Extract
[...] The poet may say but he remains passive and above all testifies to his powerlessness through his questions (lines 7 and 16) Finally, the rhythm of the poem accelerates at the same time as the poet gains confidence. He will regain, in the last two tercets, the courage to face the metaphysical pain of existence, the pain of the time of life. Thus, he not only regains possession of the but he associates it with strong verbs want', repeated twice in the same line, name', possess', hold'). [...]
[...] It then becomes logical to see the verb 'to sing' close this first verse. This 'yes yes', close to the imitative harmony of a 'tweet tweet', recalls what Jean Tardieu himself explained in an interview with Laurent Flieder for the magazine Europe in 1986: "The cries, the onomatopoeias, these expressive languages are very important (they appear as early as Greek tragedy), they are close to the visceral part of the individual. [ . This obsessive side that represents any search for a rhythm, a sonority, is in itself a powerful and primitive form of expression. [...]
[...] Monsieur Monsieur, Precisions - Jean Tardieu (1951) - Linear Analysis Contemporary poet and writer Jean Tardieu, who defies categorization, has never stopped, through his work, wondering how it was possible to write something that truly made sense. Located in the second half of the collection 'Monsieur Monsieur', first published in 1951, the poem entitled 'Precisions' immediately announces with humor a desire to use a sort of comedic repetition, since the poet adds, as a didascalie, the word 'sermon' which precisely brings the first precision to the 'Precisions' that will follow. [...]
[...] this voice' verses 21). To play with words, the poet also repeats, even creating a deliberate heaviness, antonyms that he makes rhyme (the seasons different / the city indifferent vers 4 and or words of the same family ('qu'il sale . the weather vane at vent, version 5 and 9 Such an accumulation recalls what Bergson wrote: 'exaggeration is comical when it is prolonged and especially when it is systematic'3 and corresponds well to the parallel that Marik Froidefond makes between Tardieu's music and poetry when he writes : "The comparison with the musical domain is [ . [...]
[...] It is true that I have often privileged the sonic aspect of my texts: what remains most alive in poetry is what is transmissible through the ear. And even many poems that are considered difficult have an obvious sonic virtue [ . ] It's almost theatrical2. The repetition continues, giving the poem a burlesque character ('Until tomorrow, until tomorrow . ' that he . that he . But . [...]
