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Verlaine's “Art Poétique” Re-Examined

Published online by Cambridge University Press:  02 December 2020

Alfred J. Wright Jr.
Alfred J. Wright Jr.*
Affiliation:
Bates College, Lewiston, Me.
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Extract

Verlaine may be one of the least intellectual of French poets, yet his “Art poétique” finds its way regularly into anthologies of French literature as the perfect symbolist counterpart of Gautier's “L'art,” the manifesto Of the Parnassians. “De la musique avant toute chose” is the advertised motto of the symbolist school of the eighties and nineties, just as the marmorean ideal was of the Parnassians of the sixties and seventies, indeed of Verlaine himself in the Poèmes saturniens (“Est-elle en marbre ou non, la Vénus de Milo?”). As in the case of any such well-worn document, there are two points of view from which it may be studied: (1) the intent of the creator of the document and (2) the overlay of interpretation which has developed around it. Let us attempt to render service to Verlaine by trying to determine his own meaning, through close examination of this and other works of the poet, as distinct from the meaning which his followers and associates read into this little “chanson.”

Type
Research Article
Information
PMLA , Volume 74 , Issue 3 , June 1959 , pp. 268 - 275
Copyright
Copyright © Modern Language Association of America, 1959

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References

1 See ćuvres poétiques complètes, ed. Y.-G. Le Dantec, Pléiade (Paris: Gallimard, 1954), for text of the “Art poétique” (p. 206) and all other Verlaine verse quoted in my article. For the story of the dedication of the “Art poétique” to Charles Morice, see Laszlo Borbas, “Charles Morice: Friend and Critique of Verlaine,” French Rev., xxxi, ii (Dec. 1957), 123–128.

2 Verlaine (Paris, 1924), pp. 101–106.

3 My doctoral dissertation, Paul Verlaine and the Musicians, Publication No. 2138 (Ann Arbor: University Microfilms, 1951) analyzes briefly or in detail 235 musical settings of 72 Verlaine poems.

4 “L'évolution poétique de Verlaine,” Revue des Deux Mondes, ix (1912), 595–632.

5 I am indebted to Professor Jean-Albert Bédé for suggesting the above classification of the types of “méprise.”

6 From a reply to Charles Morice in the Nouvelle Rive gauche, quoted by G. N. Henning, Representative French Lyrics of the Nineteenth Century, rev. éd. (Boston: Ginn, 1935), pp. 517–518; see Borbas, loc. cit., and n. 7, below.

7 From an article entitled “Un mot sur la rime,” Décadent, (March 1888) (quoted by Le Dantec, p. 974), repub. in Œuvres postâmes, Vol. ii (Paris: Messein, 1911).

8 Correspondance, ii (Paris: Messein, 1922–1929), 103.

9 Message poétique du symbolisme, i (Paris, 1947), 121.