Rimbaud, heureux comme avec une femme (French Edition)

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J'inventai la couleur des voyelles! Je fixais des vertiges. Que pouvais-je boire dans cette jeune Oise, — Ormeaux sans voix, gazon sans fleurs, ciel couvert! Quelque liqueur d'or qui fait suer. Je faisais une louche enseigne d'auberge. Puis j'expliquai mes sophismes magiques avec l'hallucination des mots! Craintes et souffrances Aux cieux sont parties. Et la soif malsaine Obscurcit mes veines. Aux glaces des magasins splendides! Oxyde les gargouilles.

Mes faims, tournez. Le loup criait sous les feuilles En crachant les belles plumes De son repas de volailles : Comme lui je me consume. Que je dorme! Tu voles selon Pas d' orietur.

La morale est la faiblesse de la cervelle. Ce monsieur ne sait ce qu'il fait : il est un ange. Devant plusieurs hommes, je causai tout haut avec un moment d'une de leurs autres vies. La terreur venait.

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Le Bonheur! Je m'explique. Hier encore, je soupirais : "Ciel!


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Je les connais tous. Le monde! Les marais occidentaux! Il en veut, mon esprit!

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Mes deux sous de raison sont finis! Il faudrait le faire taire pour conclure comme je voulais.

Torture subtile, niaise ; source de mes divagations spirituelles. N'est-ce pas parce que nous cultivons la brume! Et l'ivrognerie! Pourquoi un monde moderne, si de pareils poisons s'inventent! Mais vous voulez parler de l'Eden. Rien pour vous dans l'histoire des peuples orientaux.

Ne soyez pas un vaincu. Mon esprit, prends garde. Pas de partis de salut violents. Le travail humain! Je connais le travail ; et la science est trop lente.

Puis quoi! Aller mes vingt ans, si les autres vont vingt ans Alors, — oh! Moi, je ne puis pas plus m'expliquer que le mendiant avec ses continuels Pater et Ave Maria. Je ne sais plus parler!

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Pourtant, aujourd'hui, je crois avoir fini la relation de mon enfer. Le chant des cieux, la marche des peuples! Esclaves ne maudissons pas la vie. J'aurais pu y mourir Et je redoute l'hiver parce que c'est la saison du comfort! Un grand vaisseau d'or, au-dessus de moi, agite ses pavillons multicolores sous les brises du matin. Eh bien! Et allons. Rhythm is thus the dynamic of the production of sense, the sense of self-text.

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Since rhythm, unlike metre, cannot exist prior to its manifestation in a reader, since it is always an immanence, so it serves to guarantee and safeguard the orality and the historicity of the reading subject. Translators, for example, often speak of trying to capture the rhythms of the source text. But rhythm while it may indeed become manifest, does not resolve itself. It may take on particular forms, but only on the understanding that it presupposes other forms, that those other forms accompany, are the polyphony of, the manifest form.

Mémoire : art et hallucination chez Rimbaud

This is one of the reasons why I reject the notion of an optimal translation of a text, a fairest of fair copies: because translation deals with all that is unresolved in a text, because translation wishes to keep alive this principle of continuous variation; accordingly, the translation of a text must be always ongoing, tirelessly multiplying. Our own trajectory for translation, therefore, would be the translation out of metre into rhythm, and, beyond rhythm, towards rhythmicity. Because translation translates readers not texts.

Because it is readers who are the agents of textual proliferation, of intercultural connections, not texts. Translation takes readers into account and develops forms of reading which are not about the consumption of texts, but about the distribution and radiation of texts into the spaces of linguistic apprehension.

In other words, this visual paralanguage covers both vocal events and psychic and cognitive associations. It tells us more about the forces at work at different points in the text than about their specific operation; scansional translation rocks between record and proposition, accuracy and indeterminacy, actuality and virtuality 6. But such a translation is also designed to engage its readers in their own adventures with the source text; the target text becomes that instrument through which other polyglot readers undergo a confrontation with the source text.

And in order that all these functions can be fulfilled, the target text must be left in a state of becoming, unfulfilled, a play of directions, captured at the heart of its own dynamic, its own unfolding performance, having thrown off the inertiality of pure text; in this sense, the reader of the target text does not so much receive it as join it, as participate in its ongoingness.

Rhythmicity is designed to capture this restless and proliferating activity, this urgent animation that translation restores to the source text. Housman , A. John Sparrow, Harmondsworth, Penguin. Lawrence , D. Anthony Beal, London, Heinemann. It should be observed that Rimbaud further heightens our sense of sudden shifts in consciousness or perceptual acuity by his rather idiosyncratic use of colons in lines 4, 10 and I realize that, in providing this notation, I am in danger of undermining my own argument and of implying that the metrico-rhythmic basis of rhythm remains paramount.

It certainly remains important, but a it is not to be understood as the restoration of a metricality, but as a demetrified metrics, and b it is to be urgently supplemented by other factors of rhythmicity, as the article will go on to show. But despite a certain favouring of a five-line abaab and six-line aabccb stanza, Hugo makes no attempt to establish a standard generical form; in fact, he uses the ballad, if anything, as a pretext for exercises in formal virtuosity. But punctuation is not quite so quickly to be dismissed. Punctuation has, of course, consequences both for intonation and for syllabic durations: the colon will produce suspensions of greater intensity, the voice being pitched upwards, towards what follows, and this may help the poem to break free from the presiding patterns of stanzaic intonation.

I should emphasize that my scansion presupposes that every reader of the text will develop their own paralinguistic sensitivities, and thus their own scansional languages. In this sense, a translation for the polyglot reader is never more than a suggested model, an exemplar, something to be infinitely adapted to different needs. Palimpsestes Revue de traduction.

Traduire le rythme de la prose. It should be observed that Rimbaud further heightens our sense of sudden shifts in consciousness I realize that, in providing this notation, I am in danger of undermining my own argument and of Agrandir Original jpeg, 20k. The life of the ballad—as opposed to the range of fixed-form medieval ballades , employed by Vill Agrandir Original jpeg, 24k. To clean the leather, use a dry microfiber cloth. Leather is a material that continues living and changes over time. Touch it regularly to give it your personalized patina. NB : Due to the properties inherent in leatherwork, expect to see variations in the bowties.

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