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« J’allais sous le ciel, Muse ! et j’étais ton féal ». Le vagabond dans la poésie française de la deuxième moitié du XIXe siècle

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Varsimashvili-Raphael M.

Quêtes littéraires

2014

issue 4

56-66

Throughout history, vagrancy appears as one of the notions of the Human Condition. Its artistic and poetical representations are drawn from multiple sources and offer various models. The fantasy of vagrancy in French poetry in the second half of the Nineteenth Century is fashioned as much through the vagrant’s relationship with space as with Society. Its models spring from marginality and contestation. Spatial structure presents an opposition between « closed » and « open », « interior » and « exterior », and so forth... These separations fluctuate and interact mutually. The poet conjures, from any questing, marginal figure, his own image. The general tendency, from Hugo to Rimbaud, shows both a crushing of the poetical figure, transforming it into a magus or a prophet, and the proliferation of the accursed poet’s « negating anger ».

L’Homme-toupie. Le vagabond comme figure de la subversion dans Le Ventre de Paris d’Émile Zola

80%

Rachwalska von Rejchwald J.

Quêtes littéraires

2014

issue 4

28-37

A vagrant Florent Quenu serves as a methaphor of social-political shift that strikes France in the late XIX-th century. Intimidated by the magnitude of change, upon his return Florent wanders the streets, meanders and strolls in circles which casts a horrendous contradiction with the austerity of Hausmann’s new Paris, aligned with omnipresent straight line forms. This geometrical collision of a straight line and a curve is symptomatic of ferocious conflict between the Second Empire and the alternative social model embodied in the Florent’s attitude.

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2 Quêtes littéraires

1 Rachwalska von Rejchwald J.

1 Varsimashvili-Raphael M.

2 2014

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« J’allais sous le ciel, Muse ! et j’étais ton féal ». Le vagabond dans la poésie française de la deuxième moitié du XIXe siècle

L’Homme-toupie. Le vagabond comme figure de la subversion dans Le Ventre de Paris d’Émile Zola