L'autodestruction dans les études philosophiques d'Honoré de Balzac
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Paris 4Disciplines:
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Abstract EN:
He who wants everything has nothing, he who wants to be everything self-destructs. Our study aims to condemn the search of the absolute, which constitutes one of the problems of la comedie humaine. Surrendering himself to negative passions, the balzacien hero encounters misfortune and tragedy and becomes responsible for his own failure. The failure of the balzacien hero seems to reside in his satanic egotism, from which we see both inhuman and superhuman unjustified pretentiousness. Whenever ego takes the lead, defeat follows: claes aspires to "know" so that he can "be able" like god; lambert aims to become an angel, yet as much to posses absolute truth as to save the world. Similarly, the balzacien artist tries through his art to compete with god in making himself the creator of nature. Finally, for raphael, or foedora, their "i" is absolute. They don't know the love without which no one understands life. They have the pretension of living for themselves, without needing or caring for others. And there is cornelius, miserly with his riches as well as affections, who despises everything which others posses and esteem, such as enjoyment and prestige. He privately congratulates himself for being alone and above everything. He who aspires to the absolute is reversed, fails, and all his efforts efface themselves. All self-destructive passions which grip the balzacien hero express an "i" become egotistical, perverse, and even viscous by excess of pride. We give homage to balzac the artist, who painted these unforgettable portraits in his masterful novels.
Abstract FR:
Celui qui veut tout n'a rien, celui qui veut etre tout se detruit. Notre etude vise a condamner une recherche excessive de l'absolu, qui constitue l'une des grandes problematiques de la comedie humaine. S'abandonnant aux passions negatives, le heros balzacien s'attire le malheur et la tragedie et devient finalement responsable de son echec. L'echec du heros balzacien semble resider dans son orgueil satanique, duquel nait sa pretention injustifiee, inhumaine et surhumaine. Toujours est-il que lorsque l'orgueil va de, vant, la defaite suit : un claes aspire a "savoir" afin de "pouvoir" comme dieu, tandis qu'un lambert vise a devenir un ange, autant pour posseder la verite totale que pour sauver le monde. De meme, l'artiste balzacien se veut rival de dieu pour parvenir,au moyen de son art,a etre a son tour le crea, teur de la nature. Enfin,pour un raphael,une foedora, le moi est absolu. Il s ne connaissent pas l'amour dont,au contraire, chacun de nous ne peut se passer pour donner un sens a la vie; ils ont la pretention de vivre pour eux, sans avoir be, soin de personne et sans se soucier des autres,alors qu'un cornelius, aussi avare de ses richesses que de ses affec, tions,meprise tout ce que les autres possedent et estiment, comme les jouissances, les prestiges humains, en se felici, tant interieurement d'etre seul au-dessus de tout cela. Celui qui pretend a l'absolu rencontre le retournement de situation, l'echec ou tout s'annule. Toutes ces passions autodestructrices qui s'emparent des heros balzaciens, sont l'expression d'un moi devenu orgueilleux, pervers et meme vicieux, par exces d'amour-propre. Rendons hommage a l'art de balzac qui a su peindre ces portraits rendus inoubliables par la maitrise du romancier.