The Symbolist Movement in Literature: Rimbaud, Page 6|
by Arthur Symons (1899).
He catches at verse, at prose, invents a sort of vers libre before any one else, not quite knowing what to do with it, invents a quite new way of writing prose, which Laforgue will turn to account later on; and having suggested, with some impatience, half the things that his own and the next generation are to busy themselves with developing, he gives up writing, as an inadequate form, to which he is also inadequate.
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What, then, is the actual value of Rimbaud's work, in verse and prose, apart from its relative values of so many kinds? I think, considerable; though it will probably come to rest on two or three pieces of verse, and a still vaguer accomplishment in prose. He brought into French verse something of that "gipsy way of going with nature, as with a woman"; a very young, very crude, very defiant and sometimes very masterly sense of just these real things which are too close to us to be seen by most people with any clearness. He could render physical sensation, of the subtlest kind, without making
any compromise with language, forcing language to speak straight, taming it as one would tame a dangerous animal. And he kneaded prose as he kneaded verse, making it a disarticulated, abstract, mathematically lyrical thing. In verse, he pointed the way to certain new splendours, as to certain new naïvetés, there is the Bateau Ivre, without which we might never have had Verlaine's Crimen Amoris. And, intertangled with what is ingenuous, and with what is splendid, there is a certain irony, which comes into that youthful work as if youth were already reminiscent of itself, so conscious is it that youth is youth, and that youth is passing.
In all these ways, Rimbaud had his influence upon Verlaine, and his influence upon Verlaine was above all the influence of the man of action upon the man of sensation; the influence of what is simple, narrow, emphatic, upon what is subtle, complex, growing. Verlaine's rich, sensitive nature was just then trying to realise itself. Just because it had such delicate possibilities, because there were so many directions in which it could grow, it was not at first quite sure of its way. Rimbaud came into the life and art of Verlaine, troubling both, with that trouble which reveals a man to himself. Having helped to make Verlaine a great poet, he could go. Note that he himself could never have developed: writing had been one of his discoveries; he could but make other discoveries, personal ones. Even in literature he had his future; but his future was Verlaine.
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