Format: PDF / Kindle (mobi) / ePub
This is my scan. This was scanned with a flatbed scanner, so the quality is not as great as my other scans.
Note: this is not the flatbed scan that I was discussing on the forums.
A comprehensive study on the life and poetics of Arthur Rimbaud.
Yves Bonnefoy was born on June 24, 1923 in Tours. He studied mathematics, the history of science, and philosophy at the University of Poitiers and the Sorbonne. Later he worked for three years at the National Center for Scientific Research before devoting himself completely to writing and lecturing.
Bonnefoy’s first book of poems, On the Motion and Immobility of Douve, was published in 1953 and won him immediate recognition as a new, major voice. Three other books appeared at irregular intervals and were collected in one volume under the title of Poèmes. In 1987 he published In the Shadow’s Light, followed by Début et fin de la neige in 1991. Today he is acknowledged as the most outstanding and influential poet in France today.
Since 1954 Bonnefoy has also produced many works of literary and art criticism—Rimbaud, Un rêve fait à Mantoue, Rome 1630, Entretiens sur la poésie (Dialogues on Poetry). His translations of Shakespeare’s plays are considered the best to date, and two years ago he published his translation of some fifty poems by Yeats.
Over the past thirty years Bonnefoy has been a regular visitor to universities in the United States as professor of literature and lecturer, while holding occasional teaching posts at French universities as well. Since 1981 he has been the professor of comparative poetics at the Collège de France. He is the director of the collection Idées et Recherches at Flammarion, and the editor of Mythologies, now published in English by the University of Chicago Press. He is married to American painter Lucy Vines, and they have one daughter, Mathilde.
Last fall the Bibliothèque Nationale honored the poet with a large comprehensive exhibition of his manuscripts, first editions, and pictures.
Pardon the pun. Let us understand the pun 4 and what admirable energy this new thought which dresses the wound and cures it has suddenly been able to let loose. The more he had been in despair-and humiliated-the more now his long-frustrated pride proposes him boundless tasks. "I am the One who will create God," Verlaine makes him say later, in "Crimen Amoris." He wants at least to be the Poet, that is, the great invalid, the great criminal, the great accursed-and the Supreme Scientist! One of
identifies himself with the one he loves, the more he hates the weaknesses he finds in him. As once the quest for Vision had been, these cruel demands are nothing but a way to conceal a lasting rejection of the world; this the foolish virgin understands: Beside his dear body, as he slept, she says; I lay awake hour after hour, night after night, trying to imagine why he wanted so much to escape from reality. No man before had ever had such a desire. Charity, the attempt to find his way to the
communication, actual or possible. I thought I had acquired supernatural powers. Hal I have to bury my imagination and my memories. But this aporia must no longer be a source of complaint. But why regret (. . .}, writes Rimbaud. Better to welcome in it an arid yet salutary occasion for truth. /! I who had called myself a magician or an ange~ free from all moral constraint . . . I am sent back to the soil to seek some obligation, to wrap gnarled reality in my arms! A peasant! Just as the peasant
confess I am tempted to give that sentence a literal meaning, in order to compare it to others that are just as mysterious, and not to dismiss the idea of some belated initiation: I am a scholar in a dark armchair-branches and the rain beat at the casement of my library (Enfance). What did they do with the Brahman who taught me the Proverbs? (Vies, !). To this holy old man, hermitage or mission (Devotion). Let there be no one here below but one old man, beautiful and calm, surrounded with
(Le Poeme du haschisch, Chapter II), and we know that he did. Further, once we make the hypothesis of the drug, the whole poem becomes clear. It began with a certain disgust, writes Rimbaud, and Baudelaire describing the effects of hashish speaks of "a kind of repulsion and feelings of nausea." It began with the laughter of children, notes Rimbaud, and Baudelaire speaks of an incomprehensible hilarity, "a first phase of childish gaiety," in his own words. He alludes further to a "feeling of