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• W2050117968 abstract "AUBANEL'S MIOUGRANO AND THE ROMANTIC PERSONA: A MODERN READING What we todaycall thebiographical fallacy is a Romantic myth, created by Romantic poets and propounded by critics consciously or unconsciously underthe swayofRomanticism. This personal myth has been especially prevalent in studies on Mistral and Aubanel. It proclaims that poetry expresses the individual voice of its creator, who reveals the deepest subjective feelings ofhis soul with sincerity and authenticity. The poetis seen as a sublime and/orpathetic person, a heroic, unique individual. His is an individual voice; the quality of verse depends upon and has to reflect the author's sincerity, authenticity , andoriginality,originalityconceived asareflectionofsincerity and sincerity as a reflection oforiginality. Much ofthe criticism on Aubanel is thus biographical in nature, anecdotal when not hagiographie , assuming a close bond between the author's life and works, praising the works for their purported passion and sincerity because of the bond. The standard view states that Aubanel's first book, La Mióugrano entre-duberto, portrays with the utmost fidelity the author's unfulfilled love for Jeanne-Marie Manivet: it and its author are pure, naive, sincere, and authentic. His second book, Li Fiho d'Avignoun, reflects the author's happy love for his wife; it and its author are now sensual, virile, and as sincere and authentic as before. It is my conviction that, from a modern critical perspective, the personal myth is nonsense. We know that although Lamartine published a series of love elegies directed to Elvire, several real women inspired his muse: Antoniella, Lena, Julie Charles, for that matter his wife, and quite a few ofthe poems were of literary origin. The author took the trouble to cover his traces, to convince mistress X that most or all of the pieces in his collection were composed for her, and that the exceptions concerned only a very old flame (Y), now deceased, whereas Z had never existed at all. Perhaps the greatest single volume of lyrics in the nineteenth century is Les Contemplations (1856), in which Victor Hugo elaborates a structure of unusual power and simplicity, whereby poems of tranquillity and joy (the first three books oiLes Contemplations: Autrefois) allegedly precede the death ofhisdaughterLéopoldine in 1843, and poems ofsuffering (the lastthree books: Aujourd'hui)comeafterthatdate. However, the literary space in the book does not correspond to the chronological time ofcomposition orofinspiration. In ordertocreate his fiction, Hugo falsifies the dates ascribed to his texts, forone ofthe painful poems was written prior to 1843 and most of the joyful ones afterward. How many of the painful poems post-1843 were in fact generated by thoughts ofLéopoldineremains an open question. In the caseofThéodore Aubanel, hisMióugrano is dividedinto three books: 44William Câlin Lou Libre de l'Amour, L'Entre-lusido, and Lou Libre de la Mort. The reader is expected to believe, and Mistral's Preface states explicitly, that the love poems (in truth and good faith) refer directly to and were inspired by the author's doomed longing for Jenny Manivet, and that the poems of death follow after, chronologically and historically, for they reflect and were composed from the misery Aubanel felt after Jenny became a nun in 1854: Lou Libre de l'Amour es un cant de bono fe, uno flamado vertadièro. L'istori es touto simplo: esunjouvèntqueamo, que se languis de soun amigo, que reboulis, que plouro, que se plan au bon Dieu. (Le Livre de l'Amour est un chant de bonne foi, une flamme vraie. L'histoireesttoutesimple: c'estunjeune hommequiaime, qui, loin de son amante, languit d'ennui, qui souffre, qui pleure, qui se plaint au bon Dieu.) Quand Zani la brunello aguè fugi Avignoun, fugi, paurouso, Talen brûlant de soun félibre, sieguè pèr soun félibre un mourimen de cor. E d'aro-en-lai, se lou voulès saupre, touto clarta ie semblé nèblo, malancounié touto alegresso, e touto vido mort E vaqui coume vai que coumpausè, dins la sournuro de soun amo, lagremo à cha lagremo, lou Libre de la Mort (Quand Zani la brunelle eut fui Avignon, fui, peureuse, l'haleine brûlante de son poète, ce fut pour son poète une..." @default.
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• W2050117968 date "1988-01-01" @default.
• W2050117968 modified "2023-10-17" @default.
• W2050117968 title "Aubanel's <i>Miougrano</i> and the Romantic Persona: A Modern Reading" @default.
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• W2050117968 doi "https://doi.org/10.1353/ten.1988.0007" @default.
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