La comtesse de Rudolstadt by George Sand

La comtesse de Rudolstadt

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Après Venise et ses fastes rococos, la cour de Vienne à l’époque de Porpora et de Haydn, c’est au terrible Frédéric II de Prusse que s’affronte à présent Consuelo, la petite tsigane qui n’a que sa voix pour fortune. Elle connaîtra les prisons de ce despote qui se prétend le protecteur des arts, bravera mille dangers, et se retrouvera enfin dans sa chère Bohême, près du comte Albert de Rudolstadt – à la fois l’ami, l’amant mystique, l’époux… et son initiateur aux mystères de la fraternité des Invisibles. Les esprits cartésiens pourront toujours rejeter cette apothéose en forme d’hymne à la Nuit, si proche par le climat, par l’harmonie voudrait-on dire, de La Flûte enchantée de Mozart ! La romancière a beau y développer les théories du surprenant Pierre Leroux, apôtre malheureux de la « religion de l’Humanité », ce ne sont pas les idées qui comptent ici, mais tel appel aux forces obscures qui commandent en secret à la poésie, à l’art – et peut-être à la vie. On songe aux grandes pages de Goethe (Alain n’hésitait pas à voir dans La Comtesse de Rudolstadt le Wilhelm Meister qui manquait au romantisme français) mais plus encore à Hoffmann, celui des Élixirs du Diable – musicien lui aussi. Consuelo va sauver Albert-Lucifer de la folie où il a failli sombrer… mais perdra sa voix. Albert renonce à toute gloire, part avec elle sur le grand chemin. La petite Bohémienne venue de nulle part, fille de personne, sans attaches et sans avoir, sans autre projet que d’être droitement elle-même sur les sentiers tortueux de la vie, sera, on le devine, l’Antigone de cet Oedipe égaré tout près de la vérité.

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