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8. LA FOLLE DE CHAILLOT Dramatic Irony Is Found in Any Situation Where the Audience Knows Something Which Some of the Characters

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8. LA FOLLE DE CHAILLOT Dramatic Irony Is Found in Any Situation Where the Audience Knows Something Which Some of the Characters 8. LA FOLLE DE CHAILLOT Dramatic irony is found in any situation where the audience knows something which some of the characters do not. In La Folle de Chaillot, the world is pretty evenly divided into two parts, the good and the wicked, and the ultimate victory of the good is due entirely to their foreknowledge of the wicked's plans. The mutual distrust and fear that separate the two camps constitute the framework of the play, held together by the familiar 'procédés ironiques' of Giraudoux. Before going into an analysis of specific instances of irony in this posthumous comedy by an author whose previous play, Sodome et Gomorrbe (1943), had been far from gay, it is necessary to say a few words about its production: Giraudoux had composed the Folle de Chaillot during the war, and the very fact that an easy-going peace- time Parisian atmosphere permeates the play's two acts is an indication of a writer's nostalgic return to a France 'entre (or perhaps 'après') deux guerres'. The author had sent the manuscript in 1943 to Louis Jouvet, who was then touring South America, and he had optimistically or whimsically written on the first page: "La Folle de Chaillot fut présentée pour la première fois le 17 octobre 1945, sur la scène du Théâtre de l'Athénée sous la direction de Louis Jouvet" [La Folle de Chaillot was presented for the first time on October 17, 1945, on the stage of the Théâtre de l'Athénée, under the direction of Louis Jouvet].1 As it turned out, Giraudoux' instinct did not fail him by much, since the play was actually put on by Jouvet at the Athénée on December 19, 1945. The success was instantaneous: here was the old familiar gaily ironic 1 As quoted by D. Inskip in Jean Giraudoux, the Making of a Dramatist (Oxford University Press, 1958), p. 130. 154 LA FOLLE DE CHAILLOT Giraudoux, in a play that evoked the fairytale atmosphere of Inter- mezzo and Ondine rather than the apocalyptic gloom which had marked Sodome et Gomorrhe, the play that was being presented on that cold January night in 1944 when Giraudoux died. In many ways La Folle de Chaillot could not escape success (it ran for 297 performances): Marguerite Moreno was a magnificent Mad- woman, and Jouvet played, as usual, the role of the ironist, the Rag- picker, whose paradoxical duty it is to defend the wicked rich. As Donald Inskip has pointed out, "Of all Giraudoux' plays, in fact, the Madwoman is the one which comes closest to being an actor's play first and foremost, namely one of which the merit is more visible upon the stage than the peace and quiet of the study. The scintillating style is present, as always: but the reading of the Madwoman can convey little of the life and variety it takes on when animated by the players. There are few parts indeed in this play which are not rewarding for those called upon to interpret them."2 It seems therefore futile to look for elaborate symbolism in this play. The final voyage of the evil profiteers into the sewers of Paris might well signify their descent into Hell, but what of it ? La Folle de Chaillot is meant to be enjoyed rather than dissected. In another Tulane Drama Review article, Germaine Bree makes this very point: "One can, of course, infuse ethical or social intent into the play by recalling Giraudoux' indignation at the sight of the shoddy degrada- tion of our cities and his dislike of exploiters as such. One can recall the fundamental design of his dramatic universe and speak of the conflict between gods and men, the human and the non-human. But why? In connection with The Madwoman of Chaillot all this seems a rather dull and unnecessary surcharge. Of all Giraudoux' plays, The Madwoman of Chaillot is probably the one which yields least to any interpretation outside its own performance on the stage."3 Basically, given the hilarious exaggerations that fill the play, one can subscribe to this point of view. But a word of caution is necessary. There are, after all, some damning and pessimistic remarks about modern times which lead in just the opposite direction. The Rag- 1 Ibid., p. 143. ' G. Bree, "The Madwoman of Chaillot", Tulane Drama Review, (Summer 1959), pp. 51-52. LA FOLLE DE CHAILLOT 155 picker, bitterly comparing what he finds now in rubbish cans to the former treasures he used to discover, concludes: "Le monde n'est plus beau, le monde n'est plus heureux à cause de l'invasion." He adds: "L'époque des esclaves arrive" [The world is no longer beautiful, the world is no longer happy because of the invasion. ... The time of slaves is coming.. ,],4 a remark that may be as trenchantly strong as Rimbaud's "Voici le temps des ASSASSINS." Nor can one pass lightly over Aurélie's "L'occupation de l'humanité n'est qu'une entreprise universelle de démolition" [Humanity's occupation is only a universal enterprise of demolition],5 even if that lady adds that by humanity she is speaking of the masculine contingent only. One may lightly dismiss any thought of symbolism, yet Aurélie's lament that stables smell of petroleum rather than horse-dung may reach the nostalgic corner of many a mind. At any rate the Golden Calf is a symbolic target. Why are thieves almost universal? Because money is ruler of the world, answers Con- stance. La Folle de Chaillot does retain some characteristics of a morality play and this aspect is suggested by Professor Brée when she discusses the device of the "masque" in the play, the characters re- presenting vice and virtue in black and white, evoking a pageant of bygone days. And indeed among the numerous characters — over thirty-five in the original performance — there is a flower-vendor, a juggler, a street-singer, a waiter, all in the colorful costumes of their trade. Giraudoux has carefully balanced them against the Prospector, the Banker, the President and the 'sale monsieur'. Each group is satirized separately by the use of a formalized speech pattern that identifies the speaker and his role, whether it be among the good or the bad 'guys'. It is not always easy to sustain the "semi- sentimental, semi-ironic mood of affection and regret for an atmos- phere that lives only in our memories".® The play is built upon a series of paradoxes of which the central figure, the 'good fairy' Mad- woman, is the outstanding example. Her attire, "Jupe de soie faisant la traine, mais relevée par une pince à linge à métal. Souliers Louis XIII. Chapeau Marie-Antoinette. Un face-à-main pendu par une chaîne, 4 La folle de Chaillot (Ides et Calendes, 1947), p. 61. 5 Ibid., p. 85. 6 G. Brée, article cited, p. 56. 156 LA FOLLE DE CHAILLOT etc." [Silk skirt with a train, but held up with a metal clothes-pin. Louis XIII shoes. Marie Antoinette hat. Her lorgnette hanging by a chain .. .],7 is enough to proclaim her mad and her first words: "Mes os sont prêts, Irma?" would tend to substantiate this impression. As soon as the President wants her removed, the Madwoman be- comes sympathetic to »is, since she is the underdog, and her sub- sequent inquiry for her lost boa does not seem particularly odd. It is soon apparent that the Madwoman represents what the evil petro- leum-seekers fear more than anything else: "Notre pouvoir expire là où subsistent la pauvreté joyeuse, la folie respectée et adulée. Car voyez cette folle ! Le garçon l'installe avec des grâces de pied, et sans qu'elle ait à consommer, au meilleur point de la terrasse. Et la fleuriste lui offre gratis un iris géant..." [Our power ends where joyful poverty and respected and adulated madness exist. For look at this madwoman! The waiter gives her a table, scraping and bowing and without her ordering a thing, the best spot on the terrace. And the flower girl offers her a giant iris for nothing .. .}.8 Giraudoux has given his heroine a name that evokes one of his favorite authors, Gérard de Nerval, and he has coupled the name of Aurélie with imaginary lovers of nineteenth-century French literature: Adolphe, Fabrice and Dominique, while the young man in the play has the most banal of names, Pierre. (He is naturally 'meant' for the little dishwasher, Irma.) Despite her extravagant appearance, the Madwoman, who is also a Countess, has eminently the 'esprit pratique' which is the pride of happy-go-lucky Frenchmen every- where. In the Manichean world revolving around the Café Francis, the Madwoman does not give an inch to anybody, whether they be her fellow Madwomen of Passy, Saint-Sulpice and Concorde, or the evil prospector who tries to wrench Pierre away from her. In char- acteristic irony, she explains why she holds on to her young man: "Je le tiens parce que c'est la seule fois depuis bien des jours sans doute, où il se sente en liberté..." [I hold on to him because this is doubtlessly the only time for many days when he feels free}.8 Girau- doux does not allow the Countess too easy a triumph, however. Pierre 7 La Folle de Chaillot, op. cit., p. 29. 8 Ibid., p. 32. ' Ibid., p. 57. LA FOLLE DE CHAILLOT 157 promptly says: "Laissez-moi partir, Madame", and consents to be held only when the Madwoman admits that she is holding him for Irma. Going from the ridiculous to the sublime, the Countess recalls the first great ironist, Socrates, since she too combines beautiful thoughts in a grotesque body, thus creating the paradoxical disharmony which irony feeds upon.
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