Rimbaud thought of and described himself as a "Voyant." Not as a "voyeur," although there was surely something of that in him as well. The word he used was "Seer," as in the word "Prophet," as one who looks beyond the obvious, the apparent, the exterior appearances of peoples, places, and things. The AMERICAN HERITAGE DICTIONARY (1969-70-71) relates a "seer" to a "clairvoyant," or to "someone who has the supposed power to perceive things that are out of the natural range of human senses." The irony of this statement in regard to Rimbaud is that anyone who is in the least way acquainted with his work or with him, the boy genius who wrote most of his entire oeuvre between the ages of seventeen and twenty-three, went about his oxymoronic poetic career with a project, that of deliberately "deregulating his senses," so as to become a Poet-Seer. To see - or not to see: that was his option. "To See" became his will. In his poetic career, Rimbaud chose "to see" by confounding the very instruments of vision: his eyes and his intellect. He dreamed about and "saw" the Crusades, he "saw" enchantments, magical dream-flowers, a flower that says its name, a digitalis that "opens up over a tapestry of silver filigree, of eyes, and tresses," flowers that were like crystal disks, or made of agate and rubies. He "saw" giant candelabras, grasses made of emeralds and steel, theatrical stages that could accommodate horrors or masterpieces, circus horses and children. He "heard" rare music, the sounds of waves and of water, or "the rare rumor of pearls, conchs, and seashells" hidden deep in the ocean.
There are no customer reviews available at this time. Would you like to write a review?
January 27, 2011
Number of Print Pages*
Adobe DRM EPUB
* Number of eBook pages may differ. Click here for more information.