The Image in the modern French Novel: Gide, Alain-Fournier, Proust, Camus

326 Pages·2016·68.27 MB·English

by  Ullmann Stephen.

Stephen Ullmann
THE IMAGE IN THE
MODERN FRENCH
NOVEL
GIDE, ALAIN-FOURNIER, PROUST
CAMUS

THE IMAGE IN THE
THE IMAGE IN THE
MODERN FRENCH
NOVEL
GIDE, ALAIN-FOURNIER, PROUST MODERN FRENCH
CAMUS
/ BY
STEPHEN ULLMANN, Ph.D., D.Litt.
Professor of Romance Philology in the NOVEL
University of Leeds
NEW YORK
BARNES AND NOBLE INC.
*
1963
GIDE, ALAIN-FOURNIER, PROUST
CAMUS
. BY
STEPHEN ifLLMANN, PH.D., D.LITT.
"
ProJessor ojRomam:e Philology in the .
University ojLeeds
NEW YORK
BARNES AND NOBLE INC.
1963

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CONTENTS
Preface page vii
CONTENTS
I The development of Gide's imagery 1
II The symbol of the sea in Le Grand Meaulnes 99
III The metaphorical texture of a Proustian novel 124
PreftUe page vii
I The development of Gide's imagery 1
II The symbol of the sea in Le Grand Meaulnes 99
III The metaphorical texture of a Proustian novel 1240
IV The two styles of Camus 289
Index 807

PREFACE
author will rely on similes and metaphors to formulate the main
themes of his novel with the maximum of precision, concreteness
and expressive force. Imagery may therefore take the critic by
a straight route to the very core of the work of art, and the
metaphors arising around these central themes may develop
into major symbols. Thirdly, images are a most effective means
of portrayal through style; they are symptomatic of the per-
sonality of the characters who use them. These oblique effects
are particularly important in novels told by a narrator. Most of
the works discussed in these studies fall into this category.
The main purpose of this book, as of its predecessor, is to
bridge the gap between linguistics and literary criticism. I would
not go so far as to claim with Mr Martin Turnell that ' the study
of the French novel is primarily a study of the alterations which
have taken place in the French language and of the novelists'
use of their resources ' ; but it is undoubtedly true that the style
of a novel is an integral and vitally important part of its
substance. The narrative technique of an author, his creative
and experimental handling of the language, is an essential
element of the ' craft of fiction ' about which Percy Lubbock wrote
nearly forty years ago: 'There is nothing more that can be
usefully said about a novel until we have fastened upon the
question of its making and explored it to some purpose.... It
seems vain to expect that discourse upon novelists will contain
anything new for us until we have really and clearly and
accuratel0y seen their books.'
6
I am grea3tly indebted to the University of Leeds, and in
6
particular1 to the Vice-Chancellor, Sir Charles R. Morris, for
0
a generou18s contribution towards publication costs, and to Pro-
0
fessor L9. C. Harmer for his friendly interest and encouragement.
8
My sinceru.e thanks are also due to the following scholars for valu-
w
able infor7/mation or advice: Dr T. V. Benn, Professor Germaine
Brée, P2rofessor G. T. Clapton, Dr J. Cruickshank, Dr G. Hains-
0
wSToErth,P DHrnet/2 AE. NN oUaLch,L MrM BA. S.N PNage, and Mr Francis H. Scarfe.
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