An Anthology of Modern French Poetry (1850-1950) by Peter Broome, Graham Chesters

By Peter Broome, Graham Chesters

This anthology is the significant other quantity to The Appreciation of contemporary French Poetry, the purpose of which was once to provide certain initial aid with the issues of poetic appreciation. The fourteen poets represented right here offer a assorted and fascinating creation to what's most likely the richest century of French poetry, from 1850 to 1950. Hugo, the colossus of the 19th century, whose paintings offers new resonance and energy to imaginitive imaginative and prescient, opens the anthology, and Michaux, the main person and 'modern' of twentieth-century poets in that he bridges the space among poetry and modern technological know-how, closes it. just about all the main poets of the interval are incorporated: Nerval, Baudelaire, Mallarm?, Verlaine, Rimbaud and Laforgue from the second one 1/2 the 19th century; Val?ry, Apollinaire, Supervielle and Eluard within the 20th. The lesser recognized Cros and Desnos, clean and spontaneous poets with a right away attraction, invite a brand new examine the lyric traditions of french verse and provide an enticing new road for learn. the alternative of poems, dictated principally by way of their person poetic price, displays additionally the developments of modern feedback and the tastes of present-day readers. The texts are all observed via complete notes, which not just clarify neighborhood problems of vocabulary, syntax and expression, yet lead the reader without delay into the guts of the richness of subject, sort and interpretation. those will turn out of worth not just to the coed who's grappling with the fundamentals of french verse, or is worried to provide intensity to his familiarity, yet to the overall reader trying to re-ignite his delight in French poetry. furthermore, there are introductions to every poet summarizing the essence of his paintings, necessary feedback for extra analyzing, and teams of dicussion issues to stimulate comparative insights and a much wider responsiveness.

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It does not have the vast swelling and abating rhythms of Baudelaire, who says 'La musique souvent me prend comme une mer', nor does it have the same luxurious harmonic richness. It is very often a diminutive melodic poetry (as in the lines 'O triste, triste etait mon ame/A cause, a cause d'une femme'), with single notes recurring at intervals to create the impression of a simple, ingenuous air. At other times it applies a delicate penetrating monotony, with soundechoes spread so extensively throughout the poem that the borders of structure dissolve and the clarity of theme is submerged.

8 Vertige! voici que frissonne L'espace comme un grand baiser Qui, fou de naitre pour personne, Ne peut jaillir ni s'apaiser. 12 Sens-tu le paradis farouche Ainsi qu'un rire enseveli Se couler du coin de ta bouche Au fond de l'unanime pli! 16 Le sceptre des rivages roses Stagnants sur les soirs d'or, ce Test, Ce blanc vol fenne que tu poses Contre le feu d'un bracelet. 20 Petit air II Indomptablement a du Comme mon espoir s'y lance Eclater la-haut perdu Avec furie et silence, 4 Voix etrangere au bosquet Ou par nul echo suivie, L'oiseau qu'on n'ouit jamais Une autre fois en la vie.

Je viens de la tombe morte; Victor Hugo 17 J'aboutis a cette porte Par ou passe une lueur. 24 Le banquet rit et flamboie. Les maitres sont dans la joie Sur leur trone ensanglante; Tout les sert, tout les encense; Et la femme a leur puissance Mesure sa nudite. 30 Laissez la clef et le pene. Je suis l'escalier; la peine Medite; l'heure viendra; Quelqu'un qu'entourent les ombres Montera mes marches sombres, Et quelqu'un les descendra. 36 Qui sail si tout rfest pas . . Qui sait si tout n'est pas un pourrissoir immense?

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