摘要

在馬里伏的眼中，人是虛假的。這個論點在他所處的年代，也就是虛偽與諂媚勝利的時代尤其真實。不過即便馬里伏透過其作品持續不斷地揭露人類虛假的各種不同面向，他同時也讓我們看到真誠的困難。事實上，人的虛假可以是有意的，但也可能是無意的。後者便是馬里伏較為感興趣的面向。而在他的作品中，馬里伏就經常呈現一種人並無法完全意識到的錯信。這篇論文將以馬里伏的兩個作品 :《知己母親》、《真誠》為研究對象，以展示馬里伏在錯信這個議題上的不同呈現。這兩個作品的主人翁具有的共同性在於追求真誠。矛盾的是，這個追求真的欲求卻引導他們在不自覺中走向假。這個研究的目的便在於論證真誠的變態效應，在家庭或社會等不同環境中，為何在極端宣示追求真誠的情形下，我們反而表現出更多錯信的行為。

關鍵詞 : 馬里伏、知己母親、真誠者、錯信、真誠、謊言

Abstract

In Marivaux's eyes, man is a false being. This is even more true for his time when hypocrisy and flattery triumph. But if all his works have never ceased to highlight the different aspects of human falsehood, Marivaux also shows us the difficulties of being sincere. Indeed, man's falsehood can be voluntary, but also involuntary. It is the latter that particularly interests Marivaux. There is a kind of falsehood, bad faith, which is not completely conscious and which is omnipresent in his works. In this article, we will study The Confidant Mother and The Sincere to illustrate the various representations of bad faith in Marivaux's theatre. The common point between the main characters of these two plays is that they are all in search of sincerity. Paradoxically, their desire to be true transforms them into false beings, in spite of themselves. This work therefore consists in demonstrating the perverse effects of sincerity which, when claimed to excess, leads to bad faith, in different circumstances of family or social life. 

Keywords: Marivaux, The Confidant Mother, The Sincere, bad faith, sincerity, lies


DOI:10.30404/FLS.202512_(42).0008