Contre un Boileau : Un art poétique by Philippe Beck

By Philippe Beck

« Jamais l. a. théorie ne fera pratiquer. » « Il y a une idée dans ce qui est fait. » Contre un Boileau refait en prose l’art poétique enveloppé dans des poèmes. C’est une théorie intérieure et exposée, « sentimentale », qui voit des possibles modernes, raccorde au battement de l’époque pour compromettre l’ordre des choses.

Répondant à une « commande philosophique », j’essaie de reconstituer le procès du poème et d’articuler des notions induites avec le temps. À défaut de préceptes purs, l’élaboration de los angeles pensée dans le vers se dramatise en idées phrasées auprès du poème. L’art poétique est un manuel où des noms sont des gestes futurs (Horace, un Boileau, los angeles Fontaine, Kleist, Verlaine, un Ponge...) ; les citations suivies, commentées-critiquées, analysées, produisent des intervalles utiles à l’horizon du vers. Il faut dire pourquoi le vers libre a des droits au discours plutôt que le devoir de ne pas être un vers. Son utopie intéresse chacun. Ce qui vient n’a pas ecu lieu.

Un jansénisme expérimental suggère des interventions dans l. a. langue parlée. l. a. poésie, non disciplinaire, avoisine les proses circulantes, qu’elle anime et déplace. Boileau est ici le prête-nom d’un mariage de Forme et d’Intellect, qui soumet l. a. Forme à l’Intention au nom d’une « langue révérée » : « Ce que l’on conçoit bien s’énonce clairement/ Et les mots pour le dire arrivent aisément. » los angeles danse du poème serait esclave de los angeles marche de l’idée avant l’expression. Mais l’oreille dit Non, et l. a. gorge avec elle. Et le poème peut marcher : l’intention est dehors.

Poète, maître de conférences en philosophie à l’Université de Nantes, Philippe Beck est né à Strasbourg (Bas-Rhin) en 1963. Son œuvre poétique a fait l’objet d’un colloque overseas à Cerisy-la-Salle en 2013 (Un chant objectif aujourd’hui, Corti, Paris, 2014). Dernier livre paru : Opéradiques (Flammarion, Paris, 2014).
 

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Nor does he consider such reasoning admissible; he would, so to speak, trim his values according to his cloth, because to him such values are of no great value. The unbeliever starts from the other end, and as likely as not with the question: Is a case of human parthenogenesis credible? 11 Elsewhere, Eliot lays to rest—or at least attempts to do so—the prevalent notion that faith or belief means the transcendence of doubt. ” III. Acceptance In the fourth poem of the six that make up Ash-Wednesday, my students almost always detect a difference, a change, a turn—even if they have a difficult time identifying it.

Seeking unity as well as deep meaning, we modern readers expect, and therefore tend to find, more or less straightforward development, “progress,” and psychologically and spiritually explicable causes for perceived change in the speaker. On the literal level in this poem, however, none is readily available. In fact, Ash-Wednesday often seems bent on frustrating our attempts to simplify it, reduce it, or round it off. ” I mean, being literature and not theology or philosophy or psychology, Ash-Wednesday represents lived experience; in doing so, moreover, the poem focuses not on belief but on understanding, an altogether different matter, involving heart and soul and feelings as well as will and that perhaps indescribable thing that entails surrender—or transcendence—of the mind and the sensibility.

Thus the actual acts performed “betokeneth” the general and the abstract, rather than symbolize it; you can read the general in the particular, no in-depth reflection called for. The passage acquires its meaning, or at least some of it, in comparison with The Waste Land before (and with other passages in Four Quartets, notably including the last section of “Little Gidding,” which returns to the language on display here in talking about writing): The association of man and woman In daunsinge, signifying matrimonie— A dignified and commodious sacrament.

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