Men feel what they imagine they feel. From that to thinking that they imagine they feel what they feel was a very short step (Gide 1925)
April 27, 2007
How can I know what I’m feeling isn’t just me imagining that I am feeling? What is counterfeit and what is real?
Psychological analysis lost all interest for me from the moment that I became aware that men feel what they imagine they feel. From that to thinking that they imagine they feel what they feel was a very short step . . .! I see it clearly in the case of my love for Laura: between loving her and imagining I love her- between loving her less and imagining I love her less – what God could tell the difference? In the domain of feeling, what is real is indistinguishable from what is imaginary. And if it is sufficient to imagine one loves, in order to love, so it is sufficient to say to oneself that when one loves one imagines one loves, in order to love a little less and even in order to detach oneself a little from one’s love, or at any rate to detach some of the crystals from one’s love. But if one is able to say such a thing to oneself, must one not already love a little less? (Gide 1925 [1958:84])
These are the questions asked by Edouard, the narrator and protagonist of André Gide’s novel Les Faux-Monnayers (1925). Edouard reads the letters, poetry and novels of others and writes in his journal as a background to his experiment in writing a new, more authentic form of novel entitled Les Faux-Monnayers. In the post WWI period of confused values and identities, Edouard begins to question his own reality:
The only existence that anything (including myself) has for me, is poetical – I restore this word its full signification. It seems to me sometimes that I do not really exist, but that I merely imagine I exist. The thing that I have the greatest difficulty in believing in, is my own reality. I am constantly getting outside myself, and as I watch myself act I cannot understand how a person who acts is the same as the person who is watching him act, and who wonders in astonishment and doubt how he can be an actor and a watcher at the same moment. (Gide 1925 [1958:84])
But is it Gide who also experiencing an existential crisis?
André Gide introduced the concept of the mise en abîme in his Journal (1893),
J’aime assez qu’en une œuvre d’art on retrouve ainsi transposé, à l’échelle des personnages, le sujet même de cette œuvre par comparaison avec ce procédé du blason qui consiste, dans le premier, à mettre le second en abyme (Gide 1893).
It is defined by Rimmon-Kenan as,
An analogy which verges on identity, making the hypodiegetic level a mirror and reduplication of the diegetic, is known in French as mise en abyme. It can be described as the equivalent in narrative fiction of something like Matisse’s [1933 painting La Condition Humaine] of a room in which a miniature version of the same painting hangs on one of the walls (Rimmon-Kenan 2002: 94).
and described by Wenche Ommundsen, who foregrounds the metatextual significance of such text-segments, considers mise en abyme as ‘an embedded self-representation or mirror-image of the text within the text. The mise en abyme may […] refer to the whole work which includes it; it may also refer to a particular element within that work, or it may take as its subject the processes of fictional creation and communication’ (Ommundsen 1993: 10 cited by Weiss).
Bal, Mieke. 1985. Narratology. Introduction to the Theory of Narrative (transl.).Toronto/London: University of California Press.
Boheemen. “Notes on Narrative Embedding.” Poetics Today 2.2 (1981): 41-59.
Gide, André. 1925. Les Faux-Monnayers.
Gide, André. 1958. The Coiners. Trans. Dorothy Bussy. London: Cassell & Company.
Gide, André. 1958. XIII. “Edouard’s Journal: Douviers and Profitendieu.” The Coiners. Trans. Dorothy Bussy. London: Cassell & Company. p. 358
Caws, Mary Ann. 1986. Reading Frames in Modern Fiction. Princeton, NJ: Princeton UP.
Dällenbach, Lucien. 1977. Le récit spéculaire. Essai sur la mise en abyme .– Paris : Seuil, 1977. The Mirror in the Text.– Cambridge : Polity Pres, 1989.
Ommundsen, Wenche. 1993. Metafictions? Reflexivity in Contemporary Texts. Victoria: Melbourne University Press.
Ricardou, Jean.1990 . Le Nouveau Roman. Paris : Seuil.
Rimmon-Kenan, Shlomith. 2002. Narrative Fiction: Contemporary Poetics. 2nd edn. London and New York: Routledge.