The numerous interpretations by critics of all decades of Rimbaud's sonnet on the “Vowels” are mostly based on considering A E I O U solely as letters and not as sounds. New perspectives on the poem can be opened by emphasizing its sonorous aspects and stressing the importance of vowels as primeval shouts. An analysis of the sound structure in the sonnet reveals that the profusion of images, colors, movements, emotions, evoked by the five vowel sounds, appear to be derived directly from larynx vibrations and from the shape and movement of the lips as they pronounce each key vowel. This discovery of the “naissances latentes” possible origin in the “Vowels” relies greatly on Rimbaud's other poetic works and on his new theories on poetry. A close look at some of his predecessors' ideas, themes, and images—like Victor Hugo's and Baudelaire's—that elicit a probable influence on the young poet or a strange correspondence with his own objectives further unveils, in the study of each vowel, the esoteric aspects and poetic elaboration of the “Vowels.” A living vestige of Rimbaud's adolescent voice speaking to us in its original spontaneity, the sonnet thus discloses the poet's secret: shown in the very process of creating a new language, he is like a true God: through the magic of his word, he creates light, colors, a whole new world of vivid sound-objects, that illustrate the five stages of man's life from nonexistence to eternity. (In French)