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Tristan Corbière is often viewed as the archetypal poète maudit, a misunderstood rebel and bohemian prankster. This is a study of the poet's innovative use of language. It uses the critical tool of irony to analyse his idiosyncratic verse, showing how he contributed to the general revolution in poetic language that marked the 1870s in France. Corbière's poetry pushed the ironic element in Baudelaire to its limit and exerted an important influence on Laforgue, Pound, and Eliot. It played a key role in the ironic tradition of Symbolism which is often overshadowed by the 'pure' poetry of contemporaries like Mallarmé. Using close textual readings of poems from Les Amours jaunes (1873), the only collection published in Corbière's lifetime, this book outlines a method of reading his self-contradictory verse. It tackles the difficulty of interpreting ironic discourse and demonstrates how irony operates in Les Amours jaunes at all levels from verbal device to world-view, showing how the doubts of modern man and the spiritual void of commodity culture shape the very language of his poetry. Synthesizing critical approaches from continental and Anglo-American traditions, it analyses his use of puns, oral diction, dialogue, quotation, and intertextuality. It shows how he systematically undercuts habitual strategies of reading, by importing novelistic techniques into verse to deride it from within, and by ironizing irony itself. This is an introduction to the work of a challenging poet and a study of the practice of reading French verse.
Biography and literary anayslis of French poet Tristan Corbière.
This book investigates the space between the two languages of modern-day Brittany through a series of close readings of literary texts that represent Brittany or Bretonness in the French language. This is the space that is negotiated by translation, be it a smooth translation of Breton scenes and themes into a French fit for the salons of the capital, or a foreignizing translation of Breton motifs into a French that writhes and struggles to accommodate them. It is also the space negotiated by the bilingual author who writes in the shadow of the other language: the literary conventions of one may litter his work in the other, or the idioms and syntax of one may make their ghostly presence felt in the other. But it can equally be a space of violence as in the case of the writer whose whole community has lost its mother tongue, and writes under protest in the language of the cultural oppressor or colonizer. As the first sustained analysis of the literature produced between French and Breton, this book shows us how literary language is affected by such inter-cultural tensions, and also what it can mean to be caught between cultures.
The French poetry of some five centuries is here surveyed in a series of studies of the work and personality of individual poets from Villon to the present day. Each chapter is primarily concerned with establishing the ‘literary identity’ of the poet or poets with whom it deals: the work of each is outlined and related to the historical and biographical circumstances in which it was written; and its characteristics are then examined critically in terms relevant to the modern reader. Comparisons are made between different poets, and more general topics – such as the concepts of ‘classic’ and ‘baroque’ – are discussed. This book, first published in 1956, had become a standard introductory work for students of French poetry and general readers alike. For this revised edition, originally published in 1973, new chapters have been added on ‘irregular’ seventeenth-century poets and on various modern poets whose work now enables the Surrealist movement to be seen in clearer perspective. The bibliography has been revised extensively.
The self-styled Symbolist poets, this book holds, represent only an articulate phase of a steady course in French poetry from the Romantic period to the present. The direction taken by Romanticism, broadly defined, is that of the intuitive as against the rational, the subjective as against the objective-with a constant orientation toward individual liberty. Thus Symbolism can be properly placed in the line of all mystical, oracular, illuminist, or idealist traditions. In this broad view Symbolism includes both some of the greatest writers of 19th-century France and also many of the chief creative geniuses of the modern world. Viewed narrowly, the Symbolists are merely a swarm of pets grouping and regrouping themselves in the final fifteen years of the past century into ephemeral crews-Hydropaths, Hirsutes, Decadents, and other anti-Parnassians-with no poetic genius at the helm. The aim of this book is to reconcile the broad and narrow views of Symbolism. Its method is to give the ideas and experiences of twenty poets representative of the movement, together with a selection from their writings. Lying at the heart of Symbolist doctrine is the symbolic image. Since Symbolist poets have assumed phenomena to have symbolic value as indications of the world of ideas behind the world of appearances, they have deemed their role to be the revelation of this higher reality through symbolic imagery. First come three Romantic precursors: Sainte-Beuve, who exploited the vein of the humble and familiar; Bertrand, who used the quaint and the grotesque; and Nerval, who incorporated alchemy. Following the pantheistic Guérin come the three Symbolist wizards: Baudelaire, Mallarmé, and Verlaine. Next come the two savage poets, Rimbaud and Lautréamont, and eight of the poets prominent in the heyday of the movement. The line leads to Valéry and Claudel, 20th-century geniuses of symbolist heritage. In addition to the presentation and selected texts, all poems are annotated, and a reading list is given for each poet.
Calin explores the 20th-century renaissance of literature in the minority languages of Scots, Breton, and Occitan, and demonstrates that all three literatures have evolved in a like manner, repudiating their romantic folk heritage.