Crossing-over

Clarification

the word “crossing-over” is recorded only in 1680 by Richelet in its Dictionary but the verb “to span” largely precedes it and its illustrated employment is explained by association with the word “foot”, used to define the metric base of the worms.

the crossing-over is a process which exploits the cuts and the rate/rhythm of the worms: indeed the syntactic overflow of worms on the worms according to attenuates the pause at the end of the worms, or even abolishes it almost completely, creating an effect of lengthening or destructuration; this one is particularly perceptible when the crossing-over is accentuated by a rejection or a Against-rejection (element in short isolated by a marked cut, at the beginning of worms 2 for the rejection, or at the end of worms 1 for the against-rejection.)

It creates an effect of continuity or amplification

- simple crossing-over:

“And I do not hate anything as long as the distorsions

Of all these large makers of protests”

Molière - the Misanthropist (towards 43-44)

- crossing-over with rejection:

“And consequently, I bathed in the poem

Sea, infused stars and latescent”

Rimbaud - the drunk boat (towards 21-22)

- crossing-over with against-rejection:

“The Revolution shouted to them: - Volunteers,

Die to deliver all the people your brothers! -”

Victor Hugo - “With passive obedience”, towards 43-44 the Punishments

- crossing-over with rejection and against-rejection:

. “the emperor turned to God; the man of glory

Trembled, Napoleon understood that it expiait…”

Victor Hugo - “the Atonement”, towards 62-63 (the Punishments)

. “And, Love filling all, except

Hunger, sorbets and jams

We preserve aches. ”

Verlaine - gallant festivals - “Cythère” (towards 10-12)

One also speaks about crossing-over strophic when there is no syntactic pause between two stanzas. This crossing-over strophic is rather common in the sonnet at least between the two quatrains or the two tercets, even between the quatrains and the tercets in the comparative structure “Like…, Ainsi…”

Example:

" As one passes in summer the torrent without danger

Who soulait in winter being king of the plain,

And to charm by the fields of a haughty escape

The hope of the plowman and the hope of the shepherd:

As one sees the animal couards outrager

The courageous lying lion top arena,

Ensanglanter their teeth, and of a vain audacity

To cause the enemy who cannot be avenged:

And as in front of Troy one saw Greeks encor

To face the least valiant around the body of Hector:

Thus those which formerly soulaient, with low head,

Roman triumph glory to accompany,

On these powdery tombs exert their audacity,

And overcome the winners dare to scorn.

Of Bellay “As one passes in summer…”

Antiquities of Rome (sonnet 14)

Là still it is the XIXe century which will dare this freedom in poems without particular structure. Examples:

- “While, in the majestic text,

Their hearts, reading with enthusiasm,

Drew the beautiful one, truth, the Juste,

It seemed to me, with me, dreamer,

To intend to sing praises

Around us, as with holy place,

And to see under the fingers of these angels

Tressaillir the book of God!” Victor Hugo, “It was pale…” (last stanzas) Contemplations (

- “an old terra cotta fauna

Laughs in the center of the boulingrins,

Undoubtedly predicting a continuation

Bad at these serene moments

Who led me and led you,

- Melancholic persons pilgrims, -

Until this hour of which the escape

Whirl with the sound of the tambourines. ”

Paul Verlaine - gallant Festivals , “Fauna”

History

the crossing-over is largely exploited by the poets of the Middle Ages in the short worms. In some examples testify:

- Good “is this song, which one makes here

Other copies which one will sing” Jaufré Rudel (XIIIe century - courteous Love song)

- “I ouïs the bell of Sorbonne,

Who always at nine hours sounds

The Safety which the predicted angel; ” Villon - the Will (stanza XXXV)

- “If brothers protest you, not do not have about it

To have scorn, no matter what were occis

By justice. However, you know

That all men do not have stale good sense; ” Villon - Epitaph ( Ballade of hung the )

Ronsard is the first, in XVIe century, used the process with the alexandrine. Example:

“Marie, you have the so vermilion cheek

That a pink of May, you have the cheveus

Of color of chastaigne, entrefrized of neus,…” the Loves (1552-1553) - Sonnet X.

Later, Malherbe then Boileau proscribes it (“the stanzas with grace learned how to fall; /And the worms on the worms did not dare any more to span” - writes it in its “poetic Art”) but it does not cease being employed by Corneille, Molière or Racine. Examples:

- “And I boldly pretend to have received you

The order that one sees me following, and that I give to all. ” Crow - Cid (about 1281-1282)

- “That he likes… But already you reconsider your steps,

Oenone? Me am hated, one does not listen to you. ” Root - Phèdre (towards 824-825)

It is however the romantic Poésie which makes crossing-over the mark of a new freedom and which will multiply the effects of them, with Victor Hugo, for example, which affirms with pride “I dislocated this large denied alexandrine” and of which one often quotes the first towards Hernani with the provocant rejection:

“Would this Be already him? It is well with the staircase

Concealed. ”

Conclusion

Means of freedom and expressivity, the crossing-over constitutes a major and frequent metric process.

Guard should be taken not to confuse it with the rejection which is only one stressing of the crossing-over and not the crossing-over itself.

External bonds

http://www.poete.ch/enjambement.html
http://www.ditl.info/arttest/art21338.php

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