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Crossed Drawings (Rimbaud, Verlaine and Some Others) Author(S): Alain Buisine and Madeleine Dobie Reviewed Work(S): Source: Yale French Studies, No

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Crossed Drawings (Rimbaud, Verlaine and Some Others) Author(S): Alain Buisine and Madeleine Dobie Reviewed Work(S): Source: Yale French Studies, No Crossed Drawings (Rimbaud, Verlaine and Some Others) Author(s): Alain Buisine and Madeleine Dobie Reviewed work(s): Source: Yale French Studies, No. 84, Boundaries: Writing & Drawing (1994), pp. 95-117 Published by: Yale University Press Stable URL: http://www.jstor.org/stable/2930182 . Accessed: 19/07/2012 21:00 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Yale University Press is collaborating with JSTOR to digitize, preserve and extend access to Yale French Studies. http://www.jstor.org ALAIN BUISINE Crossed Drawings*(Rimbaud, Verlaineand Some Others) Un jourpeut-6tre il disparaitramiraculeusement -D6lires I, Une Saison en Enferl He runs,he runs,the ferret,and it reallyisn't easy to catch him, to seize him as he passes by.But where exactlyhas he got to in this year 1876, ArthurRimbaud, the eternal absconder, the indefatigablevagabond? What has become of him? What is he doing? What has happened to him? How is he and how does he live? Is he still on the road, or has he set himself up provisionally,like some merchant or other,before re- turning,once more, to his distant wanderings?In France, his friends, with Paul Verlaine at the fore,speculate about his wild peregrinations and make fun of his misadventures,affabulating his activities and his discourse: Oh la la, j'ai rienfait de ch'mind'puis mon dergnier Copp6e ! I1est vraiqu'j'en suis chauv' commeun pagnier Perc6,qu'j'sens queut' chos' dans 1'gosierqui m'ratisse Qu'j'ai dansle dos comm'des avantgouits d'un rhumatisse, Et que j'm'emmerd'plusseuq' jamais. Mais c'est-n-6gal J'auraiprom'n6 ma gueuleinfecte au S6n6gal Et vu Sainte-H6eln'! (merdea Badingue!) un' rud'noce, Quoi ! Mais tout9a n'estpas s6rieux.J'reve eud' n6goce Maint'nant,et pleind'astuss', j'baluchonn' des vieillesplaqu's D'assuranc',pour revend' cont du rhumaux Kanaks.* *Becauseof the transfer of the Fonds Doucet to theBibliotheque Nationale, we were regretfullyunable to supplythe relevant pictures for this article. *Inthis rough translation I do notattempt to reproduceVerlaine's slang, his imita- tionof Rimbaud's accent or wordplays such as c'est-n-6gal/S6negal.Wherever possible, I have used publishedtranslations, and all such quotationsare attributed.Where no referenceis supplied,the translation is myown.-Translator's note. 1. ArthurRimbaud, Oeuvres Completes, edited, presented and annotatedby An- toineAdam (Paris: Gallimard, Bibliotheque de la Pl6iade,1972), 106; A Seasonin Hell trans.Enid Rhodes Peschel (London: Oxford University Press, 1972), 75. YFS 84,Boundaries: Writing & Drawing,ed. M. Reid,? 1994by Yale University. 95 96 Yale FrenchStudies Oh dear,I haven'tbeen on theroad since my last Copp6e!It's truethat I'm as bald as I'm Broke,that I feelsomething scratching in mythroat That in myback, I've gotthe beginnings of rheumatism, And thatI'm morefed up thanever. But no matter I'll have shownmy ugly face in Senegal And seen St Helena! (Shitto Badingue!)t A hell ofa time, What?But none ofthat was serious.I've gotbusiness on mymind Now,and, very shrewdly, I pack up old insuranceplates And tradethem for rum with the canaks. It was doubtless the veryend of 1876 or the verybeginning of 1877 when he learned that Rimbaud, having got as faras Javain a round trip that took him via Brussels, Rotterdam,Le Helder, Southampton, Gi- braltar,Naples, Suez, Aden, Sumatra, the Cape, Saint Helen, Ascen- sion, the Azores, Queenstown, Cork, Liverpool and Le Havre-"un petit voyage,presque rien" [a little trip,really nothing to speak of],2 quipped his friend Delahaye-was finally back in Charleville, that Verlaine wrote this ten-line poem, in the center of which he drew an astonishing Rimbaud en canaque. Rimbaud as a Negro, his face tat- tooed, a thicklock ofhair stickingup fromhis skull, with earringsand a huge braceleton his wrist:he is smoking a pipe (ofopium?) and holding a large glass, most likely of rum. But even more remarkable than the pittoresque nature of this figuration is its position: properly,con- cretelyintratextual, the drawing is surroundedby Verlaine's coppee, literallycoiled-up among its verses. As thoughthe disenchantedwords which the poet lends him have the power to evoke his face, to restore his form.*A near-magical evocation like that of the ancient homeric nekuia which brings the dead back fromHell-and the Bridegroom was, in his time, infernal!t It should thereforecome as no surpriseto note that in his poems, however lewd and slangy the coppee, Verlaine also meticulously re- spects Rimbaud's Ardennesaccent. Had he not writtenin the marginof an earlier drawing of 1876, "Dargnieres nouvelles" [Latest News]t tBadinguewas thenickname of Napoleon III.-Translator's note. *"d'evoquerson visage,de lui rendrefigure" literally: to evokehis face,to ren- der/restorehis form/face.-Translator'snote. tThis is a referenceto the Bridegroomof A Season in Hell, usuallyrendered in Englishas theSatanic Bridegroom.-Translator's note. tAlsoimitating Rimbaud's accent.-Translator's note. 2. Letterto ErnestMillot, 28 January1877, quoted by Fr6d6ricEigeldinger and Andr6Gendre in Delahayetemoin de Rimbaud(Neuchatel: A la Baconniere,1974), 254. ALAIN BUISINE 97 whichrepresented Rimbe stark naked (havingbeen strippedby a cab driverin Vienna): "L'accent parisiano-ardennaisdesideratur?" [The Parisiano-Ardennaisaccent desideratur?] Verlaine, who textualiseshis drawingsby having them emerge from the poems themselves, hopes in thesecoppees to recoverRimbaldian orality, as thoughthe restitution ofthe particularities of his voice could also conjureup his image,and if many of his drawings(including "Ultissima verba" and "La sale bete!"are accompanied by a Coppee,it is in orderthat the words lent to theother also renderhim figurally present.* In this,Verlaine is simply conformingto a deviceof Rimbaud's, if for the author of the Illumina- tions,the joiningof vision is indeed fundamentallysubordinate to sonorityand its auralreception, to musicalityand orality,and thehal- lucinatorycapacity of the poet firstrequires an audio-oralstimulus.3 By a significantreversal, in Verlaine,Arthur Rimbaud's portrait is the phylacteryof reconstitutedorality. However parodic, satiric and derisorythese dizains-doubtless scribbleddown in haste between twostraight absinthes-may be, theynevertheless constitute a magic act, securingan iconic presentationof the poet. To providehimself withan image(far more than an idea) ofRimbaud: this, for Verlaine, is theprimary object in reproducingthe voice of him who was themaster ofthe "Viergefolle" ("the FoolishVirgin"). This passion of Verlainefor Rimbaud's face, his "visageparfaite- mentovale d'angeen exil,avec ses cheveuxchatain-clair mal en ordre et des yeux d'un bleu pale inquietant"[perfectly oval face,that of a fallenangel, with its dishevelledlight-brown hair and troublingpale- blue eyes]4would neverfail. If, in the prefaceto the PoetesMaudits, whichhe added to the 1884 Vanieredition, he insistson the authen- ticityof all theportraits which he suppliesin thevolume, it is appar- entlyArthur's face which most preoccupies him: EtienneCarjat photographiait M. Arthur Rimbaud en octobre 1871.C'est cette photographic excellente que le lecteura sousles yeux,reproduite ... parle proc6d&de la photogravure. N'est-cepas bien "L'Enfantsublime", sans le terribled6menti de Chateaubriand,mais non sans la protestationde k6vresdes *"Sa presencefigurale:" his figuralor facialpresence or form.-Translator'snote. 3. On thissubject, cf., the rich analyses of Anne-Emanuelle Berger in Le Banquet de Rimbaud.Recherches sur 1'oralitg (tditions Champ Vallon, 1992). 4. Paul Verlaine,"Arthur Rimbaud," les Poktesmaudits, Oeuvres en Prosecom- pletes, editedand withnotes and an introductionby JacquesBorel, (Paris: Gallimard, Bibliothequede la Pl6iade,1972), 644. 98 Yale FrenchStudies longtempssensuelles et d'une paired'yeux perdus dans un souvenir tresancien plut6t que dansun ravememe precoce? Un Casanova gosse,mais bienplus expertes aventures,ne rit-ilpas dans ces narineshardies, et ce beau mentonaccident6 ne s'en vient-ilpas dire: "va te fairelanlaire" a touteillusion qui ne doivel'existence a la plus irrevocablevolont6? Enfin, a notresens, la superbetignasse ne put etreainsi mise a mal que parde savantsoreillers d'ailleurs foul6s du couded'un purcaprice sultanesque. Et ce d6daintout viril d'une toiletteinutile a cettelitt6rale beaut6 du diable! EtienneCarjat photographed Mr. Arthur Rimbaud in October 1871.It is thisexcellent photograph which the reader has before him,reproduced . throughthe process of photoengraving. Is thisnot the "SublimeChild," without the terribled6menti of Chateaubriand,but not withoutthe protest of lips thathave long been sensualand ofa pairof eyes lost in a veryancient memory ratherthan in a yetprecocious dream? A boy-Casanova,though far moreexpert in love-affairs,does he notlaugh in his boldnostrils, and doesn'this handsome,rugged chin seem to say "go to hell" to any illusionwhich does not owe its existenceto themost irrevocable will?Finally, to mymind, only knowing pillows, crumpled by an elbowin a puresultanesque caprice, could meddle with this superb mop ofhair. And the
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