De Man Anthropolohy and Trope

8/10/2019 De Man Anthropolohy and Trope

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Paul de Man: ANTHROPOMORPHISM AND TROPE IN LYRIC THE GESTURE that links epistemol-o! "ith #heto#i$ in ene#al% an& not onl! "ith the mimeti$

t#opes o' #ep#esentation% #e$(#s in man! philosophi$al an& po-eti$ te)ts o' the nineteenth $ent(#!% '#om *eats+s ,ea(t! ist#(th% t#(th .ea(t!, to Niet/s$he+s pe#haps .ette# kno"n than(n&e#stoo& &e'inition o' t#(th as t#opoloi$al &ispla$ement0,1as ist also 1ah#heit2 Ein .e"eli$hes Hee# 3on Meta-phe#n% Meton!mien% Anth#opomo#phismen 4 4 4, 567 E3en "henth(s t#anslate& .e'o#e it has .een allo"e& to #(n one thi#& o' its $o(#se% Niet/s$he+s senten$e $onsi&e#a.l! $ompli$ates theassimilation o' t#(th to t#ope that it p#o$laims4 Late# in the es-sa!% the homolo! .et"een $on$ept an& 'i(#e as s!mmet#i$alst#($t(#es an& a.e##ant #ep#essions o' &i''e#en$es is &#ama-

ti/e& in the spe$(la# &estinies o' the a#tist an& the s$ientist-philosophe#4 Like the Thi#& C#iti8(e% this late *antian te)t&emonst#ates% al.eit in the mo&e o' pa#o&!% the $ontin(it! o' aestheti$ "ith #ational 9(&ment that is the main tenet an& thema9o# $#() o' all $#iti$al philosophies an& ,Romanti$, lite#a-t(#es4 The $onsi&e#a.le &i''e#en$e in tone .et"een Niet/s$hean& *ant $annot $on$eal the $on#(it! o' the t"o p#o9e$ts% thei#$ommon stake in the #e$o3e#! o' $ont#olle& &is$o(#se on the'a# si&e o' e3en the sha#pest &enials o' int(iti3e sense-$e#tainties4 1hat inte#ests (s p#ima#il! in the poeti$ an& phil-osophi$al 3e#sions o' this t#ansa$tion% in this i3e-an&-take .e-

t"een #eason an& imaination% is not% at this point% the $#iti$als$hemes that &en! $e#taint! $onsi&e#e& in themsel3es% .(t thei#&is#(ption .! patte#ns that $annot .e #eassimilate& to theses$hemes% .(t that a#e ne3e#theless% i' not p#o&($e&% then atleast .#o(ht into 'o$(s .! the &isto#tions the &is#(ption in-'li$ts (pon them4 Th(s% in the Niet/s$he senten$e% the #e$o3e#! o' kno"l-e&e .! "a!s o' its &e3alo#i/ation in the &e3ian$e o' the t#opesis $hallene&% e3en at this moment o' t#i(mph 'o# a $#iti$al#eason "hi$h &a#es to ask an& to #epl! to the 8(estion0 "hatis t#(th2 :i#st o' all% the listin o' pa#ti$(la# t#opes is o&&% all

the mo#e so sin$e it is te$hni$all! mo#e p#e$ise than is o'tenthe $ase in s($h a#(ments0 onl! (n&e# the pen o' a $lassi$alphiloloist s($h as Niet/s$he is one likel! to 'in& $om.ine&%in 6;<=% "hat G>#a#& Genette has sin$e "ittil! #e'e##e& to asthe t"o ,$hiens &e 'aien$e, o' $ontempo#a#! #heto#i$ ? meta-pho# an& meton!m!4 (t the thi#& te#m in the en(me#ation%anth#opomo#phism% is no lone# a philoloi$al an& ne(t#al te#m%neithe# &oes it $omplement the t"o 'o#me# ones0 anth#opo-



mo#phisms $an $ontain a metapho#i$al as "ell as a meton!mi$moment-as in an O3i&ian metamo#phosis in "hi$h one $ansta#t o(t '#om the $onti(it! o' the 'lo"e#+s name to that o' the m!tholoi$al 'i(#e in the sto#!% o# '#om the #esem.lan$e.et"een a nat(#al s$ene an& a state o' so(l4

The te#m ,anth#opomo#phism, the#e'o#e a&&s little to thet"o p#e3io(s ones in the en(me#ation% no# &oes it $onstit(tea s!nthesis .et"een them% sin$e neithe# metapho# no# meto-n!m! ha3e to .e ne$essa#il! anth#opomo#phi$4 Pe#hapsNiet/s$he% in the @oltai#ean $onte philosophi8(e On Truth andLie is 9(st .ein $as(al in his te#minolo! ? .(t then% oppo#-t(nities to en$o(nte# te$hni$al t#opoloi$al te#ms a#e so spa#sein lite#a#! an& philosophi$al "#itins that one $an .e e)$(se&'o# makin the most o' it "hen the! o$$(#4 The &e'inition o' t#(th as a $olle$tion 5,a#m!, .ein% asi&e '#om othe# $onno-tations% at an! #ate a $olle$ti3e te#m7 o' t#opes is a p(#el!

st#($t(#al &e'inition% &e3oi& o' an! no#mati3e emphasis it im-plies that t#(th is #elational% that it is an a#ti$(lation o' a s(.- 9e$t 5'o# e)ample ,t#(th,7 an& a p#e&i$ate 5'o# e)ample ,an a#m!o' t#opes,7 allo"in 'o# an ans"e# to a &e'initional 8(estion5s($h as ,"hat is t#(th2,7 that is not p(#el! ta(toloi$al4 Atthis point% to sa! that t#(th is a t#ope is to sa! that t#(th is thepossi.ilit! o' statin a p#oposition to sa! that t#(th is a $olle$-tion o' 3a#ie& t#opes is to sa! that it is the possi.ilit! o' statinse3e#al p#opositions a.o(t a sinle s(.9e$t% o' #elatin se3e#alp#e&i$ates to a s(.9e$t a$$o#&in to p#in$iples o' a#ti$(lationthat a#e not ne$essa#il! i&enti$al0 t#(th is the possi.ilit! o' &e'-

inition .! means o' in'initel! 3a#ie& sets o' p#opositions4 Thisasse#tion is p(#el! &es$#ipti3e o' an (n$hallene& #ammati$alpossi.ilit! an&% as s($h% it has no $#iti$al th#(st% no# &oes 4it$laim to ha3e one0 the#e is nothin inhe#entl! &is#(pti3e in theasse#tion that t#(th is a t#ope4(t ,anth#opomo#phism, is not 9(st a t#ope .(t an i&en-ti'i$ation on the le3el o' s(.stan$e4 It takes one entit! 'o# an-othe# an& th(s implies the $onstit(tion o' spe$i'i$ entities p#io#to thei# $on'(sion% the takin o' somethin 'o# somethin elsethat $an then .e ass(me& to .e i3en4 Anth#opomo#phism'#ee/es the in'inite $hain o' t#opoloB$al t#ans'o#mations an&

p#opositions into one sinle asse#tion o# essen$e "hi$h% as s($h%e)$l(&es all othe#s4 It is no lone# a p#oposition .(t a p#ope#name% as "hen the metamo#phosis in O3i&+s sto#ies $(lmi-nates an& halts in the sinleness o' a p#ope# name% Na#$iss(so# Daphne o# "hate3e#4 :a# '#om .ein the same% t#opes s($has metapho# 5o# meton!m!7 an& anth#opomo#phisms a#e m(-t(all! e)$l(si3e4 The appa#ent en(me#ation is in 'a$t a 'o#e$lo-



Ho" the t"o mo&es o' po"e# $o(l& e)ist si&e .! si&e $e#-tainl! .a''les the min&% i' not the #amma# o' Niet/s$he+s tale4 The senten$e that asse#ts the $ompli$it! o' epistemolo! an&#heto#i$% o' t#(th an& t#ope% also t(#ns this allian$e into a .at-tle ma&e all the mo#e &(.io(s .! the 'a$t that the a&3e#sa#ies

ma! not e3en ha3e the oppo#t(nit! e3e# to en$o(nte# ea$hothe#4 Less s$hemati$all! $omp#esse&% mo#e ela.o#ate& an&&#amati/e& instan$es o' simila# &is9(n$tions $an .e 'o(n& inthe te)ts o' l!#i$al poets% s($h as% 'o# e)ample% a(&elai#e4

The $anoni$al an& p#o#ammati$ sonnet ,Co##espon&an$es, 5=7$ontains not a sinle senten$e that is not simpl! &e$la#ati3e4Not a sinle neation% inte##oation% o# e)$lamation% not a sin-le 3e#. that is not in the p#esent in&i$ati3e% nothin .(tst#aiht'o#"a#& a''i#mation0 ,la Nat(#e est (n temple 4 4 4 Il est&es pa#'(ms '#ais $omme &es $hai#s &+en'ants4, The least as-

se#ti3e "o#& in the te)t is the inno$(o(s ,pa#'ois, in line =%ha#&l! a &#amati$ tempo#al .#eak4 No# is the#e 5a #a#e $ase inLes Fleurs du mal7 an! p#onominal aitation0 no 9e-t( apos-t#ophes o# &ialo(es% onl! the most o.9e$ti3e &es$#iptions o' thi#& pe#sons4 The onl! pe#sonal p#ono(n to appea# is the im-pe#sonal ,il, o' ,il est 5&es pa#'(ms7 4 , The $hoi$e o' ,Co##espon&an$es, to e)pli$ate the 8(an-&a#ies o' lan(ae as t#(th% as name% an& as po"e# ma! the#e-'o#e appea# pa#a&o)i$al an& 'o#$e&4 The i#onies an& the na#-#ati3e '#ame o' On Truth and Lie make it &i''i$(lt to take theappa#ent oo& $hee# o' its tone at 'a$e 3al(e% .(t the se#enit!

o' ,Co##espon&an$es, #ea$hes &eep eno(h to eliminate an!&ist(#.an$e o' the s!nta$ti$al s(#'a$e4 This se#enit! is p#e3a-lent eno(h to make e3en the 8(estion s(pe#'l(o(s4 Niet/s$hestill has to &#amati/e the s(mmation o' his sto#! in an e!e-$at$hin pa#a#aph that .eins "ith the 8(estion o' 8(estions01as ist also 1ah#heit2 (t a(&elai#e+s te)t is all ass(#an$ean& all ans"e#4 One has to make an e''o#t to pe#$ei3e theopenin line as an ans"e# to an impli$it 8(estion% ,La Nat(#eest (n temple 4 4 4, as the ans"e# to ,(+est-$e 8(e la na-t(#e2, The title is not ,La Nat(#e%, "hi$h "o(l& sinal a nee&'o# &e'inition in ,Co##espon&an$es%, amon man! othe# $on-

notations% one hea#s ,#esponse%, the &ialoi$al e)$hane thattakes pla$e in m(t(al p#o)imit! to a sha#e& entit! $alle& na-t(#e4 The #esponse to the sonnet% amon its n(me#o(s #ea&e#san& $ommentato#s% has .een e8(all! #esponsi3e4 Like the o#-a$le o' Delphi% it has .een ma&e to ans"e# a $onsi&e#a.len(m.e# an& 3a#iet! o' 8(estions p(t to it .! 3a#io(s #ea&e#s4Some o' these 8(estions a#e (#ent 5s($h as0 ho" $an one .einno$ent an& $o##(pt at the same time27% some mo#e $as(all!



histo#i$al 5s($h as0 "hen $an mo&e#n :#en$h l!#i$ poet#!% '#oma(&elai#e to s(##ealism an& .e!on&% .e sai& to .ein274 In all$ases% the poem has ne3e# 'aile& to ans"e# to the satis'a$tiono' its 8(estione#4 The se#enit! o' the &i$tion $ele.#ates the po"e#s o' t#opes

o# ,s!m.oles, that $an #e&($e an! $on$ei3a.le &i''e#en$e to aset o' pola#ities an& $om.ine them in an en&less pla! o' s(.-stit(tion an& amalamation% e)ten&in '#om the le3el o' si-ni'i$ation to that o' the sini'ie#4 He#e% as in Niet/s$he+ste)t% the telos o' the s(.ti(tions is the (ni'ie& s!stem,esp#itFsens, 5l4 I7% the seamless a#ti$(lation% .! "a!s o' lan-(ae% o' senso#! an& aestheti$ e)pe#ien$e "ith the intelle$-t(al ass(#an$e o' a''i#mation4 oth e$ho ea$h othe# in the $on-t#olle& $omp#ession o' a .#ie' an& hihl! 'o#mali/e& sonnet"hi$h $an $om.ine the enimati$ &epth o' &o$t#ine-sen&in$ommentato#s ast#a! in sea#$h o' esote#i$ a(tho#it!-"ith the

(tmost .analit! o' a ph#ase s($h as ,3e#ts $omme les p#ai-#ies4,On the themati$ le3el% the s($$ess o' the p#o9e$t $an .emeas(#e& .! the (n8(estione& a$$eptan$e o' a pa#a&o) s($has ,@aste $omme la n(it et $omme la $la#t>%, in "hi$h a $on- 9(n$ti3e et $an &a#e to s(.stit(te 'o# "hat sho(l& .e the o( o' an eithe#Fo# st#($t(#e4 :o# the 3astness o' the niht is one o' $on'(sion in "hi$h &istin$tions &isappea#% Heel+s niht in"hi$h AA .e$a(se no s($h thin as A $an .e &is$e#ne&% an&in "hi$h in'init! is homoeneit!4 1he#eas the 3astness o' lihtis like the $apa$it! o' the min& to make en&less anal!ti$al &is-

tin$tions% o# the po"e# o' $al$(l(s to inte#ate .! "a!s o' in-'initesimal &i''e#entiation4 The 9()taposition o' these in$om-pati.le meanins is $on&ense& in the semanti$ am.i(it! o' ,se $on'on&ent%, "hi$h $an &esinate the .a& in'init! o' $on-'(sion as "ell as the '(sion o' opposites into s!ntheti$ 9(&-ments4 That ,e$hoes%, "hi$h a#e o#iinall! the &is9(n$tion o' a sinle senso#! (nit o# "o#& .! the alien o.sta$le o' a #e'le$-tion% themsel3es #e-'(se into a sinle so(n& 5,Comme &e lons>$hos 8(i &e loin se $on'on&ent,7 aain a$ts o(t the &iale$ti$o' i&entit! an& &i''e#en$e% o' senso#! &i''(seness an& intelle$-t(al p#e$ision4

The p#o$ess is sel'-$ons$io(sl! 3e#.al o# me&iate& .! lan-(ae% as is $lea# '#om the $o(ple ,se $on'on&ent F se #>pon-&ent%, "hi$h &#amati/es e3ents o' &is$o(#se an& in "hi$h% as"as al#ea&! pointe& o(t% ,se #>pon&ent, sho(l& .e #ea& as ,se$o##espon&ent, #athe# than as a patte#n o' 8(estion an& an-s"e#4 As in ,$on'(ses pa#oles, an& ,s!m.oles, in the open-in lines% the st#ess on lan(ae as the stae o' &is9(n$tion is(nmistaka.le4 Lan(ae $an .e the $hain o' metapho#s in a



s!nethesia% as "ell as the o)!mo#oni$ pol!sem! o' a sinle"o#&% s($h as ,se $on'on&ent, 5o# ,t#anspo#ts, in l4 67 o# e3en%on the le3el o' the sini'ie#% the pla! o' the s!lla.le o# the let-te#4 :o# the title% ,Co##espon&an$es%, is like the ana#ammati$$on&ensation o' the te)t+s enti#e p#o#am0 ,$o#ps, an& ,es-

p#it, .#o(ht toethe# an& ha#moni/e& .! the an$e o' asso-nan$e that pe#3a&es the $on$l(&in te#$ets0 '#om a!ant% am.#e%$hantent to e)pansion% sens% t#anspo#t% 'inall! #e&o(.le& an& #e-e$hoe& in en$-enslsens4 The asse#tion% o# #ep#esentation% o' 3e#.alit! in ,se #>-pon&ent, 5o# in ,Laissent pa)'ois so#ti# &e $on'(ses pa#oles,7also $oin$i&es% as in Niet/s$he+s te)t% "ith the passae '#omt#opes-he#e the s(.stit(tion o' one sense e)pe#ien$e .! an-othe#-to anth#opomo#phisms4 O# so% at least% it seems to ape#haps o3e#hast! #ea&in that "o(l& at on$e oppose ,na-t(#e, to ,homme, as in a pola#it! o' a#t 5,temple,7 an& na-

t(#e% an& en&o" nat(#al 'o#ests an& t#ees "ith e!es 5,#e-a#&s,7 an& 3oi$es4 The t#a&ition o' inte#p#etation 'o# this poem %"hi$h st#esses the impo#tan$e o' Chatea(.#ian& an& o' G>#-a#& &e Ne#3al as so(#$es% almost (nanimo(sl! mo3es in that&i#e$tion4 The openin lines allo" .(t $e#tainl! &o not impose s($ha #ea&in4 ,La Nat(#e est (n temple, is enimati$ eno(h to$onstit(te the .(#&en o' an! attempt at (n&e#stan&in an&$annot simpl! .e #e&($e& to a patte#n o' .ina#! s(.stit(tion%.(t "hat 'ollo"s is ha#&l! less o.s$(#e4 ,@i3ants pilie#s%, as"e 'i#st meet it% $e#tainl! s(ests the e#e$t shape o' h(man

.o&ies nat(#all! eno(h en&o"e& "ith spee$h% a s$ene '#omthe paintins o' Pa(l Del3a() #athe# than '#om the poems o' @i$to# H(o4 ,L+homme%, in line % then .e$omes a simpleapposition to ,3i3ants pilie#s4, The notion o' nat(#e as a "oo&an&% $onse8(entl!% o' ,pilie#s, as anth#opomo#phi$ $ol(mnsan& t#ees% is s(este& onl! .! ,&es 'o#Jts &e s!m.oles, in"hi$h% espe$iall! in $om.ination "ith ,s!m.oles%, a nat(#alan& &es$#ipti3e #ea&in o' ,'o#et, is .! no mean%s $ompellin4No# is nat(#e% in a(&elai#e% ne$essa#il! a s!l3an "o#l&4 1e$annot .e $e#tain "hethe# "e ha3e e3e# le't the "o#l& o' h(-mans an& "hethe# it is the#e'o#e #ele3ant o# ne$essa#! to speak

o' anth#opomo#phism at all in o#&e# to a$$o(nt 'o# the 'i(#-ation o' the te)t4 ,Des 'o#ets%, a pl(#al o' "hat is al#ea&!% inthe sin(la#% a $olle$ti3e pl(#al 5'o#et7 $an .e #ea& as e8(i3a-lent to ,(ne 'o(le &e s!m.oles%, a 'i(#e o' ampli'i$ation that&esinates a la#e n(m.e#% the $#o"& o' h(manit! in "hi$h itis "ell kno"n that a(&elai#e took a $onstant poeti$% #athe#than h(manita#ian% inte#est4



Pe#haps "e a#e not in the $o(nt#! at all .(t ha3e ne3e#le't the $it!% the ,#(e asso(#&issante, o' the poem entitle& ,A(ne passante%, 'o# e)ample4 ,S!m.oles, in ,&es 'o#ets &e- s!m.oles, $o(l& then &esinate the 3e#.al% the #heto#i$al &i-mension "ithin "hi$h "e $onstantl! &"ell an& "hi$h "e

the#>'o#e meet as passi3el! as "e meet the lan$e o' the othe#in the st#e>t4 That the possi.ilit! o' this #ea&in seems 'a#-'et$he& an&% in m! e)pe#ien$e% ne3e# 'ails to eli$it #esistan$e%o# that the 'o#estFtemple $li$h> sho(l& ha3e 'o#$e& itsel' soemphati$all! (pon the attention o' the $ommentato#s is one o' the $#()es o' ,Co##espon&an$es4,It has .een eno(h o' a $#() 'o# a(&elai#e himsel' to ha3eene#ate& at least one othe# te)t% the poem ,O.session%, to"hi$h "e "ill ha3e to t(#n late#4 :o# the possi.ilit! o' anth#o-pomo#phi$ 5mis7#ea&in is pa#t o' thK te)t an& pa#t o' "hat isat stake in it4 A#ith#opomo#phism seems to .e the ill(siona#!

#es(s$itation o' the nat(#al .#eath o' lan(ae% '#o/en into stone.! the semanti$ po"e# o' the t#ope4 It is a 'i(#al a''i#mationthat $laims to o3e#$ome the &ea&l! neati3e po"e# in3este& inthe 'i(#e4 In a(&elai#e+s% as in Niet/s$he+s te)t% the i$on o' this $ent#al t#ope is that o' the a#$hite$t(#al $onst#($t% temple%.eehi3e% o# $ol(m.a#i(m4 This 3e#.al .(il&in% "hi$h has to $ele.#ate at the sametime '(ne#al an& #e.i#th% is .(ilt .! the in'inite m(ltipli$ationo' n(m.e#s #aisin ea$h othe# to e3e# hihe# a#ithmeti$ po"e#4 The p#ope#t! "hi$h p#i3ilees ,pa#'(ms, as the senso#! an-aloon 'o# the 9oint po"e#s o' min& an& .o&! 5ll4 -67 is its

a.ilit! to #o" '#om the in'initel! small to en&less e)pansion%,$e #ain &+en$ens 8(i #emplit (ne >lise,-a 8(otation '#omLes Fleurs du mal that ma&e it into Litt#>4 The #eliio(s $onno-tation o' ,temple, an& ,en$ens, s(ests% as in the imme&i-atel! ante#io# poem in the 3ol(me% ,El>3ation%, a t#ans$en-&ental $i#$(lation% as as$ent o# &es$ent% .et"een the spi#it an&the senses% a .o#&e#line .et"een t"o &istin$t #ealms that $an.e $#osse&4 Yet this mo3ement is not (nam.i(o(sl! s(staine& .! allthe a#ti$(lations o' the te)t4 Th(s in the line ,L+homme ! passea t#a3e#s &es 'o#ets &e s!m.oles%, ,passe# a t#a3e#s, $an ha3e

t"o 3e#! &i''e#ent spatial meanins4 It $an .e #ea& as ,t#a-3e#se# la 'o#et, one $an $#oss the "oo&s% as Na#$iss(s oesth#o(h the lookin-lass% o# as the a$#o.at% in an3ille+s poemthat e$hoes in Malla#m>+s ,Le Pit#e $hti>%, oes th#o(h the#oo' o' the $i#$(s tent% o# as @e#il% 'o# that matte#% takes Dante.e!on& the "oo&s in "hi$h he lost his "a!4 (t ,passe# at#a3e#s, $an also mean to #emain en$lose& in the "oo&% to"an&e# an& e## a#o(n& in it as the speake# o' ,A (ne pas-



sante, "an&e#s a#o(n& in the $#o33&4 The latte# #ea&in in 'a$ts(its the #ep#esente& s$ene .ette# than the 'o#me#% altho(h itis in$ompati.le "ith the t#ans$en&ental $laims (s(all! ma&e'o# the sonnet4 The t#ans$en&en$e o' s(.stit(ti3e% analoi$alt#opes linke& .! the #e$(##ent ,$omme%, a t#ans$en&en$e "hi$h

o$$(#s in the &e$la#ati3e ass(#an$e o' the 'i#st 8(at#ain% statesthe totali/in po"e# o' metapho# as it mo3es '#om analo! toi&entit!% '#om simile to s!m.ol an& to a hihe# o#&e# o' t#(th4Am.i3alen$es s($h as those note& in ,passe# a t#a3e#s%, as "ellas the theo#eti$al am.i3alen$e o' anth#opomo#phism in #ela-tion to t#opes% $ompli$ate this e)pe$tation pe#haps mo#e 'o#$e-'(ll! than its o(t#iht neation4 The $ompli$ation is 'o#$e'(leno(h to $ontaminate the ke! "o#& that $a##ies o(t the s(.-stit(tions "hi$h $onstit(te the main st#($t(#e o' the te)t0 the"o#& ,$omme4,1hen it is sai& that ,Les pa#'(ms% les $o(le(#s et les sons

se #>pon&ent 4 4 4 $omme &e lons >$hos%, then the p#eposi-tion o' #esem.lan$e% ,$omme%, the most '#e8(entl! $o(nte&"o#& in the $anon o' a(&elai#e+s poet#!% &oes its "o#k p#op-e#l! an& $lea#l!% "itho(t (psettin the .alan$e .et"een &i''e#-en$e an& i&entit! that it is assine& to maintain4 It a$hie3es a'i(#e o' spee$h% 'o# it is not a$t(all! the $ase that an ans"e#is an e$ho no e$ho has e3e# ans"e#e& a 8(estion e)$ept .! a,&el(sion, o' the sini'ie# 57 ? .(t it is $e#tainl! the $ase that ane$ho so(n&s like an ans"e#% an& that this simila#it! is en&-lessl! s(esti3e4 An& the $ata$h#esis ,se #>pon&ent, to &es-inate the asso$iation .et"een the 3a#io(s senses &(l! #aises

the p#o$ess to the &esi#e& hihe# po"e#4 ,Des pa#'(ms 4 4 4 FDo() $omme les ha(t.ois% 3e#ts $omme les p#ai#ies, is al-#ea&! some"hat mo#e $omple)% 'o# altho(h it is possi.le in#e'e#ential an& semanti$ te#ms to think o' o.oes an& o' $e#tains$ents as p#ima#il! ,so't%, it makes less sense to think o' s$entsas #een ,#een s$ents, ha3e less $ompellin $onnotations than,#een tho(hts, o# ,#een sha&es4, the #ela!in ,$omme,t#a3els .! "a!s o' ,ha(t.ois%, soli&l! tie& to ,pa#'(ms, .! "a!so' ,&o(), an& altoethe# $ompati.le "ith ,3e#t%, th#o(h thepasto#al asso$iation o' the #ee&! so(n& still #ein'o#$e& . the,5ha(t7.ois% 3e#ts, that "o(l& .e lost in Enlish o# Ge#man

t#anslation4 The #eenness o' the 'iel&s $an .e (i&e& .a$k '#om$olo# to s$ent "ith an! ,(ns"eet, $onnotation $a#e'(ll! 'il-te#e& o(t4All this is pla!in at metapho# a$$o#&in to the #(les o' the ame4 (t the same is not t#(e o' the 'inal ,$omme, in thepoem0 ,Il est &es pa#'(ms '#ais $o#nme 4 4 4 F Do() $omme4 4 4 F - Et &+a(t#es 4 4 4 F A!ant l+e)pansion &es $hoses in'in-ies F Comme l+am.#e% le m(s$% le .en9oin et l+en$ens4, Ce $omme



n+est pas (n $omme $omme les a(t#es4 It &oes not $#oss '#omone sense e)pe#ien$e to anothe#% as ,'#ais, $#osses '#om s$entto to($h o# ,&o(), '#om s$ent to so(n&% no# &oes it $#oss '#omthe $ommon senso#i(m .a$k to the sinle sense o' hea#in 5asin ,Les pa#'(ms% les $o(le(#s et les sons se #>pon&ent, ,Comme

&e lons >$hos 4 4 4 ,7 o# '#om the senso#! to the intelle$t(al#ealm% as in the &o(.le #eiste# o' ,se $on'on&ent4, In ea$h o' these $ases% the ,$omme, is "hat a3oi&s ta(tolo! .! linkinthe s(.9e$t to a p#e&i$ate that is not the same0 s$ents a#e sai&to .e like o.oes% o# like 'iel&s% o# like e$hoes4 (t he#e ,$omme,#elates to the s(.9e$t ,pa#'(ms, in t"o &i''e#ent "a!s o#% #athe#%it has t"o &istin$t s(.9e$ts4 I' ,$omme, is #elate& to ,l+e)pan-sion &es $hoses in'inies%, "hi$h is #ammati$all! as "ell astonall! possi.le% then it still '(n$tions% like the othe# ,$ommes ,as a $ompa#ati3e simile0 a $ommon p#ope#t! 5,l+e)pansion,7links the 'inite senses to an e)pe#ien$e o' in'init!4 (t ,$omme,

also #elates to ,pa#'(ms,0 ,Il est &es pa#'(ms '#ais 4 4 4 F ? Et&+a(t#es 4 4 4 F Comme 6+am.#e% le m(s$% le .en oin et I+en-$ens, the some"hat enimati$ h!phen $an .e sai& to ma#kthat hesitation 5as "ell as #(le it o(t74 ,Comme, then meansas m($h as ,s($h as% 'o# e)ample, an& en(me#ates s$ents "hi$h$ont#ast "ith ,$hai#s &+en'ants, as inno$en$e $ont#asts "ithe)pe#ien$e o# nat(#e "ith a#ti'i$e4 This "o#kin o(t .! e)em-pli'i$ation is 8(ite &i''e#ent '#om the analoi$al '(n$tion as-sine& to the othe# (ses o' ,$omme4,Consi&e#e& '#om the pe#spe$ti3e o' the ,thesis, o# o' thes!m.olist i&eolo! o' the te)t% s($h a (se o' ,$omme, is a.e#-

#ant4 :o# altho(h the .(#&en o' totali/in e)pansion seems to.e att#i.(te& to these pa#ti$(la# s$ents #athe# than the othe#s%the loi$ o' ,$omme, #est#i$ts the semanti$ 'iel& o' ,pa#'(ms,an& $on'ines it to a ta(tolo!0 ,Il est &es pa#'(ms 4 4 4 F Comme5&es pa#'(ms74, Instea& o' analo!% "e ha3e en(me#ation% an&an en(me#ation "hi$h ne3e# mo3es .e!on& the $on'ines o' aset o' pa#ti$(la#s0 ,'o#et, s!nthesi/es .(t &oes not en(me#atea set o' t#ees .(t ,am.#e%, ,m(s$%, ,.en9oin%, an& ,en-$ens%, "hate3e# &i''e#en$es o# #a&ations one "ishes to esta.-lish .et"een them% a#e #e'#aine& .! ,$omme, e3e# to lea& .e-!on& themsel3es the en(me#ation $o(l& .e $ontin(e& at "ill

"itho(t $easin to .e a #epetition% "itho(t $easin to .e ano.session #athe# than a /netamo#phosis% let alone a #e.i#th4 One"on&e#s i' the e3il $onnotations o' these $o##(pt s$ents &o notstem '#om the s!nta) #athe# than '#om the T(#kish .ath o# .la$kmass atmosphe#e one "o(l& othe#"ise ha3e to $on9(#e (p4 :o#"hat $o(l& .e mo#e pe#3e#se o# $o##(pti3e 'o# a metapho# as-pi#in to t#ans$en&ental totalit! than #emainin st($k in anen(me#ation that ne3e# oes an!"he#e2 I' n(m.e# $an onl!



.e $on8(e#e& .! anothe# n(m.e#% i' i&entit! .e$omes en(-me#ation% then the#e is no $on8(est at all% sin$e the state&p(#pose o' the passae to in'init! "as% like in Pas$al% to #e-sto#e the one% to es$ape the t!#ann! o' n(m.e# .! &int o' in-'i#ite m(ltipli$ation4 En(me#ati3e #epetition &is#(pts the $hain

o' t#opoloi$al s(.stit(tion at the $#($ial moment "hen thepoem p#omises% .! "a! o' these 3e#! s(.stit(tions% to #e$on-$ile the pleas(#es o' the min& "ith those o' the senses an& to(nite aestheti$s "ith epistemolo!4 That the 3e#! "o#& on"hi$h these s(.stit(tions &epen& "o(l& 9(st then lose itss!nta$ti$al an& semanti$ (ni3o$it! is too st#ikin a $oin$i&en$enot to .e% like p(#e $han$e% .e!on& the $ont#ol o' a(tho# an&#ea&e#4It allo"s% at an! #ate% 'o# a so.e#in lite#ali/ation o' the"o#& ,t#anspo#t, in the 'inal line ,(i $hantent les t#anspo#ts&e l+esp#it et &es sens4, ,T#anspo#t, he#e means% o' $o(#se% to

.e $a##ie& a"a! .e!on& tho(ht an& sensation in a $ommont#ans$en&ental #ealm it e3okes loss o' $ont#ol an& e$stati$ (n-#eason4 (t all attenti3e #ea&e#s o' a(&elai#e ha3e al"a!s 'eltthat this $laim at sel'-loss is not easil! $ompati.le "ith a $ol&e#%anal!ti$ sel'-$ons$io(sness that mo3es in a 3e#! &i''e#ent &i-#e$tion4 In the "o#&s o' o(# te)t% ,les t#anspo#ts &e 6+esp#it,an& ,Les t#anspo#ts &es sens, a#e not at all the same ,t#ans-po#ts4, 1e ha3e lea#ne& to #e$oni/e% o' late% in ,t#anspo#ts,the spatial &ispla$ement implie& .! the 3e#.al en&in o' meta-pho#ein4 One is #emin&e& that% in the :#en$h-speakin $ities o' o(# $ent(#!% ,$o##espon&an$e, meant% on the t#olle!-$a#s% the

e8(i3alen$e o' "hat is $alle& in Enlish a ,t#ans'e#, ? the p#i3-ilee% a(tomati$all! #ante& on the Pa#is M>t#o% o' $onne$tin'#om one line to anothe# "itho(t ha3in to .(! a ne" ti$ket4 The p#osai$ t#ansposition o' e$stas! to the e$onomi$ $o&eso' p(.li$ t#anspo#tation is enti#el! in the spi#it o' a(&elai#ean& not .! itsel' &is#(pti3e "ith #ea#& to the $laim 'o# t#an-s$en&ental (nit!4 :o# the t#ans'e# in&ee& me#es t"o &i''e#ent&ispla$ements into one sinle s!stem o' motion an& $i#$(la-tion% "ith $o##espon&in e$onomi$ an& metaph!si$al p#o'its4 The p#o.lem is not so m($h $ente#e& on phorein as on meta5trans 4 4 4 7% 'o# &oes ,.e!on&, he#e mean a mo3ement .e-

!on& some pa#ti$(la# pla$e o# &oes it mean a state that is .e-!on& mo3ement enti#el!2 An& ho" $an ,.e!on&%, "hi$h positsan& names mo3ement% e3e# take (s a"a! '#om "hat it posits2 The 8(estion ha(nts the te)t in all its am.i(ities% .e it ,pas-se# t#a3e#s, o# the &is$#epan$! .et"een the ,$omme, o' homoeneit! an& the ,$omme, o' en(me#ation4 The appa#ent#est an& t#an8(ilit! o' ,Co##espon&an$es, "ithin the $o#p(so' Les Fleurs du mal lies in&ee& .e!on& tension an& .e!on&



motion4 I' Nat(#e is t#(l! a temple% it is not a means o' t#ans-po#tation o# a #ail#oa& station% @i$to#ian a#$hite$ts "ho lo3e&to .(il& #ail#oa& stations in the shape o' $athe&#als not"ith-stan&in4 Nat(#e in this poem is not a #oa& to"a#& a temple%a se8(en$e o' motions that take (s the#e4 Its t#a3els% "hate3e#

the! a#e% lie 'a# .ehin& (s the#e is no st#i3in he#e% no 8(est-in 'o# an a.sen$e o# a p#esen$e4 An& i' man 5l+homme7 is athome amon ,#ea#&s 'amilie#s, "ithin that Nat(#e% then hislan(ae o' t#opes an& analoies is o' little (se to them4 In this#ealm% t#ans'e# ti$kets a#e o' no a3ail4 1ithin the $on'ines o' as!stem o' t#anspo#tation ? o# o' lan(ae as a s!stem o' $om-m(ni$ation ? one $an t#ans'e# '#om one 3ehi$le to anothe#% .(tone $annot t#ans'e# '#om .ein like a 3ehi$le to .ein like atemple% o# a #o(n&4 The epistemoloi$al% aestheti$% an& poeti$ lan(ae o' t#anspo#ts o# o' t#opes% "hi$h is the theme tho(h not sinl!

the #heto#i$ o' this poem% $an ne3e# sa! no#% 'o# that matte#%sin o# (n&e#stan& the openin statement0 ,la Nat(#e est (ntemple4, (t the poem o''e#s no e)pli$it alte#nati3e to this lan-(ae "hi$h% like the pe#'(mes en(me#ate& .! ,$omme%, #e-mains $on&emne& to the #epetition o' its s(pe#'l(it!4 :e"poems in Les Fleurs du mal state this in a manne# that is .othso o.3io(s !et% .! ne$essit!% so o.li8(e4 The poem most #e-mote '#om statin it is also the one $losest to ,Co##espon-&an$es%, its ,e$ho as it "e#e% "ith "hi$h it is in&ee& 3e#!eas! to $on'(se it4 Little $la#it! $an .e aine& '#om,Co##espon&an$es, e)$ept 'o# the kno"le&e that &isa3o"s its

&eepe# a''init! "ith ,O.session4,

1#itten p#es(ma.l! in :e.#(a#! I;o% at least 'i3e !ea#s a'te#,Co##espon&an$es, 5o' "hi$h the &ate is (n$e#tain .(t ante-#io# to I;7% ,O.session, 5O4C4% 60<7 all(&es to man! poemsin Les Fleurs du mal% s($h as ,l+Homme et la me#, 56;=7 an&,De p#o'(n&is $lama3i, 56;674 (t it mo#e than all(&es to,Co##espon&an$es, it $an .e $alle& a #ea&in o' the ea#lie# te)t"ith all the $ompli$ations that a#e inhe#ent in this te#m4 The#elationship .et"een the t"o poems $an in&ee& .e seen as the$onst#($tion an& the (n&oin o' the mi##o#like% spe$(la# st#($-

t(#e that is al"a!s in3ol3e& in a #ea&in4 On .oth the the-mati$ an& the #heto#i$al le3el% the #e3e#te& s!mmet#ies .e-t"een the t"o te)ts esta.lish thei# $o##espon&en$e alon apositi3e F neati3e a)is4 He#e aain% o(# p#o.lem is $ente#e&on the possi.ilit! o' #eins$#i.in into the s!stem elements% ineithe# te)t% that &o not .elon to this patte#n4 The same 8(es-tion $an .e aske& in histo#i$al o# in ene#i$ te#ms .(t% in so



&oin% the sini'i$an$e o' this te#minolo! #isks .ein (nset-tle&4One $an% 'o# instan$e% state the o.3io(s &i''e#en$e in themean& in &i$tion .et"een the t"o poems in te#ms &e#i3e& '#omthe $anoni$al histo#! o' :#en$h nineteenth-$ent(#! l!#i$ po-

et#!4 1ith its po#tal o' G#eek $ol(mns% its $a#e'(ll! .alan$e&s!mmet#ies% an& its &e$o#o(s a.sen$e o' an! &ispla!e& emo-tion% ,Co##espon&an$es, has all the $ha#a$te#isti$s o' a Pa#-nassian poem% $lose# to He#e&ia than to H(o4 The ,#oman-ti$, e)altation o' ,O.session, +s apost#ophes an& e)$lamations%on the othe# han&% is sel'-e3i&ent4 I' nat(#e is a ,t#anspo#t, in,O.session%, it is a temple in ,Co##espon&an$es4, Ho"e3e#%.! p(ttin the t"o te)ts si&e .! si&e in this manne#% thei#$omplementa#it! is e8(all! mani'est4 1hat is lost in pe#sonale)p#essi3eness '#om the 'i#st poem is aine& in the s!m.oli$,&epth, that has p#ompte& $ompa#isons o' ,Co##espon-

&an$es, "ith the poet#! o' that othe# neo-$lassi$ist% G>#a#& &eNe#3al% o# s(ppo#te& the $laim o' its .ein the 'o#e#(nne# o' s!m.olism4 S($h a histo#i$i/in patte#n% a $ommonpla$e o' aestheti$ theo#!% is a '(n$tion o' the aestheti$ i&eoloi/ation o' lin(isti$ st#($t(#es #athe# than an empi#i$al histo#i$al e3ent4 The &iale$ti$al inte#a$tion o' ,$lassi$al, "ith ,#omanti$, $on-$eptions% as s(mma#i/e& in the $ont#asti3e s!mmet#ies .e-t"een these t"o sonnets% (ltimatel! #e3eals the s!m.oli$$ha#a$te# o' poeti$ lan(ae% the lin(isti$ st#($t(#e in "hi$hit is #oote&4 ,S!m.olist, a#t is $onsi&e#e& a#$hai$ "hen it iss(ppose& to .e spontaneo(s% mo&e#n "hen it is sel'-$on-

s$io(s% an& this te#minolo! has a $e#tain $#(&e "is&om a.o(tit that is an!thin .(t histo#i$al% ho"e3e#% in its $ontent4 S($ha $om.ination o' lin(isti$ "ith pse(&o-histo#i$al te#ms% o' ,s!m.oli$, "ith ,$lassi$, 5o# pa#nassien7 o# "ith ,#omanti$, 5o#s!m.oliste7% a $om.ination 'amilia# at least sin$e Heel+s Lec-tures on Aesthetics% is a ne$essa#! 'eat(#e o' s!stems that $om-.ine t#opes "ith aestheti$ an& epistemoloi$al no#ms4 In thispe#spe$ti3e% the #elationship .et"een the neo-$lassi$al ,Co#-#espon&an$es, an& the post-#omanti$ ,O.session, is itsel' st#($t(#e& like a s!m.ol0 the t"o sonnets $omplement ea$hothe# like the t"o hal3es o' a symbolon4 Histo#i$i/in them into

a &ia$h#on! o# into a 3alo#i/e& 8(alitati3e hie#a#$h! is mo#e$on3enient than it is leitimate4 The te#minolo! o' t#a&itionallite#a#! histo#!% as a s($$ession o' pe#io&s o# lite#a#! mo3e-ments% #emains (se'(l onl! i' the te#ms a#e seen 'o# "hat the!a#e0 #athe# $#(&e metapho#s 'o# 'i(#al patte#ns #athe# thanhisto#i$al e3ents o# a$ts4State& in ene#i$ #athe# than histo#i$al te#ms% the #elation-ship .et"een ,Co##espon&an$es, an& ,O.session, to($hes



(pon the (n$e#tain stat(s o' the l!#i$ as a te#m 'o# poeti$ &is-$o(#se in ene#al4 The l!#i$+s $laim o' .ein son is ma&e e)-pli$itl! in,Co##espon&an$es, 5,8(i chantent les t#anspo#ts4 4 4, 7%"he#eas ,O.session, ho"ls% la(hs% an& speaks .(t &oes notp#eten& to sin4 Yet the je-tu st#($t(#e o' the s!nta) makes it

m($h $lose# to the #ep#esentation o' a 3o$al (tte#an$e than theen#a3e&% ma#mo#ean nomi$ "is&om o' ,Co##espon&an$es4, The #ea&in ho"e3e# &is$lose& a &is$#epan$! that a''e$ts the3e#. ,$hante#, in the $on$l(&in line0 the s(esti3e i&enti'i-$ation o' ,pa#'(m, "ith son% .ase& on $ommon #esonan$ean& e)pansion% is possi.le onl! "ithin a s!stem o' #ela!s an&t#ans'e#s that% in the s!nta) i' not in the state& meanin o' thepoem% .e$omes th#eatene& .! the st(tte#% the piétinement o' aimless en(me#ation4 This e3ent(alit!% inhe#ent in the st#($-t(#e o' the t#opes on "hi$h the $laim to l!#i$ism &epen&s%$on'li$ts "ith the mon(mental sta.ilit! o' a $omplete& entit!

that e)ists in&epen&entl! o' its p#in$iple o' $onstit(tion an&&est#($tion4 Son is not $ompati.le "ith aphasia an& a st(t-te#in Amphion is an a.s(#& 'i(#e in&ee&4 ? No l!#i$ $an .e#ea& l!#i$all! no# $an the o.9e$t o' a l!#i$al #ea&in .e itsel' al!#i$ ? "hi$h implies least o' all that it is epi$al o# &#amati$4a(&elai#e+s o"n l!#i$al #ea&in o' ,Co##espon&an$es%, ho"-e3e# p#o&($e& at least a te)t% the sonnet entitle& ,O.ses-sion4, The openin o' ,O.session, #ea&s the 'i#st 8(at#ain o' ,Co##espon&an$es, as i' it "e#e in&ee& a s!l3an s$ene4 It nat-(#ali/es the s(##eal spee$h o' li3e $ol(mns into the '#ihten-

in% .(t nat(#al% #oa# o' the "in& amon the t#ees0 G#an&s .ois% 3o(s m+e''#a!e/ $omme &es $ath>&#ales @o(s h(#le/ $omme I+o#(e The .ene'its o' nat(#ali/ation ? as "e $an $all the #e3e#sal o' anth#opomo#phism ? a#e at on$e appa#ent4 None o' the (n$e#-tainties that o.s$(#e the openin lines o' ,Co##espon&an$es,a#e maintaine&4 No ,$omme, $o(l& .e mo#e o#tho&o) than thet"o ,$ommes, in these t"o lines4 The analoism is so pe#'e$tthat the implie& anth#opomo#phism .e$omes '(ll! moti3ate&4In this $ase% the (ni'!in element is the "in& as it is hea#&in "histlin ke!holes% #oa#in t#ees% an& "in& inst#(ments s($h

as $h(#$h o#ans4 Neithe# is the#e an! nee& to in3oke hall(-$ination to a$$o(nt 'o# the 'ea# inspi#e& .! sto#m! 'o#ests an&h(e $athe&#als0 .oth a#e 3e#sions o' the same &i//iness o' 3astspa$es4 The a&9(stment o' the elements in3ol3e& 5"oo&% "in&%'ea#% $athe&#al% an& o#an7 is pe#'e$tl! sel'-en$lose&% sin$e allthe pie$es in the st#($t(#e 'it ea$h othe#0 "oo& an& $athe&#alsha#e a $ommon shape% .(t "oo& also 'its o#an .! "a! o' the noise o' the #oa#in "in& o#an an& $athe&#al% mo#eo3e#%



a#e linke& .! meton!m!% et$4 E3e#!thin $an .e s(.stit(te&'o# e3e#!thin else "itho(t &isto#tin the most nat(#al e)pe-#ien$e4 E)$ept% o' $o(#se% 'o# the ,3o(s, o' a&&#ess in theapost#ophe ,G#an&s .ois%, "hi$h is% o' $o(#se% a.s(#& '#om a#ep#esentational point o' 3ie" "e a#e all '#ihtene& .! "in&!

"oo&s .(t &o not ene#all! make a spe$ta$le o' o(#sel3es talk-in to t#ees4 Yet the po"e# o' the analo!% m($h mo#e imme&iatel!$ompellin than that o' s!nesthesia in ,Co##espon&an$es%,nat(#ali/es e3en this most $on3entional t#ope o' l!#i$ a&&#ess0"hen it is sai&% in line % that the te##o# o' the "in& $o##e-spon&s to the s(.9e$ti3e 'ea# o' &eath et &ans nos $oe(#s ma(&its% 54447

R>pon&ent les >$hos &e 3os De profundis%then the analo! .et"een o(te# e3ent an& inne# 'eelin is aainso $lose that the 'i(#al &istan$e .et"een noise 5"in&7 an&

spee$h o# e3en m(si$ almost 3anishes% all the mo#e so sin$e"in& as "ell as &eath a#e &esinate& .! asso$iate& so(n&s0 theho"lin o' the "in& an& the penitential p#a!e#% a(#al meton-!m! 'o# &eath4 As a #es(lt% the 'inal att#i.(tion o' spee$h tothe "oo&s 53os De profundis7 appea#s so nat(#al that it takes ane''o#t to noti$e that anth#opomo#phism is in3ol3e&4 The $laimto 3e#.alit! in the e8(i3alent line '#om ,Co##espon&an$es%, ,Lespa#'(ms% les $o(le(#s et les sons se #>pon&ent, seems 'antas-ti$ .! $ompa#ison4 The omnip#esent metapho# o' inte#io#i/a-tion% o' "hi$h this is a st#ikin e)ample% he#e t#a3els initiall!.! "a!s o' the ea# alone4

The ain in pathos is s($h as to make the &epth o' De pro-fundis the e)pli$it theme o' the poem4 Instea& o' .ein the in-'inite e)panse% the openness o' ,@aste $omme la n(it et $ommela $la#t>%, &epth is no" the en$lose& spa$e that% like the so(n&$ham.e# o' a 3iolin% p#o&($es the inne# 3i.#ation o' emotion41e #et#ie3e "hat "as $onspi$(o(sl! a.sent '#om ,Co##e-spon&an$es%, the #e$(##ent imae o' the s(.9e$t+s p#esen$e toitsel' as a spatial en$los(#e% #oom% tom.% o# $#!pt in "hi$h the3oi$e e$hoes as in a $a3e4 The imae &#a"s its 3e#isimilit(&e'#om its o"n ,mise en a.me, in the shape o' the .o&! as the$ontaine# o' the 3oi$e 5o# so(l% hea#t% .#eath% $ons$io(sness%

spi#it% et$47 that it e)hales4 At the $ost o' m($h #ep#esente& a-on! 5,Cham.#es &+>te#nel &e(il o( 3i.#ent &e 3ie() #les7 %,O.session, asse#ts its #iht to sa! ,I, "ith '(ll a(tho#it!4 The$anon o' #omanti$ an& post-#omanti$ l!#i$ poet#! o''e#s inn(-me#a.le 3e#sions an& 3a#iations o' this insi&eFo(tsi&e patte#no' e)$hane that 'o(n&s the metapho# o' the l!#i$al 3oi$e ass(.9e$t4 In a pa#allel mo3ement% #ea&in inte#io#i/es themeanin% o'% the te)t .! its (n&e#stan&in4 The (nion o' aes-



theti$ "ith epistemoloi$al p#ope#ties is $a##ie& o(t .! the me-&iation o' the metapho# o' the sel' as $ons$io(sness o' itsel'%"hi$h implies its #ieation4 The spe$(la# s!mmet#! o' the t"o te)ts is s($h that an!instan$e one "ishes to sele$t at on$e in3ol3es the enti#e s!s-

tem "ith 'la"less $onsisten$!4 The helleni$ ,temple, o' ,Co#-#espon&an$es%, 'o# e)ample% .e$omes the Ch#istian ,$ath>-&#ale, o' ,O.session%, 9(st as the &enominati3e% impe#sonalthi#& pe#son &is$o(#se o' the ea#lie# poem .e$omes the 'i#stpe#son &is$o(#se o' the late# one4 The la" o' this 'i(#al an&$hiasti$ t#ans'o#mation is neation4 ,O.session, sel'-$on-s$io(sl! &enies an& #e9e$ts the senso#! "ealth o' ,Co##e-spon&an$es4, The lan&s$ape o' &enial '#om ,De p#o'(n&is $la-ma3i,0 C+est (n pa!s pl(s n( 8(> la te##e polai#e ? Ni .Jtes% ni #(issea()% ni 3e#&(#e% ni .oisQ

#eappea#s as the &esi#e o' ,O.session,0 Ca# 9e $he#$he le 3i&e% et le noi#% et le n(Qin sha#p &enial o' Do() $omme les ha(t.ois% 3e#ts $omme les p#ai#ies'#om ,Co##espon&an$es4, Simila# neations pe#3a&e the te)ts %.e it in te#ms o' a''e$ts% moo&s% o# #amma#4 The neation% ho"e3e#% is in&ee& a 'i(#e o' $hiasm(s% 'o#the positi3e an& neati3e 3alo#i/ations $an .e &ist#i.(te& on.oth si&es4 1e #ea& ,O.session, themati$all! as an inte#io#i-/ation o' ,Co##espon&an$es%, an& as a neation o' the positi3-it! o' an o(tsi&e #ealit!4 (t it is 9(st as pla(si.le to $onsi&e#

,O.session, as the makin mani'est% as the e)te#io#i/ation o' the s(.9e$t that #emains hi&&en in ,Co##espon&an$es4, Nat-(#ali/ation% "hi$h appea#s to .e a mo3ement '#om insi&e too(tsi&e% allo"s 'o# a''e$ti3e 3e#isimilit(&e "hi$h mo3es in theopposite &i#e$tion4 In te#ms o' 'i(#ation also% it $an .e sai&that ,Co##espon&an$es, is the neation o' ,O.session,0 the'i(#al sta.ilit! o' ,O.session, is &enie& in ,Co##espon-&an$es4, S($h patte#ns $onstantl! #e$(# in nineteenth- an&t"entieth-$ent(#! l!#i$ poet#! an& $#eate a #eat &eal o' $#iti-$al $on'(sion% s!mptomati$ o' '(#the#-#ea$hin $omple)ities4 The #e$(pe#ati3e po"e# o' the s(.9e$t metapho# in ,O.-

session, .e$omes pa#ti$(la#l! e3i&ent% in all its impli$ations%in the te#$ets4 As soon as the so(n&s o' "o#&s a#e allo"e&% asin the openin stan/a% to ente# into analoi$al $om.inations"ith the so(n&s o' nat(#e% the! ne$essa#il! t(#n into the lihtimae#! o' #ep#esentation an& o' kno"le&e4 I' the so(n&s o' nat(#e a#e akin to those o' spee$h% then nat(#e also speaks .!"a!s o' liht% the liht o' the senses as "ell as o' the min&4 The philosophi$al phantasm that has $on$e#ne& (s th#o(h-



o(t this #ea&in% the #e$on$iliation o' kno"le&e "ith phe-nomenal% aestheti$ e)pe#ien$e% is s(mma#i/e& in the 'i(#e o' speakin liht "hi$h% as is to .e e)pe$te& in the &iale$ti$al mo&eo' neation% is .oth &enie& an& asse#te&0 Comme t( me plai#ais% n(itQ sans $es >toiles

Dont la l(mi#e pa#le (n lanae $onn(QLiht implies spa$e "hi$h% in t(#n% implies the possi.ilit! o' spatial &i''e#entiation% the pla! o' &istan$e an& p#o)imit! thato#ani/es pe#$eption as the 'o#e#o(n&-.a$k#o(n& 9()tapo-sition that links it to the aestheti$s o' paintin4 1hethe# theliht emanates '#om o(tsi&e (s .e'o#e it is inte#io#i/e& .! thee!e% as is the $ase he#e in the pe#$eption o' a sta#% o# "hethe#the liht emanates '#om insi&e an& p#o9e$ts the entit!% as inhall($ination o# in $e#tain &#eams% makes little &i''e#en$e in this$onte)t4 The metamo#phi$ $#ossin .et"een pe#$eption an&hall($ination

Mais les t>n.#es sont elles-mJmes &es toiles O( 3i3ent% 9aillissant &e mon oeil pa# millie#s% Des et#es &ispa#(s a() #ea#&s 'amilie#so$$(#s .! means o' the pa#aphe#nalia o' paintin% "hi$h is alsothat o' #e$olle$tion an& o' #e-$onition% as the #e$o3e#!% to thesenses% o' "hat seeme& to .e 'o#e3e# .e!on& e)pe#ien$e4 Inan ea#lie# o(tline% a(&elai#e ha& "#itten Mais les t>ne.#es sont elles-memes &es toiles O( peint 4 4 4 5p#es(ma.l! 'o# ,se peinent, O4C4% 60;67,Peint, $on'i#ms the #ea&in o' ,toiles, as the &e3i$e .! means

o' "hi$h painte#s o# &#amatists p#o9e$t the spa$e o# the staeo' #ep#esentation% .! en'#amin the inte#io#i/e& e)panse o' theskies4 The possi.ilit! o' #ep#esentation asse#ts itsel' at its moste''i$a$io(s at the moment "hen the senso#! plenit(&e o' ,Co##espon&an$es, is most 'o#$e'(ll! &enie&4 The l!#i$ &e-pen&s enti#el! 'o# its e)isten$e on the &enial o' phenomenalit!as the s(#est means to #e$o3e# "hat it &enies4 This motion isnot &epen&ent% in its 'ail(#e o# in its ill(sion o' s($$ess% on theoo& o# the .a& 'aith o' the s(.9e$t it $onstit(tes4 The same intellii.ilit! enlihtens the te)t "hen the enimao' $ons$io(sness as ete#nal mo(#nin 5,Cham.#es &+>te#nel

&e(il o( 3i.#ent &e 3ie() #les,7 is (n&e#stoo& as the hall($i-nato#! o.session o' #e$olle$tion% $e#tainl! easie# to $omp#e-hen& .! sha#e& e)pe#ien$e than .! esote#i$ $o##espon&an$es4,O.session, t#anslates ,Co##espon&an$es, into intellii.ilit!%the least one $an hope 'o# in a s($$ess'(l #ea&in4 The #es(lt-in $o(ple o# pai# o' te)ts in&ee& .e$omes a mo&el 'o# the (n-eas! $om.ination o' '(ne#eal mon(mentalit! "ith pa#anoi& 'ea#



that $ha#a$te#i/es the he#mene(ti$s an& the pe&ao! o' l!#i$poet#!4 Yet% this 3e#! title% ,O.session%, also s(ests a mo3e-ment that ma! th#eaten the 'a#-#ea$hin s!mmet#! .et"een thet"o te)ts4 :o# the tempo#al patte#n o' o.sessi3e tho(ht is &i-

#e$tl! #eminis$ent o' the ta(toloi$al% en(me#ati3e st(tte# "een$o(nte#e& in the &o(.le semanti$ '(n$tion o' ,$omme ,"hi$h &is#(pte& the totali/in $laim o' metapho# in ,Co##e-spon&an$es4, It s(ests a ps!$holoi$al an& the#e'o#e intel-lii.le e8(i3alent o' "hat the#e appea#e& as a p(#el! #am-mati$al &istin$tion% 'o# the#e is no $ompellin themati$s(estion% in ,$omme l+am.#e% le m(s$% le .en9oin et l+en-$ens%, that allo"s one to think o' this list as $omp(lsi3el!ha(ntin4 The title ,O.session%, o# the last line o' the poem%"hi$h names the hostl! memo#! o' mo(#ne& a.sen$es% &oesthe#e'o#e not $o##espon& to the teVsion% &eeme& essential% .e-

t"een the e)pansi3eness o' ,&es $hoses in'inies, an& the #e-st#i$ti3e $atalo(e o' $e#tain kin&s o' s$ents int#o&($e& .!,$omme4, Yet% i' the s!mmet#! .et"een the t"o te)ts is to .et#(l! #e$(pe#ati3e% it is essential that the &isa#ti$(lation thatth#eatens the 'i#st te)t sho(l& 'in& its $o(nte#pa#t in the se$-on&0 me#e nat(#ali/ation o' a #ammati$al st#($t(#e% "hi$h isho" the #elationship .et"een en(me#ation an& o.session $an.e (n&e#stoo&% "ill not s(''i$e% sin$e it is p#e$isel! the tension.et"een an e)pe#ien$e& an& a p(#el! lin(isti$ &is#(ption thatis at iss(e4 The#e o(ht to .e a pla$e% in ,O.session%, "he#ea simila# $ont#ast .et"een in'inite totali/ation an& en&less

#epetition o' the same $o(l& .e pointe& o(t4 No s($h pla$e e)-ists4 At the p#e$ise point "he#e one "o(l& e)pe$t it% at themoment "hen o.session is st#esse& in te#ms o' n(m.e#%,O.session, #eso#ts to s!nthesis .! losin itsel' in the 3a(e-ness o' the in'inite O( 3i3ent% 9aillissant &e mon oeil pa# millie#s% Des et#es &ispa#(s a() #ea#&s 'amilie#s4 The#e $o(l& .e no mo#e &e$isi3e $ont#ast% in Les Fleurs du mal%than .et"een the #eass(#in in&ete#mina$! o' these in'initetho(san&s-as one ha&% in ,Co##espon&an$es%, ,&es 'o#-Jts,-an& the n(me#i$al p#e$ision "ith "hi$h% in ,Les sept

3ieilla#&s, 5O4C4% I0;<-;;7% it is the passae '#om one alto-ethe# 'inite to anothe# altoethe# 'inite n(m.e# that p#o&($esen(ine te##o#0 A(#ais-9e% sans mo(#i#% $ontempl> le h(itieme% Sosie ine)o#a.le% i#oni8(e et 'atal% D>oWtant Ph>ni)% 'ils et pe#e &e l(i-meme2 ?Mais 9e to(#nai le &os a( $o#tee in'e#nal4 E)asp>#> $omme (n i3#one 8(i 3oit &o(.le%



Xe #ent#ai% 9e 'e#mai ma po#te% >po(3ant>% Mala&e et mo#'on&(% l+esp#it 'i>3#e() et t#o(.le% less> pa# le m!st#e et pa# l+a.s(#&it>QUnlike ,O.session%, ,Les sept 3ieilla#&s, $an ho"e3e# in no#espe$t .e $alle& a #ea&in o' ,Co##espon&an$es%, to "hi$h it

in no "a! $o##espon&s4

The $on$l(sion is "#itten into the a#(ment "hi$h is itsel' "#itten into the #ea&in% a p#o$ess o' t#anslation o# ,t#ans-po#t, that in$essantl! $i#$(lates .et"een the t"o te)ts4 The#eal"a!s a#e at least t"o te)ts% #ea#&less o' "hethe# the! a#ea$t(all! "ntten o(t o# not the #elationship .et"een the t"osonnets% o.liinl! p#o3i&e& .! a(&elai#e 'o# the .ene'it% no&o(.t% o' '(t(#e tea$he#s in3ite& to speak on the nat(#e o' thel!#i$% is an mhe#ent $ha#a$te#isti$ o' an! te)t4 An! te)t% as te)t%$ompels #ea&in as its (n&e#stan&in4 1hat "e $all the l!#i$%

the instan$e o' #ep#esente& 3oi$e% $on3enientl! spells o(t the#heto#i$al an& themati$ $ha#a$te#isti$s that make it the pa#a-&im o' a $omplementa#! #elationship .et"een #amma#% t#ope%an& theme4 The set o' $ha#a$te#isti$s in$l(&es the 3a#iZsst#($t(#es an& moments "e en$o(nte#e& alon the "a!0 spe$-(la# s!mmet#! alon an a)is o' asse#tion an& neation 5to "hi$h$o##espon& the ene#i$ mi##o#-imaes o' the o&e% as $ele.#a-tion% an& the ele!% as mo(#nin7% the #ammati$al t#ans'o#-mation o' the &e$la#ati3e into the 3o$ati3e mo&es o' 8(estion%e)$lamation% a&&#ess% h!pothesis% et$4% the t#opoloi$al t#ans-'o#mation o' analo! into apost#ophe o# the e8(i3alent% mo#e

ene#al t#ans%'o#mation "hi$h% "ith Niet/s$he+s assistan$e% "etook as o(# point o' &epa#t(#e0 the t#ans'o#mation o' t#ope intoanth#opomo#phism4 The l!#i$ is not a en#e% .(t one nameamon se3e#al to &esinate the &e'ensi3e motion o' (n&e#-stan&in% the possi.ilit! o' a '(t(#e he#mene(ti$s4 :#om thispint ' 3ie"% the#e is no sini'i$ant &i''e#en$e .et"een oneene#i$ te#m an& anothe#0 all ha3e the same appa#entl! inten-tional an& tempo#al '(n$tion41e all pe#'e$tl! an& 8(i$kl! (n&e#stan& ,O.session%, an&.ette# still the motion that takes (s '#om the ea#lie# to the late#te)t4 (t no s!mmet#i$al #e3e#sal o' this l!#i$al #ea&in-motion

is $on$ei3a.le i' a(&elai#e% as is eminentl! possi.le% "e#e toha3e "#itten% in empi#i$al time% ,Co##espon&an$es, a'te#,O.session%, this "o(l& $hane nothin4 ,O.session, &e-#i3es '#om ,Co##espon&an$es, .(t the #e3e#se is not the $ase4Neithe# &oes it a$$o(nt 'o# it as its o#iin o# $a(se4 ,Co##e-spon&an$es, implies an& e)plains ,O.session, .(t ,O.ses-sion, lea3es ,Co##espon&an$es, as tho#o(hl! in$omp#ehen-si.le as it al"a!s "as4 In the pa#aphe#nalia o' lite#a#!



te#minolo!% the#e is no te#m a3aila.le to tell (s "hat ,Co#-#espon&an$es, miht .e4 All "e kno" is that it is% emphati-$all!% not a l!#i$4 Yet it% an& it alone% $ontains% implies% p#o-&($es% ene#ates% pe#mits 5o# "hate3e# a.e##ant 3e#.almetapho# one "ishes to $hoose7 the enti#e possi.ilit! o' the

l!#i$4 1hene3e# "e en$o(nte# a te)t s($h as ,O.session, ?that is% "hene3e# "e #ea& ? the#e al"a!s is an in'#a-te)t% a h!-po#am like ,Co##espon&an$es, (n&e#neath4 Statin this #e-lationship% as "e 9(st &i&% in phenomenal% spatial te#ms o# inphenomenal% tempo#al te#ms ? ,O.session%, a te)t o' #e$olle$-tion an& eleia$ mo(#nin% a&&s #emem.#an$e to the 'lat s(#-'a$e o' time in ,Co##espon&an$es, ? p#o&($es at on$e a he#-mene(ti$% 'alla$io(s l!#i$al #ea&in o' the (nintellii.le4 Thepo"e# that takes one '#om one te)t to the othe# is not 9(st apo"e# o' &ispla$ement% .e it (n&e#stoo& as #e$olle$tion o# in-te#io#i/ation o# an! othe# ,t#anspo#t%, .(t the shee# .lin& 3io-

len$e that Niet/s$he% $on$e#ne& "ith the same enima% &o-mesti$ate& .! $allin it% metapho#i$all!% an a#m! o' t#opes4Gene#i$ te#ms s($h as ,l!#i$, 5o# its 3a#io(s s(.-spe$ies %,o&e%, ,i&!ll%, o# ,ele!,7 as "ell as pse(&o-histo#i$al pe#io&te#ms s($h as ,#omanti$ism, o# ,$lassi$ism, a#e al"a!s te#mso' #esistan$e an& nostalia% at the '(#thest #emo3e '#om themate#ialit! o' a$t(al histo#!4 I' mo(#nin is $alle& a ,$ham.#e&+>te#nel &e(il o( 3i.#ent &e 3ie() #les%, then this pathos o' te##o# states in 'a$t the &esi#e& $ons$io(sness o' ete#nit! an&o' tempo#al ha#mon! as 3oi$e an& as son4 T#(e ,mo(#nin,is less &el(&e&4 The most it $an &o is to allo" 'o# non-

$omp#ehension an& en(me#ate non-anth#opomo#phi$% non-eleia$% non-$ele.#ato#!% non-l!#i$al% non-poeti$% that is to sa!%p#osai$% o#% .ette#% historical mo&es o' lan(ae po"e#4 567 :4 Niet/s$he0 Werke 5M(ni$h% 67% 0 645=7 C4 a(&elai#e0 Oeuvres completes 5Pa#is% 6<7% 6466457 See O3i&+s 3e#sion o' the Na#$iss(s sto#!% etam4 III% 6''4 Tekst 9e i/ 6;4 o&ine i o.9a3l9en 9e ( &e Mano3o9 /.i#$i ole&a The !hetoricof !omanticism 5Ne" Yo#k0 Col(m.ia Uni3e#sit! P#ess% 6;7% pp4 =-==4

De Man Anthropolohy and Trope

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