By Jo Ann Marie Recker
The current research makes use of sleek Molière feedback as a manner of figuring out Mme de Sévigné. In either Molière and Mme de Sévigné there's proof of esprit or wit, that highbrow facility which perceives contrasts. Moliéresque severe thought could name this notion the "Imposteur" method. because the starting strains of Molière's Lettre sur l'Imposteur suggest, it's a "discours du ridicule" the place ridicule is outlined because the incongruous and the unreasonable. This concept is dependent upon an act of clever judgement of what really constitutes the normatively moderate, and accordingly, it presupposes an analogous point of view at the a part of the reader/spectator. Implicit to either irony and mock is the complementarity invaluable among the giver and the receiver of the message. the appliance of moliéresque severe thought to the Correspondance of Mme de Sévigné can give a contribution to a renewed appreciation of the hugely highbrow caliber of the comedian genius of a "spirituelle marquise," a mom who desperately desired to appeal to a distanced daughter to regularity in an epistolary alternate, a girl of wit and irony.
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Additional resources for Appelle-moi Pierrot: Wit and Irony in the Lettres of Madame de Sévigné
Ah! que je comprends bien mieux mes Bretons! 71) Mme de Sévigné shared Molière's sentiments for doctors as a group, though she had many an occasion for consulting one, either about her own health or that of her children and grandchildren. "19 She admits to her seeming inconsistency when she states: Pour Vichy, je ne doute nullement que je m'y retourne cet été. Vesou dit qu'il voudrait que ce fût tout à l'heure, Delorme dit que je m'en garde bien dans cette saison, Bourdelot dit que j ' y mourrais, et que j'ai donc oublié que je ne suis que feu et que mon rhumatisme n'était venu que de chaleur.
The more unreasonable the mask, the more ridiculous the person. 64). 64). One to whom Mme de Sévigné sarcastically referred as "la" Marans is a good example of the déraisonnable and as such is subject to some of the Marquise's most severe ridicule. 71), and feel that others were deliberately not keeping her informed of events, as in this case with reference to recent deaths: "Si l'on pouvait rire, l'on rirait. Hélas! 72). So enamored of herself was she that Mme de Sévigné reports: "Elle avait cet été la fantaisie d'être violée; elle voulait être violée absolument.
68) A sustained metaphor throughout the correspondence plays with Grignan's nickname "matou" so that the distortions of the portrait mode itself already take place in the family gallery: "M. 79). 34 "Appelle-moi Pierrot" A striking feature of the family portraits is the prominence of le nez. "La dame au nez carré" took delight in delineating this trait in her progeny, and a literary stroll among the grandchildren's portraits suffices to underscore the fun the Marquise had in playing with this part of their anatomy.