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Gambara (Veronica). Le Rime - Persée
External Reviews. Those heads, I call my "people. Who you, to concern the white flat stomachs of maidens, inside houses dying. Peeled moon light on my fingers move under her clothes. Where is her husband. Black words throw up sand to eyes, fingers of their private dead.
Whose soul, eyes, in sand. My color is not theirs. Bonne visite! Women poets of the nineteenth century remain for the most part marginalized in the study of French Romanticism, despite the historical fact that women turned to poetry in increasing numbers during the July Monarchy. Although research on British Romantic female poets has become mainstream in the last decade, women poets of the nineteenth century remain for the most part marginalized in the study of French Romanticism.
Now, thanks to the recent efforts of feminist critics, French Romantic women poets are now being reintroduced into the canon and the classroom.
Les "lectures analytiques" qui seront présentées au bac pour cette séquence:
Poetesses such as Felicia Hemans and Letitia Landon self-consciously embrace conventional notions such as the doctrine of separate spheres, and accordingly write poetry that privileges the domestic and romantic life proper to women. At the same time, Mellor argues, the poetess often works subtly to reshape discourses of domesticity and femininity from within. The tradition of the female poet, on the other hand, is just now receiving critical interest among French scholars.
Marceline Desbordes-Valmore , perhaps more than any other French poetess, has benefited from a conformist tradition of reading which limits divergent interpretations and thus ensures the lasting support of conservative readers.
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The best known of all nineteenth-century women poets today, she was marginalized but never completely forgotten, thanks to influential avant-garde poets such as Sainte-Beuve, Charles Baudelaire, Paul Verlaine, Robert de Montesquiou, Louis Aragon and Yves Bonnefoy. Desbordes-Valmore was the first woman poet of the period to be republished in a modern scholarly edition in My native air! My native land! Those far-off voices slake my thirsty soul, For your sorrowful book has filled its bowl.
As I have argued elsewhere, the post-Romantic generation read her poems—or heard their mothers read or sing them—as children and hence associated her with maternal comfort. Chantez: un chant de femme attendrit la souffrance. A soul resides, imprisoned in this book: Open it and read: count my painful days, Grieve in this world where I remain unknown, And dream of hot cinders to heat your chains. Love: for suffering thrives on hate, not love. Give: and let charity revive our hope; While we can give we will not wish to die!
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If there is no time to inscribe your tears, You can let them fall here from eyes to page; To pray is to absolve; let our prayers be arms: And absolve this, my open book of days. To be spreading secrets in windy speech, Has reason left her half-witted, insane? Her resistance to dominant discourses of femininity or patriarchy is most evident in her poems on the Lyon riots, some of which were not published during her lifetime. These revolts were an early sign that the July Monarchy would not be able to achieve the republican goals it held out to the working classes.
Given the double-voiced nature of her poetry, it is more productive to see the two traditions posited by Mellor as coexisting in one body of work. Such forthright resistance is harder to come by in the poetry of her contemporary, Amable Tastu.
Completely forgotten since the end of the nineteenth century, Tastu was highly regarded in the period for her poetry and her educational prose. In this dialogue between a guardian angel and a woman at different stages of her life, from girlhood to old age, the woman expresses her desire to write poetry, but is recalled to her quotidian duties by the angel:.
A mes regrets ravis que la nature est belle! To my ravished eyes how beautiful is nature!