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Moliere's Concept of Language: a Critical Interpretation. Hilliard Ellis Saunders Jr Louisiana State University and Agricultural & Mechanical College

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Moliere's Concept of Language: a Critical Interpretation. Hilliard Ellis Saunders Jr Louisiana State University and Agricultural & Mechanical College Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1974 Moliere's Concept of Language: a Critical Interpretation. Hilliard Ellis Saunders Jr Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Saunders, Hilliard Ellis Jr, "Moliere's Concept of Language: a Critical Interpretation." (1974). LSU Historical Dissertations and Theses. 2633. https://digitalcommons.lsu.edu/gradschool_disstheses/2633 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This malarial was produced from a microfilm copy of tha original document. While the moat advanced technological meant to photograph and reproduce this document have bean used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(i)". If it was possible to obtain the missing paga(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photograph'd the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, titie^ author and specific pages you wish reproduced. 5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received. Xerox University Microfilms 300 NorthZm I> Road Ann Arbor, Michigan 43106 74-24,802 SAUNDERS, Hilliard Ellis, Jr., 1940- MOLIERE'S CONCEPT OF LANGUAGE: A CRITICAL INTERPRETATION. The Louisiana State University and Agricultural and Mechanical College, Ph.D., 1974 Language and Literature, general University Microfilms, A XEROX Company, Ann Arbor, Michiganf .......................................... J © 1974 HILLIARD ELLIS SAUNDERS, JR. ALL RIGHTS RESERVED MOLIERE'S CONCEPT OF LANGUAGEt A CRITICAL INTERPRETATION A DISSERTATION Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Foreign Languages by Hilliard Ellis Saunders, Jr. M.A., Louisiana State University, 1$6? May, 197^ EXAMINATION AND THESIS REPORT Candidate: Hilliard Ellis Saunders, Jr. Major Field: French Title of Thesis: MoliSre's Concept of Language: A Critical Interpretation Approved: Major Professor and Chairman k ±. :rL ~ , Dean of the Graduate School EXAMINING COMMITTEE: o a j A- Date of Examination: 22 February 197^ ACKNOWLEDGMENT The author wishes to express his sin- cerest appreciation and gratitude to his major professor, Doctor Selma A. Zebouni, whose inspi­ ration, assistance and patience were invaluable in the.preparation of this dissertation. Special thanks are also due to Doctor Robert E. Chumbley for his suggestions and encouragement. TABLE OF CONTENTS PAGE ACKNOWLEDGMENT..................................... ii ABSTRACT........................................... iv CHAPTER t I. THE PROBLEM OF LANGUAGE................. 1 II. LANGUAGE AS ’RESSEMBLANCE': FROM FARCE TO FANTASY................ 26 III. REPRESENTATIVE LANGUAGE: ACTION AND AMBIGUITY.................. ^7 IV. 'SIGNIFICATION': LANGUAGE AND MEANING.. 110 V. MOLIERE’S STATEMENTS ON LANGUAGE....... 126 VI. THE EVOLUTION OF A CONCEPT............. 1^9 SELECTED BIBLIOGRAPHY............................ 156 VITA.............................................. 160 nfit i ABSTRACT MoliSre's concept of language is studied primarily in reference to the epistomological cate­ gories defined by Michel Foucault. These are* 'res- semblance', in which language functions as sign, and which ends at the beginning of the seventeenth cen­ tury; 'representation', in which language functions as action, and which is proper to the seventeenth and eighteenth centuries; and 'signification', in which language functions as meaning, and which belongs to the modern period. In his earliest farces, Moliere's concept of language conforms to the category of 'ressemblance' He gradually frees himself from this concept until, in Les Facheux, he arrives at that of language as 'representation'. At this point, he is in general conformity to the dramatic and epistomological cur­ rents of his day. Once he has mastered representative lan­ guage, Moliere soon realizes that its weakness lies .in its ambiguity. This is first brought out in the quarrel of L'Ecole des Femmes and is admitted by Moliere in the preface to the definitive Tartuffe. He continues to dramatize the ambiguity of repre- sentative language with two important resultsi he applies it to myth, thereby destroying the validity of myth. Next, he applies ambiguity to represen­ tative language itself; this destroys its validity as representation. In Les Fourberies de Scapin, the invalidity of representative language is dramatized. Although language is colored by ambi­ guity, it still achieves some sort of communication! it must therefore possess some meaning beyond its verbal manifestation. This leads to the emphasis on language as 'signification' in Les Femmes savantes and ££ Malade imaginaire. In the latter play, Moliere combines the salient aspects of 'ressem- blance', 'representation', and 'signification* to create a play unique to his time and indicative of the potential of the comic theatre as well as of language. By evolving from a position of 'ressem- blance' through one of 'representation' to 'signi­ fication', Moli£re precedes, then coincides with, then surpasses the intellectual and esthetic cur­ rents of his time. He thus projects his theatre into a realm of meaning that will remain latent until two centuries have passed. v CHAPTER 1 THE PROBLEM OF LANGUAGE When one thinks of seventeenth-century France's concern with language, one normally considers linguistic reforms and the foundation of the modern French language. Malherbe's treatment of poetry and language, Richelieu's establishment of the AcadSmie FranQaise, Guez de Balzac's prose, the various dic­ tionaries and grammars produced during the centuryi generally speaking, the historical import of these events is interpreted in their relationship to the stabilizing and codifying of the French language. We are accustomed to seeing these reforms as important causes behind the greatest literary manifestations of the age, such as Racine's verse or Mme de Lafa­ yette's prose. At the same time, however, seventeenth- century France provides the background for modern lin- 1 guistic science and modern philosophies of language, lit is Descartes who first re-defines language) for him, it is the mark of humanity and a powerful creative force. In giving it this value, he removes another value attributed to it by previous ages. He sepa­ 1 rates it from 'truth*; what is true, according to Des cartes, is that which is perceived as clearly and dis tinctly so. Language is 'truth' insofar as it mani­ fests the 'trueness* of a human being; apart from this function, it is subordinate to the truth of per­ ception. Previous ages had conceived of language as a sign of the truth of its content; with Descartes, language becomes an arbitrary appendage to its con­ tent. With the Grammaire de Port Royal, the possibilities of Cartesian linguistics are realized further; the word is divided into two elements, 'signifiant* and 'signifiS'. A word is an indi­ cator of something else and of itself; it can be analyzed and studied under either aspect. This bi­ nary division of language is the basis for much of modern linguistic science as well as for many modern philosophies of language. The eighteenth-century seems more con­ cerned with disproving certain aspects of Cartesian linguistics than with developing a science of lan­ guage; mechanists such as La Mettrie attempted to show that the creative aspect of language could be explained by mechanistic means, so that man would lose his mark of distinction and become 1 'Homme machine, as other animals were 'machines' in Des- carte*s physiology. It is in the nineteenth century that Ro­ mance Philology developsj language is studied as a historical and, later, as an evolutionary phenomenon. The Neo-grammarians, influenced by
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