Jennifer Tamas discovered Madeleine de Scudéry through Molière and the 17th century authors who never stopped making fun of her language, which was deemed frivolous or convoluted: “when I read it, I couldn’t get rid of this prism which prevented me from understanding it differently“.
But by turning to the writings of the precious ones, she understood that these “unfolded the fundamental problems of women’s existence” and posed essential and philosophical questions, such as those of the male gaze, marriage, love at first sight, consent, etc.
The art of romantic casuistry
Jennifer Tamas shows that Clélie, the heroine of de Scudéry’s Madeleine novel, calls into question the topos of love at first sight, since she “draws a clear distinction between pleasing and loving“, and explains that love is a serious and profound question quite far from an infatuation based exclusively on appearances.
“For Clélie, we can follow an impulse, but we must be aware that it can only cover emptiness. What is fascinating about this text is that the arguments she exchanges with her friends nuance each other, which makes their discussions inexhaustible..” And these beliefs are embodied in the Map of Tenderness, which illustrates the means of achieving esteem, recognition and inclination, and maps a whole range of different kinds of friendships.
“Madeleine de Scudéry offers something quite subversive, because in her time, women were prescribed silence, they did not talk about their feelings. Conversely, she imagines a sociability where women have the floor and affirm what they like or do not like..”
Clélie, a heroine against rape
According to Jennifer Tamas, we have completely put aside the fact that Clélie is part of the continuity of Lucretia’s drama and that she refuses to be raped: “Clélie is the heroic woman who flees and threatens the peace of her country to avoid rape“.
This is also what will irritate Boileau, contemporary of Madeleine de Scudéry and author of Satireswho can neither support his tender heroes nor his heroines who are part of a true political logic and who refuse the fate reserved for them.
“Céline made me physically ill”
Jennifer Tamas read five times Journey to the end of the night by Céline, a text which ended with “make one physically ill“. “There is such misogyny and such contempt for social misery… it revolts me. I don’t understand this fascination with Celinian music.”
Sound clips:
- Archive of Gabriel Timmory from January 30, 1951, “French culture hour”, National channel
- Reading by Nicolas Berger and Lucile Commeaux of an extract from Clélie, Roman history by Madeleine de Scudéry, 1654, edition by Delphine Denis, Classic Folio, Gallimard, pp.66-67
- Extract from Precious ridiculous (1659) by Molière, recording of March 18, 1973 by the Society of French Comedians, France Culture + The tender cardsong by Georges Moustaki, 1970
- Reading by Lucile Commeaux of an extract from Clélie, Roman history by Madeleine de Scudéry, 1654, edition by Delphine Denis, Classic Folio, Gallimard, p.268
- Reading by Nicolas Berger of an extract from Clélie, Roman history by Madeleine de Scudéry, 1654, edition by Delphine Denis, Classic Folio, Gallimard, pp.287-288
- “Come, come, implacable hatred!” In Scars by Jean-Baptiste Lully, 1686
