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The Poetry of James Joyce Reconsidered$
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Marc C. Conner

Print publication date: 2012

Print ISBN-13: 9780813039763

Published to Florida Scholarship Online: September 2012

DOI: 10.5744/florida/9780813039763.001.0001

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Verse after Verlaine, Rime after Rimbaud

Verse after Verlaine, Rime after Rimbaud

Joyce and the “poisondart” of Chamber Music

Chapter:
(p.78) 4 Verse after Verlaine, Rime after Rimbaud
Source:
The Poetry of James Joyce Reconsidered
Author(s):
Marc C. Conner
Publisher:
University Press of Florida
DOI:10.5744/florida/9780813039763.003.0004

This essay pursues a detailed examination of Joyce's poetic language along with the relation of Chamber Music to his later prose writings. Focusing on Joyce's response to the contrary examples of Verlaine and Rimbaud as he begins to explore the modes of modernist poetry, the essay argues that Joyce's “creative translation or mistranslation” of precursor poets reveals a nascent hard and critical modernity that pushes against the poems' apparent sentimentality and archaism. In a far-ranging study of Joyce's uses of orality and aurality, the essay reveals the connections between the early poems and Joyce's final poetic utterances in Finnegans Wake, all of which depend upon an oblique use of language, a “cambering” of utterance that shifts words away from poetic constraints, then back again to poetic forms.

Keywords:   Chamber Music, Poetic language, Verlaine, Rimbaud, Modernist poetry, Modernity, Orality, Aurality, Finnegans Wake

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