Une Fenêtre sur la Poétique de Gaston Bachelard à travers des Vers Extraits des Forces Éternelles d’Anna de Noailles Journal Article

Gaston Bachelard est un grand philosophe qui introduit la notion d’imagination matérielle et essaye d’abord de classer les rêveries poétiques d’après les quatre éléments : le feu, l’eau, l’air et la terre. Mais il constate ensuite que seule l’étude de la naissance de l’image poétique dans une conscience personnelle, c’est-à-dire la phénoménologie de l’imagination, peut rétablir la subjectivité de l’image et en apprécier l’étendue, l’énergie et la valeur de la transsubjectivité : des vérités qui ne peuvent être précisées définitivement à cause de l’essence variationnelle de l’image poétique. Bachelard nous présente alors une théorie de la littérarité du langage qui montre que la poésie constitue avec une esthétique spécifique un langage indépendant des nécessités de cohésion des pensées et des contraintes de la signification. Par la prospérité de ses images, ce langage nous donne la liberté de vivre de nouvelles vies et d’expérimenter simultanément même des faits incompatibles dans l’instant poétique. Nous visons, dans le présent article, à étudier le développement et les caractéristiques de la poétique bachelardienne afin de mieux connaître le monde poétique ; et pour illustrer ce monde, nous choisissons des vers extraits des Forces éternelles, un grand recueil de poèmes d’Anna de Noailles, merveilleux poète romantique dont le langage nous attire véritablement.

گاستون باشلار فیلسوف بزرگیست که مفهوم تخیل عناصر را معرفی می نماید و درابتدا سعی می کند خیال پردازی های شاعرانه را براساس چهار عنصر اتش، اب، هوا و خاک دسته بندی کند. اما وی سپس متوجه می شود که فقط بررسی پیدایش تصویر شاعرانه در ضمیر خوداگاه شخصی، یعنی پدیدارشناسی تخیل، می تواند ذهنیت تصویر را بازگرداند و وسعت، نیرو و ارزش تراذهنیت ان را ارزیابی نماید : حقایقی که به دلیل ماهیت متغیر تصویر شاعرانه نمی توانند به طور قطعی مشخص شوند. به این ترتیب باشلار نظریه ای درباره ادبیت زبان به ما ارايه می دهد که نشان می دهد شعر با زیبایی خاصی نوعی زبان رها از الزامات پیوستگی افکار و محدودیت های معنی پدید می اورد. این زبان با شکوفایی تصاویرش ازادی تجربه زندگی های جدید و امکان تجربه همزمان حتی امور ناسازگار را در لحظه شاعرانه برای ما فراهم می کند. ما قصد داریم، در مقاله حاضر، به مطالعه پیشرفت و ویژگی های بوطیقای باشلار بپردازیم تا عالم شعر را بهتر بشناسیم ؛ و برای نشان دادن این عالم، ابیاتی را انتخاب می کنیم برگرفته از نیروهای جاودانه، مجموعه ای بزرگ از اشعار انا دو نوای، شاعر رمانتیک شگفت انگیزی که زبانش به راستی ما را مجذوب می کند.

Faced with the harsh realities of the outside world, literature reveals to us unlimited horizons on an interior poetic world of which we can be creators; and this is what attracts us more and more to the poetic imagination. Poetry is indeed the first wonder of silence. It keeps alive, behind images, the vigilant silence. It organizes the poem in the quiet time, in a time that nothing disturbs, nothing precipitates, nothing dominates, in a time susceptible to all immaterialities; in other words, in the time of our emancipation. The real time is very weak compared to the times imagined in the poems. The poem therefore establishes its own dimension and the poetic image allows us to go through the time of development. This special blossoming of the poetic image is the object of study of Gaston Bachelard, the extraordinary French philosopher of the twentieth century. Indeed, this great philosopher deepens the problem of literary language and poetic images, which is why we aimto study the development and characteristics of his theory of the literality of poetic language in this article in order to better understand the poetic world. And to illustrate this world, we choose verses taken from The Eternal Forces of Anna de Noailles, a wonderful romantic poet of late 19th and early 20th centuries as a poet whose poetic universe is one of the most captivating and richest of her time. Indulging in the extraordinary ease of her inspiration, she has simple and sincere poems; indeed, the authenticity of her tone makes her a glorified poet. Since the ancient philosophers and alchemists conceived the universe under the sign of the four elements (fire, water, air, and earth), Bachelard hopes that poetic images would further illuminate past theories by renewing the simplicity of cosmologies. Therefore, he believes that after collecting the poetic images, he can classify them according to the four elements to put everything in order as in simple methods. He thus introduces the notion of the material imagination – which we deal with in the first part of our study – by giving material images taken from The Eternal Forces. However, he later realizes that scientific precaution necessitates the refusal of the direct dynamics of the poetic image and that only the study of the birth of the poetic image in a personal consciousness, that is to say the phenomenology of the imagination, can restore the subjectivity of the image and appreciate its extent, energy and value of transsubjectivity: truths that cannot be definitively specified because of the variational essence of the poetic image. He therefore turns to the phenomenology of the imagination and seeks to shed light on the awareness of a person fascinated by poetic images according to phenomenological rules. This new attitude he takes towards poetic images forms the rest of our article where we look first at the poetic time and space and then at the poetic reverie in its essence. By systematically making us turn in on ourselves, faced with an image offered by a poet, the phenomenological method leads us to communicate with the imagining soul of the poet. In moments of deep discovery, a poetic image can become the origin of a dream world vis-a-vis a poet's reverie. The feeling of enchantment when facing this universe, as conceived by the poet, presents itself in total simplicity. Phenomenology considers the poetic image in its novelty, as an effective domain of speech, proposing a future for language. A simple image reveals its poetic gain through the fruitfulness of its varieties. As soon as it changes a single character, it reveals an initial sincerity. A profusion of vitality and words comes alive in the poetic image and creates a fervent language, a great center of rebellious words where being exalts itself in a burning desire to surpass itself, as manifested in the poetry of Anna of Noailles. Through the prosperity of its images, poetic language gives us the freedom to live new lives and to simultaneously experience even the most incompatible facts in the poetic moment. It thus establishes a kingdom of language that is particularly powerful as it renounces any instruction and any explanation; Poetics must then, according to Bachelard, take care of the establishment of this autonomous kingdom. This is what we finally reflect on in order to recognize the true interest of Bachelardian poetics by seeking its illustrations in The Eternal Forces of Anna de Noailles whose reveries truly resonate in us. Literature creates a charming universe where we can discover an endless source of pleasures and benefits. The originality of literary images reveals an imaginary life around them. Speech is always a little beyond our thought, a little more tumultuous than our feeling, especially when it concerns the moving words of an exalted poet such as Anna de Noailles. It is, therefore, the wonderful outcome of the boldness of man, the exciting exuberance of energy which increases the power. Without imaginary exuberance, existence cannot progress. We are, therefore, the immense dynamism of our transmutation and thus our own future until death. In our reveries, our words join us to our destiny. This way, far from being prisoners of our past, enslaved to our regrets and anxieties, we have the freedom to be reborn at any moment; and this blesses us with feelings of calm and happiness. We cannot approach poetry by any other way than itself, than poetic reverie, through a method freed from its complexities. This is why we have chosen verses from The Eternal Forces of Anna de Noailles to open a window on the poetic philosophy of Gaston Bachelard. A poem is at the same time manifest and very close to manifesting itself, so it is constantly reborn, dark and clear. Likewise, the Bachelardian interpretation is original: it does not explain words; rather, it provokes new words. Instead of clearing up a meaning, it would add more meaning, more mystery to it. As forthe poetic method, it develops through a creation. We can therefore read and re-read it like a long poem in the spurts of a thousand pieces brought together and, in all directions, suspending the development of the discourse at each moment and superimposing on it the multiplicity of instantaneous visions. We thus participate in this poetic creation since art is created through the collaborative efforts of the creator-consumer. The difficulty of any great work, especially a poetic work, is precisely due to the fact that it perpetually refers to itself and beyond itself. And Bachelard proposes, the idea he wants to master appears instantly; it is an idea fascinated by an instant fact. The consciousness of which he makes the space of admiration is therefore that of the limit. As a philosopher, of course, he claims that the era of large systems is over because the relationships that thought establishes with itself are momentary rather than lasting. Therefore, his work, which concerns the philosophy of being, aims to be an itinerary accessible to an active quest rather than knowledge, a means of questioning more than an explanation. Indeed, our poet and our philosopher invite us both, by the transsubjective value of their writings, to continue and renew their reveries and to take our due part in their poetic creations. Thus, by deepening their works, we refine our way of directing our meditative life and strengthen our capacity to live.

Une Fenêtre sur la Poétique de Gaston Bachelard à travers des Vers Extraits des Forces Éternelles d'Anna de Noailles* Banafsheh SAHIH**/Mahdi AFKHAMI NIA***/Allahshokr ASSADOLLAHI**** Résumé— Gaston Bachelard est un grand philosophe qui introduit la notion d'imagination matérielle et essaye d'abord de classer les rêveries poétiques d'après les quatre éléments : le feu, l'eau, l'air et la terre. Mais il constate ensuite que seule l'étude de la naissance de l'image poétique dans une conscience personnelle, c'est-à-dire la phénoménologie de l'imagination, peut rétablir la subjectivité de l'image et en apprécier l'étendue, l'énergie et la valeur de la transsubjectivité : des vérités qui ne peuvent être précisées définitivement à cause de l'essence variationnelle de l'image poétique. Toutefois il s'aperçoit plus tard que la précaution scientifique est un refus de la dynamique directe de l'image poétique, ce qui est aussi soutenu par Julien Lamy : « Apprendre de la science et s'engager dans une étude objective des phénomènes, c'est refuser les séductions des images immédiates et les valorisations affectives » (https://hal. Comme les rêveries du feu, Bachelard étudie aussi les images substantielles de l'imagination matérielle de l'eau, substance plus féminine, plus homogène et plus persistante que le feu, substance qui est en accord avec des puissances humaines plus profondes et plus simples. Par exemple, dans l'eau calme des lacs, où un mouvement brouille les images et une pause les reconstitue, le monde miré est la conquête de la paix ainsi que le constate également le poète qui dit : « Le soir a le calme des lacs » (De Noailles, 1920, p.