'"Finding the Formula": Perspectives on the One-Liner in Rimbaud's Illuminations'

Gerald Macklin

'"Finding the Formula": Perspectives on the One-Liner in Rimbaud's Illuminations'

Gerald Macklin

Research output: Contribution to journal › Article › peer-review

Abstract

This paper considers Rimbaud's predilection for one-line statements in the Illuminations, particularly - but not exclusively - at the end of many of the prose poems. This proclivity is to be found passim in the earlier verse and very conspicuously in Une Saison en enfer. This brings Rimbaud into the tradition of great French writers who have expressed philisophical insights via this very technique - Pascal, La Rochefoucauld, Montherlant, Malraux. The paper begins with a sprinkling of illustrations of the one-liner in the early verse such as 'Soleil et chair', 'Roman'and 'Le Bateau ivre'. It is again seen in operation in the Derniers vers and the famous "lettres du voyant' and is everywhere present in Une Saison en enfer. The expression "Il faut être absolument moderne" in the last chapter of that collection 'Adieu' is typical of Rimbaldian sententiae and the pattern is heavily confirmed in the Illuminations. Here the one-liners can have a philosophical import; can involve self-definition; can be statements of mystery or menace; and can be structural agents in the middle of a poem. The paper considers 'Conte', 'Parade', 'Enfance', 'Vies', 'Matinée d'ivresse', 'Vagabonds' and 'Guerre' to illustrate this variety of functions of the one-liner in the collection. Maxims, moralités, slogans, threats, prophecies - all are versions of the one-liner in these prose poems.

Original language	English
Pages (from-to)	329-342
Journal	Forum for Modern Language Studies
Volume	XXXII
Issue number	4
Publication status	Published (in print/issue) - 1996

Bibliographical note

Reference text: Rimbaud, Oeuvres, Edition de S.Bernard et A.Guyaux, Garnier, Paris, 1987

G.Macklin 'A Study of Beginnings and Finales in Rimbaud's Illuminations', NEOPHILOLOGUS, vol.68, January 1984, pp.22-36

S.Briet 'La Bible dans l'oeuvre de Rimbaud', ETUDES RIMBALDIENNES I, ed. Pierre Petitfils, Paris, 1968, pp.87-129

S.Beckett 'Drunken boat': A Translation of Arthur Rimbaud's poem 'Le Bateau ivre', edited with an introduction by James Knowlson and Felix Leakey, Whiteknights Press, Reading, 1976

M.Davies Une Saison en enfer d'Arthur Rimbaud, ARCHIVES DES LETTRES MODERNES, Minard, Paris, 1975

Baudelaire, Oeuvres complètes vol.I, texte établi, présenté et annoté par Claude Pichois, Gallimard, Bibliothèque de la Pléiade, Paris, 1975

J-P Richard Poésie et profondeur, Seuil,Paris, 1955

J.Plessen Promenade et poésie.L'Expérience de la marche et du mouvement dans l'oeuvre de Rimbaud, Mouton, The Hague/Paris, 1967

Arthur Rimbaud, Illuminations, edited by Nick Osmond, The Athlone Press, London, 1976

A.Kittang Discours et Jeu.Essai d'analyse des textes d'Arthur Rimbaud, Universitets Forlaget/Presses Universitaires de Grenoble, Bergen and Grenoble, 1975

C.A.Hackett Rimbaud: A Critical Introduction, Cambridge University Press, Cambridge, 1981

P.Lapeyre Le Vertige de Rimbaud. Clé d'une perception poétique, Editions de la Baconnière, Neuchâtel, 1981

G Macklin 'Perspectives on the Role of Punctuation in Rimbaud's Illuminations', JOURNAL OF EUROPEAN STUDIES, XX, 1990, pp.59-72

A.Guyaux Poétique du fragment. Essai sur les illuminations de Rimbaud, Editions de la Baconnière, Neuchâtel, 1985

S.Bernard Le Poème en prose de Baudeliare jusqu'à nos jours, Nizet, Paris, 1959.

Keywords

one-liner
philosophy
structure
maxim

Cite this

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title = "'{"}Finding the Formula{"}: Perspectives on the One-Liner in Rimbaud's Illuminations'",

abstract = "This paper considers Rimbaud's predilection for one-line statements in the Illuminations, particularly - but not exclusively - at the end of many of the prose poems. This proclivity is to be found passim in the earlier verse and very conspicuously in Une Saison en enfer. This brings Rimbaud into the tradition of great French writers who have expressed philisophical insights via this very technique - Pascal, La Rochefoucauld, Montherlant, Malraux. The paper begins with a sprinkling of illustrations of the one-liner in the early verse such as 'Soleil et chair', 'Roman'and 'Le Bateau ivre'. It is again seen in operation in the Derniers vers and the famous {"}lettres du voyant' and is everywhere present in Une Saison en enfer. The expression {"}Il faut {\^e}tre absolument moderne{"} in the last chapter of that collection 'Adieu' is typical of Rimbaldian sententiae and the pattern is heavily confirmed in the Illuminations. Here the one-liners can have a philosophical import; can involve self-definition; can be statements of mystery or menace; and can be structural agents in the middle of a poem. The paper considers 'Conte', 'Parade', 'Enfance', 'Vies', 'Matin{\'e}e d'ivresse', 'Vagabonds' and 'Guerre' to illustrate this variety of functions of the one-liner in the collection. Maxims, moralit{\'e}s, slogans, threats, prophecies - all are versions of the one-liner in these prose poems.",

keywords = "one-liner, philosophy, structure, maxim",

author = "Gerald Macklin",

note = "Reference text: Rimbaud, Oeuvres, Edition de S.Bernard et A.Guyaux, Garnier, Paris, 1987 G.Macklin 'A Study of Beginnings and Finales in Rimbaud's Illuminations', NEOPHILOLOGUS, vol.68, January 1984, pp.22-36 S.Briet 'La Bible dans l'oeuvre de Rimbaud', ETUDES RIMBALDIENNES I, ed. Pierre Petitfils, Paris, 1968, pp.87-129 S.Beckett 'Drunken boat': A Translation of Arthur Rimbaud's poem 'Le Bateau ivre', edited with an introduction by James Knowlson and Felix Leakey, Whiteknights Press, Reading, 1976 M.Davies Une Saison en enfer d'Arthur Rimbaud, ARCHIVES DES LETTRES MODERNES, Minard, Paris, 1975 Baudelaire, Oeuvres compl{\`e}tes vol.I, texte {\'e}tabli, pr{\'e}sent{\'e} et annot{\'e} par Claude Pichois, Gallimard, Biblioth{\`e}que de la Pl{\'e}iade, Paris, 1975 J-P Richard Po{\'e}sie et profondeur, Seuil,Paris, 1955 J.Plessen Promenade et po{\'e}sie.L'Exp{\'e}rience de la marche et du mouvement dans l'oeuvre de Rimbaud, Mouton, The Hague/Paris, 1967 Arthur Rimbaud, Illuminations, edited by Nick Osmond, The Athlone Press, London, 1976 A.Kittang Discours et Jeu.Essai d'analyse des textes d'Arthur Rimbaud, Universitets Forlaget/Presses Universitaires de Grenoble, Bergen and Grenoble, 1975 C.A.Hackett Rimbaud: A Critical Introduction, Cambridge University Press, Cambridge, 1981 P.Lapeyre Le Vertige de Rimbaud. Cl{\'e} d'une perception po{\'e}tique, Editions de la Baconni{\`e}re, Neuch{\^a}tel, 1981 G Macklin 'Perspectives on the Role of Punctuation in Rimbaud's Illuminations', JOURNAL OF EUROPEAN STUDIES, XX, 1990, pp.59-72 A.Guyaux Po{\'e}tique du fragment. Essai sur les illuminations de Rimbaud, Editions de la Baconni{\`e}re, Neuch{\^a}tel, 1985 S.Bernard Le Po{\`e}me en prose de Baudeliare jusqu'{\`a} nos jours, Nizet, Paris, 1959.",

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language = "English",

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journal = "Forum for Modern Language Studies",

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N1 - Reference text: Rimbaud, Oeuvres, Edition de S.Bernard et A.Guyaux, Garnier, Paris, 1987 G.Macklin 'A Study of Beginnings and Finales in Rimbaud's Illuminations', NEOPHILOLOGUS, vol.68, January 1984, pp.22-36 S.Briet 'La Bible dans l'oeuvre de Rimbaud', ETUDES RIMBALDIENNES I, ed. Pierre Petitfils, Paris, 1968, pp.87-129 S.Beckett 'Drunken boat': A Translation of Arthur Rimbaud's poem 'Le Bateau ivre', edited with an introduction by James Knowlson and Felix Leakey, Whiteknights Press, Reading, 1976 M.Davies Une Saison en enfer d'Arthur Rimbaud, ARCHIVES DES LETTRES MODERNES, Minard, Paris, 1975 Baudelaire, Oeuvres complètes vol.I, texte établi, présenté et annoté par Claude Pichois, Gallimard, Bibliothèque de la Pléiade, Paris, 1975 J-P Richard Poésie et profondeur, Seuil,Paris, 1955 J.Plessen Promenade et poésie.L'Expérience de la marche et du mouvement dans l'oeuvre de Rimbaud, Mouton, The Hague/Paris, 1967 Arthur Rimbaud, Illuminations, edited by Nick Osmond, The Athlone Press, London, 1976 A.Kittang Discours et Jeu.Essai d'analyse des textes d'Arthur Rimbaud, Universitets Forlaget/Presses Universitaires de Grenoble, Bergen and Grenoble, 1975 C.A.Hackett Rimbaud: A Critical Introduction, Cambridge University Press, Cambridge, 1981 P.Lapeyre Le Vertige de Rimbaud. Clé d'une perception poétique, Editions de la Baconnière, Neuchâtel, 1981 G Macklin 'Perspectives on the Role of Punctuation in Rimbaud's Illuminations', JOURNAL OF EUROPEAN STUDIES, XX, 1990, pp.59-72 A.Guyaux Poétique du fragment. Essai sur les illuminations de Rimbaud, Editions de la Baconnière, Neuchâtel, 1985 S.Bernard Le Poème en prose de Baudeliare jusqu'à nos jours, Nizet, Paris, 1959.

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N2 - This paper considers Rimbaud's predilection for one-line statements in the Illuminations, particularly - but not exclusively - at the end of many of the prose poems. This proclivity is to be found passim in the earlier verse and very conspicuously in Une Saison en enfer. This brings Rimbaud into the tradition of great French writers who have expressed philisophical insights via this very technique - Pascal, La Rochefoucauld, Montherlant, Malraux. The paper begins with a sprinkling of illustrations of the one-liner in the early verse such as 'Soleil et chair', 'Roman'and 'Le Bateau ivre'. It is again seen in operation in the Derniers vers and the famous "lettres du voyant' and is everywhere present in Une Saison en enfer. The expression "Il faut être absolument moderne" in the last chapter of that collection 'Adieu' is typical of Rimbaldian sententiae and the pattern is heavily confirmed in the Illuminations. Here the one-liners can have a philosophical import; can involve self-definition; can be statements of mystery or menace; and can be structural agents in the middle of a poem. The paper considers 'Conte', 'Parade', 'Enfance', 'Vies', 'Matinée d'ivresse', 'Vagabonds' and 'Guerre' to illustrate this variety of functions of the one-liner in the collection. Maxims, moralités, slogans, threats, prophecies - all are versions of the one-liner in these prose poems.

AB - This paper considers Rimbaud's predilection for one-line statements in the Illuminations, particularly - but not exclusively - at the end of many of the prose poems. This proclivity is to be found passim in the earlier verse and very conspicuously in Une Saison en enfer. This brings Rimbaud into the tradition of great French writers who have expressed philisophical insights via this very technique - Pascal, La Rochefoucauld, Montherlant, Malraux. The paper begins with a sprinkling of illustrations of the one-liner in the early verse such as 'Soleil et chair', 'Roman'and 'Le Bateau ivre'. It is again seen in operation in the Derniers vers and the famous "lettres du voyant' and is everywhere present in Une Saison en enfer. The expression "Il faut être absolument moderne" in the last chapter of that collection 'Adieu' is typical of Rimbaldian sententiae and the pattern is heavily confirmed in the Illuminations. Here the one-liners can have a philosophical import; can involve self-definition; can be statements of mystery or menace; and can be structural agents in the middle of a poem. The paper considers 'Conte', 'Parade', 'Enfance', 'Vies', 'Matinée d'ivresse', 'Vagabonds' and 'Guerre' to illustrate this variety of functions of the one-liner in the collection. Maxims, moralités, slogans, threats, prophecies - all are versions of the one-liner in these prose poems.

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KW - philosophy

KW - structure

KW - maxim

M3 - Article

SN - 1471-6860

VL - XXXII

SP - 329

EP - 342

JO - Forum for Modern Language Studies

JF - Forum for Modern Language Studies

IS - 4

ER -

'"Finding the Formula": Perspectives on the One-Liner in Rimbaud's Illuminations'

Abstract

Bibliographical note

Keywords

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Cite this