Alfred de Musset by Ariane Charton

By Ariane Charton

'Un poète peut parler de lui, de ses amis, des vins qu’il boit, de los angeles maîtresse qu’il a ou qu’il voudrait avoir, du temps qu’il fait, des morts et des vivants, des sages et des fous : mais il ne doit pas faire de politique.'

Enfant poor du romantisme, Alfred de Musset (1810-1857) fut considéré de son vivant comme un météore qui n’avait jamais donné los angeles pleine mesure de son expertise. On ne voulait voir en lui qu’un auteur de comédies charmantes, de contes légers et de poèmes lyriques. los angeles Confession d’un enfant du siècle fut publiée dans une sorte d’indifférence : il ne chercha jamais à dissiper ces malentendus. Observateur désabusé d’une époque qui l’ennuie, il est pourtant celui qui dit le mieux le désenchantement de sa génération. Trop souvent réduit à sa réputation d’écrivain sentimental et à sa liaison avec George Sand, Musset est notre contemporain : parce qu’il position sa vie et son œuvre sous le signe de los angeles modernité et de los angeles liberté individuelle.

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Evidently it was written by a young man, writing for young men, and I can no longer claim the privilege—I am far too old for that kind of game. But the stanza should be quoted in full. ” And so he got his spoon. ” This second line is better, I think. And as my friend Murchison said to me, in a spoon we often have many images collected. I had never thought of that, because I had been taken aback by the spoon and did not want to think much about it. 16 “Resembles something that has not occurred”: this line carries a kind of strange simplicity.

The ~rst example comes from a poem that Tennyson wrote when he was, I think, thirteen or fourteen. He destroyed it; but, happily for us, one line survived. ” I think Tennyson has chosen his time very wisely. In the night all things are silent, men are sleeping, yet time is _owing noiselessly on. This is one example. 6 The mere putting together of the two words suggests the metaphor: time and the river, they both _ow on. ”7 Here we have the beginning of terror, because at ~rst we think of the river as _owing on, of the drops of water as being different.

Because this always THE METAPHOR 39 happens with surprises, no? ) “She walks in beauty, like the night”: at the beginning we have a lovely woman; then we are told that she walks in beauty. This somehow suggests the French language—something like “vous êtes en beauté,” and so on. ” We have, in the ~rst instance, a lovely woman, a lovely lady, likened to the night. But in order to understand the line, we have to think of the night as a woman also; if not, the line is meaningless. So within those very simple words, we have a double metaphor: a woman is likened to the night, but the night is likened to a woman.

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