Abstract

The eighteenth century, having inherited a pessimism from classical anthropology that its own ideology of progress had to absorb, seemed to have invented le mal de vivre. Clues to this condition are suggested by the etymology of the term vacuus: vacuousness of existence (“Everywhere I find a terrifying emptiness,” asserted the hero of a novel around 1769), and “a vague disquiet which permeates everything and finds nothing to calm it,” according to the definition of Jacques the Fatalist. Le mal de vivre was indeed an invention because, despite a terminology that was inspired by the theory of humors (“hysterical vapors” among women; “hypochondriac melancholy” for men), the philosophers and doctors of the Enlightenment already had envisaged the fatality of an anatomical “limit” for the etiology of “afflictions of the soul.” In this way, according to the Eléments de Physiologie (Elements of Physiology) of Diderot, the agitation of the imagination actually represented the degree of irritability, or of erethism, of the nervous system: “the dreams of young people in a state of innocence come from the extremities of the fibres (meaning the nervous fibres) which are the original carriers of obscure desires, vague disquiet, a melancholy whose cause they do not understand.” If we believe the article on “delight” (jouissance) in the Encyclopaedia, a “vague and melancholy disquiet,” which is linked in particular with the physiological changes occurring at puberty, constitutes a general and “normal” state of sensation, all “delight” implying by this definition the absence of disquiet in comparison with its external object. Reduced to its vibratile intensities, the “perceiving body” that is deprived of its totalizing metaphor becomes pulverized and fragmented into so many “desiring monads.” Like Condillac's statue, it destabilizes itself through the fields of force of the phenomenal world, completely obedient to the energy economy of other bodies that define its external frontier, left to the contradictory universal laws of attraction and repulsion that govern them: “Here below, each part, through a higher impulse, combines toward the central harmony of a whole. We collide with one another and are thrown backward and forward by the force maintaining a general equilibrium and order, in which we participate mechanically.”