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Du Poete Maudit Aux Poetes Decheants. Rimbaud, Cocteau, Vian

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Du Poete Maudit Aux Poetes Decheants. Rimbaud, Cocteau, Vian CATACLYSMES POETIQUES : DU POETE MAUDIT AUX POETES DECHEANTS. RIMBAUD, COCTEAU, VIAN DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Candice Nicolas, DEA * * * * * The Ohio State University 2006 Dissertation Committee: Approved by Professor Charles D. Minahen, Adviser Professor Mihaela Marin ______________________________ Professor John Conteh-Morgan Adviser Graduate Program in French and Italian Copyright by Candice Nicolas 2006 ABSTRACT Arthur Rimbaud had an undeniable influence on authors with similarly brilliant and difficult careers, as well as a lasting impact on French youth. Based on Paul Verlaine’s definition of Rimbaud as a “cursed” poet, my research analyzes the influence of Symbolists and Decadents on the works of new poets who emerged after the Rimbaldian Revolution, principally Boris Vian and Jean Cocteau, both considered geniuses and both often misunderstood. These three poets perfectly embody the definition of “déchéance.” This artistic movement is more like a psychological and physical experiment that the poet is willing to inflict on his own body and soul in order to discover the “Unknown” and to attain poetic glory and immortality in Death. The “déchéants” poets, in the process of falling from impassioned optimism, agree on destroying the clichés of traditional poetry and rejection of the Parnassian icons. The old muses are cast aside to embrace new subject matters that are more pertinent for their social or political issues, such as government, war, and religion. To deliver their message, they will also have to invent a new way of communicating, more appropriate to their new ideas: new uses of common vocabulary, adaptations of French words, and creative linguistic inventions. Thanks to these new tools, the “déchéants” advance the limits of the poetic world and create new boundaries. From bridges to mirrors, they offer an extraordinary gateway between parallel universes, between reality and fiction. ii To Lucile and Aude iii ACKNOWLEDGMENTS For this dissertation, lots of time, energy, and emotion have been expended. Therefore I would really like to thank my family, especially my parents, and sisters for their support from the other side of Atlantic, and my great friends, who supported me – in the French sense of the word – day and night, all along this writing adventure; Merci Mélanie, Todd, and Julie. To Christopher, I wish to say thank you so much for being the calm and patient man who let me be myself and gave me the moral support that I needed. I am grateful to Steve Murphy who gave me the taste for revolutionary poetry, and who introduced me to the beginnings of déchéance. Thank you Steve for being such a great inspiration and a dear friend. I also wish to thank Professor Conteh-Morgan who has been very patient with my prose, even though poetry is not his favorite. Many thanks as well to Professor Marin who always has been more than just a professor, but also a confidant and a friend. And finally, my sincerest thanks go to my adviser, Professor Minahen for his investment and enthusiasm in my research. It has been a long and chaotic adventure, six years of reading and sharing. I would never have gone through this task without you Professor, thank you very much for your time and patience. iv VITA December 30, 1976 ........................................ Born – Bondy, France 1997................................................................ Licence de Lettres, University of Cergy-Pontoise, France 1998................................................................ Maîtrise de Lettres, University of Cergy-Pontoise, France 1999................................................................ DEA Lettres, Langues et Représentation, University of Rennes 2, France 2000 - present................................................. Graduate Teaching Associate, The Ohio State University PUBLICATIONS Nicolas, Candice. « Accroupissements : Rimbaud s’insurge et le clergé s’affaisse ». Parade Sauvage 21 (2006). ---. Rev. of “Astérix – Learn French,” CD-ROM. The French Review 79.4 (March 2006): 890. ---. Rev. of Arthur Rimbaud Selected Poems and Letters by Jeremy Harding and John Sturrock, eds. Penguin. Parade Sauvage 21 (2006). FIELDS OF STUDY Major Field: French and Italian Studies in: Nineteenth/Twentieth-Century French Literature..............................Charles D. Minahen Nineteenth-Century French Literature...............................................Mihaela Marin Twentieth-Century French Literature ................................................John Conteh-Morgan v TABLE OF CONTENTS Page Abstract............................................................................................................................ii Dedication........................................................................................................................iii Acknowledgments............................................................................................................iv Vita...................................................................................................................................v Chapters: Introduction......................................................................................................................1 1. De la Crise poétique aux délires lyriques ..................................................................23 I. De la vénération à la vénénosité : dégénérescence de l’icône féminine.................26 II. Histoire et société: Du spleen apathique au dégoût créatif ...................................56 2. Angélophanie moderne : Déchéance des anges et Ascension poétique.....................101 I. Des chérubins rimbaldiens au poète maudit...........................................................104 II. Heurtebise d’Orphée, ange de Cocteau.................................................................116 III. Angélophanie vianienne : dévouement et impuissance .......................................136 3. « Trouver une langue » : pour une exploration stylistique ........................................150 I. Initiatives rimbaldiennes : lexique pornographique et revirement poétique ..........153 II. Vian, jeux maudits et mots déchéants ...................................................................163 III. Cocteau, de la prose à la poésie cinématographique............................................180 4. Les Méandres de la déchéance : du labyrinthe à l’amenuisement.............................200 I. Rimbaud « en marche » pour rejoindre l’Inconnu..................................................202 II. Rejoindre ses rêves : les doubles univers de Cocteau ...........................................221 III. L’Absurde des jours : survivre à ses cauchemars ................................................236 Conclusion : Sang et violence de la déchéance ...............................................................253 Œuvres Citées ..................................................................................................................279 vi INTRODUCTION Rien de plus inimitable qu’une poésie originelle, qu’une poésie primitive ! Bachelard Avec l’invitation au « Voyage » de Charles Baudelaire, qui incite à s’engouffrer « Au fond de l’Inconnu pour trouver du nouveau ! » (v.144), la voie est enfin ouverte à l’aventure poétique. Mais quel Inconnu peut-on peut rejoindre alors que le carcan littéraire est si étriqué, les normes poétiques encore si sévères ? « Les inventions d’inconnu réclament des formes nouvelles » (RPS 147), répondra Arthur Rimbaud quelques années plus tard. Il va alors s’agir de balayer les traditions et conventions pour instaurer une poésie plus moderne et plus adéquate aux audacieuses inspirations, fomenter une véritable insurrection littéraire, organiser un magistral cataclysme poétique. L’expérience n’est pas sans risque, le changement peut déranger, voire choquer, et la déstabilisation peut être irréversible. Rimbaud proposera le principe du « long, immense et raisonné dérèglement de tous les sens » (143), la dégénérescence du corps pour l’immortalité de l’esprit. De la Voyance, le jeune poète enthousiaste va sombrer dans la déchéance, courant poétique officieux qui naîtra du Symbolisme et de la Décadence 1 mais qui les dépassera. Nous nous proposons d’en exposer le fondement, le processus et la finalité et de l’illustrer de plusieurs extraits de la poésie et de la littérature française de 1860 à 1960, et de plusieurs films à vocation poétique. Dans la ligné rimbaldienne, le travail de Jean Cocteau sur la polymorphie poétique et la contribution exceptionnelle de Boris Vian vont concorder en tous points avec les espérances baudelairiennes. Qu’est-ce que la déchéance ? Que provoque-t-elle et qu’apporte-t-elle ? Qu’est-ce que la déchéance ? Le déchéant est un marginal, parmi les marginaux ; il est exclu – par les autres ou par lui-même, et ne se revendique d’aucun courant. Il doit affronter seul sa différence, sa monstruosité qui l’accable, et choisir d’opérer seul. Il s’engage pour une croisade bien particulière pour en ramener ce que les autres n’ont su trouver, le graal presque, pour qui veut se détacher du conformisme imposé. Mais, cette descente tout d’abord raisonnée l’emporte dans une déchéance irréversible. Quelles sont les origines et comment expliquer l’évolution et le délicat processus de la déchéance poétique ? Le Trésor de la Langue Française détermine le sens commun de la déchéance en termes de « décrépitude
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