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VERLAINE PAUL (1844-1896)
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VERLAINE PAUL (1844-1896)
AUTOGRAPHIC MANUSCRIPT signed "Paul Verlaine", René Ghil, [1887]| 5 and 9 pages in-8 on administrative paper, mounted on tabs, bound in marbled paper bradel.
Beautiful study on the poet René GHIL, for the journal Les Hommes d'aujourd'hui. The manuscript is in two states: the first draft, then the working manuscript of the final version, with important developments compared to the initial draft| both have numerous erasures and corrections. "René
Ghil, French poet, was born on 26 7bre 1862, in Tourcoing (Nord).
As for many people of Flemish origin, it is a safe bet that he has Spanish blood in his veins. It was once said of him, "...a Spaniard lost in the mists of Flanders."
Nor was it wrong to call his genius and talent on this occasion "a hot imagination tamed by a severe logic"... He is an instinctive artist, an exemplary case of transcendent aesthetics. "Decadent or symbolist, or both, it does not matter, admitting that one differs from the other, that decadent which is picturesque and historical as beggars and sans-culottes, and symbolist which is amusingly pedantic [...] mean this or that, little or, nothing yet, René Ghil represents the rising generation of workers in verse, and strongly, by example and precept"...
Verlaine evokes Ghil's country childhood, which inspired his passion for nature that we find in his "absolutely beautiful" book Légende d'âmes et de sangs. Then he explains his project of a poetic work in six books, the second of which, Le Geste ingénu, will be published on March 10th : "it is, through a series of distinct poems but logically linked together so that the book is one, the symbolic staging of the rise of youthful desire, outside of time and place, in the indefinite space of these middle ages which must lead, by evolution, to the pure Dream and to the sought-after reason, which will be in the 6th book"... He quotes the dedication to Mallarmé, some admiring phrases from the latter to Ghil, and finally speaks of the Traité du verbe that Mallarmé had agreed to preface last year. "Starting from this principle, admitted in sum, that there is parity between sounds and colours - Baudelaire and Rimbaud, geniuses, have deployed the idea put forward by many theorists - why should the Poet not find the colours in sounds, once the colours of the vowels and diphthongs have been well determined, ...and immediately in the timbre of an instrument..., why should not his magic extend to the consonants, the whole forming an intelligent and coloured orchestra"... He sums up the poet's orchestral system, which will result in musical verses, "not musical!" insists Ghil, as illustrated by two printed poems pasted at the end of the manuscript, including an unpublished fragment of the Impromptu de cuivres et basses.Two portraits of Verlaine have been mounted at the head of the volume, one printed on blue paper by Cazals, the other engraved on blue paper and the other engraved in etching.
AUTOGRAPHIC MANUSCRIPT signed "Paul Verlaine", René Ghil, [1887]| 5 and 9 pages in-8 on administrative paper, mounted on tabs, bound in marbled paper bradel.
Beautiful study on the poet René GHIL, for the journal Les Hommes d'aujourd'hui. The manuscript is in two states: the first draft, then the working manuscript of the final version, with important developments compared to the initial draft| both have numerous erasures and corrections. "René
Ghil, French poet, was born on 26 7bre 1862, in Tourcoing (Nord).
As for many people of Flemish origin, it is a safe bet that he has Spanish blood in his veins. It was once said of him, "...a Spaniard lost in the mists of Flanders."
Nor was it wrong to call his genius and talent on this occasion "a hot imagination tamed by a severe logic"... He is an instinctive artist, an exemplary case of transcendent aesthetics. "Decadent or symbolist, or both, it does not matter, admitting that one differs from the other, that decadent which is picturesque and historical as beggars and sans-culottes, and symbolist which is amusingly pedantic [...] mean this or that, little or, nothing yet, René Ghil represents the rising generation of workers in verse, and strongly, by example and precept"...
Verlaine evokes Ghil's country childhood, which inspired his passion for nature that we find in his "absolutely beautiful" book Légende d'âmes et de sangs. Then he explains his project of a poetic work in six books, the second of which, Le Geste ingénu, will be published on March 10th : "it is, through a series of distinct poems but logically linked together so that the book is one, the symbolic staging of the rise of youthful desire, outside of time and place, in the indefinite space of these middle ages which must lead, by evolution, to the pure Dream and to the sought-after reason, which will be in the 6th book"... He quotes the dedication to Mallarmé, some admiring phrases from the latter to Ghil, and finally speaks of the Traité du verbe that Mallarmé had agreed to preface last year. "Starting from this principle, admitted in sum, that there is parity between sounds and colours - Baudelaire and Rimbaud, geniuses, have deployed the idea put forward by many theorists - why should the Poet not find the colours in sounds, once the colours of the vowels and diphthongs have been well determined, ...and immediately in the timbre of an instrument..., why should not his magic extend to the consonants, the whole forming an intelligent and coloured orchestra"... He sums up the poet's orchestral system, which will result in musical verses, "not musical!" insists Ghil, as illustrated by two printed poems pasted at the end of the manuscript, including an unpublished fragment of the Impromptu de cuivres et basses.Two portraits of Verlaine have been mounted at the head of the volume, one printed on blue paper by Cazals, the other engraved on blue paper and the other engraved in etching.