Yet, Lafayette distinguishes two characters from the crowd: These stories, all told to her by other characters, are learning moments for her — exemplary texts of how to or not to act in society. Her entry into and departure from the court mirrors that of the letter.
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Its jarring inclusion, both visually and narratively, is compounded by the length and complexity of its story. At a dinner party following a tennis match, the vidame boasts of having inspired delicate and passionate emotions in a woman, and brags that he has the letter to prove it.
However, he discovers that it is no longer in his pocket. This letter, which bears no addressee nor signature, had fallen out in the dressing room, was found, read aloud, and led to a debate about which of the four tennis players had lost it. Because she is in company, she gives it to the Princesse with instructions to see if she recognizes the handwriting and to return it to her that evening.
In the meantime, the vidame is in a panic. The queen has demanded his fidelity and this letter is damning evidence of his unfaithfulness. The vidame wants Nemours to claim that the letter is his. Knowing that Nemours has a love interest and might be loathe to risk his status with her if it is publicly assumed the letter is addressed to him, the vidame provides evidence of the identity of the author and recipient to Nemours: Later that morning, when the dauphine asks the Princesse for the letter since the queen has requested to see it, the dauphine is aghast that the Princesse no longer has it.
The dauphine tells her to reproduce its content from memory. Both the Princesse and the letter share a sudden entry into an already existing narrative.
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Then, suddenly, Mlle de Chartres enters the text and the court: The letter, too, makes an unanticipated entry into an already existing narrative. The letter, too, arrives at court from an unknown origin. Even when it is read aloud by Chastelart, no mention is made of the author or addressee.
Just as no one knows from whence Mlle de Chartres hails when she enters the court, no one knows who authored the letter that has suddenly appeared. Like an object such as the letter, the Princesse often does not have control over the movement of her own body. The Princesse, then, rather than replicating the actions of a person like Diane de Poitiers, Anne de Boulen or Mme de Tournon, is at least initially the structural double of an inanimate object in the text, passive and unable to act on her own.
She has become a mere copy. Lafayette —9, my emphasis. After the epistolary transgression, even the princess considers her behavior akin to marital infidelity. The product of this metaphorical illicit love affair is a badly written forgery that does not resemble its original. The metaphorical reading of the trajectory of the letter as object and its reproduction reveals that neither the letter nor the Princesse fit in at court nor are convincing.
Others assign meaning to their physical presence without regard for their actual content. As the dauphine states, her actions make her unique: Nemours, too, cannot believe that the Princesse would act so contrary to all other women. During the refusal, he struggles to understand what she is telling him: The content of the letter initially seems to have very little impact on the narrative.
The relationship between authorship and anonymity has been famously explored by DeJean, who maintains that women authors left their writings unsigned, lending authority to their texts. Unsigned works remove any implication that might come with the name — or gender — of the author and instead draw attention to the value of the content of what is written. At first glance, however, just the opposite occurs. Different values are assigned to the letter by different characters: Reading the words of the letter as given in the novel, another parallel between the letter and the Princesse emerges: For the first time, the Princesse has a model with which she can identify.
The Princesse is far less able to master her emotional reactions throughout the novel as well as at its conclusion. Notably, she loses control of her expression when Nemours falls from his horse: In the refusal, the Princesse attempts this same mastery, but she falters.
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While speaking to Nemours frankly during the refusal, she tells him she will be able to control her passion: But later in the conversation, she finds herself tempted to give in: Upon greater reflection, she recognizes her weakness:. The Catholic University of America Press, The Privileges of Anonymity.
Biblio 17 , 40 Beasley and Katharine Ann Jensen. Lafayette, Marie-Madeleine Pioche de la Vergne, comtesse de.
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Mirrors in Texts — Texts in Mirrors. A Quarterly Journal in Modern Literatures The Cambridge Introduction to French Literature. On Not Making Literary History. Gunter Narr Verlag, Valincour, Jean-Baptiste Henri du Trousset de. Chez Sebastien Mabre-Cramoisy, The Birth of the Modern Novel. In a footnote to her captivating Sightings: Mirrors in Texts — Texts in Mirrors , Joyce Lowrie invites the further examination of this letter as a source: Finis les grands sentiments, tout au moins en ce qui la concerne.
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All his desires are mediated by his rivals […] Indeed the desire to seduce is so far from being an attribute of sexuality in Don Juan that it would be more accurate to describe his sexuality as an attribute of his desire to seduce. The familial blood dictates her actions and commands her to speak for it, just as a god might speak through a possessed human host. In her mind, blood calls for blood seemingly despite human volition. The King promises that the blood feud will cease, that the two lovers can be wed, and that all will live together happily thereafter.
This logic intensifies in the context of a blood feud, which, as Stuart Carroll has explained, is never an individual matter. Rochefort claimed the ancient prerogatives of blood, claiming that it was the medium of psychic and moral virtues including bravery and strength inherited from the ancient conquering Franks.
Ultimately this gave the King more control to give out noble status according to merit and to decide on limit cases exposed by his genealogists Haddad — Corneille scholars have consequently understood Le Cid as part of this historical story of noble decline, with the language of blood squarely on the side of the aristocracy. These systems, however, are very much attached to bodies; and when examined in this light, the two opposing sides are not so antithetical as most readings assume. In this negotiation, therefore, the King might likewise make use of this vocabulary.
And though in this case the blood may not be visible onstage, it is graphically imagined nonetheless. Otherwise stated, even though the aristocracy and the monarch cite blood discourses towards contradictory ends, they invest in similar assumptions with similarly violent consequences. King Fernand can attempt to argue that his royal blood the blood of the nation as he puts it matters more than that of the nobility.
But if he holds the same premise, that blood matters, then all blood matters; and the King cannot convincingly apply this principle to his body alone. So long as these characters depend upon and invest in these discourses, regardless of their side in this political divide, blood will not change.
Blood will demand more blood, and future generations will be determined by the same violent requirements and demands. The alternative to this dialectic, to have a future without blood, necessitates rejecting this bloody ideology entirely; as Le Cid intimates, defining othersby their bodies here only yields violence, whether in a blood feud or in a holy war against the Moors. In other words, blood conceived in this way necessarily dictates and determines without concern for any other social or emotional considerations.
For instance, Rodrigue voices this reasoning after a lengthy internal debate: For the guarantee does not work for heroines. The first feature to note is that, after proclaiming her father dead, his blood remains her first concern. European Journal of Geography [En ligne], Dossiers, article , mis en ligne le 24 mars Journal politique du matin , 25 juillet, Le score est de 25 voix pour Bernard et un blanc.
European Journal of Geography. Dubois et la jeunesse du Quartier latin. Dubois et les vidaliens de la Sorbonne, une vraie rupture? Table des illustrations Titre Figure 1: Anniversaire Les 20 ans de Cybergeo. Abbassi Driss, L'imaginaire sportif. Abbassi Driss, Quand la Tunisie s'invente. Entre Orient et Occident, des imaginaires politiques, Paris, Autrement, Bancel Nicolas, Denis Daniel, Fates youssef dir.
Calvini Claude, Sport, colonisation, et communautarisme: Deville-Danthu Bernadette, Le sport en noir et blanc:
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