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9 - Training for modernity: Verlaine's ‘Le Paysage dans le cadre des portières …’

Published online by Cambridge University Press:  03 May 2011

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Summary

Le paysage dans le cadre des portières

Court furieusement, et des plaines entières

Avec de l'eau, des blès, des arbres et du ciel

Vont s'engouffrant parmi le tourbillon cruel

Où tombent les poteaux minces du télégraphe

Dont les fils ont l'allure étrange d'un paraphe.

Une odeur de charbon qui brûle et d'eau qui bout,

Tout le bruit que feraient mille chaînes au bout

Desquelles hurleraient mille géants qu'on fouette;

Et tout à coup des cris prolongés de chouette. –

– Que me fait tout cela, puisque j'ai dans les yeux

La blanche vision qui fait mon cœur joyeux,

Puisque la douce voix pour moi murmure encore,

Puisque le Nom si beau, si noble et si sonore

Se mêle, pur pivot de tout ce tournoiement,

Au rhythme du wagon brutal, suavement.

How does one read a poem? Obviously, a poem would not be readable (as a poem) if one did not approach it with at least some vague pre-existing generic ‘theory’, a notion of what a ‘poem’ is or does. What I want to suggest is that what such an enabling theory enables us to read is however the way the poem theorizes itself, that is, specifies its own situation as poetic discourse. It does so, generally, with respect to the tradition of pre-existing understanding of what ‘poetry’ is and does in which – but also against which – it exists.

In contemporary culture, the two major ‘axioms’ with which people approach poetry appear to be these.

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Nineteenth-Century French Poetry
Introductions to Close Reading
, pp. 157 - 177
Publisher: Cambridge University Press
Print publication year: 1990

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