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Paul Verlaine

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Paul-Marie Verlaine (French International Phonetic Alphabet: IPA|vɛʀˈlɛn) (March 30, 1844 – January 8, 1896) is considered one of the greatest French poets of the "fin de siècle".

Career Edit

Early life Edit

Born in Metz, he was educated at a lycée in Paris and then took up a post in the civil service. He began writing poetry at an early age, and was initially influenced by the Parnassien movement and its leader, Charles Leconte de Lisle. Verlaine's first published collection, Poèmes saturniens (1867), though adversely commented upon by Charles Augustin Sainte-Beuve, established him as a poet of promise and originality.

Marriage and military service Edit

Verlaine's private life spills over into his work, beginning with his love for Mathilde Mauté, a disciple of Louise Michel. Mauté became Verlaine's wife. At the proclamation of the Third Republic in 1870, Verlaine joined the 160th battalion of the National Guard (France), turning Communard on March 18, 1871. He became head of the press bureau of the Central Committee of the Paris Commune. He escaped the deadly street fighting known as the Bloody Week, or Semaine Sanglante, and went into hiding at Pas-de-Calais.

Imprisonment Edit

Verlaine returned to Paris in August 1871. In September he received the first letter from the poet Arthur Rimbaud. By 1872 he had lost interest in Mathilde and effectively abandoned her and their son, preferring the company of his new lover. Rimbaud's and Verlaine's stormy love affair took them to London in 1872, and in July 1873 he shot Rimbaud in a drunken, jealous rage, wounding him, but not mortally. As an indirect result of this incident, he was arrested and imprisoned at Mons, where he underwent a conversion to Catholicism, which again influenced his work (and earned him the vicious mockery of the inconstant Rimbaud.) Romances sans paroles was the poetic outcome of this period.

Following his release from prison, Verlaine traveled to England, where he worked for some years as a teacher and produced another successful collection, Sagesse. He returned to France in 1877 and, while teaching English at a school in Rethel, became infatuated with one of his pupils, Lucien Létinois, who inspired Verlaine to write further poems. Verlaine was devastated when the boy died of typhus.

Final years Edit

Verlaine's last years witnessed a descent into drug-addiction, alcoholism, and poverty. Yet his poetry was admired and recognized as ground-breaking, and served as a source of inspiration to famous composers, such as Gabriel Fauré, who set many of his poems to music, including La bonne chanson, and Claude Debussy, who turned the entire Fêtes galantes into a classic mélodie album.

File:Paul Verlaine.jpg

Numerous artists painted Verlaine's portrait. Among the most illustrious: Henri Fantin-Latour, Antonio de la Gándara, Eugène Carrière, Frédéric Cazalis, and Théophile-Alexandre Steinlen.

On his death in 1896, Paul Verlaine was interred in the Cimetière des Batignolles in Paris.

Analysis Edit

The French poetry of much of the literature in the latter half of the century (or "fin de siècle") was often characterized as "decadent" for their lurid content or moral vision. In a similar vein, Verlaine used the expression "poète maudit" (accursed poet) in 1884 to refer to a number of poets like Stéphane Mallarmé and Arthur Rimbaud who had fought against poetic conventions and suffered social rebuke or had been ignored by the critics.

But with the publication of Jean Moréas "Symbolist Manifesto" in 1886, it was the term symbolism which was most often applied to the new literary environment. Along with Verlaine, poets such as Stéphane Mallarmé, Paul Valéry, Arthur Rimbaud, and Albert Samain (amongst others) were called symbolists. The symbolist poets often share themes that parallel Schopenhauer's aesthetics and notions of will, fatality and unconscious forces, and used themes of sex (such as prostitutes), the city, irrational phenomena (delirium, dreams, narcotics, alcohol), and sometimes a vaguely medieval setting.

In poetry, the symbolist procedure - as typified by Verlaine- was to use subtle suggestion instead of precise statement (rhetoric was banned) and to evoke moods and feelings by the magic of words and repeated sounds and the cadence of verse (musicality) and metrical innovation.

Works Edit

Verlaine's Complete Works are available in critical editions from the Bibliothèque de la Pléiade.

  • Poèmes saturniens (1866)
  • Les Amies (1867)
  • Fêtes galantes (1869)
  • La Bonne chanson (1870)
  • Romances sans paroles (1874)
  • Sagesse (1880)
  • Les Poètes maudits (1884)
  • Jadis et naguère (1884)
  • Amour (1888)
  • Parallèlement (1889)
  • Dédicaces (1890)
  • Femmes (1890)
  • Hombres (1891)
  • Bonheur (1891)
  • Mes hôpitaux (1891)
  • Chansons pour elle (1891)
  • Liturgies intimes (1892)
  • Mes prisons (1893)
  • Élégies (1893)
  • Odes en son honneur (1893)
  • Dans les limbes (1894)
  • Épigrammes (1894)
  • Confessions (1895)

FilmEdit

The life of Verlaine and Rimbaud was the subject of the 1995 movie Total Eclipse, directed by Agnieszka Holland and with a screenplay by Christopher Hampton, based on his play. Verlaine was portrayed by David Thewlis.

ReferencesEdit

  • Paul Verlaine, Correspondance générale : [Vol.] I, 1857-1885 (edited and annotated by Michael Packenham). Paris : Fayard, 2005. 16 x 24 cm. 1,122 pages. ISBN 2-213-61950-6


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