Breuil prefers prosaic coherence to the texts’ famous illisibilité, as when he contends that ‘la main de la campagne sur mon épaule’ in ‘Vies’ is ‘une confusion’ rather than a ‘figure poétique’ (p. These corrections - Breuil selects eleven, drawn from eight poems - testify not to simple mistakes but instead, in his view, demonstrate that Rimbaud could not have authored the texts he copied. According to Breuil, Rimbaud either could not read the drafts in Nouveau’s difficult handwriting, or could not comprehend them, creating incoherencies. Breuil studies apparent corrections on the clean copies, presumably made from earlier drafts he argues that errors made in Nouveau’s hand suggest copying from dictation, while errors in Rimbaud’s hand suggest an inability to understand drafts that were not his own. Breuil’s scepticism towards Verlaine’s problematic statements, and their advocates, prompts readers to recall that the texts’ grouping, title, dating, and genesis all remain unproven however, once he moves to disprove their accepted authorship by analysing the manuscripts themselves, his discussion falters. 47) of the Illuminations, Breuil provides a welcome reminder that the collection is above all a scholarly convention.
ARTHUR RIMBAUD ILLUMINATIONS PDF CHILDHOOD SERIES
The first part of his argument questions the series of hypotheses about the forty-three manuscripts currently edited under the title of Illuminations, while tracing how theories hardened into established ‘facts’. Breuilthus proposes a dramatic promotion for Nouveau, from helpmeet to the texts’ sole author. The copyist of ‘Métropolitain’ and part of ‘Villes (l’acropole officielle)’, Germain Nouveau was also the designated recipient of manuscripts passed from Rimbaud to Verlaine in 1875. In this slim essay, Eddie Breuil advances a provocative claim regarding the ensemble of texts long known as Rimbaud’s Illuminations: ‘Rimbaud n’est pas l’auteur mais le scribe, scribe de l’autre écrivain présent durant ces copies: Nouveau’ (pp.
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