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Lyrisme de la vanité et vanité du lyrisme. Quelques exemples de poétiques du XIXe siècle, de Baudelaire à Laforgue

100%

Glatigny S.

Quêtes littéraires

2018

vol. 8

99-115

At its peak in the 17th century, Vanity, thanks to its codification, persists beyond that age favourable to its blossoming. Just as the religious and dogmatic di-mension tends to fade in the 19th century, the symbols of vacuity and existential delusion are partly used again. Can we still talk about Vanity then, when the symbolic discourse is incomplete? From Baudelaire to Laforgue, the poetics of the 19th century bring about an axiological transfer which tends to annihilate the initial argumenta-tive impact. Consequently, why revive a tradition which is apparently incompatible with the lyrical discourse? In fact, endowed with a metadiscursive dimension, Vanity seems to relate to the critical dynamic specific to the lyricism of the second half of the 19th century and contributes to renew it. Between seriousness and irony, the pictorial transposition of Vanity fosters an intersemiotic dialogue which makes room for an-other method of transmission of feelings.

À son apogée au XVIIe siècle, la Vanité, grâce à sa codification, perdure au-delà de cette époque propice à son épanouissement. De même que la dimension religieuse et dogmatique tend à s ’estomper au XIXe, les symboles de la vacuité et de l ’illusion existentielle sont repris de manière partielle. Peut-on alors encore parler de Vanité quand le discours symbolique est lacunaire ou incomplet ? De Baudelaire à Laforgue, les poétiques du XIXe siècle opèrent un déplacement axiologique qui tend à annihi-ler la portée argumentative initiale. Dès lors, pourquoi reprendre une tradition ap-paremment incompatible avec le discours lyrique ? En fait, dotée d ’une dimension métadiscursive, la Vanité semble participer de la dynamique critique, propre au lyrisme de la deuxième moitié du XIXe siècle et contribue à le renouveler. Entre sérieux et ironie, la transposition picturale de la Vanité favorise un dialogue intersémiotique qui ménage un espace vacant pour un autre mode de transmission des sentiments.

Le « silence bruyant » de Corbière

100%

Glatigny S.

Quêtes littéraires

2017

issue 7

61-72

In Les Amours jaunes, Corbière carries out a paradoxical promotion of silence. In fact, the writing features cacophonous poetics. However, the promotion of noise makes it possible to denounce the dysfunction of language. The deceptive experience of communication reveals a wish to implement another mode of emotional transmission. The poet distorts and mocks the romantic tradition to denounce the tricks of a language which is musical and full of imagery. On a quest to find authenticit, he deploys competing and conflicting semiotic layouts which break the textual unity. Renewing the lyrical pact, that fragmentation opens a vacant space that the reader can take over. A reception which is strengthened by the empathic relation between the subject and its recipient is replaced by a formulation based on the evocative power found outside the text. That is definitely a speech ‘addressed’ to the reader but the emotions go through the perception of silence. The formulation of these emotions is suspended, thus letting us read implicitly the mark of its absence. Often considered “unlyrical”, Corbière finds, in the fragile balance between hubbub and silence, an interval filled with the transmission of personal affects.

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2 Quêtes littéraires

2 Glatigny S.

1 2018

1 2017

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Lyrisme de la vanité et vanité du lyrisme. Quelques exemples de poétiques du XIXe siècle, de Baudelaire à Laforgue

Le « silence bruyant » de Corbière