'Examine the ways in which the epistolary structure of Les Liaisons Dangereuses creates drama, intrigue and suspense.'

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Colleen Stopforth.

Week 1.

‘Examine the ways in which the epistolary structure of Les Liaisons Dangereuses creates drama, intrigue and suspense.’

The epistolary structure achieves a sense of individual characterisation through writing style and tone that a conventional unilateral narrative form cannot.  It allows the authors to reveal or conceal knowledge from other characters, while only the reader is privy to all sides and perspectives of events.

             Laclos reveals the characters through their literary voice, as an epistolary structure does not allow long character description.   The voices of La Marquise de Merteuil and le Vicomte de Valmont are characterised by wit, irony and stylistic adaptability.  In Valmont’s first letter to Merteuil, already we are shown the irony and humour that pervades much of their correspondence, ‘Vos ordres sont charmants;  votre façon de les donner est plus aimable encore;  vous feriez chérir le despotisme.’  The sharp correspondence between Merteuil and Valmont is the driving force of the novel and by positioning Cécile’s letters between theirs her naivety and linguistic ineptitude are highlighted.  Her letters create a pause in real plot development thereby creating suspense; they are almost inconsequential to the reader, becoming a distraction from the substance of the surrounding letters, just as the seduction of Cécile is a distraction for Valmont.  This ordering of letters crafts a sense of psychological entrapment between Mertueil and Valmont which is compounded by her limited information ‘je ne sais encore rien,’ and ‘c’est peut-etre celui-lá qui doit m’épouser’ she writes.  The reader, however, is already told by Mertueil in the previous letter who she is to marry and is therefore better informed than Cécile.  This layering of knowledge and dramatic irony is prevalent and integral in the development of drama and suspense.  As a result of her linguistic ineptitude, although she is the innocent victim, we find it difficult to relate to Cécile and pity her.  The well-crafted letters of Mertueil not only convince the addressee of their truth, but also the reader.  We too are entrapped by Merteuil and Valmont’s sharp and insightful exchanges.       The correspondence between them serves as a script for the development of the plot and the surrounding letters show the enactment of this script thereby offering the reader, but not the other characters, insight.  Valmont describes society as ‘le grand théatre’ but they are each others only audience and as actors they are required to play multiple roles and take on different guises.  Both are able to do this with linguistic flair and ease and the epistolary form compliments their changing roles perfectly; each new epistle presents an opportunity for character change.  Comparatively, Danceny considers a letter to be ‘le portrait de l’âme’ designed to reveal everything and conceal nothing.  In a time when letter-writing was considered an art form, both Valmont and Mertueil are experts.  Mertueil often picks out phrases from Valmont’s letters with a view to undermining his self-esteem, often relating to Tourvel, ‘une femme étonnante, une femme delicate et sensible.’  The significance of this is to highlight the centrality of language as a force influencing and creating the atmosphere of the novel.  They are well capable of both revealing and concealing through their letters in order to manipulate the addressee.  Touvel’s simplicity and piety is revered, but even her virtue is vulnerable to Valmont’s powerful manipulation through language. In letter 145 Mertueil tells Valmont that she does not know when she will arrive in Paris, but in the next letter she informs Danceny that she is to arrive the following day, this technique of concealing information thereby forming yet another level of understanding skilfully increases drama and tension between characters from the reader’s perspective, whilst the characters remain unaware.  In the same way, Laclos employs a cause and effect technique with the juxtaposition of letters; Valmont’s letters to Tourvel are often preceded or followed by one to Mertueil.  This not only highlights his ability to craft an appropriate tone, but illustrates the theory and execution of his tasks.    

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         Laclos is able to portray one single event from many different perspectives through the epistolary form.  Very different accounts are written about Cécile’s seduction are written by Cécile (letter 97) and Valmont (letter 96), we also read Madame de Volange’s total misunderstanding of the same event.  When Valmont discovers that it is Mme de Volanges, the ‘infernale mégere’ who has been reinforcing Tourvel’s resistance Cécile’s downfall is virtually assured. It is significant and ironic that, when her affair with Danceny is discovered, she should be taken to the château where Valmont seduces her.   These multiple ...

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