Abstract
Abstract Central to the aesthetics of Aurélia are the visual dialectics which constantly shore up Gerard de Nerval's textual fabric. The narrator is ever aware of them: ‘Lcs images se precisent devant mes yeux comme des peintures animees.’1 At times the narration seems nothing more than an unbroken chain of verbal signs designating visual dreamscapes. ‘Telles furent les images qui se montrerent tour a tour devant mes yelix’ (p. 379). notes the narrator as he completes the vast fresco of Part One's first eight chapters. Raymond Jean2 has underscored the theatricality of these so-called textual tableaux. But whether we consider them scénique or painterly, their very visual nature allows the reader to become viewer in Nerval's aesthetic enterprise.
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