Abstract
Le Grand Meaulnes of Alain-Fournier got stuck in a conventional interpretation where the dimension of dream lying in pureness is clearly opposed to the dimension of a degraded reality. This work tries to show that the relationship between the two terms is far more nuanced. Considering the theme of chromaticism, we observe a meaningful shift in representation techniques when passing from the first to the second part of the text. Beyond the stylistic level, we will assign a strategic value to the succession of two different ways in which characters, situations and objects are introduced: the author’s purpose is thus to drive a wedge between the adventure of the château and its further consequences. In-depth analysis reveals actually that the true opposition is not between the fairytale world of Domaine etrange and the real world of Sablonnieres, but the opposition is within the dream or, even better, within the obsession. Alain Buisine showed better than anyone that this obsession tends to polarize in a scary way the image of idealized woman and the image of carnal woman.
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