. Miser sur le collectif », dans L. MlLûT et F. DUMONT (dir.), op. cit., p. 4-4. large que maintenant et s7apparentait à la notion de belles-lettres. Napoléon Bourassa nous fournit une définition de la notion de littérature pour le XK siècle : * La Littérature est l'expression par la parole écrite ou parlée du Vrai, du Bie~iet du Beau dans les idées et dans les sentiments, et c7està ce titre que la Philosophie, l'Histoire, le Droit, L'Économie Sociale, 12sthétique et lYApologétiquechrétienne en font partie B'. Au cours du ,YIX siècle, le récit de voyage conmît un important prestige au Cana& français. Tous les plus grands écrivains de cette époque en oiit publié : Fraliçois-Xavier Garneau, Jean-Baptiste-Antoine ferland, Arthur Buies, Henri-Raymond Casgrain, Adolphe-Basile Routhier, Narcisse-Henri-Edouard Faucher de Saint-Maurice, Horioré Beaugrand, Jules-Paul Taidivel, etc. Ce prestige est associé a une production d'une ampleur sans précédent et concentrée dans les années 1580, comme nous le vemons au chapitre 1. Certains pourraient souligner le fait que le XX' siècle constitue une très longue période pour un mémoire de maîtrise. Cela est nécessaire, puisque nous voulons donner un portrait d'ensemble de la production du récit de voyage, en privilégiant le point de vue diachronique.
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