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IN BONNEFOYS
DU MOUVEMENT ET DE LIMMOBILIT DE DOUVE
DIMITRIOS KARGIOTIS
Abstract
This paper argues that the significance of death, a recurrent theme in Yves Bonnefoys
work, stems from the fact that it cannot be considered outside its relation to representa-
tion. Analyzing the different modalities and functions of death in Douve, this paper
suggests that the passage from excarnation to incarnation, arguably the most important
objective of Bonnefoys poetic work, must be seen in relation to the passage from
thematics to rhetoric, from the referential to the metalinguistic level. Considered against
the philosophical opposition between the intelligible and the sensible, Douve is approached
in the light of the transference it attempts to effect: from images of death to the death
of the image and the singularity of naming.
This life/death play is constructed on two planes; first, the very way of
questioning (vraiment, ou joues-tu) shows that the poetic subject
is ignorant of the truth, or might be suspicious: are you dead or alive?
At the same time the poetic device of semantic inversions is func-
tioning: complementary to the question es-tu vraiment morte we
would expect dissimuler le sang and not simuler, since if Douve were
dead, she would not have any blood; the same way, in the second stanza,
we do not expect her to perdre son reflet dans lobscurcissement, but
rather to find it. These inversions undermine the conventional semantic
fields of life and death and lead to their new understanding.
b. Death also appears in relation to the poetic subject, as a situ-ation
that the poetic subject discovers, reveals or simply sees. For instance:
Or the following:
58 Dimitrios Kargiotis
here the play on vision is double: the guetteuse who sees and the
poetic subject who sees her (je te decouvre).
Images of death are operative on both rhetorical and semantic levels.
Let us consider, for instance, the powerful description in Vrai Corps:
desire for its representation (Kant 114115). The Maenad is, accordingly,
always introduced with the sublime . And it seems that for Bonnefoy
there is only one way that the unrepresentable can be represented:
Art potique
Visage spar de ses branches premires
Beaut toute dalarme par ciel bas,
The castle is thus protected by the moat; the moat guarantees its safety
through the perdition of the trespassers. In this aspect, the linguistic
sign douve is itself an image of death. But what is this castle that
the moat surrounds to protect?
In Genesis, chapter 2, we read: then the Lord formed man out of the
dust of the ground and breathed into his nostrils the breath of life, and
man became a living being. In a similar operation, it is now Douve who,
through a poetic breath, has acquired life. Once a living being, to question
who is Douve is irrelevant. Douve is Douve, in a similar way that
God is God: I am the being (or I am the one who is) God replies
when asked who he is. To a question of knowledge (intelligible) God
answers with a verb of presence (sensible), in an apparently tautolog-
ical sentence. In a similar way, then, [. . .] Douve is absolutely nothing
beyond the long and taunting place called Douve (Argyros 263):
[. . .] je tenserre
Dans lacte de connatre et de nommer. (77)
What thus realizes a passage to incarnation is the name. Its unique ref-
erentiality captures the real, and is explicitly contrasted to the universal
referentiality of the noun which creates distance from it. Since it is by
nature an intelligible form, the common noun can be approached in terms
of language; it can answer the question what is it. But any attempt
to explicate a name in intelligible terms is not simply doomed to fail;
68 Dimitrios Kargiotis
Notes
Works cited
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Bonnefoys Du mouvement et de limmobilit de Douve 69