Abstract
Writing toward the end of the eighteenth century, Jean-François Marmontel characterized the essential formal difference between French and English novels as primarily one of rhetoric. Marmontel held that the oratory and bombast of French fiction contrasted sharply with the simple, straightforward expression typical of English novels, which he believed best suited for narrating both factual truth and plain moral virtue. The English have put into their novels “neither the elegance nor the flamboyance nor the facile grace of our licentious novels…” he wrote, “but with their natural style alone, which they have made interesting and profoundly philosophical, they have gathered into their novels the highest degree of realism, pathos, truth, and high moral tone.”1 A decade later, in 1797, Gabriel Sénac de Meilhan seconded that view, writing that while English novels have “the merit of offering up a faithful depiction of morals, of men, and of a nation,” French novels “are almost all devoid of style and invention …. A great number [of them] … offer up only unintelligible babble and uncontrolled imagination with no real substance.”2 One hundred and fifty years later, Ian Watt opined that eighteenth-century French fiction “stands outside the main tradition of the novel” for the same rhetorical reasons: “For all its psychological penetration and literary skill, we feel it is too stylish to be authentic.”3
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Notes
Jean-François Marmontel, “Essai sur les romans (1787)” Œuvres complètes (Paris: Verdière, 1818), 336.
Gabriel Sénac de Meilhan, “L’Émigré (1797)” Romanciers du XVIIIe siècle, ed. René Étiemble (Paris: Gallimard, 1965), 1757.
Ian Watt, The Rise of the Novel: Studies in Defoe, Richardson and Fielding (Berkeley: University of California Press, 1957), 30.
Pierre-Daniel Huet, Lettre-traité sur l’origine des romans (1669) ed. Fabienne Gégou (Paris: Nizet, 1971), 87.
Charles Sorel, De la connaissance des bons livres (1671), ed. Lucia Moretti Cenerini (Rome: Bulzoni, 1974), 1.
René Descartes, Principes de la philosophie (1644), Œuvres et lettres, ed. André Bridoux (Paris: Gallimard, 1953), 659.
John Carriero, Between Two Worlds: A Reading of Descartes’s “Meditations” (Princeton, NJ: Princeton University Press, 2009).
Gordon Baker and Katherine J. Morris, Descartes’ Dualism (London: Routledge, 1996).
Jean-Jacques Rousseau, Les Confessions (1782), ed. Jacques Voisine (Paris: Garnier Frères, 1964), 43.
Madeleine de Scudéry, Artamène, ou le Grand Cyrus (1656), 369.
Marin Le Roy de Gomberville, Polexandre (1641), 1320–21.
Timothy J. Reiss, The Discourse of Modernism (Ithaca, NY: Cornell University Press, 1982), 31.
Antoine Arnauld and Claude Lancelot, Grammaire genérale raisonnée (1660), 26–27.
Bernard Lamy, La Rhétorique, ou l’art de parler, 5th ed. (1712), 5.
Julien Offray de La Mettrie, L’Homme-machine (1748), ed. Paul-Laurent Assoun (Paris: Gallimard, 1999), 62–63.
François Marie Arouet de Voltaire, Lettres Philosophiques (1734), ed. René Pomeau (Paris: Garnier-Flammarion, 1964), 86.
John Locke, An Essay Concerning Human Understanding (New York: Dover, 1959), 440.
Diderot, “La Religieuse (1796)”, Œuvres romanesques, ed. Henri Bénac (Paris: Garnier Frères, 1961).
Richard Terdiman, Body and Story: The Ethics and Practice of Theoretical Conflict (Baltimore, MD: Johns Hopkins University Press, 2005), 30–36.
Diderot, “Le Rêve de d’Alembert”, in Œuvres philosophiques, ed. Paul Vernière (Paris: Garnier Frères, 1961).
Donatien-Alphonse-François, marquis de Sade, La Philosophie dans le boudoir (Paris: Union Générale d’Editions, 1972).
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© 2012 Toni Bowers and Tita Chico
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DiPiero, T. (2012). The Boudoir in Philosophy, or Knowing Bodies in French Fiction. In: Bowers, T., Chico, T. (eds) Atlantic Worlds in the Long Eighteenth Century. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137014610_11
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DOI: https://doi.org/10.1057/9781137014610_11
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