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 ...
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