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Representations of Sororal, Maternal, and Feminine Loss in the Works of Nerval, Chateaubriand, and Baudelaire

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Representations of Sororal, Maternal, and Feminine Loss in the Works of Nerval, Chateaubriand, and Baudelaire ABSTRACT THE DYNAMICS OF LOSS: REPRESENTATIONS OF SORORAL, MATERNAL, AND FEMININE LOSS IN THE WORKS OF NERVAL, CHATEAUBRIAND, AND BAUDELAIRE by Franklin Joseph Dargo This thesis, written in English, is an analysis of melancholia and its relation to desire in the following nineteenth-century works: “El Desdichado” by Gérard de Nerval, René by ​ ​ François-René de Chateaubriand, and Charles Baudelaire’s “L’invitation au voyage.” This analysis will take a psychoanalytical approach, and will study how maternal, sororal, and feminine objects of desire relate to the melancholia that is represented on the pages of these works. In order to do so, we must dive into Sigmund Freud’s “Mourning and Melancholia,” which explains the inner functions of melancholia and the ego contained in all four works. Another psychoanalytic text that will be used is Julia Kristeva’s Black ​ Sun: Depression and Melancholia. This thesis seeks to prove that “L’invitation au ​ voyage” is a melancholic poem that is driven by incestuous desires for a maternal figure, as well as a sororal figure, and that the melancholia found in René shares similar ​ ​ influences. It will also seek to prove that “El Desdichado” shows evidence of a triumph over melancholia caused by a feminine object of desire. Lastly, all three texts will be analyzed in parallel with Freud’s text to demonstrate its accuracy especially in terms of the ego. THE DYNAMICS OF LOSS: REPRESENTATIONS OF SORORAL, MATERNAL, AND FEMININE LOSS IN THE WORKS OF NERVAL, CHATEAUBRIAND, AND BAUDELAIRE Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts by Franklin Joseph Dargo Miami University Oxford, Ohio 2020 Advisor: Dr. Jonathan Strauss Reader: Dr. Elisabeth Hodges Reader: Dr. Anna Klosowska © 2020 Franklin Joseph Dargo This select thesis titled THE DYNAMICS OF LOSS AND DESIRE: REPRESENTATIONS OF SORORAL, MATERNAL, AND FEMININE LOSS IN THE WORKS OF NERVAL, CHATEAUBRIAND, AND BAUDELAIRE by Franklin Joseph Dargo has been approved for publication by The College of Arts and Science and Department of French and Italian ____________________________________________________ Dr. Jonathan Strauss ______________________________________________________ Dr. Elisabeth Hodges _______________________________________________________ Dr. Anna Klosowska Table of Contents Introduction………………………………………………………………………..1 I. Representations of Maternal and Sororal Objects of Desire in Baudelaire's “L’invitation au voyage”..........................................................................................5 II. Representations of Desire and Melancholia in Chateaubriand’s René ………….18 ​ ​ III. Melancholia and the Ego in Nerval’s “El Desdichado”.........................................35 IV. Conclusion…………………………………………………………………...…..44 Works Cited………………………………………………………………….......45 iii Acknowledgments This thesis was completed during the lockdown of 2020, which proved to be quite a difficult task. Without a close circle of friends, family, and mentors, I would never have been able to get to where I am today. I would like to take this opportunity to express my gratitude to all those mentioned below. First and foremost, I would like to express my gratitude to Dr. Jonathan Strauss, for chairing my committee and providing me with the insight and inspiration needed during this tumultuous time. I would also like to thank Dr. Elisabeth Hodges, and Dr. Anna Klosowska, for their wisdom, guidance, and support, during this process. Without all of you, this project would not have been possible. I am also greatly indebted to all other professors, faculty, and staff members of the department of French and Italian, all of which have impacted my studies in a positive way over the years. I would also like to thank Dr. Jeremie Korta, my colleagues, roommates, and many friends at Miami University that impacted my time at Miami. I am proud to say that I was surrounded by such a brilliant group of people. I would also like to express my most sincere gratitude to Mr. Robert Stevens and Mr. Philippe Dubrul, two educators who helped form the foundations of my French. You both have played an extremely critical part in my learning of French, and for that, I am forever grateful. Last but certainly not least, I would like to thank my parents, family, and KC for their encouragement, love, and support. You have pushed me to excel and provided me with the resources for success. During this difficult time of confinement, you have been my biggest fans. Thank you! iv Introduction In reading through many Romantic works and other forms of literature of the nineteenth century, one can deduce that melancholia is the one theme that seems to reverberate throughout several works of the entire century of French literature. In describing the Romantic drama in La Préface de Cromwell, Victor Hugo situates ​ ​ melancholia as the mainspring for the movement, stating, C’est qu’il y a plus d’un rapport entre le commencement et la fin ; le coucher du soleil a quelques traits de son lever ; le vieillard redevient enfant. Mais cette dernière enfance ne ressemble pas à la première ; elle est aussi triste que l’autre était joyeuse. Il en est de même de la poésie lyrique. Éblouissante, rêveuse à l’aurore des peuples, elle reparaît sombre et pensive à leur déclin. La Bible s’ouvre riante avec la Genèse, et se ferme sur la menaçante Apocalypse. L’ode moderne est toujours inspirée, mais n’est plus ignorante. Elle médite plus qu’elle ne contemple ; sa rêverie est mélancolie. On voit, à ses enfantements, que cette 1 muse s’est accouplée au drame. Melancholia, the depressive longing for an unreachable and forbidden object of desire, seems to simultaneously plague and inspire many nineteenth-century texts, some of which belong to the French Romanticism era, while others do not. Nonetheless, Hugo famously pairs melancholia with Romantic drama, the genre of these works of two authors analyzed in this thesis, as well as one of the works in question. Hugo describes Romantic drama as taking up melancholia as its muse, which underlines the important fact that melancholia runs in parallel with the movement. 1 See Victor Hugo, Preface de Cromwell (Livres et Ebooks) ​ ​ https://ecrivains-publics.fr/wp-content/uploads/2016/10/preface_de_cromwell_-_hugo.pd f, 15. ​ 1 In this thesis, I will, as others writers have done before me, take a psychoanalytical approach in order to examine the inner workings of melancholia, all while providing a fresh perspective of these works, which may contribute to a different and more thorough understanding of the texts. Two of the works contained in this thesis, René by François-René de Chateaubriand and “El Desdichado,” by Gérard de Nerval, are ​ both Romantic works that epitomize the concept of melancholia in literature. The third text, “L’invitation au voyage,” by Charles Baudelaire, is a Post-Romantic work that seems to be of a more pleasant setting and tone but echoes the melancholia suffered for a forbidden object of desire. The first chapter will be an in-depth analysis of Baudelaire’s “L’invitation au voyage,” which is one of the most celebrated poems of Les Fleurs du mal. The first ​ ​ stanza commences by the poet calling a sororal figure to depart on a voyage to a place of richness and luxury, and invokes a warm-toned and seemingly happy destination. The poet, however, leaves room for interpretation as to the meaning of the poem. I will be ​ ​ exploring the notion that the poem is actually melancholic and revolves around sororal and maternal desires, which both translate to forbidden objects of desire, which are the driving forces for the melancholic mood that is present in the poem. I will also be exploring the concept of the poet’s representation of self that manifests itself on the page in the form of poetry. This will be done by completing an analysis of a few key letters from Baudelaire himself on the subject of his mother, Caroline Aupick, that portray the poet’s sentiments towards his mother. I will be using the analysis of these letters to show that the melancholia represented in “L’invitation au voyage” can be seen as a projection of the poet’s affinity towards his mother. These letters are not meant to be portrayed as a concrete lens through which to read Baudelaire’s poem, but rather reinforcing tools in the psychoanalytical argument. Coupled with an interpretation of the text itself, the brief details from these letters help make a compelling argument in situating the poem as melancholic. The second chapter will explore themes of incest, melancholia, and desire contained in Chateaubriand’s René, along with their relationship to the ego. All three ​ ​ 2 themes are what seem to keep the subject in a melancholic state, which can be corroborated by the use of the main psychoanalytical text of this thesis, Freud’s “Mourning and Melancholia.” Consistently propelled into a state of self-isolation and ​ ​ exile, the protagonist René exemplifies the very notion of what Freud describes as a damaged ego, which is one of the main components of melancholia. I shall discuss in length the indicators of melancholia that are present in René’s lengthy dialogue with his small circle of Native American confidants, amongst whom he identifies himself. It is here that I argue that the main source of the protagonist’s melancholia stems from his mother, who perished while giving birth to René himself. To add to this argument, I will use a few brief but important autobiographical details contained in Chateaubriand’s Mémoires d’Outre-tombe to understand the author’s representation of self that is ​ contained within the text. As with the first chapter on Baudelaire’s “L’invitation au voyage,” these autobiographical details are meant to serve as a means to apply the psychoanalytic approach to the author, as well as the text itself. I will also argue that his desire for maternal affection stems from what seems to be an atypical Oedipus complex that is only partially resolved, as the desire moves from a maternal object of desire to a sororal figure.
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