Sons et voix dans Eugénie Grandet
From the outset, Eugénie Grandet is framed, as if sealed, in silence. However, we hear the sounds of the town of Saumur around the Grandet house, and the reader realizes that, throughout the narrative, the house has a kind of life of its own, physical, solid and sonorous. Highly individualized voice...
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| Format: | Article ou chapitre numérique |
| Langue: | Français |
| Publié: |
2024
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| Accès en ligne: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Résumé: | From the outset, Eugénie Grandet is framed, as if sealed, in silence. However, we hear the sounds of the town of Saumur around the Grandet house, and the reader realizes that, throughout the narrative, the house has a kind of life of its own, physical, solid and sonorous. Highly individualized voices are heard almost daily, those of Nanon and especially M. Grandet. Major scenes focus our attention; they are dramatic, bordering on the tragic. The expressiveness of the voices takes on a character of extreme tension, even violence. After that, everything returns to its habitual silence. In fact, throughout the novel, silence simmers with a variety of sounds and tones. To appreciate some of them, Balzac solicits our receptiveness, our attentiveness, as readers. He sometimes invites us to imagine the sounds and let them resonate within us. |
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