French literature -- 19th century -- History and criticism; Symbolism in literature
He even was an orator at a Scotch lodge. Nevertheless--because his
lawful child believes in God--his little daughter, in white veils and
blue ribbon, received the sacrament. This required that several liters
at sixteen sous be drunk at the _bistro,_ among the filthy benches,
where the billiard man was sleeping, the waiters sprawling, and where
his little maid in floss-silk gloves was blushing.
Now, Benoist who colors at the sight of a churchman, shows some
pleasure at having seen, that morning, the marriage of the only son and
his young girl.
(Tr. 39)
The proud indolence of nights, perfumes and breasts.
(Tr. 40)
On Heaven's balconies in antiquated robes.
(Tr. 41)
NOCTURNAL PARIS
It is the sea;--calm sheet. And the great tide with distant rumbling
has receded.... The wave returns, wallowing in its noise. Hearest thou
the clawing of the night crabs.
It is the drained Styx: Diogenes, lantern in hand, unceremoniously
arrives. Perverse poets angle along the black stream: their hollow
skulls serve as boxes for worms.
It is the field: to glean impure lint falls the whirling flight of
hideous harpies; the gutter rabbit, on the watch for rodents, flees the
sons of Bondy, nocturnal vintagers.
It is death: the policeman lies dead. On high, love takes a siesta,
sucking the meat with heavy hand where the extinguished kisses leave a
red patch. Alone is the hour. Listen. Not a dream stirs.
It is life: listen, the lively spring sings the eternal song on the
head of a sea-god drawing green naked limbs on the bed of the Morgue
... and the great open eyes.
DIURNAL PARIS
See gleaming in the skies the great disk of red copper, immense
casserole where the good God cooks manna, the harlequin, eternal _plat
du jour_. It is dipped in sweat and dipped in love.
The laridons wait in a circle near the oven; vaguely one hears the
rustling of rancid flesh, and the tipplers, too, are there, holding out
their jugs; the wretches shiver, waiting their turn.
Thinkest thou the sun then fries for everybody these fat stirring
scraps of burnt meat which a flood of gold inundates? No, the dog-soup
falls on us from the sky.
They are beneath the ray and we beneath the gutter. To us the black jug
that grows cold without light. Our substance for ourselves is our bag
of gall.
(Tr. 42)
With the assent of the tall sunflowers.
(Tr. 43)
And since, then, I have bathed me in the poem of the sea, steeped in
stars and latescent, mastering the green azure where, flotation pale
and ravished, a pensive drowned person sometimes descends; where,
suddenly staining the nuances of blue, frenzied and slow rhythms
beneath the glinting red of day, stronger than alcohol, vaster than
your lyres, the bitter redness of love ferments.
(Tr. 44)
Who knows if genius is not one of your virtues.
(Tr. 45)
The sky rains without ending, though nothing agitates it; it rains, it
rains, shepherdess! on the stream....
The stream has its dominical repose; not a barge up stream, downstream.
Public-domain text, read in full here on John Shaqi.
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