Georges Rodenbach (1855-1898) by Paul Gorceix

Abstract

242 Reviews Georges Rodenbach (1855-I898). By PAULGORCEIX. (Romantisme etModernite, 99) Paris: Champion. 2006. 273 pp. 50. ISBN 978-2-7453-I361-4. Paul Gorceix' s study is the only recent comprehensive essay on George Roden bach. Anny Bodson-Thomas's L'Esthetique de Georges Rodenbach (Liege: Vaillant Carmanne, 1942) remained for long theonlymonograph on the author ofBruges-la morte, until thepublication ofClaude deGreve' sGeorges Rodenbach in1987 (Brussels: Labor). One of themerits of this new critical work lies in its effective articulation of threedimensions ofRodenbach's identity, that is his life,his poetic and narrative opus, and-more originally perhaps-his critical works and his contributions to the late nineteenth-century reflectionon aesthetics and the place of literature in society. Gorceix has opted for a chronological approach, by contrast with thematic perspec tives thathave given precedence to the imaginaryworld informing theworks typical of the maturity of theBelgian poet. This isamost plausible option given theprofound relationship between thecultural background ofRodenbach, hismanifold interactions with the literary milieu of his time, and the literaryunfolding ofhis imaginaryworld. Notwithstanding his numerous and determining interactionswith the artistic and literarymovements of the late nineteenth century, Rodenbach remained an inde pendent creator: 'il echappe a toute tentative de definition et de classement' (p. I5). One of thehallmarks ofGorceix's work ishis demonstration of thispoint through a detailed analysis of the entire spectrum ofRodenbach's literaryoutput. The biogra phical approach introduces Rodenbach as an '&crivainengage', a characterization that complements and qualifies theportrait ofRodenbach as a contemplative poet entirely devoted to the exploration of the inner realms of symbolic imagination. Another important leitmotif developed by Gorceix throughout his critical study emphasizes theprofound foundation ofRodenbach's imaginaryworld in thephysical landscape of his life,his country, and his daily experience. This aspect echoes the characterization of Flemish creativity as being anchored inan original connection be tween the imaginative and visionary on the one hand, and themost physical realities on the other. Such an approach helps to qualify the strong critical emphasis on the idealist and symbolic bent ofRodenbach's aesthetics thathas informedmost of the critical discourse on his work. Gorceix stresses the fact that 'chez Rodenbach [. . lemonde existe', while situating Bruges-la-morte at the 'confluence du realisme et du symbolisme' since 'pour lui, tout se tient' (p. I4). This subtle interaction between the inner realms explored by Symbolism and the outer realities claimed byRealism isencapsulated byGorceix's observation concern ing the later poetry of Rodenbach, inwhich 'on ne peut plus discerner dans son poeme, si c'est l'aime qui anime les choses ou si inversement ce sont les choses qui retentissent sur son ame' (p. 226). Moreover, this remark relativizes the question of knowing whether precedence should be given to the subjective perception or to the material realm in the creative alchemy ofRodenbach's opus. What is certain is that Rodenbach's approach is less characterized by a vacuity of the subject (p. 228) (which would better be applied toMallarmes way of thinking) than by the indeterminate and unfathomable subconscious depth of subjectivity, as several critical studies have contributed to demonstrating (see, forexample, my Rodenbach: lesdecors de silence (Brussels: Labor, I990)). Furthermore, the fact that the poetic subject may become aware of himself by analogy with theoutside world isnot incompatible with a sense of unity between the two realms-quite to thecontrary, since in reality such a possibility presupposes an ontological and symbolic correspondence, ifnot fusion, between the inner and theouter. Gorceix's Georges Rodenbach will be an important addition to the library of scho lars of the late nineteenth-century literarymovements both as amajor and original reference on Rodenbach, and as an important contribution to a better understanding MLR, I03. I, 2oo8 243 of the aesthetic complexities of a 'generation-charniere a l'aube du monde moderne et de sesmutations' (p. 259). GEORGETOWN UNIVERSITY PATRICK LAUDE Fran_oisMauriac: TheMaking of an Intellectual. By EDWARDWELCH. (Faux Titre, 290) Amsterdam: Rodopi. 2oo6. 202 pp. ?40. ISBN 978-90-420-2I I2-9. In this important study Edward Welch makes use of a Bourdieusian framework to build a convincing case forviewing Mauriac as amajor intellectual figure inpost-war France. The firstof his fivechapters centres onMauriac's ambivalent relationship with La Nouvelle Revue Franfaise...