Les Suspendues (Al-Mu'allaqât) : Édition bilingue

Les Suspendues figurent parmi les chefs-d'oeuvre de l. a. littérature arabe : composés il y a plus d'un millénaire, au cours du siècle qui a précédé l. a. prédication du prophète de l'islam, ces poèmes doivent leur nom étrange à l. a. légende qui veut qu'ils aient été inscrits en lettres d'or sur des tissus suspendus aux murs de los angeles Ka'ba, à los angeles Mecque. Ces petits joyaux nous transportent dans un monde fascinant et insolite, celui des bédouins de los angeles péninsule Arabique. Ils se font l'écho d'un temps où les poètes étaient à los angeles fois de vaillants combattants - il arrivait qu'une joute poétique tienne lieu de bataille entre deux tribus ! - et des oracles respectés : d'une époque où le braveness et l. a. générosité étaient les vertus du preux, avec le goût du vin et l'amour des femmes. Lamentations sur les vestiges du campement déserté par l'aimée et réflexion sur los angeles fuite du temps, périples à dos de chamelle, chasses à l. a. gazelle, évocations érotiques, bravades. Beuveries : tels sont les thèmes qui hantent ces textes fulgurants, dont los angeles splendeur poétique, mille cinq cents ans plus tard, demeure intacte.

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Extra resources for Les Suspendues (Al-Mu'allaqât) : Édition bilingue français-arabe

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198); together with the speculation in ‘The Old Fools’ (1973) that ‘Perhaps being old is having lighted rooms / ­inside your head’ (p. 196). And then there is ‘being dead’, in ‘Aubade’ (1977) (p. 208), which recalls a 1949 poem of his, ‘On Being Twenty-six’, where ‘being dead’ leads on to a conclusion which speaks of ‘devaluing dichotomies: / Nothing, and paradise’ (p. 24). Or again, ‘At thirty-one’ (1953), with its admission that ‘I, being neither [rich nor dead], have a job instead’, a poem which confesses to writing letters to women ‘instead of planning how / I best can thrive’, letters which ‘owe / Too much elsewhere’ to be love letters (pp.

A decade later, it might well have seemed proleptic of his current situation. Its Audenesque vision of failure at the heart of ostensible success, its self-questioning and self-contempt, recall the rhetorical questions and reversals, often in a second, internally distantiated voice within the poem’s main discourse, with which Auden concluded many early poems. Even the exclamatory ‘O’ with which the direct reported speech breaks into the narrative in the poem’s sestet is classic early Auden. Twelve poems in The English Auden actually begin with ‘O’, in four of which it issues directly in semi-rhetorical questions, and there are many more such overheated or merely posturing vocatives scattered throughout the body of his early poetry.

The same infolding affects ‘wish’ and ‘desire’, and leads from ‘alone’ to ‘oblivion’. indb 37 18/09/2007 14:39:17 On the Edge of Things: Philip Larkin ‘The wish to be alone’. ‘Being’ in Larkin’s poetry is rarely just untrammelled existence, the ontological present tense. It is usually a matter of being something else and, in the process, adulterated. There is, early, ‘The instantaneous grief of being alone’ (in ‘Kick up the fire’, Collected Poems, p. 285); or, later, ‘happy at being on my own’ (in ‘To the Sea’, p.

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