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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 However, that highlights the memory of Delahaye, the margins are systematically unpublished production Rimbaud.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 ...
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