Abstract

This article discusses irony as an aesthetic, therefore affective, value, as exemplified in Stendhal’s irony. Affective phenomena vary in nature and intensity, and one same emotion can be coloured differently (adjectives indicate its nuances, as, for example, in “sweet nostalgia” or “desperate nostalgia” etc.). Irony involves a very complex gamut of aspects and degrees: it can be satiric, comic, tragic, nihilistic, paradoxical etc. I first consider what kinds of irony Stendhal avoided. He discarded both the tragic satire of Chateaubriand and Romantic nihilistic irony. Then I look at Stendhal’s theory of laughter, as hinted at in several of his writings where he reflects upon various forms of comedy while developing his own ideal of comedy as it will appear in his major novels (see Journal littéraire, Histoire de la peinture en Italie, Racine et Shakespeare, and Correspondance). Dissatisfied with Hobbes’ definition of laughter as involving a feeling of superiority, he considered two conditions for the comic effect: clarity and suddenness. Both become fundamental in his literary style. At the same time Stendhal was convinced of the affective superiority of the moderns over the Ancients: only the moderns, forged by Christian sensitivity, experienced tender emotions. Tenderness should color everything: the novel should aim at the ideal of opera-bouffe, where comedy is “a mixture of gaiety and tenderness,” while the writer masks his tenderness by using a “sweet” (douce) irony towards his favourite characters.