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Études Sur Le Symbolisme Sur Études Études sur le Symbolisme EDUCatt Ente per il Diritto allo Studio Universitario dell’Università Cattolica SERGIO CIGADA Largo Gemelli 1, 20123 Milano - tel. 02.7234.22.35 - fax 02.80.53.215 IGADA e-mail: [email protected] (produzione); [email protected] (distribuzione) C web: www.educatt.it/librario ERGIO S Études sur le Symbolisme ISBN: 978-88-8311-847-0 9,00 euro SERGIO CIGADA Études sur le Symbolisme Éditées par Giuseppe Bernardelli et Marisa Verna Avec une introduction de Marisa Verna Traduction française de Giulia Grata Milan 2011 © 2011 EDUCatt - Ente per il Diritto allo Studio Universitario dell’Università Cattolica Largo Gemelli 1, 20123 Milano - tel. 02.7234.22.35 - fax 02.80.53.215 e-mail : [email protected] (produzione) ; [email protected] (distribuzione) web : www.educatt.it/librario ISBN : 978-88-8311-847-0 copertina : progetto grafico Studio Editoriale EDUCatt TABLES DES MATIÈRES Table des abréviations ....................................................................... V Présentation ..................................................................................... VII Introduction ..................................................................................... IX Note sur le texte ............................................................................. XV Charles Baudelaire : anthropologie et poétique .................................... 1 Les Déliquescences. Poèmes décadents d’Adoré Floupette. Introduction ............................................................................................. 43 Rimbaud de la Lettre du Voyant au Bateau ivre ................................ 63 Rimbaud, Une saison en enfer, « Adieu » ou de l’essentialité ........... 103 À propos de Le loup criait sous les feuilles d’Arthur Rimbaud ......... 111 Mallarmé, Autre éventail ................................................................ 129 Paul Verlaine. . Analyse et commentaire .................................................................. 141 Deux compositions poétiques de Verlaine ....................................... 149 Abstracts in English ........................................................................ 158 Du même auteur ............................................................................. 161 III TABLE DES ABRÉVIATIONS OCB C. Baudelaire, Œuvres complètes. Nouvelle édition. Texte établi, présenté et annoté par C. Pichois, Paris, Gallimard, 1975-1976 (« Bibliothèque de la Pléiade » ; 1, 7). OF G. Flaubert, Œuvres. Texte établi et annoté par A. Thibaudet et R. Dumesnil, Paris, Gallimard, 1982-2001 (« Bibliothèque de la Pléiade » ; 36-37). OCM S. Mallarmé, Œuvres complètes. Édition établie, présentée et annotée par B. Marchal, Paris, Gallimard, 1998-2003 (« Bibliothèque de la Pléiade » ; 65, 497). OCPrM A. de Musset, Œuvres complètes en prose. Texte établi et annoté par M. Allem et P. Courant, Paris, Gallimard, 1960 (« Bibliothèque de la Pléiade » ; 49). OCR A. Rimbaud, Œuvres complètes. Édition établie par A. Guyaux, avec la collaboration d’A. Cervoni, Paris, Gallimard, 2009 (« Bibliothèque de la Pléiade » ; 68). OPCV P. Verlaine, Œuvres poétiques complètes. Texte établi et annoté par Y.-G. Le Dantec ; édition révisée, complétée et présentée par J. Borel, Paris, Gallimard, 1983 (« Bibliothèque de la Pléiade » ; 47). V PRÉSENTATION Sergio Cigada souhaitait depuis longtemps publier en français ses études sur la littérature symboliste. Il n’en a pas eu le temps. Ses élèves ont voulu assumer cette tâche, dans le sentiment de rendre un double hommage : à leur Maître et au pays qui en avait amorcé la carrière de chercheur. Comme il le dit dans la lectio magistralis prononcée lors de l’attribution du titre de Chevalier de l’Ordre National du Mérite, Cigada devait sa reconnaissance avant tout à la France, qui, en 1958, lui avait alloué une Bourse, lui permettant ainsi de poursuivre ses études sur la littérature médiévale. Cette « graine que [le Gouvernement français] jetait » a porté des fruits nombreux, dont une partie est ici rassemblée. Que la France soit donc remerciée, et l’Université de la Sorbonne en particulier, d’avoir su reconnaître le talent précoce d’un jeune chercheur italien, destiné à devenir un Maître pour tant d’autres chercheurs, pour de nombreuses générations. Les élèves qui ont travaillé à ce livre comptent parmi eux. Ils espèrent avoir su y honorer, ne fût-ce qu’en partie, leur dette de reconnaissance. VII INTRODUCTION En 1960, âgé de vingt-sept ans, Sergio Cigada était déjà monté sur « l’hippogriffe des grandes questions » : à l’occasion d’une discussion sur la farce et la sotie au XVe siècle, il avait proposé un ‘manifeste’ de critique littéraire qui nous servira ici de point de départ1. Le jeune critique de littérature médiévale qu’il était alors niait qu’une distinction entre ces deux genres littéraires ait jamais existé ; il niait même que les genres littéraires existent tout court2. Ces deux positions n’en faisaient à la vérité qu’une et se fondaient sur une conception précise, « interprétative et non didactique », du travail de la critique. Nous citons le passage in extenso, car l’hypothèse qui y est avancée a guidé tous les travaux présentés dans ce recueil : De la conception classique-didactique de l’art est née, en effet, une conception didactique de la critique : soit d’une critique qui impose ab externo des principes intellectuels, dans les limites desquelles elle confine des œuvres historiquement situées. La critique qui veut établir des principes et des catégories intellectuelles, qu’elle sait absentes des conceptions des auteurs eux-mêmes, ne peut que représenter une prétention subjective de catégorisation, à laquelle il est partant toujours possible d’opposer un type différent de classification extrinsèque. Or nous nous refusons à une telle critique, que nous estimons rationa- liste et moraliste, c’est-à-dire liée à des activités de l’esprit (logico- rationnelles ou pratiques et morales) qui ne sont pas le propre de l’art. Nous croyons au contraire en une critique fondée sur l’histoire et sur l’esthétique, une critique qui, en partant du concret textuel, ne vise pas à poser des schèmes généraux, qui n’existent que comme abstractions statistiques, mais poursuive au contraire les lois propres de l’œuvre sin- 1 « La “Farce”, la “Sotie” et la valeur pragmatique des genres littéraires médié- vaux ». Titre original : « La “Farce”, la “Sotie” ed il valore pragmatico dei generi lette- rari medievali », in Discussioni e Comunicazioni, Studi Francesi, XII (1960), p. 487. La discussion portait sur un article de Lambert C. Porter dont Sergio Cigada avait rendu compte dans un numéro précédent de cette même revue, voir Studi Francesi, X (1960), p. 123-24. L’article de Porter avait été publié dans Zeitschrift für Romanische Philologie, LXXV (1959), 1-2, p. 89-123, et concernait la différence entre “farce” et “sotie” au Moyen-Âge. Tout en appréciant la rigueur de travail de Porter, Cigada avait nié qu’une telle différence existe. Suite à la réaction de Porter, Sergio Cigada publia la réponse que nous citons ici. Toutes les citations se réfèrent à cette même page. 2 Les publications de Sergio Cigada sur la littérature du XVe siècle sont nombreuses et remarquables. Nous renvoyons pour plus de précisions à la bibliographie en fin de volume. IX Études sur le Symbolisme gulière et l’évolution historique (des contenus et des techniques) qui lie une œuvre à l’autre dans le devenir propre de l’esprit. Le texte littéraire, dans son existence singulière et historique, est le seul objet de la critique : en dégager les lois esthétiques internes est le travail de tout bon lecteur. Telle est la méthode – si banale, en apparence – qui a orienté l’auteur de ces études dans l’analyse de la littérature symboliste-décadente. Nous n’avons pas choisi au hasard de lier par un simple tiret deux définitions qui ont fait couler beaucoup d’encre : la distinction entre Symbolisme et Décadentisme nous ramène en effet à la distinction entre farce et sotie établie par certains critiques de la littérature du XVe. Dès 1972, Sergio Cigada avait reposé la question – la distance temporelle et la différence entre les genres ne changeant rien au problème : genres et définitions n’existent que s’ils sont ancrés dans les textes, et dans l’Introduction à son édition des Déliquescences. Poèmes décadents d’Adoré Floupette3, il niait que ces deux « étiquettes » puissent renvoyer à deux mondes poétiques distincts : Dans les Déliquescences, la terminologie oscille, mais si nous nous en tenons à la substance des faits, il n’existe pas deux mondes lyriques, mais une seule aire, complexe autant qu’on voudra, mais unitaire. Viendra la définition de Moréas, les partisans du terme « déca- dentisme » protesteront, ils se fabriqueront l’une ou l’autre opposition commode, par pure subtilité dialectique. Mais c’est de la logomachie, ce sont des schémas historiques a posteriori : en vérité, les ramifications extrêmement compliquées de la fortune de Baudelaire, filtrée ensuite par ses héritiers géniaux, couvrent entièrement les trois dernières décennies du XIXe siècle, où ‘décadentisme’ et ‘symbolisme’ sont deux termes différents pour désigner un seul et même phénomène4. Dans cette présentation de la célèbre parodie de Henri Beauclair et Gabriel Vicaire, l’analyse des émergences textuelles ne néglige aucune dimension du fait littéraire : les thèmes, les styles, les doctrines, les techniques sont analysées minutieusement, sans que jamais le critique perde de vue l’ensemble du réseau, ni la
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