III. Poetic language?
As versified poem, the prose poem develops what Jakobson calls the poetic function of language. The language is involved: the figure of speech away from the ordinary language. The metaphor transforms the world: "For sides of rocks, which dip in the night precipices their hair brush ..." (Aloysius Bertrand, "The Time of Sabbath" Gaspard de la nuit. ) The nature and
animated, becomes part of a disturbing ideally meeting sabbatical. And the multiplication of images gives the text its poetic density.
The playfulness can also assert itself in repetitions:
Enough seen. The vision has met all the air.
Had enough. Rumors of cities in the evening and the sun, and always.
Known enough. The judgments of life. - O Sounds and Visions!
Departure in affection and new noise! (Rimbaud, "Departure," Illuminations .)
The repetition of the word "Enough" which is contiguous a transitive verb to its complement private creates an expectation which is partially filled by the sentences that follow, variations on the theme.
The poem can also play contrasts On a road behind the gate of a large garden, which appeared after the whiteness of a beautiful castle struck by the sun, stood a beautiful child and fresh, dressed in those clothing campaign so full of vanity.
[...] On the other side of the gate on the road between the thistles and nettles, there was another child, dirty, sickly, smoky, one of those rogue-brats with an impartial eye discovers beauty, if, like the eye of the connoisseur guess a painting beneath a veneer of ideal body builder, he was cleaning the patina of disgusting misery. ( Baudelaire, "The poor man's plaything," The Spleen de Paris .)
The poem is built on the antithesis of poverty / wealth that the poet uses a systematic manner to arrive at the strange idea of a poverty that is desired.
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