DOCSLIB.ORG

Stefan Zweig's Copy of Rimbaud, Une Saison En Enfer (1873)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Stefan Zweig's Copy of Rimbaud, Une Saison En Enfer (1873) SHORTER CONTRIBUTIONS STEFAN ZWEIG'S COPY OF RIMBAUD, UNE SAISON EN ENFER (1873) Chris Michaelides IN 1908 Stefan Zweig was given a copy of the baud through his contacts with Verlaine's first edition of Rimbaud's Une Saison en enfer; socialist friends in London and Brussels.** the volume now forms part of the Zweig Rimbaud distributed half a dozen copies to Collection in the British Library.^ The verso friends: four went to J-L. Forain in Paris, for of the front wrapper bears the inscription: Forain himself, Jean Richepin, Raoul Ponchon, A Monsieur and possibly Raoul Gineste; two were given Stefan Zweig, to friends in Charleville, Ernest Delahaye and en souvenir des journees Ernest Millot, and one was sent to Verlaine, passees avec E Verhaeren by then in prison at Mons for his attack on au Caillou & a Angre Rimbaud.^ Mons, le 8. X. '08 In 1883, in his 'Poetes maudits', Verlaine Bien cordialement, wrote that Une Saison en enfer had been O. Van den Daele completely forgotten because its author, having Aware of the rarity of this item, Zweig wrote lost interest in it, had not taken the trouble to on the inside of its box: promote it:'^ Verlaine himself tried to remedy Originalausgabe. Die gesammte Auflage wurde bis this neglect by publishing the work in La Vogue auf ungefahr sieben Exemplare vom Verfasser ver- in 1886.^ Verlaine's view was elaborated when, nichtet: dies eines der erhaltenen Rarissimum [sic] after Rimbaud's death in 1891, a legend that der franzosischen Literatur.^ the poet had destroyed the entire edition began Une Saison en enfer has the peculiar distinc- to gain currency, the gesture being interpreted tion of being the only book that Rimbaud as a youthful renunciation of literature on the himself had published. The work was written part of the eighteen-year old poet.® This legend between April and August 1873, the turbulent was created at first by the bibliophiles who period which saw his disastrous last stay in owned one of the rare copies and reinforced London with Verlaine, and their final separa- by the recollection of Rimbaud's youngest tion after the incident in Brussels in which sister, Isabelle, that, soon after the printing of Verlaine shot and wounded Rimbaud; it was the work, Rimbaud returned to Roche and completed by Rimbaud at Roche, his family's burned all the copies in his possession, together farmhouse near Charleville.-* The volume was with all his manuscripts.^ Paterne Berrichon, printed in Brussels during September and who published the first full-length biography October by the Alliance typographique, a wor- of Rimbaud in 1897, the year of his marriage kers' co-operative probably known to Rim- to Isabelle, takes up this story but adds that 199 Rimbaud saved a few copies for distribution to realizing their importance.^^ When this was triends in Paris.'** In his 1912 study of the poet, revealed to him: Berrichon places the holocaust after Rimbaud's . il lacha les exemplaires de la precieuse edition return from Paris, the indifference and hostility au compte-goutte.'^ J'en detiens un—comme il s'en which he had met there determining him to doit. Emile Verhaeren, Stefan Zweig, Viele-Griffin abandon literature." ^^ quelques autres ecrivains ou amateurs de ma This was the accepted view until 1914, connaissance en ont re9u un'cadeau'. when, in a lecture delivered to the Societe des Pierard's version would seem to be more bibliopbiles et iconophiles de Belgique, Leon convincing as an explanation ofthe long interval Losseau, a lawyer from Mons, announced his between Losseau's discovery in 1901 and its discovery in 1901 ofthe entire print-run ofthe revelation in 1914. Losseau's explanation ofthe original edition of Une Saison en enfer in delay is hardly helped by his expressed in- the workshop of the Alliance typographique in tention of distributing copies to the Societe des Brussels.'^ Losseau claimed that, by checking bibliophiles beiges seant a Mons and this body the printer's account books, he had established was, in any case, limited by its rules to fifty that Rimbaud had made an initial payment for members.^'' However, if Pierard's account is the printing but had failed to settle the account the right one, the inscription on Zweig's copy and that, of the five hundred copies printed, demonstrates that the discovery ofthe edition he had received no more than a dozen author's must have occurred in or before October 1908. copies. The rest remained forgotten in the Whatever the exact sequence of events, both printer's storeroom until they were accidentally accounts agree that the presentation of a copy discovered twenty-eight years later. After an of Une Saison en enfer to Zweig was made at unspecified number of copies, badly damaged the instance of a third party, and Pierard more by water, had been burnt, Losseau was left or less names himself as the instigator of with 425 copies, which, with the half dozen Losseau's gifts. Here Pierard's claim is borne given away to friends by Rimbaud, comprised out by the signature 'O. Van den Daele' in the surviving edition. Zweig's copy. Van den Daele was Pierard's Losseau states, rather unconvincingly, that teacher and friend, and the dedicatee of Pier- his main reason for buying the edition was to ard's first poems,'London Sketches';'^ perhaps present copies of it to his fellow members of he was also the friend with whom Pierard the Societe des bibliophiles beiges seant a Mons discovered the edition in Losseau's attic. when they next met at his house. To do this Zweig's copy was given to him as a souvenir he had had to wait until 24 November 1912!^^ ofthe days spent in the company of Verhaeren In the meantime he gave copies to a few close at Caillou qui Bique, a hamlet near Angre, in friends, whom he swore to secrecy, and, upon the Walloon district (fig. i). Zweig first met a request made to him, distributed others to Verhaeren in 1902 and soon became his close Emile Verhaeren, Maurice Maeterlinck, Viele- friend and disciple.'^ Their friendship, which Griffin, and Stefan Zweig.'"^ was to last until the outbreak of the First World This account by Losseau has been contested War,^^ was mutually beneficial: Zweig, through by Louis Pierard, the Belgian journalist, poet, his translations of Verhaeren's poems and plays and art critic. In an article published in 1942, made his name, hitherto confused with that of Pierard claimed that 'around 1912' he and a Verlaine, familiar to German readers,^^ while friend discovered, in the attic of Losseau's Verhaeren introduced his young disciple to house, over 250 copies of Une Saison en enfer Parisian literary and artistic circles. During the which'Losseau had bought as part ofthe entire period of their friendship, Verhaeren spent the stock of the Alliance typographique, without winter months in Paris and the rest of the year 200 qui ne faisait que passer, fugitif, mais devenait partie de la maison, partageait le pain, les heures et le silence." Pierard, a native of near-by Frameries, lived until 1911 at Mons, where he was involved in the publication of Antee and La Societe nouvelle, both of them reviews to which Verhaeren was an occasional contributor. He was introduced to Verhaeren while still at school, probably by Van den Daele, and, like Zweig, he quickly became a privileged visitor at Caillou.^ In 1907 he dedicated his Images boraines to Verha- eren and, in an article published in La Societe nouvelle in 1908, he describes Verhaeren recit- ing his recently completed play Helene de Sparte to a gathering of friends at the cottage: . et Verhaeren commence sa lecture, le corps arque, le cou aux veines saillantes tendu, le bras allonge, ainsi que !e representerent Van Ryssel- berghe et Montald. C'est surtout la main nerveuse, fine et agile, qui lit Helene de Sparte cependant que les mots ^emissants, que les vers fougueux se pressent aux levres du poete. L'oeuvre, que M. Valere Brussov traduit en russe Fig. I. Zweig (centre) with the Verhaerens at pour Viessy et, en allemand, M. Stefan Zweig, est Caillou qui Bique, from E. Rieger, Stefan achevee depuis peu . .^^ Zweig (Berlin, 1928) One of Zweig's most precious memories from Caillou is of an amusing incident during a reading of this play, possibly the same at Caillou. Zweig admired this equilibrium of occasion.^"^ a life shared between the big city and the Zweig's friendship with Pierard began at countryside, Verhaeren the citizen ofthe world Caillou but continued long after Verhaeren's complementing the hermit of Caillou qui Bique death in 1916. The choice of Zweig as one of in total communion with Nature. In his Erin- the privileged recipients of copies of the first nerungen an Emile Verhaeren, written soon after edition of Une Saison en enfer was an appropri- the poet's tragic death in 1916 and privately ate one, and Pierard must have known of printed in 1917, Zweig lovingly evokes Ver- Zweig's interest in Rimbaud. In 1905 Zweig haeren's house at St. Cloud, near Paris, and had published a study of Verlaine, which his cottage at Caillou,^^ He spent five summers included a chapter on his relationship with at Caillou as Verhaeren's guest and these he Rimbaud,^*^ and in 1907 he wrote a critical- always remembered with a gratitude close to biographical foreword to a German translation veneration, the more so after the destruction of Rimbaud's poems.^^ In these works Zweig, of the cottage in 1917. He relates that the who had read Berrichon's biography and his cottage at Caillou became a place of pilgrimage edition ofthe poet's letters,^^ and who had also for Verhaeren's friends and that met Georges Izambard, Rimbaud's school- celui qui etait re^u ici, etait un ami et un hote master, in Paris, seems to be familiar with the 201 theory that Rimbaud had abandoned literature 5 Petitfils, Rtmbaud, p.
Load more

Recommended publications
  • Again: Vowels Or Colors? by Victor Ginsburgh &Stamos Metzidakis
    Athens Journal of Philology - Volume 6, Issue 4 – Pages 225-234 On Rimbaud’s "Vowels," Again: Vowels or Colors? † By Victor Ginsburgh & Stamos Metzidakis Arthur Rimbaud’s sonnet Vowels presents a poetic vision based ostensibly on a quasi- psychedelic or synesthetic experience. It has inspired writers, critics, painters, and singers for over a century mainly because of its often obscure form and content. From the first verse of the text, for instance, the author juxtaposes each of the normal five French vowels printed in capital letters with what appears to be a random choice of an "appropriate" color. As a result, the majority of readers assume that these colors somehow correspond, semantically speaking, to the selected vowels. In making such connections, however, our poet suggests that his specific fusion of basic colors and sounds is capable of generating not just one but multiple significations, be they religious, erotic, aesthetic, even anthropological. Yet the poem itself - an irregular French sonnet - already derives much of its obscurity from another odd feature: the faulty order of French vowels used by Rimbaud: A to O instead of A to U or Y. Formal explanations are often cited to justify this so-called "mistake." This paper demonstrates that his poem hides a different interpretation of the words used to expand upon these sound/color combinations. After all, vowels are metonymically linked to sounds, since they constitute the minimal elements of the latter. Contemporary linguists have discovered, however, that in almost all languages, colors come in the same fixed order of words - Black, White, Red, Green and Blue - that Rimbaud proposes.
    [Show full text]
  • Fernand Khnopff (1858-1921)
    Sura Levine exhibition review of Fernand Khnopff (1858-1921) Nineteenth-Century Art Worldwide 4, no. 1 (Spring 2005) Citation: Sura Levine, exhibition review of “Fernand Khnopff (1858-1921),” Nineteenth- Century Art Worldwide 4, no. 1 (Spring 2005), http://www.19thc-artworldwide.org/ spring05/233-fernand-khnopff. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2005 Nineteenth-Century Art Worldwide Levine: Fernand Khnopff (1858-1921) Nineteenth-Century Art Worldwide 4, no. 1 (Spring 2005) Fernand Khnopff (1858-1921) organized by the Musées Royaux des Beaux-Arts de Belgique, Brussels, under the patronage of Their Majesties the King and Queen of the Belgians, 16 January-9 May 2004 Smaller versions of the exhibition at Museum der Moderne, Rupertinum, Salzburg, Austria, 15 June-29 August 2004 and The McMullen Museum of Art, Boston College, Boston, Massachusetts, 19 September-5 December 2004. The fully illustrated Fernand Khnopff (1858-1921) catalogue is available in cloth and paperback editions in French, Flemish, German, and English. 49.80 Euros 287 pages. Essays by Frederik Leen, Jeffery Howe, Dominique Marechal, Laurent Busine, Michael Sagroske, Joris Van Grieken, Anne Adriaens-Panier, and Sophie Van Vliet. "In the end, he [Fernand Khnopff] had to arrive at the symbol, the supreme union of perception and feeling." Emile Verhaeren[1] In the past decade, the Royal Museums of Fine Arts in Brussels has been the organizing institution of a small group of important exhibitions of works by some of the foremost figures of Belgian modernism, including James Ensor, Réné Magritte, and Paul Delvaux.
    [Show full text]
  • Bvformation to Users
    BVFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the tect directly fix>m the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter free, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from 1 ^ to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back o f the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Ifigher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Compaiqr 300 North Zeeb Road, Ann Arbor MI 4S106-1346 USA 313/761-4700 800/521-0600 UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE HACKING AWAY WITH AN AX; HENRY MILLER AND MODERNITY A Dissertation SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of Doctor of Philosophy By STEPHEN L STARCK Norman, Oklahoma 1999 UMI Number: 9918759 UMI Microform 9918759 Copyright 1999, by UMI Company.
    [Show full text]
  • Best Western Hôtel Littéraire Arthur Rimbaud
    Arthur Rimbaud Hôtel Littéraire 6, rue Gustave Goublier, 75010 PARIS Tél. +33 (0)1 40 40 02 02 www.hotel-litteraire-arthur-rimbaud.com 1 « …Et d’ineffables vents m’ont hélé par instants. » Arthur Rimbaud, notre premier poète ; celui qui bouleverse les adolescences paisibles, renverse notre vision de la littérature et nous ouvre les yeux sur un monde saturé de couleurs, d’émotions, de vie. Arthur Rimbaud, celui qui, par son souffle épique, a emporté notre jeunesse ; nous aussi nous avions 17 ans et avec lui, nous allions « sous le ciel », nous descendions « les fleuves impassibles » et avec lui, nous avons su « …les cieux crevant en éclairs, et les trombes Et les ressacs et les courants... » Il faut se laisser emporter par le rythme, la fulgurance des mots, le chatoiement des images et du style de Rimbaud pour découvrir dans un seul poème, voire un seul vers, le génie du plus précoce et du plus important des poètes. « Ce n’était ni le diable ni le Bon Dieu, c’était Arthur Rimbaud, c’est à dire un très grand poète, absolument original, d’une saveur unique ». (Verlaine). C’est ce bouleversement que nous voulons partager avec vous, à travers 42 chambres, des éditions originales, une bibliothèque de 500 livres, des dizaines de références, de clins d’œil. Retrouver ensemble, l’émotion de Rimbaud : il est celui, disait François Mauriac « qui ne se retourne même pas pour regarder la trace que ses pas d’enfants ont laissée sur le monde ». Arthur Rimbaud, our first poet; the poet who disrupts the peaceful years of adolescence, turns our vision of literature upside down and opens our eyes to a world full of colour, emotions and life.
    [Show full text]
  • Rimbaud, Entre Le Parnasse Et La Prose — Parcours Du Signifiant
    UNIVERSITÉ DU QUÉBEC À CfflCOUTIMI MÉMOIRE PRÉSENTÉ À L'UNIVERSITÉ DU QUÉBEC À TROIS-RIVIÈRES COMME EXIGENCE PARTIELLE DE LA MAÎTRISE EN ÉTUDES LITTÉRAIRES OFFERTEÀ L'UNIVERSITÉ DU QUÉBEC À CHICOUTIMI EN VERTU D'UN PROTOCOLE D'ENTENTE AVEC L'UNIVERSITÉ DU QUÉBEC À TROIS-RIVIÈRES par Jocelyn Lord Rimbaud, entre le Parnasse et la prose — parcours du signifiant 20 février 1995 UIUQAC bibliothèque Paul-Emile-Bouletj Mise en garde/Advice Afin de rendre accessible au plus Motivated by a desire to make the grand nombre le résultat des results of its graduate students' travaux de recherche menés par ses research accessible to all, and in étudiants gradués et dans l'esprit des accordance with the rules règles qui régissent le dépôt et la governing the acceptation and diffusion des mémoires et thèses diffusion of dissertations and produits dans cette Institution, theses in this Institution, the l'Université du Québec à Université du Québec à Chicoutimi (UQAC) est fière de Chicoutimi (UQAC) is proud to rendre accessible une version make a complete version of this complète et gratuite de cette œuvre. work available at no cost to the reader. L'auteur conserve néanmoins la The author retains ownership of the propriété du droit d'auteur qui copyright of this dissertation or protège ce mémoire ou cette thèse. thesis. Neither the dissertation or Ni le mémoire ou la thèse ni des thesis, nor substantial extracts from extraits substantiels de ceux-ci ne it, may be printed or otherwise peuvent être imprimés ou autrement reproduced without the author's reproduits sans son autorisation.
    [Show full text]
  • Arthur Rimbaud
    Arthur Rimbaud Jean Nicolas Arthur Rimbaud (/ræmˈboʊ/[2] or las Frédéric (“Frédéric”), arrived nine months later on 2 /ˈræmboʊ/; French pronunciation: [aʁtyʁ ʁɛ̃bo] ; 20 Oc- November.[3] The next year, on 20 October 1854, Jean tober 1854 – 10 November 1891) was a French poet Nicolas Arthur (“Arthur”) was born.[3] Three more chil- born in Charleville, Ardennes.[3] He influenced modern dren followed: Victorine-Pauline-Vitalie on 4 June 1857 literature and arts, and prefigured surrealism. He started (who died a few weeks later), Jeanne-Rosalie-Vitalie writing poems at a very young age, while still in primary (“Vitalie”) on 15 June 1858 and, finally, Frédérique school, and stopped completely before he turned 21. He Marie Isabelle (“Isabelle”) on 1 June 1860.[17] was mostly creative in his teens (17–20). The critic Ce- Though the marriage lasted seven years, Captain Rim- cil Arthur Hackett wrote that his “genius, its flowering, [4] baud lived continuously in the matrimonial home for less explosion and sudden extinction, still astonishes”. than three months, from February to May 1853.[18] The Rimbaud was known to have been a libertine and for be- rest of the time his military postings – including active ing a restless soul. He traveled extensively on three con- service in the Crimean War and the Sardinian Campaign tinents before his death from cancer just after his thirty- (with medals earned in both)[19] – meant he returned seventh birthday.[5] home to Charleville only when on leave.[18] He was not at home for his children’s births, nor their
    [Show full text]
  • The Artists of Les Xx: Seeking and Responding to the Lure of Spain
    THE ARTISTS OF LES XX: SEEKING AND RESPONDING TO THE LURE OF SPAIN by CAROLINE CONZATTI (Under the Direction of Alisa Luxenberg) ABSTRACT The artists’ group Les XX existed in Brussels from 1883-1893. An interest in Spain pervaded their member artists, other artists invited to the their salons, and the authors associated with the group. This interest manifested itself in a variety of ways, including references to Spanish art and culture in artists’ personal letters or writings, in written works such as books on Spanish art or travel and journal articles, and lastly in visual works with overtly Spanish subjects or subjects that exhibited the influence of Spanish art. Many of these examples incorporate stereotypes of Spaniards that had existed for hundreds of years. The work of Goya was particularly interesting to some members of Les XX, as he was a printmaker and an artist who created work containing social commentary. INDEX WORDS: Les XX, Dario de Regoyos, Henry de Groux, James Ensor, Black Legend, Francisco Lucientes y Goya THE ARTISTS OF LES XX: SEEKING AND RESPONDING TO THE LURE OF SPAIN by CAROLINE CONZATTI Bachelor of Arts, Manhattanville College, 1999 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2005 © 2005 CAROLINE CONZATTI All Rights Reserved THE ARTISTS OF LES XX: SEEKING AND RESONDING TO THE LURE OF SPAIN by CAROLINE CONZATTI Major Professor: Alisa Luxenberg Committee: Evan Firestone Janice Simon Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia December 2005 iv ACKNOWLEDGEMENTS I would like to thanks the entire art history department at the University of Georgia for their help and support while I was pursuing my master’s degree, specifically my advisor, Dr.
    [Show full text]
  • La Recepción De Émile Verhaeren En El Arte Y En La Literatura De La Cataluña De Finales De Siglo
    LA RECEPCIÓN DE ÉMILE VERHAEREN EN EL ARTE Y EN LA LITERATURA DE LA CATALUÑA DE FINALES DE SIGLO IRENE GRAS VALERO Émile Verhaeren (Saint-Amand 1855-Rouen 1916) fue uno de los escritores belgas que, juntamente con Maurice Maeterlinck, gozó de mayor aceptación en la Cataluña de finales del siglo XIX. La presente comunicación tiene como obje- tivo llevar a cabo un recorrido por el arte, la literatura y la prensa de la época a fin mostrar el interés que la obra de dicho escritor suscitó en el panorama cultural catalán. Antes, sin embargo, es preciso hablar brevemente de la significación de la obra de Verhaeren en el ámbito europeo. En ese sentido, cabe señalar 1887 como una fecha significativa en la trayectoria literaria del escritor belga. Es entonces cuando el escritor publica la primera monografía consagrada a un pintor simbo- lista, Fernand Khnopff1, a partir de los diferentes artículos aparecidos en la revis- ta L’Art Moderne, entre 1886 y 1887, dedicados a la figura de dicho artista2. A tra- vés de ésta, Verhaeren formula una teoría en torno al simbolismo que muestra la adhesión del escritor al nuevo movimiento estético: «Finalement, il [Khnopff] a bien dû en arriver au symbole, ce sublime creuset dans lequel sensation et senti- ment fusionnent», declara3. Un año más tarde, además, aparece publicada la pri- mera de las obras que forman parte de la llamada «trilogía negra» del escritor, Les Soirs, imbuida de un profundo pesimismo de influencia schopenhauriana4. 1 VERHAEREN, É., Quelques notes sur l´oeuvre de Fernand Khnopff, 1887. 2 VERHAEREN, É., «Silhouettes d’ artistes.
    [Show full text]
  • Catalogue Inédit Des Dessins De Jean-Louis Forain
    « Une descente dans la vérité » : contribution à l’étude de l’œuvre de Jean-Louis Forain à partir de la collection de dessins du musée d’Orsay (conservés au département des arts graphiques du musée du Louvre) Hélène Fernandez Documents inédits Catalogue des dessins 2021 Abréviations S. : signé N.s. : non signé d. : daté n. d. : non daté Dédic. : dédicacé H : hauteur en mètres L : largeur en mètres b. g. : en bas à gauche b. d. : en bas à droite Rest. : restauré Inv. : inventaire. Référence de l’inventaire du Département des Arts graphiques du musée du Louvre L. : Lugt. Référence de l’ouvrage : LUGT, Frits, Les Marques de Collections de dessins et d’estampes : marques estampillées et écrites de collections particulières et publiques, marques de marchands, de monteurs et d’imprimeurs… / avec des notices historiques sur les collectionneurs, les collections, les ventes, les marchands et éditeurs etc., Amsterdam, Vereenigde Drukkerijen, 1921-1956. Édition actualisée en ligne sur le site de la Fondation Custodia : www.marquesdecollections.fr Table Dessins liés aux journaux ......................................................................................... 6 Dessins en rapport avec des compositions parues dans Le Courrier français ............................... 9 Cat. 1. Une mère désignant une pendule à un monsieur ......................................................................... 11 Cat. 2. Le Rouge à lèvres .......................................................................................................................
    [Show full text]
  • La Dame Aux Éventails. Nina De Villard, Musicienne, Poète, Muse, Animatrice De Salon »
    «La Dame aux éventails. Nina de Villard, musicienne, poète, muse, animatrice de salon » by Marie Boisvert A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of French University of Toronto © Copyright by Marie Boisvert 2013 « La Dame aux éventails. Nina de Villard, musicienne, poète, muse, animatrice de salon » Marie Boisvert Doctor of Philosophy Degree Département d’études françaises University of Toronto 2013 Résumé De 1862 à 1882, Nina de Villard attire chez elle à peu près tous les hommes qui laisseront leur marque dans le monde des arts et des lettres : Verlaine, Mallarmé, Maupassant, Manet et Cézanne figurent tous parmi ses hôtes. Ayant accueilli ces grands hommes, Nina et son salon trouvent, par la suite, leur place dans plusieurs livres de souvenirs et romans qui, loin de rendre leur physionomie et leur personnalité, entretiennent plutôt la confusion. Portraits fortement polarisés présentant une muse régnant sur un salon brillant d’une part, et de l’autre, une femme dépravée appartenant à un univers d’illusions perdues, ces textes construisent une image difforme et insatisfaisante de Nina et de ses soirées. Face à cette absence de cohérence, nous sommes retournée aux sources primaires en quête de la véritable Nina et de son salon. ii La première partie de notre thèse est consacrée à Nina qui, malgré des années de formation conformes à la norme, remet en question la place qui lui revient : celle d’épouse et de femme confinée à l’intérieur. Nina est avide de liberté et revendique l’identité de pianiste et une vie où elle peut donner des concerts, sortir et recevoir quand cela lui plaît.
    [Show full text]
  • Arthur Rimbaud Esbozo Biográfico
    Ramón Buenaventura Arthur Rimbaud Esbozo biográfico Madrid, 1984 © Copyright Ramón Buenaventura, 1985 © Copyright de las características de esta edición: EDICIONES HIPERIÓN, S.L. Salustiano Olózaga, 14 - 28001 Madrid ISBN: 84-7517-142-7 Depósito Legal: M - 7979 - 1985 1 Este librito es resultado de mi caída, a gravedad suelta, en una trampa de la devoción. Había previsto que cada tomo de las obras de Arthur Rimbaud fuera acompañado de un mero cuadro cronológico que orientara el lector por los momentos clave. Al repasar, para leve modificación, el cuadro cronológico que había in- cluido en Una temporada en el infierno, me pareció de pronto despreciable, por mi parte, no sacarme un esfuerzo más, y escribir una corta noticia bio- gráfica. Apunté a treinta o cuarenta folios —y han salido ciento dos. Buen ojo, como de costumbre1. De todas formas, no se entienda que esta sobreabundancia ensoberbece la modestia del proyecto inicial. Si tenemos un libro, en vez de un añadido a la edición de las Iluminaciones, es porque todas las reliquias que colocaba en el altar del santo se me antojaban pocas. Me he metido a traducir docu- mentos de la vida de Rimbaud que aparecen por primera vez en castellano, casi todos ellos. Pero, como me tenía firmemente prometido, he sobrado la tentación de hacer literatura a costa de Rimbaud. Lo que he escrito es un breve informe con datos. Sin adornarme más que en las cuatro o cinco inevitables ocasio- nes en que a uno se le distraen los dedos sobre las teclas y, zas, hace una frase. Los modernos inventos electrónicos facilitan en grado sumo tales devaneos.
    [Show full text]
  • Revue Italienne D'études Françaises, 7
    Revue italienne d’études françaises Littérature, langue, culture 7 | 2017 Figures littéraires de la haine Verlaine poète de l’invective Olivier Bivort Édition électronique URL : http://journals.openedition.org/rief/1483 DOI : 10.4000/rief.1483 ISSN : 2240-7456 Éditeur Seminario di filologia francese Référence électronique Olivier Bivort, « Verlaine poète de l’invective », Revue italienne d’études françaises [En ligne], 7 | 2017, mis en ligne le 15 novembre 2017, consulté le 19 avril 2019. URL : http://journals.openedition.org/ rief/1483 ; DOI : 10.4000/rief.1483 Ce document a été généré automatiquement le 19 avril 2019. Les contenus de la RIEF sont mis à disposition selon les termes de la Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Verlaine poète de l’invective 1 Verlaine poète de l’invective Olivier Bivort 1 Verlaine ne passe pas traditionnellement pour un poète de la haine. La culture scolaire et les anthologies nous ont transmis l’image d’un poète de l’entre-deux, de la nuance, voire de la faiblesse et de la fadeur, et le discrédit dont a souffert une partie de son œuvre au XX e siècle n’est pas étranger à cette schématisation : c’est le Verlaine de la « Chanson d’automne », des « Ariettes oubliées » et de « L’Art poétique » qui a été promu par ce reflet biaisé, le Verlaine pour qui C’est bien la pire peine De ne savoir pourquoi Sans amour et sans haine [s]on cœur a tant de peine !1 2 Or il existe un autre Verlaine, parallèle à celui-là, pour le moins son égal.
    [Show full text]