Recorrido teórico, histórico y contextual

-^T

In filing his correspondence, Gide is thus consciously supplying

future readers with facts great and small whichwill go to forming the true picture of Andre Gide. Self-justification is not, however, the only use Gide had for his correspondence. Maria Van Rysselberghe points to an even more important aspect when she writes of Gides “Il ne laisse jamais rien perdre de sa pensee."

Gide's anxiety to preserve his correspondence for both these reasons is, as we have seen, caused by his desire to present a truthful and

acceptable picture of himself to posterity. Hence, publication is Gide's aim but is by no means a latter-day preoccupation.

As early as 1693» Gide writes to Valery t Il m'eet venu quelqus inquietude s que n*ai-je avant de partir repris toutes tes lettres que je t*avals helas pretees. Si je n* avals en toi une confiance si rare, je cralndrais de ne jamais revoir cette Correspondance.2

The fact that the word “Correspondance" is spelt with a capital letter underlines not only its importance to Gide but makes it assume the form of the title of a published work. It is therefore hardly surprising that Gide should go to the pains of having these letters typed. Gide's desire

that Valery's letters and not his own be preserved for posterity^ is therefore an early one. Admiration for his correspondent explains the fact that Gide has the same intentions for Roger Martin du Gard's

4 letters.

Gide's concern with leaving a faithful record is a more probable reason for his envisaging the publication of Pierre Louys' letters in

5

1926, since his opinion of both his own and his friend's letters is poor. In later life, Gide was more than ever desirous to publish his

li

3. Ibid, pp. 9-10

4* G./M.G. Corr. 1, 26th January 1931» PP* 434-435* 5. J.l, 12th June 1928, p.882.

correspondence,1 no doubt because the heyday of his Journal and his 2

literary works was finished* Throughout his life, therefore, Gide Intended his correspondence to be published* I have pointed out that Gide was obsessed with leaving as many records as possible for posterity and that the letter was viewed as a particularly suitable form for this* This is a perfectly acceptable but by far too general an interpretation of the role of correspondence* It is necessary, at this stage, to deal with the more precise reasons which may have been behind Gide's will to publish*

9* Sincerity*

In publishing his correspondence, Gide was undoubtedly moved by the desire to be sincere by uncovering hitherto unknown aspects of himself* In my introduction, I have already expressed my reserves as to the interpretation of Gidlan sincerity as frankness. Nonetheless, Gide

himself believed that the latter was an Important aspect of his sincerity, as a passage from Si Le Grain ne meurt shows t

Je ne suis pas de ces temperaments qui d'abord

s’insurgent! contraire il m'a toujours plu d'obeir, de me plier aux regies, de ceder, et, de plus j'avals une partiouliere horreur pour ce que l'on fait en oachettei s'il m'est arrive par la suite et trop souvent, helasi de devoir dissimaler, Je n’ai Jamais aooepte cette feinte que comme une protection provisoire oomportant le constant espoir et mdme la resolution d'amener blentot tout au grand Jour*•*5

Gide, it is true, is referring to his homosexuality upon which the Ghfcon Correspondance has thrown some lightNonetheless, I believe that this passage may be taken on a more general level*

1* During Gide'8 111e-time, hie correspondences with Claudel, Jammes, Proust and Du Bos were published*

2* Although Gide also considered publishing his latest writings in 1951, and, in considering the publication of hie correspondence with Marcel Drouin, was motivated by curlousity and impatience. M.V.R., Cahiers 7. 6th February 1951» p.255*

5. J.2, SI, p.407.

4* It is to be remembered that Gide and Gheon compiled a dossier on homosexuality in order to claim the "right to be sincere"* Seei above p. 65.

—69—

Gide himself condemns "des lettres delicats, aux pudeurs

faoiles"^ who are against pointing to the feet of clay of great men by the publication of their private writings. Unlike them, Gide sees in the publication of an artist's correspondence no indisoretlon nor any unhealthy curious!ty. Although an artist's creative work is

obviously more important than hia private life, for Gide i "...1 'admirable, ce qui reste pour moi d'un enseignement inepuisable, c'est qu'il l'ait 6crite malgre cela . " Thus, although one must approach Gidian frank­ ness with some prudence, the publication of Gide's private correspondence is to be seen as a means to a more complete understanding of the man and the artist.