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Function of the Narrator in University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1978 Function of the narrator in "Les bijoux indiscrets" Mariam Elizabeth McCall The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation McCall, Mariam Elizabeth, "Function of the narrator in "Les bijoux indiscrets"" (1978). Graduate Student Theses, Dissertations, & Professional Papers. 2422. https://scholarworks.umt.edu/etd/2422 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. THE FUNCTION OF THE NARRATOR IN LES BIJOUX INDISCRETS By Mariam E. McCall B.A., University of Montana, 1974 Presented in partial fulfillment of the requirements for the degree of Master of Arts UNIVERSITY OF MONTANA 1978 Approved by: Chairman, Boar® 0Ï Examiufers DeaiT, Graduate ’'School Date UMI Number: EP35394 All rights reserved INFORMATION TO ALL U SERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMi E P35394 Published by ProQuest LLC (2012). Copyright in the Dissertation heid by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code uesf P roQ uest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106 - 1346 McCall, Mariam E,, M.A., June 11, 1978 French The Function of the Narrator in Les Bijoux indiscrets (67 pp.) Director: Roman Zylawy A close analysis of the narrative technique of Denis Diderot's Les Bijoux indiscrets indicates the author's concern with the paradox of created reality. In this first novel, it is primarily through the use of the narrator that Diderot experiments with created reality. Diderot makes numerous attempts to establish a sense of reality in his novel, yet at the same time he consistently contra­ dicts this same reality. It is through an application of Diderot's ideas as stated in his other works that this contradiction can be understood. Most notably, as he stated in his Eloge de Richardson, a writer must always be aware of the difference between the "lie" which he creates through fiction and the universal "truth" which he wishes to convey to his readers. This is precisely what Diderot accomplishes by his creation and subsequent destruction of the sense of reality in Les Bijoux indiscrets. This study of the narrative technique of Les Bijoux is divided into five chapters. The first chapter includes the introduction and states the purpose of the thesis, which is to study the narrative technique of Les Bijoux indiscrets and to demonstrate that this technique is intentional and the result of Diderot's experimentation with the illusion of created reality. This first chapter also contains a discussion of the critical reaction to the novel as well as remarks about the outside factors that apparently influenced Diderot. The second chapter deals with the literary techniques themselves as found in Les Bijoux, the narrative technique, the function of the talking bijoux and the role of its three major char­ acters. The next chapter is a detailed analysis of the use of the narrators, a controversial point among several contemporary critics. Chapter IV deals with Diderot's conception of the paradox of created reality, and the manner in which he strove to resolve it in Les Bijoux indiscrets. 1 1 TABLE OF CONTENTS ABSTRACT ............................. xi CHAPTER I. BACKGROUND AND INFLUENCES .......................... 1 II. LITERARY TECHNIQUES IN LES BIJOUX INDISCRETS . 15 III. THE NARRATORS ......................................30 IV. LES BIJOUX INDISCRETS AND THE ILLUSION OF REALITY ........................................... 49 V. CONCLUSION . ......................................66 SELECTED BIBLIOGRAPHY ............................... 6 8 111 CHAPTER I BACKGROUND AND INFLUENCES Denis Diderot published his first novel, Les Bijoux indiscrets, in 1748. In spite of the immediate popularity of the novel, the critical response was unfavorable. Critics attacked it on the grounds that it was a licentious, frivo­ lous tale. Even later critics felt it should only be includ­ ed in Diderot's complete works because it was one of his works, and not because of its merits. However, as more recent critics have asserted, many of the elements of Diderot's ideas on literary technique are already found in Les Bijoux indiscrets. For example, there are numerous attempts to involve the reader in the creative process through dialogue and a multiple-narrator approach. Diderot's concern with the creation and illusion of reality is very apparent in this novel, as it continued to be in his later works, most notably in Jacques le fataliste. An examination of the narrative technique in Les Bijoux reveals that it is primarily through the use of the narrator that Diderot experiments with the illusion of reality. It is true that the novel contains licentious elements, but its other aspects warrant some defense. A study of the structure of the novel and its narrative technique indicates that these are intentional experiments, and not merely flaws -2 - in the work of an inexperienced or inept novelist. The purpose of this thesis is to study the narrative technique in order to demonstrate that this experimentation with the illusion of created reality on Diderot's part was intentional. This study begins with an introduction which includes a discussion of the critical response to Les Bijoux indiscrets and deals with the outside factors which apparently influ­ enced Diderot. The next chapter studies the more important literary techniques found in Les Bijoux, with a brief expla­ nation of the narrative technique, the function of the talk­ ing bijoux, and the role of its three major characters. The third chapter is a detailed analysis of the use of the narrators. Also included in this chapter is a discussion of the omniscience of the narrators, which remains a point of contention among several contemporary critics. Chapter IV deals with Diderot's conception of the paradox of created reality, and the manner in which he strove to deal with it in Les Bijoux indiscrets. Les Bijoux indiscrets was published when Diderot was 35 years old. The novel was immediately popular and six editions were printed within several months of the first publication. An English edition was published in 1749, and German editions followed in 1776 and 1792. There have been - 3 - ten editions of Les Bijoux since 1920 in France alone, maid­ ing it Diderot's most published work.^ In her Mémoires, Diderot's daughter, Mme de Vandeul, relates the circumstances surrounding the writing of Les Bijoux. According to her, her father had written the novel as the result of a wager with his mistress, Mme de Puisieux. As related by Mme de Vandeul, Diderot and his mistress were discussing the ease with which licentious novels could be written. Diderot asserted that in order to write like Crebillon, one need only to find a pleasant idea, one where the "libertinage de l'esprit" would replace good taste. Thereupon, Mme de Puisieux challenged him to produce such a novel, which he proceeded to do. At the end of only two weeks, Diderot presented his mistress with Les Bijoux 2 indiscrets. The story in Les Bijoux takes place in Banza, the capital of the Congo, a mythical country in Africa, which is ruled by the sultan Mangogul. Mangogul is a good and wise sultan who one day becomes very bored and expresses his desire for some amusement to his "favorite," Mirzoza. She suggests that he seek aid from the genie Cucufa. Mangogul accepts her advice and tells Cucufa that he would like to ^Arthur Wilson, Diderot: The Testing Years, 1713-1759 (New York: Oxford University Press, 1957), p. 86. ^ m e de Vandeul, Mémoires, cited by J. Assezat and M. Tourneaux, editors, Denis biderot. Oeuvres completes, 20 vols. (Paris: Gamier Freres, Libraires-Editeurs, 1875), I: xlii. - 4 - arause himself at the expense of the women of his court. Because he possesses great magical powers, Cucufa produces a magic ring and gives it to the sultan. With this ring, Mangogul can point to any woman, and, to quote Arthur Wilson, "make that part of her anatomy talk, which, if it ordinarily had the power of speech, would be most qualified to answer 3 a Kinsey questionnaire." Mangogul makes prompt use of his magic ring, and is soon horrified by the tales related by the bijoux of various women of his court. When he tells his "favorite" that he doubts the existence of even one virtuous and faithful woman, Mirzoza is quick to defend her sex. The two make a wager, and Mangogul promises Mirzoza that if he can find one true and virtuous woman, he will give her his chateau of Amara. It is at the end of the novel, as a result of the thirti­ eth experiment with the magic ring, that Mangogul at long last discovers the woman whose existence he had doubted. This woman is, of course, the wise and virtuous favorite, Mirzoza. Mangogul happily concedes victory to her and gives up his chateau. This quest for the virtuous woman provides Les Bijoux indiscrets with its major theme— the theme of love and fidelity. The quest is also the source for those passages that were so consistently condemned as licentious and friv­ olous by the critics.
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