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Dans ce mémoire, l'auteur postule qu'il y a un type de rationalité à l'œuvre dans les Pensées de Pascal. Comment lire un ouvrage marqué par le désordre? Sans règle? L'auteur alterne donc entre la macroanalyse -l'intégration d'une pensée à l'intérieur d'un réseau de renvois aux autres pensées et à des éléments théoriques-, et la microanalyse -l'attention se porte sur la disposition et le sens des mots ainsi que sur la force d'évocation des images auxquelles Pascal a recours pour exprimer ses pensées. L'auteur considère de «grandes» questions (Qu'est-ce que l'homme? le bien? Dieu existe-t-il?), et découvre de «petites» questions: pourquoi une pensée est-elle fixée en ces termes précis? Peut-on voir toute la condition humaine en trois mots? Quelle est la fonction des métaphores? Progressivement, la rationalité à l'œuvre dans les Pensées se dévoile. En marge des grandes thèses philosophiques se dévoile la philosophie.

From Introduction: Upon first reading the writings of both Pascal and Baudelaire, one cannot help being struck by a sensation of awe at the penetrating insight into the human condition possessed by both writers. A further exploration of the realms of Pascalian and Baudelairian thought considerably strengthens this initial reaction into a recognition that both authors were men of equal moral and spiritual intensity. Despite their outward differences, both sought to attain a deep understanding of human nature, but without attempting to offer any excuses on behalf of man. Furthermore, the two writers employ an identical term to describe the condition of humanity: "ennui". Although the word exists in the writings of contemporaries of both Pascal and Baudelaire, no other author makes such full, unique and significant use of ennui. As this thesis will hopefully prove, Baudelaire was indeed directly and positively influenced by Pascal. However, it is not our intention to concentrate upon such an influence; rather, we wish to indicate the parallels and development of the theme of ennui, so central to each man's outlook, in their respective writings. Evidently, it would be beyond the boundaries of this thesis if we were to try to analyse closely the entire creative output of Pascal and Baudelaire; and so, although their other works will act as points of reference, the two books which are generally regarded as their masterpieces will be used as the basis of the unfinished Christian "Apologie" which was projected by Pascal, now known as the Pensées (1670), and Baudelaire’s Les Fleurs du Mal (1857 and 1861)

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Québec Université Laval, Bibliothèque 2013