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8 - Questions of metaphor: Gautier's ‘La Nue’

Published online by Cambridge University Press:  03 May 2011

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Summary

A l'horizon monte une nue,

Sculptant sa forme dans l'azur:

On dirait une vierge nue

Emergeant d'un lac au flot pur.

Debout dans sa conque nacrée,

Elle vogue sur le bleu clair,

Comme une Aphrodite éthérée,

Faite de l'écume de l'air;

On voit onder en molles poses

Son torse au contour incertain,

Et l'aurore répand des roses

Sur son épaule de satin.

Ses blancheurs de marbre et de neige

Se fondent amoureusement

Comme, au clair-obscur du Corrège,

Le corps d'Antiope dormant.

Elle plane dans la lumière

Plus haut que l'Alpe ou l'Apennin;

Reflet de la beauté première,

Sœur de «l'éternel féminin.»

A son corps, en vain retenue,

Sur l'aile de la passion,

Mon âme vole à cette nue

Et l'embrasse comme Ixion.

La raison dit: «Vague fumée,

Où l'on croit voir ce qu'on rêva,

Ombre au gré du vent déformée,

Bulle qui crève et qui s'en va!»

Le sentiment répond: «Qu'importe!

Qu'est-ce après tout que la beauté,

Spectre charmant qu'un souffle emporte

Et qui n'est rien, ayant été!

«A l'Idéal ouvre ton âme;

Mets dans ton cœur beaucoup de ciel,

Aime une nue, aime une femme,

Mais aime! – C'est l'essentiel!»

Suppose that, on the analogy with ‘la petite’, ‘la vieille’, etc., but in ignorance of the fact that there are constraints (in usage if not by grammatical rule) on the analogical extension of the use of adjectives as nouns, we were to ‘mis’-read the title of Gautier's poem as signifying a naked woman instead of a cloud; or alternatively, that we were to claim, in more knowing fashion, that Gautier has engineered an ambiguity by wilfully suspending these constraints in favour of the conventions of poetic licence.

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Nineteenth-Century French Poetry
Introductions to Close Reading
, pp. 138 - 156
Publisher: Cambridge University Press
Print publication year: 1990

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