چکیده:
Paul Verlaine est avant tout un poète : son œuvre offre moins d'une dizaine de courts recueils publiés entre 1866 et 1890. Ce qui est frappant chez Verlaine, c’est jouer subtilement sur les mètres pairs et impairs, les rythmes rompus et les formes courtes. Le système métrique, par ses contraintes, constitue en effet un espace privilégié pour faire émerger la singularité du locuteur poétique. A ce titre, le choix de l’impair chez Verlaine est tout sauf anodin : il prend part à ce dispositif général d’indécision, d’hésitation quant au rythme ou à la diction. Bien qu’on pense les rimes impaires sont fondamentalement incomplet. En somme, l’art mineur souhaité par Verlaine trouve à s’exprimer stylistiquement dans sa propension pour les préfixes (mi-, demi-) et surtout les suffixes diminutifs (–ette, –otte, –asser, –eter, –iller, etc.). De tels mots, choisis à dessein, s’intègrent dans une esthétique générale de miniaturisation : les êtres et les choses semblent frappés d’amoindrissement, de ténuité. Mais ce goût pour les suffixes diminutifs souligne également le désir d’atténuation constant chez Verlaine Il faut rappeler que quelques œuvres de Verlaine, malgré les apparences traditionnelles, nous signalent plutôt la modernité et la liberté de ce poète. Dans cet article on va faire une petite recherche stylistique sur la poésie verlainienne à travers les mètres et les minuscules des poèmes de ce poète.
پل ورلن پیش از هر چیز یک شاعر است: مجموعه اثار او حدودا شامل 12 مجموعه کوتاه میشود که بین سالهای 1866 تا
1890 منتشر شده است. ورلن، در حالیکه زیرکانه روی قافیههای زوج و فرد، ریتمهای شکسته و اشکال کوتاه از جمله، شعر مینواخت، خود
را به عنوان شاعری منحصر بفرد و خاص به دنیا معرفی کرد . بدین ترتیب، انتخاب قافیه فرد توسط ورلن امری کاملا بدیهی است: او هم
اهمیت ریتم و انتخاب کلمات را زیر سوال میبرد. اگرچه باور بر این است که قافیه فرد اساسا ناقص است. به طور خلاصه، ورلن تمایل دارد
هنر جزيی مورد علاقه خود را با استفاده از پیشوندها مثل (demi, mi) و پسوندها مثل (iller, -ete,-adde, -otte, -ette-) در سبک
خود نمایان سازد. این کلمات با ظرافت خاصی انتخاب شدهاند و به زیباسازی متن از نقطه نظر مینیاتورسازی کمک میکنند: انسانها و
اشیاء ضعیف شده و ضربه خورده به نظر میرسند. اما این تمایل برای پسوندهای کوچک کننده نیز تمایل ورلن به تلطیف مداوم را برجسته
میسازد. باید به خاطر داشت که برخی از اثار ورلن با وجود ظاهر سنتی، نشان دهنده مدرنیته و ازادی این شاعر است. در این مقاله تحقیق
سبک شناسانه از طریق بررسی قافیه ها و اجزاء ریز اشعار این شاعر را انجام خواهیم داد .
Working smartly on odd and even rhymes, broken rhythms and short sentences,
Paul Verlaine introduced himself as a unique poet. His writings include 12 short collections published
between 1866 and 1890.
The system of rhymes and rhythms with its limitations forms a noble atmosphere to show the poet's
competence. Therefore, according to Verlaine, choosing odd rhymes is absolutely right. Moreover, he
believes that rhymes and diction are not the two most important elements, although it is generally
believed that odd rhymes are basically incomplete.
The odd rhyme is experienced as incomplete, fragile – mostly in versification, because French poetry
has historically given preference to the measures of four and six syllables, subunits of traditional verses
(alexandrian, decasyllable).
At Verlaine, with an "easy" style class, we are passionate about the music of verse. But we knew that
rhythm, harmony or dissonance are for him a means of expression that only holds us back to the extent
that is just an alignment of sounds. Music doesn’t rule Verlaine; Verlaine created it to serve him. It is
not an absolute: it evolves with him.
Verlaine's best-known book, the most perfect collection among those he published, is “ Romance sans
paroles” . This collection brings the musical and suggestive art elaborated in “Les Poemes Saturniens”
to its highest degree. “Les Poemes Saturniens” contain all kinds of contradictions; we will find key
points, but above all a very wide variety in the forms, themes and even the conception of the world that
is explained there.
In short, Verlaine is keen to show his favorite minor art in his style by using prefixes (demi,mi) and
suffixes like (–ette, –otte, –asser, –eter, –iller, etc.). Such words selected intentionally are delicately
used in general aesthetic of miniaturization. Humans and objects look powerless and humiliated.
However, such frequent using of diminishing suffixes show Verlaine’s tendency to soften things:
words, perceived as too rigid, must be modulated, remodeled, minimized. All these lexical modifications
thus contribute to the generalized impression of a poetry that would be only whispering and muted:
poetic writing is elaborated only at the cost of a cautious hesitation.
This lexical minimization is played out at the very heart of the noun, by the addition of prefixes and
suffixes. It is worth mentioning that this paradigm of the affixes leads us to approximation: thus, many
words to which Verlaine adds a sow of "miniaturization" are affected by approximation, uncertainty.
The prefix demi-, common in Verlaine’s works, clarifies the e boundaries between the paradigm of
decrease and that of approximation. Applied to clearly measurable names that do not admit degrees,
clearly results in the halving. These jobs, rather rare, appear especially in prose works. In all these instances, we can visualize the both parts of the division taken place. The "mi-pourri" expresses a passing state, and makes us see the slow deterioration of the dream; the minor paradigm here joins the paradigm of transformation, by which Verlaine strives to render the passage of time.
In Verlaine’s works, the uses of demi- is very popular before a noun whose limitations are not easily boundable. “demi-jour” refers to an uncertain state of the day, not day yet and not quite the night. More than a decrease, the " demi-jour " therefore comes out of the paradigm of approximation.
In addition to uncertain atmospheric states, the prefix demi- is particularly suitable for expressing disturbed states of consciousness and for highlighting the confusion that surrounds the subject on the verge of drowsiness. As we can see, the prefixes mi- and demi- are popularly used in Verlaine's works. They express in turn the decrease ("yeux mi-clos"), the approximation ("demi-brouillard") or the passage of time ("reve mi-pourri ", "demi-jour"). Fully participating in his attempt to undo polarities, they allow the poet to formulate transient states, passages in-between.
Alongside the prefixes, the diminutive suffixes seem particularly apt to express the humility of which Verlaine claims throughout his works. What is notable is that diminutive suffixes can express degrees by reducing the meaning of words; therefore, it is quite necessary to understand precise and subtle points that dominate Verlaine's poetry.
Diminutive suffixes therefore play a full role in the expression of a gradual, subtle perception of the world, and they evoke the question of prototypical categories again. Applied to the noun, to the adjective or verbs, they provide us with a diminishing level of lexical semantics.
Applied to the nouns and adjectives, they produce a miniaturizing effect. Applied to the verbs, they contribute to the widespread impression of uncertain scenes or mood.
In Verlaine's works we clearly come across with a large proportion of nouns and adjectives suffixed in –ette, which is "the suffix that holds a grate position in the diminutive morphology of current French language. It is worth mentioning Some usages, more or less constrained, do not fall strictly under the stylistic choice of words in Verlain’s; these are the derived words whose meaning has practically become, almost autonomous. For example, “fillette” which expresses the diminished meaning of “fille” follows a rule which cannot be applied to, a “toilette” which does not imply the diminished meaning of “toile”. These words suffixed in “–ette” can also, by their repetition, help to develop a minor atmosphere in a series of poems.
However, if the theatrical aesthetic could lead to smile, it is indeed a poetic "minor mode" that is proposed here by Verlaine: also the musical instruments that appear bear in their names diminutive morphemes ("tambourines”, a "mandolin"), contributing to the effect of "mute" that characterizes the collection.
Another thing that is remarkable about Verlaine is the use of several optional diminutive forms. In Verlaine's poetry we find lots of adjectives that end in –ette. The desire for diminishing and decrease also affects verbal predicates. Throughout the poetic works of Verlaine, many verbs are thus equipped with a diminutive morpheme that humiliates their meaning.
In Verlaine's poetry, we find especially the musicality of odd verses which are more flexible and less imposing than even verses. He shows us that music and rhythm are two inseparable elements. He doesn’t give up repeating: "Poetry is rhythm", "poetry is music before all things".
The study of Verlaine's poetry introduces an impressionist who pays attention to painting and seeks a new vision of life. Verlaine internally breaks the traditional rhythm of the verse, especially the Alexandrian. He takes great liberties with rhymes; he doesn’t always respect their alternation and he sometimes reduces them to sounds. He has weakened many other rules and destroyed old rhythms. Thus, he creates new harmonies to express his inner vision and to reveal his poetic dream.
It is worth mentioning that in spite of their traditional appearances, some of Verlaine’s works show his modernity and liberty in their full inner concept. Verlaine is a Symbolist and his "Poetic Art" exert a great influence on the Symbolists.
Hashemizad N.; Mohammadi S.— Extended abstract: The Study of the Rhymes and the Diminutive … | 103
In reality, Verlaine does not disappear in his works entirely; the odd, the short verses, the rhythmic irregularity, the multiple modalizations, continue silently and deliberately in his works.
Although the reading hypotheses are probably less relevant to some parts, they help clarify some of the contradictions prevailing in the poems.