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• W1978332213 abstract "COMPTES RENDUS 421 Letters were not exempt from this chilling ordinance and it is therefore all the more admirable that Voltaire in his exchanges with D'Alembert (as with many others) advocated the destruction of the infâme. Dawson's contribution to this phenomenon is her minidissertation on the word infâme itself. Its very indeterminacy was a perfect front behind which Voltaire could conveniently hide while he hurled his critical javelins at the ancien régime. The fact that both he and D'Alembert had frequent recourse to animal imagery is also highlighted in Dawson's exegesis of their correspondence. Arnold Ages University of Waterloo Pierre Saint-Amand. The Libertine's Progress: Seduction in the EighteenthCentury French Novel. Trans. Jennifer Curtiss Gage. Hanover, N.H.: University Press of New England, 1994. xiii + 166pp. US$36.00. ISBN 0-87451-686-2. Pierre Saint-Amand's study of seduction in the eighteenth-century French novel brings together a good sampling of recent publications on this subject, within the theoretical framework of René Girard's mimetic desire. Indeed Girard's rather fulsome foreword (not a turn of phrase is selected for rhetorical effect, p. ix) is both an apology for the mimetic scheme, which is his own, and a justification of its application to the subject: the mimetic scheme enables the critic to articulate singularities by revealing in them variations on the same mimetic patterns at different stages in their isolation (p. xi); Saint-Amand defines the ultimate goal of mimetic desire as self-divinization, divine self-sufficiency (p. xii). In his introduction, The Mirrored Bedroom, the author outlines his terms and sets the context for seduction which is above all fascination, mesmerism, sorcery. He identifies archaism as the hypocritical form of an abiding pulse of desire, and the eighteenthcentury novel as the locus in which the so-called Enlightenment reveals its underside, foundering on the blind reefs of desire. ... It can be read as the unconscious, as a palimpsest of all the atheistic philosophies of the Age of Reason (pp. 3-4). The three chapters that follow—Sorceresses, Initiations, and Diabolos—deal in turn with The Virtuous Orphan, or the Life of Marianne, Manon Lescaut, and The Nun; The Upstart Peasant and The Wayward Head and Heart; Les Liaisons dangereuses, Juliette, and Goethe's Elective Affinities and Faust. Beginning with the subtler aspects of imitation—mainly those that masquerade as narcissism—Saint-Amand proceeds towards the more elaborate forms found in Laclos, Sade, and Goethe, where mimetic desire is revealed as satanic knowledge, the desire to be the other's god (p. 13). Marianne, the coquette, is both the object of male pleasure, and the object of female envy (p. 27), whose desire is to be at the center of all gazes (p. 29). The analysis of the virtuous orphan is weakened in my view by the use of conversational clichés and mixed metaphors of dubious critical value. Thus Marianne has a few aces up her sleeve (p. 23) and tears are her trump card (p. 30), while her seduction is a cookie-cutter, carbon copy, flim-flam seduction—but one that basks in the illusion of escaping such assemblyline mass production (p. 33). I have been unable to compare the translator's work with the original and can only hope that the French is less flaccid. 422 EIGHTEENTH-CENTURY FICTION 7:4 Coquetry gives way to mercantile exchange in the analysis of Manon, a first step in the degeneration of the coquette through the triple metamorphosis of defilement, divinity, commodity (p. 37). Fromfascinum to diabolical figure, Manon has poisoned Des Grieux, whose unconscious desire for Manon's infidelity is the ultimate mimetic strategy (p. 44). This chapter ends with a discussion of Massenet's opera and the ways it adapts or adds elements not found in Prévost' s text. In a chapter entitled Forbidden Liaisons, in The Nun, the incestuous and homosexual desire for attachment to the mother, ironically played out by various mothers superior, reveals in the end that Suzanne, too, is a virtuous erotomaniac (p. 68). The sensual and erotic dimensions of female religious mysticism are at the centre of this text, but one wonders..." @default.
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• W1978332213 title "<i>The Libertine's Progress: Seduction in the Eighteenth-Century French Novel</i> (review)" @default.
• W1978332213 doi "https://doi.org/10.1353/ecf.1995.0018" @default.
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