'A Study of Beginnings and Finales in Arthur Rimbaud's Illuminations'

Gerald Macklin

    Research output: Contribution to journalArticle

    Abstract

    This article looks at beginnings and finales in Rimbaud's Illuminations as key structural agents and vital moments of artistic expression. The paper initially looks at a variety of types of introduction to the prose poems in the collection. 'Royauté' and 'Conte', for example, begin like a children's tale while other poems like 'Being beauteous' and 'Les Ponts' offer a visual implant at the outset. Exclamatory openings ['Villes 2', 'Matinée d'ivresse'], openings that attract attention to a character ['Enfance I', 'Antique'], introductions that suggest transcendence ['Solde', 'Nocturne vulgaire', - these are some other categories of beginnings explored in the paper. In terms of finales, the Illuminations is renowned for its one-line finales that introduce mystery, offer philosophical insight or ask a question . 'Parade', 'Jeunesse IV' and 'Matinée d'ivresse' are just some examples of these predilections. 'Conte' and 'Guerre' also illustrate what Bernard sees as one-line finakles that open up new perspectives. Finales often reorientate an entire poem as in 'Ouvriers' and 'Soir historique' while some other finales complete a structural pattern of rise and fall,climax and anti-climax such as 'Conte' and 'Aube' which reflect the structure of the famous verse poem 'Le Bateau ivre'. Finally, a group of poems end with intense elemental imagery as spectacular conclusions to a text - 'Soir historique', 'Angoisse', 'Nocturne vulgaire'. The pattern seen in 'Voylles' where Rimbaud works from Alpha to Omega confirms this special interest in beginnings and finales that is strongly prevalent in the Illuminations.
    LanguageEnglish
    Pages22-36
    JournalNeophilologus
    Volume68
    Publication statusPublished - 1984

    Fingerprint

    Poem
    Illumination
    Nocturne
    Climax
    Matinee
    Imagery
    Verse
    Rise
    Parade
    Transcendence
    Mystery
    Prose Poem
    Artistic Expression

    Keywords

    • prose poem
    • beginning
    • finale

    Cite this

    @article{5ca5fca745b0461eb298309596d9e26e,
    title = "'A Study of Beginnings and Finales in Arthur Rimbaud's Illuminations'",
    abstract = "This article looks at beginnings and finales in Rimbaud's Illuminations as key structural agents and vital moments of artistic expression. The paper initially looks at a variety of types of introduction to the prose poems in the collection. 'Royaut{\'e}' and 'Conte', for example, begin like a children's tale while other poems like 'Being beauteous' and 'Les Ponts' offer a visual implant at the outset. Exclamatory openings ['Villes 2', 'Matin{\'e}e d'ivresse'], openings that attract attention to a character ['Enfance I', 'Antique'], introductions that suggest transcendence ['Solde', 'Nocturne vulgaire', - these are some other categories of beginnings explored in the paper. In terms of finales, the Illuminations is renowned for its one-line finales that introduce mystery, offer philosophical insight or ask a question . 'Parade', 'Jeunesse IV' and 'Matin{\'e}e d'ivresse' are just some examples of these predilections. 'Conte' and 'Guerre' also illustrate what Bernard sees as one-line finakles that open up new perspectives. Finales often reorientate an entire poem as in 'Ouvriers' and 'Soir historique' while some other finales complete a structural pattern of rise and fall,climax and anti-climax such as 'Conte' and 'Aube' which reflect the structure of the famous verse poem 'Le Bateau ivre'. Finally, a group of poems end with intense elemental imagery as spectacular conclusions to a text - 'Soir historique', 'Angoisse', 'Nocturne vulgaire'. The pattern seen in 'Voylles' where Rimbaud works from Alpha to Omega confirms this special interest in beginnings and finales that is strongly prevalent in the Illuminations.",
    keywords = "prose poem, beginning, finale",
    author = "Gerald Macklin",
    note = "Reference text: Rimbaud, Oeuvres, {\'e}dition de S.Bernard, Garnier, Paris, 1960 Baudelaire, Oeuvres compl{\`e}tes I, texte {\'e}tabli, pr{\'e}sent{\'e} et annot{\'e} par Claude Pichois, Gallimard, Biblioth{\`e}que de la Pl{\'e}iade, Paris, 1976 Arthur Rimbaud, Illuminations, edited by Nick Osmond, The Athlone Press, London, 1976 N.Wing Present Appearances:Aspects of Poetic Structure in Rimbaud's Illuminations, Romance Monographs Inc., University, Mississippi, 1974 J.P.Houston The Design of Rimbaud's Poetry Yale University Press, New Haven and London, 1963 Y.Denis 'Glose d'un texte de Rimbaud: 'H', LES TEMPS MODERNES, 263, 1968, pp. 1878-1887 S.Bernard Le Po{\`e}me en prose de Baudelaire jusqu'{\`a} nos jours, Nizet, Paris, 1959 H.Mondor Rimbaud ou le g{\'e}nie impatient, Gallimard, Paris, 1955 C.A.Hackett Rimbaud, Bowes and Bowes, London, 1957 J.Plessen Promenade et Po{\'e}sie. L'Exp{\'e}rience de la marche et du mouvement dans l'oeuvre de Rimbaud, The Hague/Paris , Mouton, 1967 E.Ahearn ''Entends comme brame' and the theme of death in Rimbaud's poetry', FRENCH REVIEW, vol.43, 1970, pp.407-417 Rimbaud, Illuminations, edited by Albert Py, Droz, Geneva, 1967 J.Lawler The Language of French Symbolism, Princeton University Press, Princeton, 1969",
    year = "1984",
    language = "English",
    volume = "68",
    pages = "22--36",
    journal = "Neophilologus",
    issn = "0028-2677",

    }

    'A Study of Beginnings and Finales in Arthur Rimbaud's Illuminations'. / Macklin, Gerald.

    In: Neophilologus, Vol. 68, 1984, p. 22-36.

    Research output: Contribution to journalArticle

    TY - JOUR

    T1 - 'A Study of Beginnings and Finales in Arthur Rimbaud's Illuminations'

    AU - Macklin, Gerald

    N1 - Reference text: Rimbaud, Oeuvres, édition de S.Bernard, Garnier, Paris, 1960 Baudelaire, Oeuvres complètes I, texte établi, présenté et annoté par Claude Pichois, Gallimard, Bibliothèque de la Pléiade, Paris, 1976 Arthur Rimbaud, Illuminations, edited by Nick Osmond, The Athlone Press, London, 1976 N.Wing Present Appearances:Aspects of Poetic Structure in Rimbaud's Illuminations, Romance Monographs Inc., University, Mississippi, 1974 J.P.Houston The Design of Rimbaud's Poetry Yale University Press, New Haven and London, 1963 Y.Denis 'Glose d'un texte de Rimbaud: 'H', LES TEMPS MODERNES, 263, 1968, pp. 1878-1887 S.Bernard Le Poème en prose de Baudelaire jusqu'à nos jours, Nizet, Paris, 1959 H.Mondor Rimbaud ou le génie impatient, Gallimard, Paris, 1955 C.A.Hackett Rimbaud, Bowes and Bowes, London, 1957 J.Plessen Promenade et Poésie. L'Expérience de la marche et du mouvement dans l'oeuvre de Rimbaud, The Hague/Paris , Mouton, 1967 E.Ahearn ''Entends comme brame' and the theme of death in Rimbaud's poetry', FRENCH REVIEW, vol.43, 1970, pp.407-417 Rimbaud, Illuminations, edited by Albert Py, Droz, Geneva, 1967 J.Lawler The Language of French Symbolism, Princeton University Press, Princeton, 1969

    PY - 1984

    Y1 - 1984

    N2 - This article looks at beginnings and finales in Rimbaud's Illuminations as key structural agents and vital moments of artistic expression. The paper initially looks at a variety of types of introduction to the prose poems in the collection. 'Royauté' and 'Conte', for example, begin like a children's tale while other poems like 'Being beauteous' and 'Les Ponts' offer a visual implant at the outset. Exclamatory openings ['Villes 2', 'Matinée d'ivresse'], openings that attract attention to a character ['Enfance I', 'Antique'], introductions that suggest transcendence ['Solde', 'Nocturne vulgaire', - these are some other categories of beginnings explored in the paper. In terms of finales, the Illuminations is renowned for its one-line finales that introduce mystery, offer philosophical insight or ask a question . 'Parade', 'Jeunesse IV' and 'Matinée d'ivresse' are just some examples of these predilections. 'Conte' and 'Guerre' also illustrate what Bernard sees as one-line finakles that open up new perspectives. Finales often reorientate an entire poem as in 'Ouvriers' and 'Soir historique' while some other finales complete a structural pattern of rise and fall,climax and anti-climax such as 'Conte' and 'Aube' which reflect the structure of the famous verse poem 'Le Bateau ivre'. Finally, a group of poems end with intense elemental imagery as spectacular conclusions to a text - 'Soir historique', 'Angoisse', 'Nocturne vulgaire'. The pattern seen in 'Voylles' where Rimbaud works from Alpha to Omega confirms this special interest in beginnings and finales that is strongly prevalent in the Illuminations.

    AB - This article looks at beginnings and finales in Rimbaud's Illuminations as key structural agents and vital moments of artistic expression. The paper initially looks at a variety of types of introduction to the prose poems in the collection. 'Royauté' and 'Conte', for example, begin like a children's tale while other poems like 'Being beauteous' and 'Les Ponts' offer a visual implant at the outset. Exclamatory openings ['Villes 2', 'Matinée d'ivresse'], openings that attract attention to a character ['Enfance I', 'Antique'], introductions that suggest transcendence ['Solde', 'Nocturne vulgaire', - these are some other categories of beginnings explored in the paper. In terms of finales, the Illuminations is renowned for its one-line finales that introduce mystery, offer philosophical insight or ask a question . 'Parade', 'Jeunesse IV' and 'Matinée d'ivresse' are just some examples of these predilections. 'Conte' and 'Guerre' also illustrate what Bernard sees as one-line finakles that open up new perspectives. Finales often reorientate an entire poem as in 'Ouvriers' and 'Soir historique' while some other finales complete a structural pattern of rise and fall,climax and anti-climax such as 'Conte' and 'Aube' which reflect the structure of the famous verse poem 'Le Bateau ivre'. Finally, a group of poems end with intense elemental imagery as spectacular conclusions to a text - 'Soir historique', 'Angoisse', 'Nocturne vulgaire'. The pattern seen in 'Voylles' where Rimbaud works from Alpha to Omega confirms this special interest in beginnings and finales that is strongly prevalent in the Illuminations.

    KW - prose poem

    KW - beginning

    KW - finale

    M3 - Article

    VL - 68

    SP - 22

    EP - 36

    JO - Neophilologus

    T2 - Neophilologus

    JF - Neophilologus

    SN - 0028-2677

    ER -