The School of Women (André Gide)

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The School of Women is a short story by André Gide that appeared in 1929 in the Éditions Gallimard / Paris under the title “L'École des femmes” . Together with the two short stories "Robert" and "Geneviève" , which were also published by Gallimard in 1930 and 1936, the work is considered a trilogy.

It tells how Éveline and her daughter Geneviève emancipate themselves from Robert, the authoritarian head of this middle-class family.

Structure and shape

This is where fictions within fiction are listed. This refers to the artist's artistically interwoven inventions when drafting his three-part prose work. In the second and also in the third text, Monsieur Gide, who acts as the “editor”, is addressed directly by the two scribes. The first text was also given to Gide for publication. The reader becomes aware of this last fact only while reading it, at the latest at the beginning of the third text. In general, hiding, delaying and hinting play a major role in the trilogy. In all three texts, the writers, in the first Éveline, in the second Robert and in the third Geneviève, mainly talk about themselves. They are life descriptions that tell of life experiences. In addition, Geneviève would like to warn young girls that they are celebrating “against illusions”. But basically all three stories revolve around a person who is not mentioned in the three titles: Éveline. Each of the tales breaks off with Éveline's death.

“The School of Women” contains Éveline's diary entries from October 7 to November 23, 1894 and from July 2 to 24, 1914, as well as an addendum from 1916. Éveline died on October 12, 1916 after "She had cared for infectious patients for five months". Gide received the "machine copy" on August 1, 1928 from Éveline's daughter Geneviève for publication. Geneviève confesses on several occasions how she adores her mother.

"Robert" is the letter reply to the address of Monsieur Gide from the pen of Éveline's husband Robert to the publication of the "School of Women" .

“Geneviève” , “the third wing of the triptych”, is the beginning of a report, a “New School of Women”, written by the rebellious daughter of the couple. Geneviève certifies to her father that “he has no power over” her and does not want to obey him.

In his epilogue to the trilogy, Éric Marty discusses Gide's tightrope walk. On the one hand, the author succeeds in giving each of the three writers “a voice”, but on the other hand, with Gide's “classical writing”, the work of the “artist” cannot be overlooked.

Dr. Marchand

The trilogy is one of the literary texts that the reader can read the second time at the earliest. And even with repeated reading, some things remain open. This is z. B. in the figure of the physician Doctor Marchand, a friend of Robert, clearly. The doctor is mentioned several times by Éveline and then by Robert, but only at the end of the last story in the trilogy - "Geneviève" - it dawns on the reader that Marchand could be behind the marriage crisis, the main theme. But - as I said - nothing is certain.

action

The women's school

Half a year after Éveline and Robert met, they agreed to write a diary for themselves. The condition is: the other is not allowed to read what is written. Éveline writes the diary of her love for Robert. That is the present story "The School of Women" . Éveline actually wanted to work as a nurse or poor worker. The parents, however, prefer to see the young girl, who finds herself neither pretty nor witty, try herself as a pianist. Robert, who is more interested in painting, seems to be the ideal partner. His only mistake is that music leaves him indifferent. Eveline discovers minor mistakes in her groom Robert. But about this - z. B. his quibbling - it can go away. Using the example of the dear parents and the example of her friend Yvonne, Éveline confirms the discord in some marriages. Éveline knows full well that by marrying she will become dependent on Roberts. Her father is instinctively against the union, yet Eveline is free to choose bondage to marriage. An extraordinary occurrence causes Éveline to stop writing in the diary. Robert manages to read her diary despite the agreement. It turns out that he didn't write a line on his part.

Twenty years later, shortly before the outbreak of the First World War, Éveline took up her pen again. She wants to leave the "smug" Robert. Éveline realizes that Robert has not changed, but she herself has. Éveline sees through her husband, this "jumping jack", who deceitfully imagines feelings for himself. She sees herself as "his appendage" and despises him as a character who takes advantage of others. Unfortunately, Éveline did not recognize in time the “poverty” of Roberts, who was performing her “theater”. The relationship resulted in two children - Geneviève and Gustave, who was a year younger. Éveline has retained her self-esteem. She claims that Geneviève doesn't love her father. Robert sobs when Éveline admits that she wants to leave him.

Two years later, in 1916, Éveline made another note. Robert had acted as a hero on the front line in front of Verdun , had been decorated for it and had then withdrawn into the stage. Eveline leaves Robert disgusted and takes up duty in a hospital.

Robert

Geneviève calls the father's letter a “defense”, a “plea”. The daughter attests to the father himself as having a "confident demeanor", "weak will", hypocrisy of religious feelings and lack of talent. His "work" consists of kippers that he does.

Robert is writing to Gide 13 years after the death of his wife Éveline at the time when he was about to remarry. He only reveals his intention to marry in a single sentence in passing. The reader does not find out who the lucky one is.

Robert's letter to Gide is not a flashback in anger. On the contrary, Robert has long since forgiven Éveline, declares his love for her and is still convinced that she was better than him. Nevertheless, he has to clarify a few things about himself. After all, Éveline described him as “vain and meaningless” in her notes. So Robert chats about his life. But the talk always comes back to the two women, to Éveline's “spirit of disobedience” and to the “shameless audacity” of the “inquisitive, hungry for education” daughter. Robert blames "libertarian men" for the developments - meaning his friend Dr. Marchand and the painter Bourgweilsdorf, whom he sponsored, who frequented his house. In this context he describes himself as naive and incapable of jealousy. Robert probably registered how Éveline's initial “cordiality” turned into “superiority, irony” and even “contempt” over the years.

Geneviève

Geneviève is a code name, admits the writer of this “simple report” to the addressee Gide. The young woman, 34 years old when this letter was sent to the writer, is behind her mother's diary, the “School of Women” . Geneviève calls its own notes “a continuation of my mother's diary”.

The “editor” Gide has renamed the recordings “Geneviève or The Unfinished Confession” (Geneviève ou La Confidence inachevée). Geneviève only reveals herself once - and that too in a subordinate clause: she has a son. However, neither a word is said about the child's father nor about any circumstances of conception. The latter topic is of interest, because the entire story revolves around the naked human being and the explosive question of his reproduction. Geneviève reports on the period from 1913 to the death of her mother, i.e. about her 15 to 18 years of age: After two errors in this regard - Geneviève feels sexually attracted to two school friends one after the other and, at the instigation of her sensible, understanding mother, has to take the girl- High school "left for health reasons" - she takes private lessons and comes out of the bad into the eaves. In no way does Geneviève want to submit to a man. Inspired by the desire to conceive a child without marriage - also to humiliate the father - she urges her "private lecturer" Dr. Marchand openly went to sleep during the medicine class when she was once with him in private. Marchand replies that he loves his wife and under no circumstances can he do that to her (the marriage is childless). Geneviève, always thirsty for knowledge, always insistent with the other person, cannot let that go. Shortly before her death in autumn 1916, she went to see her mother in the hospital and confronted her. When Geneviève indirectly suspects the mother that Marchand does not want to father a child with her because he is her father, Éveline does not contradict.

Quote

  • "Those who talk the most are not always those who act."

reception

  • "Here is high art, in which the emotional disappointment of a ... woman is recorded sparingly and with the greatest restraint on a few pages, who sees herself thrown away in her love for a cool nerd."
  • After Martin, Robert is "the sad hero" of the trilogy and Éveline, sincere and courageous, dares to discover himself.
  • In his epilogue “To The School of Women ”, Marty goes into the trilogy in a detailed and profound way. In the end, however, assumptions about Gide's narrative intent gain the upper hand.

German editions

source
  • Raimund Theis (ed.), Peter Schnyder (ed.): André Gide: Die Schule der Frauen , pp. 87–153, Robert , pp. 155–189. Geneviève . Pp. 191-261. All three translated from French by Andrea Spingler. Collected works in twelve volumes. Volume X / 4, Deutsche Verlags-Anstalt Stuttgart 1997. 363 pages, ISBN 3-421-06470-9
German-language first edition
  • André Gide: The women's school. Translated by Käthe Rosenberg. Deutsche Verlags-Anstalt Stuttgart, Berlin, Leipzig 1929. 145 pages. Red linen with silver embossing on the back and lid
  • André Gide: Robert. Translated by Käthe Rosenberg. Deutsche Verlags-Anstalt Berlin 1930. 74 pages. Brochure with back reinforcement
  • André Gide: The women's school. Robert. Genoveva . Translated by Käthe Rosenberg (The School of Women, Robert) and Erich Ploog (Genoveva). Deutsche Verlags-Anstalt Stuttgart 1950. 300 pages
Secondary literature
  • Renée Lang: André Gide and the German spirit (French: André Gide et la Pensée Allemande ). Translation: Friedrich Hagen . Deutsche Verlags-Anstalt Stuttgart 1953. 266 pages
  • Claude Martin: André Gide . Translated from the French by Ingeborg Esterer. P. 157, 9. Zvu Rowohlt 1963 (July 1987 edition). 176 pages, ISBN 3-499-50089-2

See also

Individual evidence

  1. ↑ Source, p. 6
  2. ↑ Source, p. 331, 9th vo
  3. ↑ Source, p. 161, 2. Zvo and p. 207, 10. Zvo
  4. ↑ Source, pp. 194, 195
  5. ↑ Source, p. 89, 6. Zvo
  6. ↑ z. B. Source, p. 205, 16. Zvu
  7. ↑ Source, p. 193, 4. Zvo
  8. ↑ Source, p. 195, 4th Zvu
  9. ↑ Source, p. 332, 7. to 17 Zvo
  10. ↑ z. B. in the source, p. 120, 12. Zvu or also p. 138, 14. Zvo
  11. ↑ z. B. in the source, p. 177, 22. Zvo
  12. ↑ Source, p. 220, 5. Zvo
  13. ↑ Source, p. 261, 16. to 18. Zvo
  14. ↑ Source, p. 204, 12. Zvo
  15. ↑ Quoted from Basler Nachrichten in a DVA publishing supplement in the translated book by Renée Lang
  16. ↑ Claude Martin, p. 137, 1. Zvu to p. 138, 7. Zvo
  17. ↑ Éric Marty in der Quelle, pp. 328 to 349 (Translator: Raimund Theis)
  18. ↑ The German first edition of "Geneviève"