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• W2029897487 abstract "In an article from 1886, Paul Bourget heralds the upcoming publication of a Repertoire de la Comedie humaine de H. de Balzac, a directory of the thousands of characters that populate Balzac's fiction. Bourget's reflections on Balzac's enduring appeal for young male readers are consistent with his recently completed Essais de psychologie contemporaine (1881-1885), in which he examines writers from earlier decades as influences qui continuent de peser la jeunesse actuelle (440). The following year, the first edition of the Repertoire was greeted by an article from the young Maurice Barres, a Bourget protege who, aged twenty-four, had yet to publish his first novel. That article, Contagion des follows Bourget in describing how young Frenchmen are still enthralled by the enfievrant romancier, but also notes that this decades-old fascination might at last be on the wane. Barres claims to be weary of ambitious young provincials who flock to Paris, and of those who write novels about them, both under Balzac's spell; he has had enough, in reality as in fiction, of tant de faux Rastignacs, ridicules et odieux. He suggests that the time has come for something else: a new paradigm for young men, led by a new writer--perhaps Barres himself. Would he succeed? Critics have often noted Barres's deliberate refusal of Balzacian models in his first trilogy of novels, Le Culte du Moi (1888-1891), as well as his clear return to Balzac in Les Deracines, published in 1897 (Rambaud 397, 400-01; see also Borie 28; Frandon, Barres 98; Germain 78). Whereas this trajectory is usually described as a two-step process of departure and return, I argue that Balzacian schemas of ambition and ascension exert a tenacious and deeply paradoxical hold on Barres, particularly in Les Deracines, where they are held up as both possibility and impossibility, subject to simultaneous citation and denegation. (1) After showing how Barres, through a series of pronouncements about Balzac in his early career, attempts to define himself by renouncing this powerful model, I will propose that Balzac and his iconic characters, Rastignac first among them, have an effaced but lingering presence in Barres's 1897 novel that might be best described as a haunting. Bourget opens his 1886 article by imagining how, with the news of the impending publication of the Repertoire, sur la colline ou il repose,--cette colline du haut de laquelle son Rastignac defiait Paris,--les os du grand romancier ont du [...] fremir de joie (3). The reference to Pere-Lachaise Cemetery is striking in its juxtaposition of the site of Rastignac's famous challenge to Paris at the end of Le Pere Goriot and that of Balzac's tomb: in a single place, the loudly proclaimed potential of youthful ambition and the still slumber of death are made to coexist in a nonverbal, cadaverous shiver. Bourget's evocation conflates fiction and reality: the fictional Rastignac lives on, in a way, while Balzac the novelist lies dead. In his preface to the Repertoire in 1887 (reworked from his 1886 article), Bourget alludes further to the uncanny blurring of fiction and reality experienced by readers of La Comedie humaine: pour certains lecteurs, ce monde de Balzac [a] ete plus vivant que l'autre, et, par la suite, [a] modele leur activite a sa ressemblance (xii). For some of Balzac's young male readers, (2) according to Bourget, the world of fiction can be more vivid than life, and can come to shape reality rather than mirror it. Rastignac's enduring challenge resonates and inflects the lives of these imagined readers more than fifty years after the publication of Le Pere Goriot (1834-1835). In Barres's Deracines, this challenge persists, as Bourget suggests, in something of a ghostly state: a compulsively repeated, never forthrightly spoken nor fully silenced utterance, whose effect is to make reality seem dead to actual possibilities, and alive only with literary reminiscences. …" @default.
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• W2029897487 date "2014-01-01" @default.
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• W2029897487 title "“À nous deux,” Balzac: Barrès’s Les Déracinés, and the Ghosts of La Comédie humaine" @default.
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• W2029897487 doi "https://doi.org/10.1353/ncf.2014.0018" @default.
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