What I liked were: absurd paintings, pictures over doorways, stage sets, carnival backdrops, billboards, bright-colored prints, old-fashioned literature, church Latin, erotic books full of misspellings, the kind of novels our grandmothers read, fairy tales, little children's books, old operas, silly old songs, the naive rhythms of country rimes. The story of one of my insanities.įor a long time I boasted that I was master of all possible landscapes- and I thought the great figures of modern painting and poetry were laughable. Kitto, The Greeks (Harmondsworth: Penguin, 1951) pp. David Craig (Harmondsworth: Penguin, 1969) pp. It is a fruitful intertext for a reading of Villes I. Chapter 5 of Hard Times offers a physical topography of the industrial Coketown heavily informed with a discourse on ‘work’ and ‘fact’ while it has none of the semantic instability of Villes I, this is none the less a text which makes its elements of physical description signify in social and political terms. Frédéric Eigeldinger and André Gendre (Neuchâtel: Editions de la Baconnière, 1974) p. In relation to this topographical layout it is interesting to note that Rimbaud, in Delahaye’s account, was acquainted with Dickens’ Hard Times see Delahaye témoin de Rimbaud, ed. See Michael Riffaterre, Semiotics of Poetry (Bloomington, London: Indiana University Press, 1978) pp. On deixis in modern poetry, and with particular reference to its func-tion in Les Illuminations ,see Michel Collot, La Poésie moderne et la structure d’horizon (Paris: Presses universitaires de France, 1989) pp. Jonathan Monroe, A Poverty of Objects: The Prose Poem and the Politics of Genre (Ithaca and London: Cornell University Press, 1987) pp. Ahearn, Rimbaud: Visions and Habi-tations (Berkeley, Los Angeles and London: University of California Press, 1983) pp. ![]() 131–6 of his edition Bruno Claisse, ‘ Villes I and Villes II ou le jeu de miroirs’, in Sergio Sacchi (ed.), Rimbaud: le poème en prose et la traduction poétique (Tübingen: Gunter Narr., 1988) pp. Readings of the text that have contributed to this article are: Guyaux’s commentary on pp. Fowlie, Rimbaud’s ‘Illuminations’: A Study in Angelism (London: Harvill Press, 1953) p. I have accepted Guyaux’s interpretation of the manuscript of this Illumination, and his reading of ‘Brahmas’ see his article in Revue d’ histoire littéraire de la France (September–October 1977) pp. André Guyaux (Neuchâtel: University of California Press, 1985) pp. This process is experimental and the keywords may be updated as the learning algorithm improves.Īrthur Rimbaud, Illuminations, ed. These keywords were added by machine and not by the authors. Ce dôme est une armature d’acier artistique de quinze mille pieds de diamètre environ. Un pont court conduit à une poterne immédiatement sous le dôme de la Sainte-Chapelle. Le haut quartier a des parties inexplicables un bras de mer, sans bateaux, roule sa nappe de grésil bleu entre des quais chargés de candélabres géants. Les parcs représentent la nature primitive travaillée par un art superbe. Par le groupement des bâtiments en squares, cours et terrasses fermées, on a évincé les cochers. Quelle peinture! Un Nabuchodonosor norwégien a fait construire les escaliers des ministères les subalternes que j’ai pu voir sont déjà plus fiers que des Brahmas et j’ai tremblé à l’aspect de colosses des gardiens et officiers de constructions. ![]() J’assiste à des expositions de peinture dans des locaux vingt fois plus vastes qu’Hampton-Court. On a reproduit dans un goût d’énormité singulier toutes les merveilles classiques de l’architecture. Impossible d’exprimer le jour mat produit par le ciel immuablement gris, l’éclat impérial des bâtisses, et la neige éternelle du sol. ![]() L’acropole officielle outre les conceptions de la barbarie moderne les plus colossales.
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