چکیده:
Cet article s’est fixé pour but d’examiner le temps sous ses formes imaginaires dans Capitale de la douleur de Paul Éluard ; ce dernier privilégie le concept en lui donnant un rôle primordial et une signification réelle. Les poèmes d’Éluard sont marqués par l’abondance d’images artistiques, de figures de discours et de descriptions de la nature. Passionné par les sujets qui concernent l'Homme, Paul Éluard utilise un langage qui se laisse dominer par l'image et la métaphore; une pratique qui a donné une dimension réelle au concept abstrait du temps. L'abondance de métaphore qui caractérise le style de Paul Éluard témoigne de l'importance du temps dans son imagination. Une étude menée sur quelques parties de l'imagination du poète surréaliste nous permet d’arriver à la conclusion qui suggère deux concepts du temps différents l’un de l’autre apparu dans les ouvrages du poète. Certaines images manifestent une peur universelle du temps qui passe pour permettre au poète d’évoquer l'Homme dans un espace où la notion de temps n’existe pas. Ces images font du temps un élément vivant et dynamique dans l'esprit du poète et cet article tente de répondre à cette question: laquelle des images artistiques illustre la crainte du temps chez Paul Éluard.
در این رساله صور خیالی زمان در اثر "پایتخت درد" پل الوار مورد بررسی قرار میگیرند. در اثار الوار، زمان دارای اهمیت بسیاری
است. در اشعار تصاویر هنری، صنایع ادبی و توصیف طبیعت بسیاردیده میشود. این نویسنده به انسان میپردازد. ویژگی اصلی زبان پل الوار
تصویری و استعاری بودن ان است. این ویژگی باعث می شود تا مفهوم انتزاعی زمان به موضوعی عینی و ملموس مبدل شود. فراوانی فرایند
استعاری در زبان پل الوار نشان دهنده این است که زمان نقش مهمی را در تخیل این شاعر بزرگ بازی می کند. با مطالعه بخشی از اثار این
شاعر سورريالیست به این نتیجه رسیده ایم که دو مفهوم متفاوت از زمان در اثار او دیده می شود : برخی از تصاویر بیانگر ترسی جهانی است
در مقابل گذر زمان و در مقابل این شاعر تصاویری را خلق می کند که انسان را خارج از جریان زمان به تصویر می کشد. این گونه تصاویر
زمان را به عنصری پویا در تخیل الوار تبدیل می سازد. بنابراین زمان نقشی تعیین کننده در تخیل الوار دارد. برای بررسی دنیای تخیلی الوراز
روش ژیلبر دوران در حوزه نقد تخیلی استفاده شده است .
Imagination, the source of creation which has seen centuries of neglect by philosophers,
has now turned into a means of understanding: imagination enables human to attain unknown levels of reality.
Today we cannot turn our back on imagination, known by some as the most important element of art, literature,
criticizing and evaluating works of art.
Thus, imagination criticism’s roots can be traced in history, especially in romanticism which aims at studying
and reading imagination in works of art. Such criticism started intensively and systematically by Gaston
Bachelard's views, and was continued by other critics.
In order to study "time" in Eluard’s imagination, I have employed Gilbert Durand’s methodology, introduced
in “Structures of Imaginary Anthropology: Introduction to General Archetypology” as my research method and
all Gilbert Durand’s works constitute an extensive study, covering numerous research fields, from anthropology
of imagination to mythological analysis.
Gilbert Durand’s works are an attempt to explore human imagination among fields of science with a
multidisciplinary approach including history of religion, psychology, and anthropology.
In his view, imagination reflects human’s response to the passage of time. In “Structures of Imaginary
Anthropology”, Durand studies myths, symbols, and archetypes, trying to offer an accurate classification of the
most important symbols of imagination.
Gilbert Durand’s methodology is based on illustrating the symbolic features of images. He believed that what
determines human representation of world were these products of imagination. In Gilbert Durand’s methodology,
an artistic image has an intrinsic meaning, i.e. image, just like symbol, has a primary meaning, and lacks the
voluntary quality of sign.
Diurnal order consists of two sets of symbols. These symbols are forms of time (Les visages du temps) which
appear in this order as opposites (day/night, darkness/light, up/down, sky/earth). The first group includes symbols
illustrating death, fear being the main feature of this group: fear of animals and wildness, dread of night and fear
of falling. The second group is a set of symbols illustrating light, ascension, and bladed weapons, such as sword
of justice.
The images and symbols of the first group are merely characterized by an encouragement to dispel human’s
fear, that of death and passage of time. In fact, illustrating death and passage of time is an attempt to cure this
fear. Symbolic representation of a dreadful subject drives the imagination to achieve a solution to dominate it. In
the second group of diurnal order, thus, we encounter totally opposite images of the first group. In fact
“imagination pulls time down to earth [akin to an enemy], where it can defeat easily.” (Durand, 135)
From this methodology, the section of symbolic images with negative valuation is used, and in order to study the concept of time in Eluard’s Capital of Pain.
The theriomorphic symbols are the first group of diurnal order images consists of symbols depicting negative qualities in animals: wildness, savagery, violence, and attacking. This savagery, which signifies death, appears in different cultures in the form of animals or beasts images. These imaginary images express two features of time:
The passage and elapse of time, destruction of everything through time and the image of an imaginary animal have two features: 1. Animal is something which moves, escapes and cannot be captured, 2. On the other hand, animal is also something which rips to pieces and devours, thus kills. (Abbasi, 84)
A recurring subject in Capital of Pain, time is accompanied by a mental perception following inner change of mood and, to a great extent, dependent on closeness or farness, presence or absence, the beloved around whom the visible world and the internal world of emotions develops. This clarifies why time consecutively alternates between good and evil. This duality is realized in a slope between the moment and transformation, and turns into something which jeopardizes an imaginary period of time as the consistency of ever-new moments.
In nyctomoph symbols, widespread especially among children also among adults, the fear of darkness is an attitude that comes from a natural reflex and shows the vulnerability of human beings in the dark. Impeding sight, darkness challenges man's ability to protect himself against the dangers concealed by darkness. It is therefore by their evil substance that darkness and blackness leave terrifying marks in the imagination of human beings.
In folklore, the night is often linked to human experiences affected by unease, suspicion and even death. The night is the time when beasts, insects or other terrifying beings storm the frightened souls. For Gilbert Durand the night is the first element that symbolizes time.
Another group evoking the fear of time is made up of images of darkness, frightening nights and black water. From the “black images” come the images of “black water” Indeed black water is also part of the “nyctomorph images”. Apart from the joyous aspect of water, there is another aspect which is that of dark, disturbing and heavy water.
The catamorphic images represents the downward collapse of the third group of the negative valued diurnal regime. The catamorphic symbols contain the images of falling, dizziness, crushing and gravity. These images are related to those of the nyctomorph symbols. For example, both end in the grave, one with the images of darkness and the other with the image of the fall. This is an image illustrating a man driven out of paradise, reminding Man of the instability of life. The “fall” generates psychological impacts that remain forever in our unconsciousness. Being innate, the fear of falling is part of a larger spectrum, as it is always fear that forms the dynamic element of the fearfulness of darkness.
Darkness and falling also falling in the dark create simple dramas for the subconscious imagination. (Bachelard, 107).
Gilbert Durand believes that “the fall is the true essence of any dark force, hence Bachelard's right to see it as a primitive and obvious metaphor, (Durand, 122). This metaphor draws on symbols of darkness and suffering: summarizing the horrifying dimensions of time and giving us a glimpse of dreadful times, (Bachelard, 353). Images of blood also belong to catamorphic symbols. In this section, we will be interested in examining images evoking the fall. Being the subject of the disaffection of philosophers over the centuries, the imagination, this source of creation, became from the middle of the 20th century, especially from Jean-Paul Sartre, a means of knowing and discovering: the imagination allows man to reach unknown levels of reality. Being considered as the essential element of art and literature, the imagination can no longer be ignored in the criticism of any artistic work. Thus, imaginative criticism, whose bases are found in history and in particular in romanticism, must study and detect the imagination which is the basis of any work of art. This way of criticizing made its appearance in a framed and systematic way in the points of view of Gaston Bachelard and was pursued by other analysts such as Gilbert Durand.
According to him, the imagination reflects the reaction of Man to the passage of time. He noted the singular distressing presence of time in all civilizations, whether western or eastern. The relationship between Man and time is a rather complicated relationship. For humans, time is a source of anxiety because it is synonymous with death. It never ceases to flow, and always leads Man towards death. Time will then have a powerful impact on
the imagination of each man. It is for this reason that in the great mythologies the hero fights against Chronos, namely the devouring time which announces the coming of death. This imagery of devouring time is also found in Eluard’s poem.
This study represents a world of images that revolve around an axis: “The fear of time”. We have seen the theriomorphic face of time. In the mind of our poet, certain elements of nature such as the image of the sun and the sky are animalized. In the second part, we made an analysis of the images of the nyctomorph symbols which evoke an atmosphere of darkness. And at the end of our study, the catamorphic symbols manifest themselves through the images of the fall. The visual metaphor and the image are the main characteristic of the language of Paul Eluard. This characteristic makes the abstract concept of time a concrete and tangible subject. The abundance of metaphorical processes in the language of Paul Eluard suggests that time plays an essential role in the imagination of this great poet. The study carried out on part of the poet's imagination revealed two different conceptions of time in his imagination: the fear of time and the mastery of time. Some images express a universal fear of the passage of time, in the face of which the poet creates images that evoke Man while ignoring the notion of time. This is how, in Eluard's imaginary, images make time a dynamic element.
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