Parisian dream

Parisian Rêve is a Poème of Baudelaire published in the section " Tables parisiens" Flowers of the evil . It is dedicated to Constantin Guys.

Text

In Constantin Guys. I Of this terrible landscape,
Such as never mortal does not live any,
This morning still the image,
Vagueness and remote, charms me. The sleep is full with miracles!
By a whim singulier
I had banished these spectacles
The irregular plant, And, proud painter of my genious,
I enjoyed in my tableau
The enivrante monotonie
Metal, marble and water. Babel of staircases and arcades,
It was an infinite palate,
Full of basins and with cascades
Falling into gold chechmate or browned; And of the heavy cataracts,
Like curtains of crystal,
Suspended themselves, dazzling,
With metal walls. Not of trees, but of colonnades
The ponds door frames were surrounded,
Where gigantic naïades,
Like women, were reflected. Sheets of water were épanchaient, blue,
Between pink and green quays,
During million miles,
Towards the borders of the universe; They was stones inouïes
And of the magic floods; it étaient
Immense ices éblouies
By all that they reflected! Silent carefree men and,
Of Ganges, in the firmament,
Poured the treasure of their urnes
In diamond pits. Architect of my fairyhoods,
I made, with my will,
Under a tunnel of pierreries
To pass an overcome ocean; And all, even the black color,
Seemed furbished, clearly, iridescent;
The liquid enchased its gloire
In the crystallized ray. No star besides, null vestiges
Of sun, even with the bottom of the sky,
To illuminate these wonders,
Who shone of a personal fire! And on these moving merveilles
(Terrible innovation planed!
Very for eye, nothing for the ears!)
A silence of eternity. II By reopening my eyes full with flamme
I saw the horror of my slum,
And felt, returning in my heart,
The point of the cursed concern;

The clock with the accents funèbres
Sounded midday,
brutally And the sky poured ténèbres
On the sad world engourdi.

Situation

It is the last but one poem of the section; amorçant its conclusion, it also marks the passage of the night universe to the diurnal universe, which will be supplemented by the last poem, the Twilight of the morning , which will complete the cycle of the day.

Form

The poem is composed of two parts of 13 and 2 Quatrains of Octosyllabe S respectively. The rhymes are alternate and they repectent alternation between feminine rhymes and Masculine rhymes.

Study

Structure

If the poem is separated by Baudelaire in two parts which thus put in a typical location the two last stanzas, one can also note a similar distinction between the first two stanzas and the continuation of the poem. Indeed, those introduce the vision, when the continuation describes it, before the second part marking her end. In addition, one can speak about Chiasme between these four stanzas: “This morning” echoes “sounded midday brutally”, and “the sleep” with “by reopening my eyes”. The vision is thus framed in reality (and, paradoxically, the “infinite” universe in the finished world), returning to a certain extent to the idea of poem-table announced by the dedication, the title of the section, " Tables parisiens" , and the pictorial lexicon employed (“the image”, “table”, “painter”).

Opposition between dream and reality

Announced by the structure, this new manifestation of the antithetic universe baudelérien appears by nouveux lexical contrasts: “A silence of eternity” and “brutally Sounded midday”, “Towards the borders of the universe” and “slum”, the idea of externalization of the dream and “returning in my heart”, the lexical Champ of the movement and “sad world engourdi”, pronominal turnings suggesting an autonomous action of the elements of the dream (“suspended themselves”, “épanchaient themselves”) and “poured darkness” (expressing a passivity of the world), the ninth stanza (upswing, paradoxical for water) and “poured darkness” (movement going down).

A bright universe

One notes the use of the lexical Champ of the Lumière. The use of the Octosyllabe allows besides the use of Enjambement S to underline fluidity. The Assonance in " i" underline the fairyhood accentuated by the lexical Champ of the magic. The hyperbole S emphasize the width. The Diérèse S emphasize “million” expressing the scale, and “diamond” underlining the richness.

A universe eternal

The poet is fascinated in front of an immutable world (use of imperfect, and “eternity”)

A supernatural universe

The universe of the dream defies the natural laws; beyond the paradox of ascending flows, one can note the Antithèse “ocean overcome”. More generally, the Métaphore returning to Babel announces this transgression of the natural laws (and perhaps the divine punishment of the return to reality precedes, imitating that reserved to the men for the construction of the Tower of Babel). Lastly, nature is absent from poem, the lexical Champ of the Nature, although present, is systematically denied to be replaced by the interte: mineral, metal and water. The poet demiurge finds in the dream a manner of creating his Universe, and perhaps a temporary loophole with the Spleen.

See too

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