چکیده:
Contrairement au lyrisme traditionnel qui était l’épanchement des sentiments personnels, le nouveau lyrisme de Reverdy chante un moi sortant de soi qui entre en communication avec le monde qui l’altère. Au cours de ce travail, par le biais des pensées de Michel Collot sur l’alliance de la matière-émotion et ayant recours aux notions phénoménologiques husserliennes, on étudie comment est –ce que la nouvelle conception de l’émotion poétique et la nouvelle intimité chez Reverdy donne une acception différente du lyrisme. On démontre également comment les particularités stylistiques et linguistiques de Reverdy ont donné naissance à une poésie qui peut être considérée comme alliance du corps, de l’esprit et du monde; dans le recueil, intitulé «Les Ardoises du toit», auquel on se réfère particulièrement, se manifestent la majorité des particularités poétiques de Reverdy. Par ailleurs, l’article a pour son objectif final de montrer comment les tournures comme les formes impersonnelles et le jeu des pronoms personnels dans la poésie de Reverdy lui permettent de créer paradoxalement une poésie lyrique. Et c’est ainsi que la poésie reverdienne n’est plus l’exaltation des sentiments du poète, mais, c’est l’union du moi, du monde et du mot que la phénoménologie appelle l’ouverture au monde du sujet.
بر خلاف شعر غنایی سنتی که همواره تجلی پر شور احساسات شخصی بوده است، تغزل جدید رووردی بیان اوای خویشتن خویشی است که از خود به در میاید و با جهانی که او را فرا گرفته مرتبط میگردد،جهانی که او را تبدیل به دیگری میکند. ما در این مقاله برانیم تا با تکیه بر افکار میشل کولو مبنی بر اتحاد ماده –احساس و با توسل به مفاهیم پدیدار شناسی هوسرل به بررسی این موضوع بپردازیم که چگونه برداشت جدید از حس شاعرانه و انگیزه و روح درونی شعر به مفهومی متفاوت از تغزل نزد رووردی میانجامد. همچنین نشان خواهیم داد که چگونه ویژگیهای سبک شناختی و زبان شناختی خاص شعر این شاعر بزرگ قرن 20 ، شعری خلق میکند که در ان روح و بدن شاعر با دنیای او پیوند میخورد.در دیوان شعر این شاعر به نام "تخته های سقف" ،که بویژه ما در این تحیق به ان ارجاع میدهیم، اکثر ویژگی های شعری او مشاهده میشود. و در نهایت هدف ما در این مقاله این خواهد بود که نشان دهیم چگونه فرمهای غیرشخصی و بازی با ضمایر شخصی به شاعر این امکان را داده تا به گونهایی متناقض شعر غنایی بیافریند. و اینگونه شعر رووردی دیگر بیان تنها من شاعر نیست بلکه به گفته کولو پیوند من، دنیا و کلمه است. و این همان گشودگی به جهان پدیدار شناسی است.
From the Middle Ages, lyric poetry was considered as a style for expressing the
poet's personal feelings. Throughout history, the perception of lyricism has become undergone semantic
changes; for example, for romantics, lyricism was the expression of the poet's inner feeling in relation
to the world around him or her, or for Parnassians, the beauty of lyric poetry was important. In the 20th
century, modern poetry emerged under the influence of phenomenology, in which the poetic subject was
not a Cartesian subject trapped within himself, but the subject emerges from himself and connects with
the world. And the result of this connection between "me" and the world, creates a new poetic emotion
that is the basis of Reverdy's lyric.
Unlike traditional lyric poetry which expresses the poet’s personal emotions, Reverdy's poetry
expresses a "self" which goes beyond that and communicates with the world surrounding the poet. In
this article, we aim to study the new concept of poetic feeling relying on Michel Collot’s thoughts on
“matter-feeling” concept through the help of Husserl’s phenomenological notions. In the book "Matter-
Feeling", Collot speaks of the poet's inner connection with the world in the come into the view of a pure
emotion. He considers Reverdy's poetry to be based on this pure feeling. Collot examines the origin of
the poetic emotion by Husserl 's concept of the horizon in " Modern Poetry and Horizon Structure " and
in "Reverdy's Horizon". With Husserl's concept of inner and outer horizon. he shows that every poet
has its own horizon and the invisible part of its world creates a special and pure poetic emotion. With
the help of thematic critic, we will show a new concept of poetic feeling in modern poetry, which is
created by the connection between" me, the world and the word ": " emotion is not a completely
subjective phenomenon. Rather, the emotional response of the poet is in dealing with someone or
something in the outside world." (Collot 9). So, in the new lyric, there is a strong connection between
the inner feelings of the poet and the outside world that surrounds him. And according to the etymology
of the word "emotion", it also represents an event of self - extrusion, not self - immersion.
The poet creates a special poetic feeling by coming out of him or herself and connecting with the
outside world, which is no longer a romantic or realist feeling, but is the result of discovering ignored
and unheard connections in real life. It is neither surreal or imaginary. Rather, only invisible aspects. It
is in the real world that is discovered by the poet and transmitted to the reader. Reality in Reverdy's
poetry is not a surreal approach but is the invisible aspects of the poet's world. This is called the "
Lyricism of Reality". The poet does not sing common and general feeling, but shows its deepest and
most mysterious inner feeling, and ordinary feelings are only the raw material for this poetic feeling.
The poet takes the raw materials of its poetry from the senses of everyday life and changes them into
poetic emotion. The modern poet does not put himself as the source of poetic feeling, but connects the
Morteza BABAK MOIN — Extended abstract: Redefining Lyricism by Reverdy … | 21
feeling to the world and through it to his or her reader. Therefore, the new lyric is the expression of very simple and everyday feeling that reach the most secret and secret feeling of the poet. This is the lyricism of reality. In the opinion of Reverdy, Sense is expressed only by coming out of oneself. The very deep states of the poet's soul can appear in poetry only due to the connection with the outside world. And this is the source of great artistic creations. This is the mission of modern poetry.
So in such a lyric, the lyrical subject of this poetry is no longer "me", the poet, but creates a global feeling with archetypal images. Unlike "me" in romantic poetry who is a poet's personal sense, "me" in Reverdy's poetry find a universal and general aspect, and the poet speaks the language of all. This impersonal "me" creates a universal lyric by creating non-temporality and creates a new emotional tone by generalizing the poet's feeling and the reader can feel it better. As a result, a special connection between the poet and the reader is formed. The reader can hide behind any of the characters in the poem and have an interpretation based on his inner sense of the poem. The new intimacy in Reverdy's poem originate from the fact that this poem is impersonal. Playing with pronouns, nominal and predicate structures gives a special impersonal space in his poem allow different interpretations of the reader. Not everything is expressed in this poem so that the reader can communicate with the world around him. The presence of "I" and "you", in Reverdy's poetry, it's unclear. It is not clear whether it is a woman or a man. No information is given about them, so the reader can easily communicate with it. Thus, the first person use in the poetry shows that the poetic sense does not originate from the poet's personal feeling. By composing a universal and impersonal poem, the poet connects the reader with the poem and he or she can absorb the poet's feeling.
In this regard, we will study how a new conception of poetry sense and the inner spirit of poetry (intimacy), will result in a different sense of lyricism in Reverdy’s poetry. We will also show how the specific stylistic and linguistic features employed by this great poet of the 20th century, create a poem in which the poet’s soul and body are linked to his world. In the poetry collection called “Les Ardoises du toit ” , which we refer to in particular, most of the poetic features of Reverdy are evident. And finally, our goal in this article will be to show how non-personal forms and playing with personal pronouns allow the poet to create lyric poetry in a paradoxical way. Therefore, Reverdy's poem does not exclusively express the poet’s self and according to Collot, it is the integration of “me”, the world and the word and this is the openness to the world.
As the end, in this article, we have shown that Reverdy's lyricism is formed under the influence of Husserl 's concept of "attention", according to which the subject of a poem emerges from itself and connects with the world and creates a poetic and pure feeling. The outside world is as important as the inner world of the poet in creating a poetic feeling or poetic emotion. Therefore, the " lyricism of reality " is related to the world inside and outside the poet, and the poet composes such a universal lyricism. With the help of nominal structures and impersonal grammatical forms, Reverdy gives a general aspect to his poetry. And this is how his poetry becomes the poetry of humanity.