Edouard Rod's fin de siecle fiction has been largely lost in the conflict b
etween the canon and the margins, but following the Loi Naquet of 1884 his
diptych "La Vie Privee de Michel Teissier" (1893) and "La seconde vie de Mi
chel Teissier" (1894) frames lucidly the quasi-philosophical terms of the d
ivorce debate against the backdrop of actual divorce scandals in London, in
volving the politicians Dilke and Parnell. Is it possible to start again? C
an one redeem oneself by forging a coherent social life? Or is life led by
the passions (be they amorous or political) ultimately a life misled?