'Racine et Shakespeare' (1818-1825) et autres textes de théorie romantique, Michel Crouzet

Abstract

MLR, 103.1, 2oo8 237 XIV as recorded by Saint-Simon. He argues that such models were transformed by imagination in amanner that raised the novel above prosaic realism. It is possible to understate the closeness of Stendhal's fictionalworld to the reality of the Italy he knew, but Crouzet makes his case well. He writes equally well on themes such as Stendhal's representation of class, also his treatment of the complex and delicate subject of political violence, in which Ferrante Palla isboth a terroristand an idealist. He concludes with a lucid analysis ofFabrice, a strange and disconcerting protagonist, a combination of passivity and energy, of principle and immorality, of pride and humility. Crouzet provides a good critical apparatus, including Stendhal's proposed revisions and additions, also his letters toBalzac. His notes are amine of information. UNIVERSITY OF BRISTOL RICHARD BOLSTER 'Racine etShakespeare' (I8I8-I825) et autres textesde theorieromantique. By STEND HAL. Ed. byMICHEL CROUZET. (Textes de laLitterature Moderne etContem poraine, 87) Paris: Champion. 2oo6. 550 pp. ?87. ISBN 978-2-7453-I395-9. Michel Crouzet, theprolific critic and editor of Stendhal, has produced a copious edi tion ofRacine etShakespeare. Stendhal's important intervention in the debate about Romantic theatre remains awell-known text, even though itsauthor famously never finishedwriting a play, and his ideas on thegenrewere rapidly superseded by theemer gence ofRomantic theatre itself. As Crouzet emphasizes, Stendhal called vehemently for a theatre thatwould be in prose and above all comic, but Victor Hugo's break through drama Hernani established Romantic drama as something quite different; the genre ultimately contributed to the rejuvenation of verse and owed little to comedy. The familiar textofRacine et Shakespeare takes up only a quarter of this edition, because Crouzet sets italongside Stendhal's lesser-knownwritings on theatrical sub jects. As indicated by the dates i8i8-i825 in the title,Crouzet presents Racine et Shakespeare not as the polemic of an instant but rather as a project which unfolded over a seven-year period. He reconstructs what he describes as the 'bloc continu d'essais et d'ceuvres constituant la polemique et la theorie romantiques de Stendhal' (p. 309). This material is arranged in chronological order,which usefully highlights thecircumstances of itsproduction. The date I8 I8marks thepoint atwhich Stendhal firstintervened in the debate about Romanticism, from thevantage-point ofMilan, with two pamphlets which are included here in their entirety.Racine et Shakespeare itselfalso consists of two separate pamphlets which appeared at twodistinctmoments, in I823 and I825. Crouzet underlines thisgenesis by insertingStendhal's treatiseon laughter in its chronological place between the two essays, showing how his earlier brief observations on comedy were rooted in amuch wider interest inhumour. Stend hal draws on the familiar thesis that laughter is an expression of superiority and tests itagainst his own characteristic preoccupations. He shows that the kind of comedy associated with vanity and fearof ridicule is an expression of superiority, and typical of theFrench. However, he notes that laughter can also be a spontaneous expression of self-esteem and happiness, and thus challenges the limitsof the superiority theory. Crouzet's edition has a lengthy preface, inwhich he draws on his encyclopaedic knowledge to identifyparallels between the edited texts and Stendhal's other writ ings.He reflectson Stendhal's conception of humour and surveys his evolving views on genre, the spectator, history, illusion, verse, and comedy. However, the rationale forsuch a substantial edition isnever spelt out. The textsare chosen for the theatrical theme and there is much well-documented comparison with other dramatic theorists, but Crouzet ultimately suggests thatStendhal's views on drama are of interestonly because theyanticipate his novel-writing and reflecthis broader ideas on aesthetics. 238 Reviews The role of comedy and theatricality in Stendhal's fiction is a rich and promising area, but the tantalizing reflections on this subject are scattered and buried in the documentation. As thevolume lacks direction, itcan be difficult for the reader tona vigate thewealth of framingmaterial; each text isheavily annotated and has itsown introduction, developing variations on ideas set out in themain preface. However, the book gathers useful material for the specialist reader, and should stimulate thought on Stendhal's relationship toRomanticism and, above all, on his humour. HERTFORD COLLEGE...