DOCSLIB.ORG

Vers Libre" Author(S): P

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Vers Libre Influence of Walt Whitman on the Origin of the "Vers Libre" Author(s): P. M. Jones Source: The Modern Language Review, Vol. 11, No. 2 (Apr., 1916), pp. 186-194 Published by: Modern Humanities Research Association Stable URL: http://www.jstor.org/stable/3712973 Accessed: 19-01-2016 11:41 UTC 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]. Modern Humanities Research Association is collaborating with JSTOR to digitize, preserve and extend access to The Modern Language Review. http://www.jstor.org This content downloaded from 132.239.1.230 on Tue, 19 Jan 2016 11:41:51 UTC All use subject to JSTOR Terms and Conditions INFLUENCE OF WALT WHITMAN ON THE ORIGIN OF THE 'VERS LIBRE.' THEdifficult question of the origin of the vers libre, as yet unillumined by thorough investigation, has been made more obscure by a diversity of partial solutions. The free verse movement in France is generally dated from the appearance in 1887 of M. Gustave Kahn's Palais nomades. M. Kahn considers himself the author, and is undeniably the theoriser of the innovation: though it is held that he was preceded in this direction by his friend Jules Laforgue. In his Rapport sur le Mouvement poetique franfais, Catulle Mendes gives the names of some half dozen 'originators'; but his ironical remarks on the free verse movement, with which he was entirely out of sympathy, are not to be taken seriously. M. Robert de Souza, who has made a scientific study of French rhythm mainly from the standpoint of accentuation, traces the origin of the recent 'innovations' back to the mediaeval fountain- head of French versification, and has consequently little to say about the would-be originators of the eighties. While agreeing with this scientific explanation, many of the best verslibristes are content to cite, as the initial inspiration of their own free verse, the vers libe'ie of Paul Verlaine. In the important preface to Palais nomades, M. Kahn explains his own experiment as the culmination of the development of poetic prose from Chateaubriand to Baudelaire and of the prose- poem from Baudelaire to Mallarme. There is probably a large element of truth in all these points of view. But the question cannot be settled without taking into account another suggestion of a different character, namely that modern French free verse owes its origin partly, if not primarily, to foreign influence. This opinion owes something to the fact that a large percentage of the early verslibristes were of foreign extraction. 'Je remarque avec assez d'6tonnement,' said Josd-Maria de Heredia, 'que ce sont des Belges, des Suisses, des Grecs, des Anglais et des Americains qui veulent This content downloaded from 132.239.1.230 on Tue, 19 Jan 2016 11:41:51 UTC All use subject to JSTOR Terms and Conditions P. M. JONES 187 renouveler le vers frangaisk.' M. Viele-Griffin, one of the most prominent (and certainly the most consistent) of verslibristes, is an American by birth. Many of his comrades in the Symbolist campaign appreciated the freedom and flexibility of English and German versifications; and it has even been suggested that the free, line for line translations made from foreign poets in the early days of Symbolism gave an impulse to the new ventures in French prosody. In this connection Whitman's name has been brought forward. Though it happens that some of the Leaves of Grass were rendered into French about the time when the first free verses appeared, a direct influence in his case has never been seriously maintained. None of the principal studies of the Symbolist movement refers to Whitman; hence anyone conversant with the trend of French versification since Verlaine cannot but be surprised to find so recent and authoritative a publication as Les Poetes d'Aujourd'hui suggesting that Whitman's influence was a factor. 'M. Gustave Kahn,' we there read, 'est un poete du vers libre. I a meme pass6 a une certaine 6poque pour ]'avoir invente, et lui-meme n'est pas loin de le croire. On a pretendu d'autre part, que le merite de cette innovation revenait k Jules Laforgue. Arthur Rimbaud se l'est vue 6galement attribuer, et il n'est pas jusqu'a une poetesse montmartroise, Mme Marie Krysinska, qui n'ait rEclam6 cette gloire pour son propre compte. C'est 1a une question qui n'est pas encore bien tranch6e et le vers libre, en admettant qu'il n'ait pas toujours exist6 plus ou moins, n'a peut-etre 6t6 tout d'abord, sous sa forine actuelle, qu'un des resultats de l'influence de poetes etrangers, notamment du poete americain Walt Whitman, tres appr6cie des ecrivains symbolistes2.' Exceptional as this point of view now is, it has been held by other writers, one of whom is in the front rank of contemporary French critics. M. Remy de Gourmont writes: 'A qui doit-on le vers libre ?...surtout a Walt Whitman dont on commenqait alors k gofiter la licence majestueuse3'; and again: 'On traduisait egalement vers 1883 quelques poemes de Walt Whitman dont la libre rythmique ne fut pas sans influence sur le mouvement symboliste et la creation du vers libre4.' An American writer, Vance Thompson, in a book on the Symbolist poets says: 'And just as Poe created modern French prose, Whitman re-created modern French verse5.' 1 M. Huret, Enquete sur la litterature contemporaine, p. 293. Catulle Mendes made a similar remark, p. 307, ibid. 2 Van Bever and L6autaud, Poetes d'Aujourd'hui, vol. I, p. 203. 3 Promenades litteraires (1885-1886), p. 245. 4 Promenades litteraires (1904), see La littbrature anglaise en France, p. 304. 5 French Portraits, p. 103. This content downloaded from 132.239.1.230 on Tue, 19 Jan 2016 11:41:51 UTC All use subject to JSTOR Terms and Conditions 188 Influence of Watlt Whitman on the ' Vers Libre' A study of the origins of the Symbolist movement and interviews with its most prominent survivors have convinced me that there is no serious foundation for these assertions; on this point I am in complete accord with Mr F. S. Flint's opinion, expressed in the Poetry Review (August, 1912): 'It has been said that the introduction of vers libre was due to the influence of Walt Whitman and of German poetry. I agree with M. Florian-Parmentier that in the question of purely French technique, the names of foreign poets cannot be invoked'.' In the first place, the idea of Whitman's influence having acted on the vers libre, put forward in Poetes d'Aujourd'hui, was explained away in an interview with the joint compiler of the anthology. A con- temporary of the whole imovement and a scholar of repute, M. Van Bever ridiculed the notion as soon as it was mentioned, and was consequently astonished when shown the passage in question. Jocularly pointing out a 'peut-etre' in the paragraph, he professed ignorance of its existence and confessed that, though he was responsible for the notices prefixed to the. selections in the anthology, it was his colleague, M. Paul Leautaud, who had given them their final form, from notes furnished by him. The other statements already quoted appear, on closer examination, to be no less unsubstantial. At best they are but isolated assertions unsupported by any explanation or proof. M. Remy de Gourmont himself referred me to M. Viele-Griffin as most likely to furnish the true solution of the question. As has been said, the vers libre virtually dates from the publication of M. Gustave Kahn's Palais nomades (1887). But if the discovery of the desired medium is due to M. Kahn, equal credit must be given to M. Francis Viele-Griffin for establishing on a firm and recognised basis the new versification to which his life-work is an important contribution. Moreover, he and Laforgue2, who shares with M. Kahn the honour of being the originator of verslibrisme, were the first translators of 1 See article on 'Contemporary French Poetry,' p. 358. In the same article Mr Flint speaks of M. Tancrede de Visan as the 'theorist of Symbolisme.' In answer to an inquiry about the passage already quoted, M. de Visan made the followiug interesting reply: 'Le passage auquel vous faites allusion des Poetes d'aujourd'hui me semble absolument faux. La verit6 est que le Symbolisme comme toute ecole, apres coup, s'est cherche des ancetres ou des maitres. II a declare qu'il avait puise dans la lecture de Whitman l'id6e du vers libre, alors que le poete am6ricain n'a pas et6 connu en France-ou presque- avant 1895. Jules Laforgue, Gustave Kahn, Moreas, ont fait du vers libre sans connaitre Whitman. Seul Viele-Griffin, peut-etre, a pu emprunter a l'auteur des Brins d'herbe quelques rythmes polymorphes. Pour ma part je crois que le vers libre fratnais ne doit rien ou presque rien a l'etranger. Il fut chez nous une creation spontanee et s'il faut lui trouver des ancetres, c'est plutot dans nos chansons du Moyen Age qu'on les puiserait.' 2 To M. Griffin Laforgue owed his acquaintance with Leaves of Grass.
Load more

Recommended publications
  • PDF the Migration of Literary Ideas: the Problem of Romanian Symbolism
    The Migration of Literary Ideas: The Problem of Romanian Symbolism Cosmina Andreea Roșu ABSTRACT: The migration of symbolists’ ideas in Romanian literary field during the 1900’s occurs mostly due to poets. One of the symbolist poets influenced by the French literature (the core of the Symbolism) and its representatives is Dimitrie Anghel. He manages symbols throughout his entire writings, both in poetry and in prose, as a masterpiece. His vivid imagination and fantasy reinterpret symbols from a specific Romanian point of view. His approach of symbolist ideas emerges from his translations from the French authors but also from his original writings, since he creates a new attempt to penetrate another sequence of the consciousness. Dimitrie Anghel learns the new poetics during his years long staying in France. KEY WORDS: writing, ideas, prose poem, symbol, fantasy. A t the beginning of the twentieth century the Romanian literature was dominated by Eminescu and his epigones, and there were visible effects of Al. Macedonski’s efforts to impose a new poetry when Dimitrie Anghel left to Paris. Nicolae Iorga was trying to initiate a new nationalist movement, and D. Anghel was blamed for leaving and detaching himself from what was happening“ in the” country. But “he fought this idea in his texts making ironical remarks about those“The Landwho were” eagerly going away from native land ( Youth – „Tinereță“, Looking at a Terrestrial Sphere” – „Privind o sferă terestră“, a literary – „Pământul“). Babel tower He settled down for several years in Paris, which he called 140 . His work offers important facts about this The Migration of Literary Ideas: The Problem of Romanian Symbolism 141 Roșu: period.
    [Show full text]
  • French Poetry and Contemporary Reality C. 1870 - 1887
    Durham E-Theses French poetry and contemporary reality c. 1870 - 1887 Watson, Lawrence J. How to cite: Watson, Lawrence J. (1976) French poetry and contemporary reality c. 1870 - 1887, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/8021/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk FRENCH POETRY AND CONTEMPORARY REALITY c 1870 - 1887 A study of the thematic and stylistic implications of the poetic treatment of the modern and the ephemeral LAWRENCE J WATSON Thesis submitted in the University of Durham for the degree of Doctor of philosophy December 1976 VOLUME TWO FULL COIIMtfTS Oi VULTJlli, TwO P^T TWO ^CMTIlilJiJ) onapter Two: Contemporary Subjects (f) Everyday Lue 478 (g) The World of Sens<?Tion 538 Chapter Three: The Impact of Contemporary Speech 582 (a) 'The Particulcrisation of Poetic Language in the /.ge of Science and ilc^terialism P.
    [Show full text]
  • Henri De Régnier : Bibliographie Par Pierre Lachasse
    HENRI DE RÉGNIER : BIBLIOGRAPHIE PAR PIERRE LACHASSE Cette bibliographie recense par année les livres, les préfaces et autres collaborations à des ouvrages collectifs, les publications en périodiques, puis les ouvrages et articles de critique consacrés à Régnier et à son œuvre. Les feuilletons du Journal des Débats (1908-1911) et du Figaro (1920-1936) sont présentés séparément après l’inventaire anthume et avant celui des publications posthumes. LÉGENDE Pour les publications en périodiques, les signes entre crochets droits précisent le genre des textes, leur insertion ou non dans un livre ultérieur de Régnier et éventuellement leurs rééditions successives dans une revue ou un journal. Dans le cas où le titre du texte a été abandonné lors de la publication en volume, le choix définitif de Régnier est indiqué juste après en italiques et entre crochets droits. Les indications génériques sont situées après le titre du texte : C = Critique et Histoire littéraire ; E = Essais, Chroniques, Souvenirs ; N = Contes, Nouvelles, Récits brefs ; P = Poèmes ; PP = Poèmes en prose, proses poétiques ; V = Récits de voyage. La référence aux volumes publiés par Régnier est placée à la fin de chaque ligne : Ap = Apaisement ; Ar = Aréthuse ; AS = Les Amants singuliers ; BP = Les Bonheurs perdus ; CCN = Contes pour chacun de nous ; CE = La Cité des eaux ; CFI = Contes de France et d’Italie ; CJ = La Canne de Jaspe ; CSM = Contes à soi-même ; CT = Couleur du temps ; DMT = De mon temps ; E = Épisodes ; EE = En Espagne ; EM = Escales en Méditerranée ; ESS = Épisodes,
    [Show full text]
  • FRENCH LITERATURE – 19Th Century Buckner B Trawick, Ph.D
    HUMANITIES INSTITUTE FRENCH LITERATURE – 19th Century Buckner B Trawick, Ph.D. PART I : Early 19th Century Literature -The Romantic Age1800-1842 OVERVIEW Historical Background.* Many exciting political events which helped determine national thought and literature took place in France in the first half of the nineteenth century. As has been mentioned, Napoleon Bonaparte was made consul in 1799 and emperor in 1804. It soon became clear that he was not merely continuing a revolution which had once aimed at freedom from tyranny and oppression, but that he was waging an aggres-sive war of conquest. His fortunes continued to rise till his unsuccessful invasion of Russia in 1812. He met disaster again at the Battle of Leipzig (1813), was exiled to Elba (1814), but escaped (March, 1815)—only to lose his final battle at Waterloo (June, 1815). He was exiled again - this time to the island of St. Helena, where he died in 1821. The Bourbons were restored to the throne in the person of Louis XVIII, who ruled from 1815 till 1824. He was succeeded by Charles X, whose despotic methods led to another revolution (July, 1830). France was proclaimed a constitutional monarchy, andLouis Philippe was called to the throne. Another revolution (1848) overthrew this monarchy, and the Second Republic was proclaimed.Louis Napoleon, a nephew of Napoleon I, served as president from 1848 till 1851. Then by a coup d‟etat he establish himself as dictator, declared France an empire again, and was crowned EmperorNapoleon III in December, 1851. The political unrest is, of course, reflected in the temper of the times.Both the failure of the French Revolution to establish and maintaina just and democratic government and the defeat of Napoleon I were inevitably followed byperiods of disillusionmentamong many groups.
    [Show full text]
  • The Poets of Modern France
    The ‘ P O E T S of M O D E R N F R A N C E by L U D W I G L E W I S O H N ‘ M . iI T . T D . A , pno m sson AT TH E OHIO STATE UN IVERSITY Y B HUEB S‘CH MCMXIX W. N EW O RK . C O P Y R I G HT , 1 9 1 8 . B Y W HUE B B . S C H Fir s t r in tin r il 1 9 1 8 p g, A p , n in r S ec o d pr tmg, Fe b r ua y , 1 9 19 D A P R N TE . S . I I N U . PREFACE IT e the which we is tim that art of translation , of h e e e e h av many b autiful xampl s in English , s ould b h e e strictly distinguished from t e trade . Lik the e acting or playing of music, it is an art of int r r etation e ffi e he h e e p , mor di cult than it r in t is r sp ct that you must interpret your original in a medium e e e e h . e e n v r cont mplat d by its aut or It r quir s , at e an e a n e h h its b st, x cti g and imaginativ sc olars ip, for you must understand your text in its fullest and most livin g sense ; it requires a power over the instrument of your own language no less com ’ l ete the e the e h p than virtuoso s ov r pianofort , t an ’ the actor s over the expression of his voice or the e e e g stur s of his body .
    [Show full text]
  • Robert Marteau and the French Blank Alexandrine Thomas Pavel University of Chicago
    Robert Marteau and the French Blank Alexandrine Thomas Pavel University of Chicago abstract: Thanks to the inspiringThree Thousand Years of Hebrews Versification: Essays in Comparative Prosody by Benjamin Harshav (Yale University Press, 2014) and in particular its first chapter, “Basic Aspects of Meter and Rhythm,” it is possible to take a fresh look at the history of French verse and its elusive relations between meter, rhythm, and poetic breath. In this essay I will examine the features of the rhymed alexandrine (the classical type of French verse), the various attempts to go beyond its limits, and the recent creation of a blank alexandrine, which blends rhythmic balance with ample phrasing and syntactic scope. he feature of french that has exercised the strongest influence on classical verse is the fixed stress on a word’s last voiced vowel. In English, in German, and in Russian, stress can fall on the first, the middle, or the last syllable of a word—for example, mother, Tcontiguous, assign in English (bold type indicates the stressed syllable). In French, by contrast, the stress always falls on the last syllable of a word when its vowel is voiced (garçon, brevet), this last syllable being unstressed only when its vowel is silent (repère, aigle). Although present-day pronunciation tends to elide silent vowels (voyelles muettes), they were audible in classical French versification, which defined the verse by the number of syllables it contained, the silent ones included. Thus, the alexandrine, which was the most frequently used type
    [Show full text]
  • Oscar Wilde's Elegant Republic
    Oscar Wilde’s Elegant Republic Oscar Wilde’s Elegant Republic: Transformation, Dislocation and Fantasy in fin-de-siècle Paris By David Charles Rose Oscar Wilde’s Elegant Republic: Transformation, Dislocation and Fantasy in fin-de-siècle Paris By David Charles Rose This book first published 2015 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2015 by David Charles Rose All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-8360-3 ISBN (13): 978-1-4438-8360-3 TABLE OF CONTENTS Acknowledgements .................................................................................... vii Preface ......................................................................................................... ix Chapter One .................................................................................................. 1 Paris Sighted Chapter Two ............................................................................................... 30 Paris Mutuels Chapter Three ............................................................................................. 47 Anglomania, Francophilia and Anglophobia Chapter Fouur ..............................................................................................
    [Show full text]
  • Thesis Is That It Was Crucial for Any Artist to Employ Specific Exhibition Strategies in Order to Be Noted and Appreciated in This Plenitude of Art Works
    UvA-DARE (Digital Academic Repository) Foreign artists versus French critics Exhibition strategies and critical reception at the Salon des Indépendants in Paris (1884- 1914) van Dijk, M.E. Publication date 2017 Document Version Final published version License Other Link to publication Citation for published version (APA): van Dijk, M. E. (2017). Foreign artists versus French critics: Exhibition strategies and critical reception at the Salon des Indépendants in Paris (1884-1914). General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:07 Oct 2021 Foreign Artists versus French Critics: Exhibition Strategies and Critical Reception at the Salon des Indépendants in Paris (1884-1914) by Maite van Dijk University of Amsterdam 2017 Foreign Artists versus French Critics: Exhibition Strategies and Critical Reception at the Salon des Indépendants in Paris (1884-1914) ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof.
    [Show full text]
  • A Magazine of Verse Edited by Harriet Monroe January, 1920 Poems of the West
    Vol. XV No. IV A Magazine of Verse Edited by Harriet Monroe January, 1920 Poems of the West Ballads by Edwin Ford Piper High Places by Mary Austin Nelson A. Crawford and William H. Simpson 543 Cass Street. Chicago $2.00 per Year Single Numbers 20c You have got all the other magazines imitating your experiments. I never miss reading POETRY. It is amazing how you keep up its interest. H. L. Mencken Vol. XV No. IV POETRY for JANUARY, 1920 PAGE Ballads Edwin Ford Piper 175 Bindlestiff—Whoa, Zebe, Whoa—Sweetgrass Range Snow Leone Kelley 180 High Places Mary Austin 181 The Eagle's Song—The Grass on the Mountain—Black Prayers—New-Mexican Love Song—I do not Know The Carrying of the Ghost . Nelson Antrim Crawford 188 The Painted Desert—Hopi Sun-christening . Emma Hawkridge 194 Indian Sky Alfred Kreymborg 196 In Hopi-land and Other Lands . William H. Simpson 197 Ghosts—Burdens—Hopi Maiden—Homesick Song—Hopi- tuh—Dance of the Dust Witches—Grand Canyon—The New Day—The North Woods—The Fog Ghost—Shadow Faces—Deserted—November—Pity Not Science and Art Again I A. C. H. 204 Science and Art Again II H. M. 208 Reviews : Irritation Emanuel Carnevali 211 Rare Air M. A. S. 221 For Beginners H. M. 224 Correspondence : A London Letter Richard Aldington 226 Notes and Books Received 231, 232 Manuscripts must be accompanied by a stamped and self-addressed envelope. Inclusive yearly subscription rates: In the United States, Mexico, Cuba and American possessions, $2.00 net; in Canada, $2.15 net; in all other countries in the Postal Union, $2.25 net.
    [Show full text]
  • Table Des Matières
    TABLE DES MATIÈRES préface .......................................... 9 note sur les choix qui ont présidé à la confection de cette anthologie ................ 57 tome i Mars 1905 ........................................ 59 Henri de Régnier, « La Lampe » ...................... 62 Robert de Souza, « Où nous en sommes… La victoire du silence » .......... 65 Albert Mockel, « La Poésie. Poésie et idéalité » ........... 87 tome II Juin, juillet, août 1905 ............................... 93 Francis Jammes, « Poésies » ......................... 95 Stuart Merrill, « Trois poèmes en prose » ............... 100 Saint-Pol-Roux, « Les Féeries intérieures. La suprême hôtesse » ............ 102 Mecislas Golberg, « Berceuse marine » ................. 107 Tancrède de Visan, « Sur l’œuvre d’Henri de Régnier » ..... 113 Robert de Souza, « Où nous en sommes » . 118 tome iii Septembre, octobre, novembre 1905 ..................... 141 Jean Moréas, « Paysages et sentiments » ................ 142 Charles van Lerberghe, « Sélection surnaturelle » .......... 158 1288 VERS ET PROSE (1905-1914) Hugo von Hofmannsthal, « Poème » .................. 170 Frédéric Raisin, « Poèmes » ......................... 172 tome IV Décembre 1905, janvier-février 1906 ..................... 177 Maurice Maeterlinck, « Vue de Rome » ................. 179 William Morris, « Chanson de mort » ................. 187 Remy de Gourmont, « La mort de Sigalion » ............ 189 Paul Leclercq, « Jouets de Paris » ..................... 192 Arthur Symons, « Poèmes » ......................... 198
    [Show full text]
  • PDF Imagery and Fantasy in Dimitrie Anghel's Poetry
    Imagery and Fantasy in Dimitrie Anghel’s Poetry 19 Roșu: Section ONE SOCIAL SCIENCES & HUMANITIES 20 THE FUTURE OF KNOWLEDGE HARVARD SQUARE SYMPOSIUM | Imagery and Fantasy in Dimitrie Anghel’s Poetry 21 Roșu: Imagery and Fantasy in Dimitrie Anghel’s Poetry Cosmina Andreea Roșu AbStract: Dimitrie Anghel is a remarkable Romanian symbolist for his special approach to the flower universe, especially for his frequent identification with floral element considered to be the avatar of the poetic. At the beginning of the 20th century Dimitrie Anghel’s lyrical creation has the merit of contributing to the development of Romanian lyricism by communicating the message through all the senses and his prose proves its modernity by resizing his contribution to the extension of Romanian literature in the European context. the escape in the garden—as a space of withdrawal in ideal, it is achieved through dream, in a symbolic way, abundant in expressive images. the representation of an identity discourse, the dream suggests the space of a human being originating retrieval through continuous metamorphoses, a space of human souls’ transmigration. KEY wORDS: symbol, aesthetic, poem, fantasy, flower. n the assertion of the naturalistic novel and of the Parnassian poetry among the positivist philosophy of Auguste Comte,th in the industrial developmentSymbolism era, in the second half of the 19 century (1860–1880), a unitary and expressive French movement arise, that is named . this suddenly expands in the entire EuropeI and knows outstanding representatives
    [Show full text]
  • BY MARIE KRYSINSKA by Abigail Culpep
    ABSTRACT TOWARDS AN ETHIC OF THE LYRIC: TAKING ON THE OTHER IN “LA MORT DE CLÉOPÂTRE” BY MARIE KRYSINSKA by Abigail Culpepper The unique efficacy of the lyric lies in its ability to describe moments that everyday language cannot, as seen in the popularity of love poems and elegies. Yet, such usage of poetic language overlooks the complex relationships between the self and other which make the signifying power of such language possible. In turn, how is one to understand the relationship to this other, and what are the ethical implications of such a connection? In response to this question, this project examines poetic signification, the relationship between the self and Other, and its ethics. To do so, the project offers an analysis of both the poem “La Mort de Cléopâtre” by nineteenth century Polish French poet, Marie Krysinska, and a line of theoretical arguments to elucidate the ethical relationship between self and other seen in the lyric. The analysis also turns to the works of; Jean-Paul Sartre, Maurice Blanchot, Roland Barthes, Adrianna Cavarero and Emmanuel Levinas to address the signifying nature of the lyric and the relationship between language, being, and otherness. As a result of this discussion, the project proposes a defense Krysinska’s style and an ethic of the lyric based on the interconnectivities of being. TOWARDS AN ETHIC OF THE LYRIC: TAKING ON THE OTHER IN “LA MORT DE CLÉOPÂTRE” BY MARIE KRYSINSKA A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master
    [Show full text]