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Although not a direct parody like his Virgile travesti, Scarron's Roman comique is nevertheless one of the works of seventeenth-cen- tury French prose fiction most conscious of literary tradition and most self-conscious with regard to its own narrative techniques. The role of the narrator, the functioning of rhetoric and the structure of the novel are all examined from the point of view of these notions, to show why the Roman comique may be termed a novelist's novel, a novel about novels and the paradox on which they are based - the making of credible fiction.
This work evaluates the influence of Menippean satire on the seventeenth-century French novel and specifically studies its role in the Roman comique. The analysis uncovers many links to Menippean satire. Among these: digression; an unreliable narrator; parody; doubling; double-voiced discourse, dialogism (in Bakhtin's terminology) and the oral nature of the tale told. While it may be impossible to prove that Scarron consciously imitated the Menippean writing of antiquity exemplified by the works of Varro, Seneca, Petronius, Lucian or Apuleius, or the Satyre Ménippée of 1594, Scarron manifestly participates in the displacement of interest toward anti-conventional, anti-novelistic and parodic strategies that later become a central element in the history of the novelistic genre.
This comparative study explores the special part played by the inn, tracing the progress of a succession of wayward heroes and narrators in five canonical texts including: Cervantes's "Don Quijote" and Fielding's "Joseph Andrews" and "Tom Jones".

Intersections

North American Society for Seventeenth-Century French Literature. Conference

Published: 2005

Total Pages: 366


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