Draft:Les Amours jaunes
Poetry collection by Tristan Corbière
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Les Amours jaunes ("The Yellow Loves," or "Wry Loves") is the sole poetry collection by Tristan Corbière (1845–1875). Published at the author's expense in 1873 by Glady frères, a Parisian publishing house, it encompasses nearly all of Corbière's verse output, 101 poems of diverse sizes and forms. The work's printing was paid for by the poet's father, to whom the collection is dedicated, and 490 copies were produced in total. Certain of these include a self-portrait etched by the author.[1] Published two years before Corbière's death at age 29, the book passed without notice at the time.
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| Author | Tristan Corbière |
|---|---|
| Genre | Poetry collection |
Publication date | 1873 |
| Pages | 360 |
After the poet's death, the poems of Les Amours jaunes went on to influence Verlaine's Parallèllement, the works of J.K. Huysmans, and probably Jules Laforgue. In later generations, André Breton and the Surrealists named him as an influence, as did Fargue, Superviellie, Céline and Prévert. T.S. Eliot and Ezra Pound introduced his work to the English-speaking world.[2]
Title and structure
The enigmatic title immediately establishes a dissonance which marks the entirety of the work. The words it brings rtogether proceed from an oxymoron which evokes Les Fleurs du mal: stamped with a scathing irony, the poems' expression of love lets out a sickly "rire jaune" (hollow, or forced laugh, literally "yellow laugh"). The pluralization of "Amours" may be an allusion to the Amours of Ronsard.[2]
In The Color of Yellow: or The Visual Politics of Late Modernity, Sabine Doran writes, after highlighting Baudelaire's use of the color in Les Sept Vieillards ("The Seven Old Men"): "Using black humor to attack the whole fabric of nineteenth century French poetry as well as his own status as a poet, Corbière transforms into “depoetized” moments of “prosaic understatement” Baudelaire’s attempts to capture fugitive moments emerging from evil and decay. The self-declared Tristan figure is suffused with a bitter-yellow atmosphere throughout; he sees his life as an 'adulterous mixture': each possibility is canceled out by its opposite—an 'artless artist,' an 'actor, who did not know his role.'”[3] She relates this aesthetic of futility to František Kupka's painting The Yellow Scale.
The collection is divided into seven sections:
- Ça
- Les Amours jaunes
- Sérénade des sérénades
- Raccrocs
- Armor
- Gens de mer
- Rondels pour après.
These sections are framed by two poems which echo La Fontaine's celebrated fable La Cigale et la Fourmi ("The Ant and the Grasshopper"). These are dedicated to the poet's only muse, Armida Josefina Cuchiani,[4] whom Corbière calls Marcelle without obvious reason.
The final section, Rondels pour après, (Roundels for Afterwards) groups together six melancholy lullabies.
The poems
À Marcelle. Le Poète et la cigale
Ça (3 poems)
- Ça ? ;
- Paris
- Bâtard de Créole et Breton ;
- Là : vivre à coups de fouet ! — passer ;
- Poète — Après ?... Il faut la chose : ;
- J'aimais... — Oh, ça n'est plus de vente ! ;
- C'est la bohème, enfant : Renie ;
- Évohé ! fouaille la veine ;
- Donc, la tramontane est montée : ;
- Tu ris. — Bien ! — Fais de l'amertume, ;
- Épitaphe.
Les Amours jaunes (24 poems)
- À l’éternel Madame ;
- Féminin singulier ;
- Bohême de chic ;
- Gente dame ;
- 1 Sonnet avec la manière de s'en servir ;
- Sonnet à Sir Bob ;
- Steam-Boat ;
- Pudentiane ;
- Après la pluie ;
- À une rose ;
- À la mémoire de Zulma, vierge-folle hors barrière et d'un louis ;
- Bonne fortune et fortune ;
- À une camarade ;
- Un jeune qui s’en va ;
- Insomnie ;
- La pipe au poète ;
- Le Crapaud ;
- Femme ;
- Duel aux camélias ;
- Fleur d’art ;
- Pauvre garçon ;
- Déclin ;
- Bonsoir ;
- Le Poète contumace.
Sérénade des sérénades (14 poems)
- Sonnet de nuit ;
- Guitare ;
- Rescousse ;
- Toit ;
- Litanie ;
- Chapelet ;
- Elizir d'amor ;
- Vénerie ;
- Vendetta ;
- Heures ;
- Chanson en Si ;
- Portes et Fenêtres ;
- Grand Opéra ;
- Pièce à carreaux.
Raccrocs (21 poems)
- Laisser-courre. Musique de Isaac Laquedem ;
- À ma jument souris ;
- À la douce amie ;
- À mon chien Pope — gentleman-dog from Newland — mort d'une balle ;
- À un Juvénal de lait ;
- À une demoiselle. Pour piano et chant ;
- Décourageux ;
- Rapsodie du sourd ;
- Frère et Sœur jumeaux ;
- Litanie du sommeil ;
- Idylle coupée ;
- Le Convoi du pauvre ;
- Déjeuner de soleil ;
- Veder Napoli poi mori ;
- Vésuves et Cie ;
- Soneto a Napoli. All'sole, all'luna, all'sabato, all'canonico è tutti quanti. Con Pulcinella ;
- À l'Etna ;
- Le Fils de Lamartine et de Graziella ;
- Libertà. À la cellule IV bis (prison royale de Gênes) ;
- Hidalgo ! ;
- Paria.
Armor (7 poems)
- Paysage mauvais ;
- Nature morte ;
- Un riche en Bretagne ;
- Saint Tupetu de Tu-pe-tu ;
- La Rapsodie foraine et le pardon de Sainte-Anne ;
- Cris d'Aveugle (sur l'air bas-breton Ann bini goz) ;
- La Pastorale de Conlie par un mobilisé du Morbihan.
Gens de mer (17 poems)
- Point n'ai fait un tas d'océans ;
- Matelots ;
- Le bossu Bitor ;
- Le Renégat ;
- Aurora, appareillage d'un brick corsaire ;
- Le novice en partance et sentimental ;
- La Goutte ;
- Bambine ;
- Cap'taine Ledoux. À la bonne relâche des caboteurs, veuve-cap'taine Galmiche, chaudière pour les marins — Cook-house Brandy — Liqœur — Pouliage ;
- Lettre du Mexique ;
- Le Mousse ;
- Au vieux Roscoff. Berceuse en Nord-ouest mineur ;
- Le Douanier. Élégie de corps-de-garde. À la mémoire des douaniers gardes-côtes mis à la retraite le 30 novembre 1869 ;
- Le Naufrageur ;
- À mon cotre Le Négrier vendu sur l'air de « Adieu mon beau navire ! » ;
- Le Phare ;
- La Fin.
Rondels pour après (6 poems)
- Sonnet posthume ;
- Rondel ;
- Do, l'enfant, do... ;
- Mirliton ;
- Petit mort pour rire ;
- Male-fleurette.
À Marcelle. La Cigale et le Poète
Reception
J.K. Huysmans describes Corbière's poetry in his novel À rebours: "It was barely French. The author was talking pidgin, writing his poems as if they were telegrams, suppressing too many verbs, affecting a mocking tone, indulging in the gibes of a low bagman; then, all at once, out of this jumble would squirm curious conceits, dubious affectations, and then a cry of acute pain would start, like a violoncello string's breaking."[5]