Bøker av Walter E. Rex

The essays in this 1987 volume are concerned with ideas of contrarity and other kinds of polar opposition in French literature of the eighteenth century. In treating the literature in relation to the other arts, these essays will be of interest to scholars of all aspects of eighteenth-century French culture.

Of all the playwrights from the age of Louis XIV, only Moliere's work is still regularly performed in France and beyond. This book analyses certain elements of the plays that may explain Moliere's longevity: a plausible chain of events peppered with shocks and surprises; tensions between opposites; intellectual concerns that had not previously been the province of comedy; and plots founded on situations that are anything but comic. These hallmarks added up to an intense type of comic theatre, meaningful in ways that gave the genre a new dimension. The author of this study does not treat Moliere's plays as variations on a single prototype, but brings a fresh approach to each. The book's witty, learned and penetrating readings examine critical issues such as the ambiguous anti-feminism of Les Femmes savantes, Moliere's revisions of the myth of Don Juan, 'conversion' as the theological starting point of Le Tartuffe, contrariety as the basis of comedies such as George Dandin and Le Misanthrope, and coded satire in the comedie-ballets. Each play is revealed to have a seamless comic design, while at the same time speaking to the wider world. Moliere's works are shown to be entirely and immediately involved in human society, in the social dimension of the human condition.

The exhilarating brilliance of Diderot's ideas combined with the intractable difficulties we encounters in his writings place him among the most challenging and controversial of the philosophes. This book puts forward a clearer understanding of Diderot's perplexities by taking into account the dynamics of his thought processes, especially the mode, peculiar to him, of thinking via contrarieties. Uniquely among the philosophes, Diderot has the irregular habit of letting his ideas capsize and go into reverse, 'pro' turning into 'contra', 'yea' becoming 'nay' - without the author bothering to notice (much less to inform the reader) that he has completely changed his mind. The phenomenon is frequent; in a number of instances, it is impossible to 'make sense' of Diderot's writings unless we are alert to this even when it occurs, that is, alert the dynamics of contrariety. This feature of Diderot's mental processes has received little attention from scholars - for good reasons: contrarieties suggest that the movement of Diderot's thought is often neither logical nor even rational, that frequently his concepts do not remain fixed and stable, or add up along straight lines. The existence of contrarieties implies that, as Diderot wrote, his ideas proceed in discrete stages, creating an evolution of concepts whose values are not only changing, but often contradicting their previous meanings. Finally, contrarieties play against the principle, sacred to scholars of literature, that the ideas of work of art must have cogerence in order to be comprehensible. Accepting these challenges to tradition as the basis of his argument, Professor Rex proposes radically new analyses of almost all of Diderot's major works (the only significant omission, La Religieuse, has been extensively treated by Professor Rex elsewhere). In sum, this perception of the dynamics of Diderot's thought promises not only to alter fundamentally our understanding of his 'philosophy', but also to give a new sense of his importance in the Enlightenment.