What’s in a Name?: The Power of Austin’s Performative Applied to Changes in Identity in Ruy Blas and Cyrano de Bergerac

Abstract

In How to do Things with Words, John Austin shows that words and language have power to do more than just communicate; they actually have power to change reality, a notion that challenged, in his words, the assumption of philosophers that business of a 'statement' can only be to 'describe' some state of affairs (1). It is through Austin's influence that language and communication are no longer defined solely as true or false descriptions. Language also acts or performs. Austin names utterances that go beyond former concept of communication 'performative' utterances or illocutionary acts and these words, in certain circumstances, are empowered to incite changes. One is not just speaking in performative, creating sound waves or conveying a perfunctory message, but accomplishing acts that have changing effects upon other elements. Two fiancees, to borrow Austin's famous example, are changed to a married couple once a wedding officiated declares now pronounce you man and wife (Austin 5). With Austin's explanation of performative, I propose that in act of giving a new name in certain nineteenth-century plays, rechristening utterance redefines individual receiving name and thus creates a new identity. characters don new identities through new names, other characters see them altogether differently. The protagonists in fact perceive themselves as changed, as do readers or, as case may be, spectators. Turning attention to Victor Hugo's 1839 Ruy Blas, and to Edmond Rostand's 1893 Cyrano de Bergerac, I propose to show that utterance of a new name engenders new identity, with attendant purpose of promoting republican ideal of equality. Well before Austin coined term and developed notion, authors and playwrights had made ample use of performative. Nineteenth-century French writers, who were surrounded by revolutions, revolts, coups d'etat and class struggles, made use of performative with relation to identity of an individual. It is no surprise that with constant changes in value placed on nobility, bourgeoisie and popular masses, characters such as Edmond Dantes and Jean Valjean emerge respectively as Count of Monte-Cristo and Father Madeleine. Speaking of nineteenth-century theatrical performances and social critiquing they stage, Susan McCready writes: As characters in these plays don disguises, play roles and stage plays-within-the-play to arrive at their ends, we can chart out possible trajectories of performance and begin to make an argument about how performance responds to deeper anxieties informing Romantic theatre and nineteenth-century (4). It is clear that theater of this period was influenced by and responding to life and culture that surrounded it. Ostensibly, these name changes are as good as lies: And yet in ideological terms, there is more happening behind proverbial scene as characters masquerade with new names and accomplish unforeseeable acts while wearing their masks. It is within first act of Ruy Blas that central figure is given his new name. Through his master Don Salluste, Ruy Blas is given identity of his master's cousin, Don Cesar, a nobleman of Spain who has been in hiding for some ten odd years. Don Salluste renames Ruy Blas in presences of other nobles, a performative act by which Don Salluste denies other nobles a chance to have an impression of Ruy Blas without title of 'don'. Souffrez qu'a votre grace je presente, marquis, mon cousin don Cesar, Comte de Garofa pres de Velalcazarhe says to le Marquis del Basto (1.5). Then to quiet any possible protestations from Ruy Blas he adds in a whisper Taisez-vous!and Laissez-vous faire. Saluez (1.5). Don Salluste manages Ruy Blas in such a way as to ensure that new identity is respected and recognized by others. With this new title, Ruy Blas is now able to speak to other nobles on equal grounds. …