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Fourth part of *La Vie de Marianne* (1736).

La Vie de Marianne (The life of Marianne: or, the adventures of the Countess of ***) is an unfinished novel by Pierre de Marivaux and illustrated by Jakob van der Schley.

The novel was written in sections, eleven of which appeared between 1731 and 1745. A Continuation was produced by Madame Riccoboni, but this too is incomplete.

Analysis

The success of La Vie de Marianne owes much to the perfect alignment between the author, his era, the characters, and the readers. In this work, Marvaux displayed a level of insight and eloquence that surpassed many, skillfully depicting the subject with rich details that closely adhere to reality. The narrative, with its intricate twists, seamlessly weaves through numerous incidents, intricately connected to the plot, enhancing its appeal while delaying the resolution. Marivaux effortlessly portrays characters that not only resemble specific individuals but also capture the essence of people in general, particularly those of his time.

La Vie de Marianne resonated with its contemporaries, who enjoyed following the journey of a young orphan from humble beginnings, facing challenging trials before achieving recognition and fortune, even if the specifics remain unknown due to the unfinished nature of the novel.

Marivaux effectively utilized the novel genre to paint a vivid and never monotonous picture of the diverse 18th-century world. In a novel innovation, intellect breathes life into the narrative alongside passion, interwoven with insightful reflections seamlessly integrated into the action. Representations, reflections, and anecdotes charmingly intertwine, enhancing each other. Characters are meticulously studied, granting them tangible life.

The author's complete withdrawal from the narrative, allowing Marianne to speak directly, enhances the illusion and undoubtedly sustains it in the reader's mind. Marianne feels so authentic that it's challenging for the reader not to believe they are reading an account from someone who genuinely played a pivotal role in the recounted adventures.

The characters are well-defined, firm, and supported. Marivaux crafts his heroine as an epitome of premature reason, intelligence, distinction, and beauty. The mystery surrounding her birth adds credibility to the attributes attributed to her, intensifying the interest she evokes. Marianne embodies a mix of frankness, pride, and reason, infused with a hint of coquetry that feels natural and effortless.

La Vie de Marianne exhibits artistry, with the first-person narrative proving an excellent choice for a woman of the world to share her confidences as she reflects on the passage of time. When recounting her youthful impressions, Marianne exudes the aura of a great lady. Though the years may have tempered Marianne's vivacity, now a countess, and introduced a touch of detachment from the habit of happiness into her expression, the remarks, reflections, and sentiment analyses she weaves into her story would seem to cool passion if the reader imagined they came from the pen of a naive observer.

The twelfth part of La Vie de Marianne was entirely written by Marie-Jeanne Riccoboni. In her time, she received praise for adeptly adopting Marivaux's style, yet this impression of fidelity to the original did not endure into the modern age.

Plot

Soon after leasing a countryside residence near Rennes, the narrator discovers several notebooks within the house, chronicling the narrative of a lady presented in her own handwriting. Responding to the request of his friends, he consents to edit and publish her memoir. The lady, identifying herself as Marianne in the autobiography, is a countess, approximately fifty years old at the time of her writing. She clarifies that she recounts her past at the behest of a close friend who urged her to share the complete story of her life.

In that story, Marianne, following her friend's advice, takes up writing despite fearing her inadequacy. The tragic event from her early years, surviving a robbery that killed her parents, leaves her origins shrouded in mystery. Raised by a village priest's sister, Marianne grows into a graceful, obedient girl. Circumstances force them to Paris, but the priest's sister's death leaves Marianne alone. Desperate, she seeks help from a monk who introduces her to Mr. Klimal, a wealthy man willing to support her education. Grateful but humiliated, Marianne accepts gifts from Klimal, unaware of his romantic intentions.

Soon, Marianne realizes Klimal's love but decides not to encourage him. A twist of fate introduces her to Valville, a young nobleman she encountered in church. Unable to reveal her situation or her connection to Klimal, Marianne finds herself entangled in a complex web of relationships. Klimal's proposal and Valville's unexpected arrival expose the tangled situation. In a bid to salvage her reputation, Marianne implores Klimal to explain to Valville, leading to a public confrontation. Humiliated and abandoned, Marianne seeks refuge with an abbess, where a kind lady offers to support her.

This lady turns out to be Valville's mother, Madame de Miran. She admires Marianne's virtue and innocence, learning of her son's love for Marianne. Madame de Miran seeks Marianne's help to convince Valville to marry her, acknowledging the societal challenges they will face. Marianne, for the sake of love and Madame de Miran, sacrifices her relationship with Valville and persuades him to forget her. Madame de Miran, impressed by Marianne's nobility, consents to their union, ready to defend their love against societal judgments.

Tragedy strikes when Klimal, Madame de Miran's brother, confesses his wrongdoing towards Marianne before his death, leaving her a small fortune. Marianne continues to live in a convent, introduced as the daughter of Madame de Miran's friend. However, rumors spread, and Marianne is kidnapped, taken to another monastery, and given an ultimatum: become a nun or marry someone else. Marianne chooses neither and is placed under the care of a mediocre man, leading to a trial orchestrated by the minister.

Madame de Miran and Valville arrive to support Marianne, showcasing her virtue and devotion. The minister, impressed by Marianne, decides not to interfere further. Marianne's misfortunes continue when Valville becomes infatuated with a new boarder, Mademoiselle Wharton. Marianne, heartbroken, receives proposals from two suitors but chooses to distance herself from Valville, even though she still loves him. The notes end with hints of further adventures in Marianne's life, leaving much untold.

Bibliography

(in Italian) Maria Rosaria Ansalone, Una Donna, una vita, un romanzo : saggio su “La Vie de Marianne” di Marivaux, Fasano: Schena, 1985.
Patrick Brady, Structuralist perspectives in criticism of fiction : essays on Manon Lescaut and La Vie de Marianne, Bern; Las Vegas: P. Lang, 1978.
Patrick Brady, Rococo Style versus enlightenment novel : with essays on Lettres persanes, La Vie de Marianne, Candide, La Nouvelle Héloïse, Le Neveu de Rameau, Geneva, Slatkine, 1984.
Peter Brooks, The Novel of worldliness; Crébillon, Marivaux, Laclos, Stendhal, Princeton, N.J.: Princeton University Press, 1969.
David Coward, Marivaux, La Vie de Marianne and Le paysan parvenu, London: Grant & Cutler, 1982.
(in French) Anne Deneys-Tunney, Écritures du corps : de Descartes à Laclos, Paris: Presses universitaires de France, 1992 ISBN 978-2-13-044216-5.
(in French) Béatrice Didier, La Voix de Marianne : essai sur Marivaux, Paris: J. Corti, 1987 ISBN 978-2-7143-0229-8.
(in French) Annick Jugan, Les Variations du récit dans La Vie de Marianne de Marivaux, Paris: Klincksieck, 1978.
Marie-Paule Laden, Self-imitation in the eighteenth-century novel, Princeton, N.J.: Princeton University Press, 1987 ISBN 978-0-691-06705-6.
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(in French) Annie Rivara, Les Sœurs de Marianne : suites, imitations, variations, 1731-1761, Voltaire Foundation, Oxford, 1991 ISBN 978-0-7294-0413-6.
Philip Stewart, Half-told tales : Dilemmas of meaning in three French novels, Chapel Hill: U.N.C. Dept. of Romance Languages, 1987 ISBN 978-0-8078-9232-9.
(in French) Loïc Thommeret, La Mémoire créatrice. Essai sur l’écriture de soi au XVIIIe siècle, Paris: L’Harmattan, 2006, ISBN 978-2-296-00826-7.
Arnold L. Weinstein, Fictions of the self, 1550-1800, Princeton, N.J.: Princeton University Press, 1981 ISBN 978-0-691-06448-2.