The article sets out to explore the semantic and linguistic properties of 'Barbare', generally agreed to be one of Rimbaud's most inaccessible poems and one of the most controversial of the Illuminations among Rimbaud scholars. It posits the dual structuring principles of reverberation and the floating fragment as central to the composition of the poem. After a résumé of previous critical readings (Osmond, Little, Hackett, Wing and others), the paper argues that through its innovative use of punctuation, its emphasis on the substantive over the verb and its internal musicality, 'Barbare' emerges as a key example of the Rimbaldian experimentation with the prose poem. A close reading of the text is undertaken in order to vindicate this evaluation and to highlight certain other important features. In the course of the analysis attention is paid to the sexual code possibly contained in the poem, to the piece's concluding line as an illustration of Rimbaud's predilection for the disorientating finale, to patterns of elemental imagery encountered in the text and to the insights provided into 'Barbare' by the work of Atle Kittang and Paule Lapeyre. The paper concludes that 'Barbare' is very representative of rRmbaud's desire for upheaval both visionary and linguistic.
|Publication status||Published - 1996|
- prose poem