Kod Licencyjny Do Baby Maker

In a new article posted on his "icons Workshop" André Gunthert talk of the photograph of Aden. I note in his article this:

[...] I am not convinced by the comparisons featuring portraits of the bearded figure identified as George Révoil, and is the most obvious resemblance Dutra. We must thank Jacques Welcome to the new progress in studying the document.

What seems to refute a recent article on this issue.

I remember Mr. Gunthert was mistaken about the date of onset of gelatin bromide. It was originally written :

Especially, two years after the find, the document has now been sold to a collector has not undergone an evaluation by a specialist photographic history. What can smile, knowing that the time range given by the discoverers to date the picture is the period 1880-1890. This decade is precisely cut in two by the introduction of new technology, the gelatin silver bromide dry plate or, simply identify the method to locate the shot before or after 1885, and thus close to half the range.

What led him to date the photograph in the year 1885. Now in his thesis, he recently released, it says at page 231 : "From in 1879 the process Gelatin silver bromide knows a rapid expansion of its distribution in France [...]". And he says it with amateur photographers and professionals alike.

And then, I confess I do not understand any of this mistake. Mystery.

Finally, the lack of expertise of the photo, we can not say with certainty about the fact that the photographic process is the famous gelatin bromide. I tend to caution the statements of Mr. Gunthert.

For a refutation of the theses of Mr. Gunthert see my article:

photograph of Aden dated by the gelatin bromide.

Jacques Bienvenu

How Can Maps Be Manipulated

Delahaye inventor of several unpublished poems of Rimbaud? By David Ducoffre

Part

The company's inventions Labarrière is such that Delahaye citations can hardly establish itself as authentic. However, here are two excerpts from Rimbaud saved nothing by written confidences of her friend. We need to reproduce here some of the text available on Gallica Delahaye, since several read errors continue to run on this testimony.

In his account of the Revue d'Ardennes and Argonne after a "testimony" suspect and illogical claiming tell Rimbaud's participation in the Commune of Paris, Delahaye evokes a brief history of love gone wrong, then, when he gave us the names of other members of the college, or Desdouets Duprez, he comes to the history of the encounter between Rimbaud and the replacement of Izambard in class Delahaye, but disguising the name of Professor Perrin in a mysterious initial "N." The details are disturbing. Izambard would not like sending the stolen Heart and Rimbaud, annoyed, would want nothing more to add. Considering his successor, Professor Perrin, as someone "on his side" politically, Rimbaud, without directly addressing, seems to have sent several poems to it. Became editor of the North-East , Professor Perrin ("MN") "was announced by a strong political pamphlet that Bonaparte's supporters, those of Henry V and the Duke of Aumale received their package very nicely. "We quote the original text of 1908, as the redesign (or groom!) later in the document led to the abolition of many interesting passages.

So stanzas from Rimbaud will sing to the ears of Mr N's complaint ... grocers: this reporter obviously brings us back to anarchy and is a leader of bandits, let us prepare subjected to looting, supreme horrors ...

it enters the store , when the moon shimmers

To our glazing blue

it grabs our eyes chicory canned

... ... ... ... ... ... ... ... ... ... ... ... ... ...

A little later, the "traders" panicked call "sugar thief" ... and I do not remember the rest, unfortunately. But in another room, the Republican author of the pamphlet is taken to task so much harder, as it is, this time in the presence of the enemy he direct threat to its interests in its influence, in his glory, and here I can quote almost the whole of a very funny piece, the rhythm, especially, is a wonderful art. Listen to this man who comes, who ran, breathless, panting with rage ...

In the nave irruait ... .... (1): "You

Menti, on my femur, you lied, fawn

Apostle! ... Want to Sit n

From us ... You want to peel our bald! ... "

Then he straightens up, majestic

"But I have two femurs and bistournés engraved!"

The anger continues:

" Because you seep daily college

On your coat collar enough for a donut,

Whether you're a dentist mask, a carousel,

A horse who plucked drooling in a cone,

Think erase my forty year siege ?!...

Finally it strengthens, unshakable winner in this wonderful quote:

... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ..

j'apercevrai And when I, your body impure

To all your subscribers, clown, to your subscribers,

Pertractant this body slumped in their hands,

I'll retouch for all tomorrows

This femur worked for forty years!

(1) A name convention, the representative of the Bulge Email .

Such literature, although it s'égayât the expense of his opponents, do not seduced Mr. N ... That really took it out of his habits too. That two heroes of Iliad, before coming to blows, trying to humiliate each other by insulting words, that they celebrate in turn their own merits, the goodness of their weapons, that their donations have made the gods ... very good! this is the classic ... But for a scholar nurtured in the exclusive admiration of Grand Siecle, and who willingly quoted Voltaire's views on Boileau: "Do not speak ill of Nicolas: This unlucky "This abuse of hearty rejection, contempt, so displayed, the salutary rule that wants to break the half-line! ... But the choice of comic details, in this insupposable truculence! ... But this unexpected, the unheard, this exasperating that narcotic in Charenton: these "femurs bistournés! ... and even "serious" !!... No, ...

And ... Mr. N, who received more than two or three masterpieces inspired by the same aesthetic, ordered the superintendent to refuse clearly in the future, what would bring this young man long hair.

- It disgusts work! Rimbaud said.

careful reading of this extract memories Delahaye shows that we are talking of two poems. Only the first has a title The Complaint grocers. The second has none and is modeled on the first title he has been wearing that fake Complaint old monarchist. In his edition of Poems Steve Murphy cites two poems in reverse order and annotation for the untitled poem leaves something to be desired: "It should be noted that in 1908 as in 1925, Delahaye uses The title Complaint Grocers but not The Complaint old monarchist, as apparently dummy in the accompanying publications. "The sentence is a problem amphibology: you can believe that, Steve Murphy, these worms are also under Complaint grocers. The critic points out, however, the corruption of Daniel de Graaf on the first line usually incomplete: "In the nave irruait A. Pouillard: 'You have [...]' And he refutes it: "Apart from the improbability of such use of the original, the actual name of the owner of the journal (see letter by Rimbaud Izambard to the August [sic] 1870) is not a conventional name '. "

Strangely, Steve Murphy, who, given the imperfections of the shell, and text, seems to have overlooked the part Appendices of if a work scholar, does not consider the testimony of Delahaye accompanying the unveiling of the unpublished fragments. He did not quote a single line and does not issue even a comprehensive survey for The Complaint grocers (missing for example, "brown sugar thief")! Moreover, it is regrettable that the 1925 version is favored over the lessons of 1908 original. The italicized words " Store" is reported as a variant in a footnote on page, which had yet to detonate the merit in the logic of a simple memory recovery. That could mean that prodigious memory italics? The variant "our blue glass" (1908) / "its blue glass" (1925) also holds the attention. The text of 1925 has been compiled from a support script here badly decrypted? Finally, after the final "box" in the version of 1925 would seem to suggest that the author of grooming did not understand the meaning of dotted lines of precedent.

On another level, Steve Murphy did not mention, which was nevertheless essential to plan philological commentary Delahaye. However, crucial information immediately apparent in the story. Delahaye no representation that it has reconstructed from memory the poem without title. He does not associate a reconstruction of memory that only three verses of The Complaint grocers, but he claims directly "include almost all of a piece very amusing! This passage has become in 1925: "and here I can quote from a good piece great fun." Clearly it seems he had some of the text before me, a little before that publication of the year 1908. And no Rimbaud seems to have thought of asking his origin. Not even Berrichon? Obviously, one can construct many assumptions. And why Berrichon would not have revealed a fragment of obscene poem, with permission to quote, so to avoid a veto by his wife? Delahaye he wanted to keep some exclusivity? He quoted from a manuscript he had or someone else? He quoted directly from a manuscript by Professor Perrin? Then, based on what evidence is there to argue that this is the "almost all" of the poem? The manuscript was it incomplete or illegible in places? Are there still? Has it disappeared into the burning of the farm during the First Rock World War? By what (s) coincidence (s), the poem he presents many traits compared with just Man: dialing period (summer 1871), quintiles ABABA, loss of the early poem, period public disclosure, satirical style?

The possibility of a forgery is more than weak. Worms are really brilliant. Versification of the poem is probably one of the aspects that most strongly argue for authenticity. Rimbaud carries very specific forms of Hugo's release.

Although these worms are put into the mouth of a reactionary away by the excess emissions actually taunt the supporters of a calmer verse. Spanning the hyphenation of compound verbal forms is commonplace in the classics. Practice spanning a tense between two lines is certainly more daring, but the pleasure of provocation for poets like Victor Hugo Arthur Rimbaud is that the admirer of the classics often responds with brutal hostility without realize that the romantic is only carrying an accepted practice to break the higher level of entrevers: "You / Menti. What shocks between two to pass unnoticed at the break, but the only admirer of classical critical distance will not be necessary to calm his ardor reproachful. Hugo was very aware of the classics and daring he is the first one, inspired by the release of Chenier and Vigny, had fun playing on the lack of culture "conservatives" actually versification. Many writings on the worms can be easily ridiculed were it, for example, as nonchalantly pointing in some hyphenation (+) of to the tragedy of Racine Bajazet "His hugs have not erased the insult +" (line 45), "However, if we may believe + Fame" (to 69 ) "He has done for three months + from the army" (c. 70), "But I used this more worthily + Leisure" (line 92), [...] " ; Yourself + you saw running around fighting "(line 119), [...]" But ... / What? What did you + Solved? / To obey "(circa 1200). We admire the passage of the spanning 1364-1365 to the same piece:

I'll prepare everything. You will however

Disperse quickly assembled friends.

An example of a caesura between auxiliary and past participle which is only slightly more rare than in Racine Corneille and Molière: "What, Lord? / I + gone too far "(Phaedra towards 524).

The following crossover to entrevers "fawn / Apostle!" Is also a precise science of provocation. Releases and discharges-cons epithets were common before Ronsard and Du Bellay, even until the end of the sixteenth century, they remained more or less common in the genre down thereafter (jokes, etc.).. There is a handful in the theater of Molière, and although it was laborious, we had the pleasure of finding such a cons-rejection in a tragedy of Corneille: "Farewell, + object too virtuous, and too nice ( Polyeucte , Act II Scene 2, to 571). However, as evidenced by the poetic arts of the era, the classics scrupulously avoided to isolate a monosyllable at the end of verses, even to break, especially when he was rhythmically secured thereafter. Such boldness was tolerated in the types or low in the comic register. Racine fans probably know that it was risky to practice with the most natural possible such audacity to hyphenation: "Ah! Narcissus expensive, courses to meet your master " (Britannicus to 691, see also verse 933), "Take this letter. Course to meet the Queen "( Iphigenia, to 129, see also verse 725).

We will provide the reader comments as to scholars in other crossovers bold entrevers (/) or hyphen (+) in the untitled fragment exhibited by Delahaye, "the Sit n / About Us" , "to mask + dentist". Releases of the verb complements or supplements the name gradually normalized and aggravated From the moment Vigny felt his Romantic contemporaries, Hugo in mind, he drew on nearly bills to the most daring of Andre Chenier. Another technique Hugo's plan retains the attention metric. The poet repeats the following subject - verb "You lied, once in the form of violence to the past tense entrevers a second time within a second half-line which is another member of sentence is called crossing over, "you lied, fawn / Apostle." Delahaye Was there any knowledge as advanced methods metric poets? It seems at least questionable and will not vacate the immediate feeling of formal virtuosity inspired by this song. Delahaye forger would be both good and well deserving of bragging managing to produce such a masterpiece, while announcing proudly that his text is "great fun" and that his "rhythm, especially, is a wonderful art "(the text only version of 1908). Delahaye has also a commentary on what might seem an art of poetry abusive to the ears of Professor Perrin: "This abuse of hearty rejection, contempt, so displayed, the salutary rule that wants to break the half-line! ..." But in the nineteenth century, the poets were aware that the discourse on the break was somewhat confused and they continued to consider themselves practicing rather bold rejection of two verse of six syllables in Alexandria, which explains the absence of any crossover word of the 6 th and 7 th syllables of all these Alexandrian heckled (but are not provided for Squats and Man fair, the other two poems by contemporary ABABA quintile). This truth was lost sight of the twentieth century, which explains the irrational reactions of hostility to the "métricométrie" Benedict of Cornulier. Presumably Boor also aware of this subtlety, but even this is uncertain, since he never reported the hyphenation problems posed by poems such as Tear or "Qu 'Is it for us, my Heart .... " From the beginning of the twentieth century, the new rules disregard "tacitly" observed by the Romantic poets and hyphenation Parnassians actually makes implausible the creation of a provocative pastiche, including by major poets such that Aragon, Apollinaire and Valery, who were able to practice such crossovers, but probably not to orchestrate the controversial manner of a poet in 1871, subtle but real distinction. Must admit that we are dealing with an authentic poem of Rimbaud and that it is unfortunately disregarded by virtually everyone in a century.

continued ...

Is Lisa Loeb Voicing Commercials?

Journal Le Monde, 26 January

Page 2, under "People". Entitled "Pierre-Joseph Dutra hunting Rimbaud of the picture", Le Monde takes the release of AFP.

Savanna Sampson Jenna Jam

photomontages Dutra - Revoil

can see slideshows on Revoil Dutra and "the bearded left" in the article entitled: " A corner table in Aden: George Revoil give way to Dr. Dutra " . I note that the photos that I posted mine. I've taken with my digital camera to tape the NL microfilm. Naturally, I asked permission from the Geographical Society to publish since that Company has the rights. Given the camera's flash images are slightly colored.

JB

Is Implantation Bleeding Dry?

Response to the article by M. Delahaye Lefrère

I gave a brief response to the article by Mr Lefrere, newly published in forum devoted to my article here on Dutrieux.En Text:

Mr Lefrere me politely responded in this review some time ago when I revealed the identity of the explorer Lucereau. Today he chose another forum to answer me without naming me. I'll just take one sentence in his article: "For this Dutra, as we have learned to Lucereau, is quite able to stay in Aden in August 1880." I note that M. Lefrere is forced to consider the presence of Dutra on photography. I just give him notice that he is clear that Dutra was not in Aden in August 1880. Indeed, in his letter in February 1881 where he says he spent 15 days in Aden in November 1879 with Lucereau, Dutra would not have failed to report a second meeting later and closer to the death of the explorer.

Cheap Gay Thong Wears

inventor of several unpublished poems Rimbaud? By David Ducoffre

Part

Unfortunately there is a riddle about Delahaye we're not about to solve now. The childhood friend has preserved the memory of anyone, to the great poems of Rimbaud texts or manuscripts submitted to Demeny, nor texts of manuscripts passed into the hands of Forain and Millanvoye. It does not forward also to the parody of Banville's letter of 14 October 1875 that Rimbaud has personally addressed. This parody sloppy, and once naively celebrated by the Surrealists that even part King Ubu put into swooning, was rejected by Steve Murphy in his edition of philological Poems in 1999, but is found out of place in any publication correspondence of the poet. However, that highlights the memory of Delahaye, the margins are systematically unpublished production Rimbaud. We believe it can not be a thousand explanations on this. We firmly believe that Delahaye was essentially witnessed obscene poems and "ultra-comedy" by Rimbaud. We also note that the correspondence of Delahaye and Verlaine was received mutilated. Several drawings are preserved corpse of letters whose content is sorely lacking in our letter writer working for the return of literary history. It is not impossible that the quotes come from letters Delahaye he could keep it and would not deign to publish. He had perhaps the manuscripts and we consider that, despite the apparent evidence of letters, he certainly did not reconstructed from memory the three "unclean", three sonnets among whom was a version of Sonnet du Trou du Cul . As for his Poets Verlaine cursed he necessarily had access to manuscripts of Rimbaud and soon we will give evidence from a recent example.

There is a relatively unusual poem by Rimbaud few editions deign to identify. This poem was called incomplete as a fake The old man's complaint Monarchist and it does not appear in many editions of reference Complete Works of Arthur Rimbaud. It is absent from publishing paperback by Pierre Brunel (see also The collection Pochothèque), editing by Andre de la Pleiade Guyaux in 2009, the Garnier-Flammarion edition of Jean-Luc Steinmetz , editions binoculars collections Poetry / Gallimard Folio by Louis Forestier, etc..

In its edition of philological Poems of Arthur Rimbaud (Champion, 1999), Steve Murphy rejected this poem in a section very misconceived entitled Appendices. This section, which discussed the lack Poison lost and parody of Banville's letter of 14 October 1875, brings together towards genuine included in the new A heart in a cassock with two files of evidence issues: ex First, the reconstructions of memory assumed Delahaye and, secondly, all false Labarrière that, surprisingly, Steve Murphy, then seemed to consider as more probable that the reconstructions of Delahaye.

Take time to review the nonsense of Labarrière. Under this sinuous appearance, our study may suggest to readers here the test of personal feelings when it comes to separate fact from fiction. Labarrière Rimbaud claimed that he had donated some of its shipments of personal contemporary Parnassus, which is already impossible to prove. However, these shipments have been annotated by Rimbaud. But in fact annotations, we are only allowed poor schoolboys who jokes for them to be relevant in these times of arrival of large rantings of surrealism. It would have to believe that Rimbaud has multiplied the scores exclamation of admiration in the margin of the poem Qain of Leconte de Lisle. And it would make us believe that Rimbaud has anticipated the practices of Andre Breton by changing two words of two poems of Madame de Blanchecotte: verse: "It's as pale men" would become , "The only seal her pale man" and that other: "I carried my very heavy grief last" should change into: "I wore very heavy my last bun, "the pen of the future author of subversive Illuminations. Dazzled by such convincing evidence of the methods of creating the hermetic Sieur Rimbaud, Jules Mouquet, which would not have failed to recognize the spelling of both Rimbaud dissyllable "seal" and "bun" seems immediately completed the acquisition of such wonderful materials that, since then, never returned. Citing these corruptions of Madame de Blanchecotte in a small section titled Rewriting minimum , endorsing Steve Murphy, awkwardly and inadvertently a beginning of authenticity in his edition of Poems 1999: "These changes are satirical, hand Rimbaud [sic] in the 4 th delivery Parnassus contemporary, in a copy (unlocated) Labarrière that Paul gave to Jules Mouquet "(page 879) and, in his notes (page 875), he emphasized already in this sense:" The authenticity of the changes burlesque seems undeniable [sic] J. Mouquet was one of the best specialists Rimbaud the period 1930-1950 and is unlikely [sic] that he was mistaken about the identification of writing. "

And as if that were not enough, Labarrière managed to convince the same Jules Mouquet, who was a "Baron" ( of Petdechèvre ) Rimbaud studies between 1930 and 1950, that the giver of "workbooks from Douai" had handed him to turn "a book of his poems" . Reminder: circa 1933, it was believed that the poems presented in 1870 to Demeny were collected in two books connected together, which led to the legend of a book thereafter. This book Labarrière (no) would have been lost during a move in 1885. According to such statements, it was a "schoolboy cardboard, flexible card, a dozen pages or so, carefully written on the front and back, its beautiful writing, broad and somewhat square. No title to the collection. Rimbaud's name was he just said? ... It contained fifty to sixty poems, usually short: three to four stanzas. " All this is beautifully told in language expert as one can see, in an article by Jules Mouquet 1933: "A late evidence on Rimbaud, Mercure de France , May 15, 1933, p .93-105. Fifty to sixty pieces, that can make him jealous Demeny, Verlaine and Forain themselves. And the description is crisp in its detail. The sentence: "No title to the collection," inevitably think of the considerations that need only one title to the manuscripts collection of poems submitted to Demeny, 1870. We also note Lacoste Bouillane that has not held up as truth print the approximation Izambard copies of Douai, who spoke exclusively carried on the front sheets (Labarrière have possessed him, "about a dozen pages, carefully written on the front and back). This book was given to Labarrière in February 1871 at the latest, since a legitimate suspicion and despair leaves us with the feeling that no composition of Arthur has reached us for the period November 1870 - February 1871 (with only exception The Dream of Bismarck ). With Labarrière, we believe that this was even paradoxically most creative period of our author. And the icing on the cake, he who has improvised a close friend of the poet was thought to give us as a few treats to unpublished.

Aided by the powerful gift of synthesis of his memory, the witness goes straight to the point in the following quote incomplete. He deleted everything that had maliciously weed in a quatrain that has deftly summarized by two sentences of prose, saving brilliantly rhyme freestyle the first two verses which is the resumption of a process Hugo's Meritorious:

... ... ... .. ... ... ... ... ... ... ... ... ... ... ... ... ... .. Are they

... ... ... ... (drums?) ... ... ... .. We get high?

... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... .... Not!

is a chef snoring like a bassoon.

A second quote clearly announces the "letter of the seer." In a set of statements that spared the hollow glitz and the obscene, all certainly worthy of charming, in a spirit of family, any symbolist poet of the late nineteenth century (Darzens, Tailhade and others), there arises the disturbing word of "Reliquary." Emule biblical prophets, the poet-loving visions managed to nod to his own future. Izambard made him the first note: the collection sulfur under coppéen fake Reliquary was published at the time of death of Rimbaud in 1891. That makes sense intensely premonition of Arthur Rimbaud Labarrière, mystical limitless. The atmosphere of the quatrain Stercoraceous Announces sad death of the poet in Marseille, mixing probably a posthumous consecration atmosphere suffused golden laughing. What a pity that the singer has been able to reconstruct from memory the entire quatrain.

... .... Among the gold, quartz, porcelain,

... ... ... ... ... ... ... ... ... ... .. a jar of night banal

Reliquary indecent old chatelaines

curve flanks shame on mahogany king.

Then, exhibiting separately the last verse of the last poem in the collection unknown, the devoted Labarrière had saved for posterity to the most poignant he had ever been possible to design in the history of humanity, not without plunging the biographer Jean-Jacques Lefrere some expectation: "The last Alexandrian, the only retained by Labarrière, was superb: 'And the poet drunk chewed him out hourly Universe! " It remains unclear whether this poet soaked [ie Rimbaud] attacked the cosmos, or whether merely to shout at the Cafe de la Place de la Gare that name. "

Finally, passage of derision songwriter of the letter to Demeny of 10 June 1871: "Oh! Thumbnails pérennelles! "would be octosyllable incipits a poetry where he would have been" matter of geese and ducks paddling in a pool. " So do not say more: "Labarrière is something," but said: "Labarrière is someone!" Clever magician, the man managed to introduce the big joke in the world of Greek tragedy and mystery novel criticism Rimbaud! Mention again the philological edition of Steve Murphy on page 884 ... This is precisely the last words of his book: "When in doubt, we have retained these fragments, but not without skepticism. Nevertheless, Labarrière has never exercised its relationship with the poet to develop and annotated copies of contemporary Parnassus seem to confirm that Labarrière and Rimbaud were good friends in college. These worms, which in principle would date winter 1870-1871, were generally of mild inspiration, satirical (note [in] particular [...] playful rhyme are what / smashes ) . Despite intuitive judgments relevant, the critic was fooled by the scruples of the philologist, for this sacred indecision he agreed to name caution.

continued ...

Ship Design And Diagram

"Delahaye inventor of several unpublished poems of Rimbaud?" By David Ducoffre

Part

In the book Steve Murphy Rimbaud and the Commune published in 2010, a footnote on page attracts attention. In an article on the poem Squats, the author discusses the problem of verses attributed to Rimbaud and testimonies by Delahaye. To believe it, Rimbaud had devoted one of its "ultra-comic poems" to a caretaker of the college of Charleville. And Delahaye to quote two lines from memory:

Behind bounced into grotesque gasps,

A Rose swallowed in the belly of the doorman ...

Kudos! The look of these worms is actually Rimbaud, not only by their obscenity and choice of words that are found in The Heart stolen, First Communions and others ("hiccups", "grotesque , "," porter ", ...). What syntax! The merger with Squats of course, except that the reconstructions of memory Delahaye prompted criticism Rimbaldian some caution. However, Steve Murphy said in footnote 3, which straddles the pages 322 and 323 of his study: "[...] original research of David Ducoffre, we do not know when to publish the first draft of this chapter, offer incentives for taking arguments seriously these reconstructions. "

remember what the reconstructions of memory proposed by Delahaye. Most of them are in his book Memories familiar published in 1925. But the original publication was made in several issues of the journal Ardennes and Argonne from 1907 to 1909 under the title: "About Rimbaud. Familiar memories. "In 1907, Delahaye cites a verse novel that actually sounds like Rimbaud:" At the foot of the dark walls, beating the skinny dogs ... "It would be the memory of a" ; initial production [...] unfortunately lost "when Rimbaud showed" pupil a fiery boléiste: Aristes Lhéritier. Without defining the word "boléiste" that would apply to a student rather win the top prizes, Delahaye said that his friend poet then exhibited "satire imitated from lectern, where he started in humor violent should give us the latest A music and The Seated . "In 1908, the harvest of Delahaye is richer still. Besides the two verses quoted above, he claims to have the memory of a poem which he states that the title: Carnival of Statues, and a composition which he manages to return the subject and the first and last verse. It would be the "intensely passionate romance - very condensed, twenty or thirty lines at most - some Andromache in a worse situation, [it has] forgotten the title, but retained the first and last sentence that summarize the meaning "

Brown, she was sixteen when she was married

[...]

For she loves her son with love seventeen years.

And in a footnote on the page, Delahaye confronts the evocation of these two poems lost in the discovery of unpublished manuscripts by Forain entrusted to Millanvoye: "They may find themselves, as the evidence submitted last year by George Maurevert: the Customs, the Sisters of Charity , speaks with enthusiasm Verlaine, and many beautiful poems in prose, what our brave René Aubert published in its Book Review of Paris and Champagne . "

And now, again in 1908, Delahaye continues to impress us. He cites another unpublished text, and this time around. These eight verses that Rimbaud would have transcribed after terrible Year (June 71) to the inside of a church bell from Mezieres. Delahaye How can he have the memory intact of these eight lines (octave or two quatrains), and incorrectly calling them a "Nostradamus prophecy? That is incomprehensible. It seems rather a text that mentions casually that he had under his eyes. These worms are also not bad: comparison felt good the first two verses, clever formulation prosodic on a date to 3, 4 and earthiness to the remarkable rhythmic swaying of the four last lines up with the idea of a little bell ladle.

Oh! if the bells are bronze

Our hearts are full of despair!

In June, eighteen hundred and seventy-one,

be assassinated by a black

We Jean Baudry, Jean us Baluch,

Having done our wishes,

Mourûmes steeple in ladle

Desdouets an abomination! ...

And still in 1908, Delahaye delivers the very beginning (three verses) from another unpublished poem The Complaint and grocers, according to him, almost an entire poem into quintiles for in drafting the North-East ! We will return later to these two quotes outstanding, contemporary addition to the previous stanza.

once again stated that in a letter dated 25 July 1924 Marcel Coulon, who then announced a discovery (it will be the poem What the Poet about flowers ), Delahaye again claims to cite several unpublished poem of a lost, a Letter to Loulou, "a fun thing that Verlaine had, as he recalls the rhymes in the Coppee [...]: 'I renounce Satan, etc ... In this letter (a mockery cons Empress Eugenie), [he] selected a few verses: [...] It's late 70's, a little later, probably ode to the grotesque. "

My poor old Louis, going on.

Farewell, seeks a barcarolle ...

Let's pretend to Perricholi ...

And you fly away, and I fly away, [the plan to fake literary, 9 syll.]

And we each have our nests ...

Finally, we must not forget that in a letter dated October 14, 1883, Delahaye has recomposed, supposedly from memory and Verlaine, the text of the three sonnets that last named "The Unclean "and are known as the apocryphal The debauchery. Delahaye has largely reconstituted two sonnets obscene novel, "Our buttocks are not theirs ..." and "Older animals highlights ..." but mostly nothing less than the fourteen lines of Sonnet du Trou du Cul then unknown.

All the twentieth century has clearly despised these bits, including poets and writers who have written about Rimbaud, Breton, Claudel, Aragon, Char, Reverdy, Bonnefoy, Gracq ... Personally, it is not one of those quotes that make us a good impression. If Delahaye was a forger, what a great poet did we lose there! Someone will say: "Maybe he has done to help?" In fact, only two quotes are from a level accessible to Delahaye. The verse: "At the foot of the dark walls, beating the skinny dogs ..." could face a work of pastiche, while despite a small character irreducibly striking, the verses of the novel in any Andromache "could have come under written by so many poets. In contrast, other quotes are all trademarks of engineering that can hardly be dependent imitative.

Against the thesis of citations from memory by a non-specialist language to, observe that all these quotes demonstrate accurate knowledge of versification in fact. Two discrete rules and difficult to observe spontaneously Nowhere are at fault. The proscription of the hiatus is observed without weakness and linking hemistiches may be cited as an example in this verse remarkable: "A Rose swallowed in the belly the doorman ... "No word step over a half-line to another within an Alexandrian, despite an abundance of certain audacious proclitics hyphenation. Who can believe that Delahaye remembered memory of the verse 13 of the first sonnet with filthy, first, his break (denoted by +) on a proclitic, ie determining the possessive "its "and then his two dieresis supported in the second half-line:" The front facing the + port we glorify Waitress "? Other academic dieresis are impeccably renewed in the words "husband-a" the Alexandrian "Brown, was sixteen when she was married, and in this case" Louis' first octosyllable City of Letter to Loulou: "My poor old Louis, going on." Remark Is there any lack of compliance in the spelling of the three filthy rhymes or eight supposed to have been plotted on a bell from Mezieres? In his biography of Arthur Rimbaud Jean-Jacques Lefrere, who speaks, unlike us, "bad stanza, for its part has not seen the license of the" s "chart that allows to combine the main" Desdouets (s) "with the plural of" wishes ". In 1908, Delahaye has not written: "Desdouest abomination" as it appears on page 297 of the transcript of the poem in the biography of Arthur Rimbaud Lefrere, but "an abomination Desdouests "as they can check on Gallica.

Specifically, Delahaye favors same spelling "Desdouets" in the body of his written account, as shown in this extract useful in understanding the eight lines: "M ^me Rimbaud prevented by circular - O sir Desdouets! ... you could not leave us alone? ... - Was therefore required his son to join him as soon brood university in the temple of Thalia and Melpomene. Arthur dryly replied that he felt no provision for theater. "If the biographer rightly think that it is not credible that these eight worms were immediately etched in the memory of an accomplice, he dismisses too quickly the track the manuscript undisclosed. Lefrere is reduced to consider this stanza as an example of these "pranks" or "big joke" between friends that can come as the poet's nobody, or which can be both a reflection of Authentic is a free invention of a witness willing to talk to him. Not only such an approach lacks the pejorative perfection formal poem, but it fails to make the scope. Delahaye introduced this poem as a creation of June 1871, not far from the bloody suppression of the Commune, and he gives context for the reopening of the school. Beyond the testimony blind Delahaye, this poem clearly reveals the spirit of anger that animates the bad jokes of Rimbaud and he still clearly state the policy reasons underlying the refusal of the poet to return to the school both in the period Communard of hope that the Bloody Week. Will anyone believe that Boor who created a false serves only to ridicule him because he does not understand the implications?

Getting back to the plane of the verse, only Letter to Loulou guess gaps. Of the five that we octosyllables Delahaye book, the first and last do not rhyme with any other lines, while two to four to rhyme all three in "-ol /-olle. Clearly, these are piecemeal and not five consecutive payments. Now the fourth verse quoted by Delahaye, as reproduced by Marcel Coulon and Daniel Mouret (Arthur Rimbaud 1 towards Louis Forestier Journal of Modern Literature , "Rimbaud as they knew him. Unpublished letters Izambard - Delahaye - Coulon, Minard, 1972, p.43-84), a problem of elision, if not quantity syllable: "And you fly away, and I fly [. ] "One of two things: either, like the poets of the sixteenth century by Barbey d'Aurevilly recovery, it is generally the license to remove the" s "marks the second person singular , or the verse is false, having then nine syllables. It is difficult to determine, given that both the indisputable vagueness of remembrance and we will not consider here the idea of a metric for a song like "O Seasons," and Song of the highest Tower in the version of the book A Season in Hell . Letter to the Loulou memory is a reconstruction of deficient and defective. We can notice also a striking feature common to three citations Delahaye. Three times, found swinging a bit towards a resumption of the same words and grammatical forms of the same: "We Jean Baudry, Jean Baluch us, "And you fly away (s) and I fly," In all your subscribers, clown, subscribe to your [.] "A what to add, "You have / Menti, on my femur, you lied, [...]." Could this be the emblem of poetry preserved by Delahaye Rimbaldian fun? The idea is not necessarily ridiculous. Let us assign this through too quickly to a forger Delahaye.

Thanks to a recent article by Genevieve Hodin: "Rimbaud, the reader of 'brilliant poet of July' (Rimbaud living No. 47, June 2008, p.45-51), the question of memory reconstructions by Delahaye rebounded interesting. The verse: "At the foot of the dark walls, beating the skinny dogs ..." is a rewrite of two inverted half-lines of the poem Alexandrine The Tank the collection of iambic Auguste Barbier :

Beating the skinny dogs, or along the great walls

Smokey whistling miles sketch unclean

This child does not believe, he spits on his mother,

[...]

A hemistich is even preserved as is and as Genevieve said Hodin, "we will never know if Rimbaud quoted a friend of Barber's front legs and ignoring , or passage from one of his [own] satires lost." Auguste Barbier is noted the author of a collection of satires and songs which contains sections Satires and dramatic Satires of comedy, which echoes the form of Delahaye "satire imitated from the lectern." Under such conditions, should we believe that Delahaye dared to mock the fans of Rimbaud? It must still consider that the poet was in its infancy a specialist who was eyeing to rewriting plagiarism ( Invocation to Venus , The Strennas orphans ). However, Genevieve Hodin informs us again that the verse 4 of the sonnet Buffet resumed passage of verse 4 of another poem of iambic , Laughter , reversing to new position of a half-line:

flowing from the heart like a flood of old wine. (Barbier)

As a flood of old wine, perfumes engaging. (Rimbaud)

The article then shows several passages in Rimbaud's work which seem to be inspired by Auguste Barbier, especially in terms of lexical some occasions as "flogs" and "ulcer". The poems hired as The Blacksmith , Paris is repopulated , Hands Jeanne-Marie and Man are just much more concerned by such rewrites. The combination of two words of the last line of Venus Anadyomene : "Beautiful hideously from an ulcer in the anus, seems to draw directly from another towards Barber" And the hideous ulcer gnaws flanks "(Melpomene ). And in this the Poet about flowers, expressions "lyre to songs iron "and" Century of hell "would be even more rewrites itself:" lyre with strings of brass "(The Lyre of brass ) and" century of brass ( iambics , Prologue). Even the lesson "brutal desire" qu'Izambard allegedly censored in an unknown original version of the poem A Music is in the works of Romantic poet: "To serve feed your desires brutal "( bribe ). It was worthwhile to discuss the details of such a record since Delahaye, if we want to assume forger, could not create a loan Barber would have the opportunity to coincide with a so intertextual practices of Rimbaud.

continued ...