Espace et immensité intime dans La nuit de feu d’Éric Emmanuel SchmittHafid Abouelkacem
Notre étude vise l’« immense » dans La Nuit de feu en ce qu’il permet de mettre en lumière le désert. En cela que nous avons recouru à la notion de l’immensité intime théorisée dans la philosophie de Gaston Bachelard. É. E. Schmitt s’est emparé du « je » que d’ailleurs il n’aime pas pour dire quelle révélation il avait reçu et quel homme il est devenu après l’appel intime de l’immense. Partant du fait que l’immensité du désert retentit en immensité intime, nous avons montré à quel point le désert est un espace de renaissance et de révélation. Le texte est ainsi jonché des marques de l’immensité, cela est particulièrement dû à la rêverie de l’immense qui s’est activée dans l’intimité du narrateur. Sa contemplation de l’infini a fait que son corps a subit une dilatation, ou encore une nette expansion. Ce qui corrobore le fait que le regard absorbe l’immensité du désert. Le dédoublement du corps est aussi nettement décelable chez le narrateur. Deux êtres logent en lui. Le phénomène d’expansion se produit aussi sous le mode d’une ascension. La dilatation du corps à laquelle la rêverie a donné naissance permet au narrateur de se libérer de la pesanteur afin de respirer cosmiquement jusqu’à se trouver dans un ailleurs intime, spatial et atemporel.
Space and Intimate Immensity in Éric Emmanuel Schmitt’s Night of fireHafid Abouelkacem
Our study aims at the “immense” in The Night of fire that brings the desert to light. Furthermore, we have resorted to the notion of intimate immensity theorized in Gaston Bachelard’s philosophy. After this intimate call of the immense, É. E. Schmitt seized the “I” that he does not like to say what revelation he had received and what man he has become. We have shown to what extent the desert is a space of rebirth and revelation, starting from the fact that the immensity of the desert resounds in intimate vastness. The text is thus strewn with the marks of immensity; this is particularly due to the reverie of the immense that has been activated in the intimacy of the narrator. His contemplation of the infinite has caused his body to undergo a clear expansion or even a dilation. This corroborates the fact that the gaze absorbs the immensity of the desert. The doubling of the body is also clearly detectable in the narrator. Two beings lodge in him. The phenomenon of expansion also occurs in the form of an ascension. To breathe cosmically until he finds himself in an intimate, spatial, and timeless elsewhere, the dilation of the body to which reverie has given birth allows the narrator to free himself from gravity.
Man is only the mirror of immensity according to Bachelard. It is inside man that space spreads out. Because being this passage leads to the reverie of intimate immensity, the look is of major importance. You could say that the eye contemplates the infinity of space and reflects the contemplated landscape. By contemplation and by the look, the intimate immensity is enlarged. It must be said that until they find themselves in a phenomenon of fusion, it is through greatness that intimate space and the space of the world become consonant
According to Bachelard, daydreaming is a bit peculiar for those who venture into the desert in that the immensity lived in the desert by a dreamer sound in an intensity of being intimate. You can see in the Schmittian desert the space of a rebirth. It is also the space for a fresh start. All of this is experienced intimately by the narrator. It seems opportune to proceed by taking samples from several passages in the novel with the intention of shedding light on this lived intimacy.
The first notch that we opened was that of the recurrence of the marks of immensity to cross the Schmittian text as they are felt by the characters. Wherever there are characters contemplating the infinity of the desert, it seems that these brands dot the whole fabric of the novel in several ways. The novel is riddled with these marks of vastness, sometimes in explicit form and sometimes allusive. Words are varied proofs: To grasp their meaning is to understand the reveries that open, in the soul of the narrator, under the sign of the words “infinite” and “immense.” Indeed, these words mark in a natural way the intimate immensity because of having intimate resonances.
Regarding humans who inhabit it or cross it, it is quite clear that the figure of the desert in the text is also constructed. Let us also add that there are several references to the human body, to its movements, and to its sensations. In this perspective, it seemed important to us to evoke the posture of the body of the narrator. É. E. Schmitt, lost in the desert for one night, he will be “lying on his back, in a lying position, the figure facing the evening star” (Schmitt, 2015, p. 103) the motionless body facing the sky. This suggests that this posture is only a preamble to a movement that will be accomplished in stillness otherwise, a completely internal movement: “I rise, I exceed the sand, the mass of rocks, and … I float” (Schmitt, 2015, p. 106). This movement is unquestionably imaginary as it describes the epiphany lived by the narrator in the desert. We must see in this movement of the immobile being an attempt to transcend time and space.
The immense lodge peacefully in the reverie of the narrator. The vastness of the outside is transformed into the vastness of the interior. It is all thanks to the soul that meditates and dreams that tries to find in an object the nest of immensity and to the “contemplation of grandiose spectacles”
Two bodies are put in parallel that one can grasp as a detachment, which occurs fortuitously in the total silence and the heat of the sands: one freed, free by a force that maintains it above and the other below prisoner huge sands that block it. If you think otherwise. It is indeed two spaces: one is intimate, and the other is exterior. The intimate is freed by the force of the immense, and the exterior space is that of the prisoner body, surrounded by the immense dunes. However, it is only when the narrator has become motionless, blocked by the heat of the sand, that his true inner journey begins.
The narrator launches into the reverie of the immense reaching an exterior and intimate elsewhere, spatial and temporal. Indeed, the experience of intimate immensity confuses not only the borders between the body and space but also it makes the borders between space and time porous, which gives birth to an “elsewhere.” In the sense of a zone between the real and the imaginary.