Lexpérience du rêve (essai français) (French Edition)

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Kaplan John Naughton, Une intention de salut. Amsterdam and New York: This is a work of genuine academic piety. John Naughton, who launched his career as interpreter of modern French poetry with a book on Yves Bonnefoy , develops in his title and final chapter a moving and substantial analysis of Bonnefoy as the exemplar of a new atheistic or agnostic modern faith in five major poets—and he accomplishes this essentially ethical intent with meticulous textual analyses.

Naughton is a sensitive, trustworthy guide. After an avant-propos explaining his own flexible relationship with traditional faith-based motivation, he provides a wide-ranging "Introduction: Each chapter is self-contained and some repetition of crucial quotations strengthens the book's pedagogical unity. The following five chapters plunge into those ambiguities. Naughton makes a convincing case for Baudelaire's essentially religious, though anti-bourgeois, orientation.

Jackson, La Mort Baudelaire —warns against identifying author and poetic persona.

Patrice van Eersel

Baudelaire's own analysis of ecstasy was provoked in part by Wagner's overture to Lohengrin as well as the drug experience. Rimbaud in Africa also receives insightful treatment. Naughton's analysis of Claudel's theatre is sympathetic and attempts to rescue that powerful personality from disdain by literary historians—but not without a bold moral judgment:. The two levels of the framework-narrative and the internal narrative converge, while continuing to be dissociated in the minds of the two characters.

Endymion and his interlocutor Pyzandre are emblematic of the opposition between illusion and analysis, dreaming and waking, myth and reason, and the logic of ambiguity vs. Endymion is linked to Lethe, while Pyzandre is associated with analysis and truth alethia.

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Endymion embodies the call for transcendence in an earthly world marked by universal inconstancy, of which the moon is emblematic, and Pyzandre represents the prosaic counterpoint of scepticism. This philosophical interpretation of the romance is different, but not very far from the poet Henry Vaughan's interpretation of Endymion's adventures as the meditations of the soul:. Nor are they mere inventions, for we In the same piece find scattered philosophy, And hidden, dispersed truths, that folded lie In the dark shades of deep allegory, So neatly weaved, like arras, they descry Fables with truth, fancy with history.

The mythological destiny of Endymion is conducive to paradox: But how counterfeit, because so sensible?

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To sleep, perchance to dream, is perhaps not to exist. When some sensory input from the outside environment succeeds in entering the realm of dreams, it is transformed there just as light is diffracted when it passes through a liquid. The incorporation into the sleeping state of objective external sounds is again a well-known traditional motif: Aristotle mentions the way sound stimuli are both distorted and amplified when dreaming.

This metamorphosis of sensation, which can even take the form of synesthesia, takes on a metaphorical coloration: It is thanks to these images, which translate an organic sensation, that the doctor can use the dream as a symptom of the illness that it represents and prefigures. In each of these cases, the illusion of the dream consists precisely in the making of a metaphor.

Thus the dream illusion can be considered in both cases as a conversion of external or internal sensory data through a metaphorical process In the classical age the somnambulist was seen as a sleeper who acts out his dream, without his motor functions being inhibited as they normally are during sleep. Coming from the Middle Age, the singular figure of the sleepwalker has received its letters of nobility through Cervantes and Shakespeare.

He crossed the whole of the courtyard, which was very large, and went straight to the stable. He entered, patted his horse, harnessed it and set to saddling it: He mounted the horse, and galloped up to the door of the house, which he found to be closed. He dismounted, and after picking up a stone knocked repeatedly against one of the door panels. After several vain efforts, he remounted the horse, rode it to the drinking place, which was at the other end of the courtyard, made it drink, went to tie it to a post, and returned to the dwelling quite calmly.

He became more attentive to the noise made by the servants in the kitchen, approached the door, and put his ear against the keyhole. Then suddenly going over to the other side, he entered a low-ceilinged room where there was a billiard table. He went to and fro several times around the table, adopting all the postures of a player. He then went to place his hands on a harpsichord, of which he was quite a good player, and he made some noise.

Finally after exercising himself thus for two hours, he went back up to his chamber, and threw himself fully clothed on to his bed, where we found him the next morning at 9 o'clock in the same posture in which we had left him. The illusion consists of miming rather than performing actions.

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The unintended spectacle provided by the sleepwalker is a pantomime. The world of his dream is thus exceptional in that it is accessible to an external spectator: Ordinarily concealed by the body, it appears as though overlaid on the waking scene.

The sleepwalker becomes a kind of automaton-like body who cannot see what is before his very eyes, but who projects in broad daylight the night-time existence of the senses that can ordinarily only be perceived in absentia and retrospectively. In the course of the seventeenth century, the interpretation of divine or demonic dreams would pose the question of the interfering of the senses differently, and the sensory illusions of dreamers coming from other cultures, such as peoples from New France described in the Jesuit Relations, would offer new, challenging theological and anthropological counterparts to these psycho-physiological approaches of dreams.

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For when we are awake we do not imagine what we imagine when we are asleep, nor when we are asleep do we imagine what we imagine when awake, so that whether the phantasiai are the case or are not the case is not absolute but relative, that is, relative to being asleep or awake. It is fair to say, then, that when asleep we see things that are not the case in the waking state, though not absolutely not the case.

For they are the case in our sleep, just as what we see in our waking state is the case, though not in our sleep. Sir Thomas Hawkins, the fourth edition, London, , p. Denis Paul and G. Anscombe, Oxford, Basil Blackwell, , passim. This is also the case in the poem by Vaughan considered further down.

An excellent fancy first composed in French by Monsieur Gombauld. And now elegantly interpreted, by Richard Hurst Gentleman , London, Selected Letters of John Keats , ed. Ogier de Gombauld, Endimion, French edition, p. Il y entra, caressa son cheval, le brida et se mit en devoir de le seller: Perception and the Senses. La nuit des sens: Traduction de Peter Thomas. The special case of the sleepwalker, an active dreamer. I have marked in this essay the transition from the Re The importance of this issue is confirmed in an observation, made by the sociologist Norbert Elias, which is rather sweeping to say the least: For when we are

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