Auteur / Autrice : | Robert Bared |
Direction : | Georges Molinié |
Type : | Thèse de doctorat |
Discipline(s) : | Littérature française |
Date : | Soutenance en 1995 |
Etablissement(s) : | Paris 4 |
Mots clés
Mots clés contrôlés
Résumé
Allegorical by nature, the fable, in la fontaine's hands, extends as well into the realm of prosopopoeia. In the musical score of the fables, the word is written on several slaves, reserved in turn for the characters, the narrator, or the mo ralist. And it is not uncommon for on of the voices to be transcribed onto a different stave, or for several voices to proceed together according to some subtle inner counterpoint. In desperate situations the characters find within themselves the leaven of natural eloquence. "i hate oratorical tirade s" said la fontaine, railing against tedious, deliberative passages, pretentious conceits of any kind. Above all, he rejects the inopportune word which fails to take into account either the circumstances or the audience. The narrator has at his command all the leisure of informal conversation; he converses with his reader as he does with his characters and is marvellously in touch with all the ressources of varietas; "gaiety" is second nature to him. To dazzling displays of oratory the prefers the virtues of story-telling. The fabulist-moralist is the supreme creator of this allegorical universe. As well as this indirect rhetoric, his words often penetrate into the territory of the narrative, to culminate in a broad moral of "a hundred diverse fragments".