Grammaire et Poésie : trois exemples

La poésie, comme genre textuel, est relativement neutre quant à la composante syntaxique. De plus, depuis la seconde moitié du XIXe siècle., s’est développée une poésie dans laquelle, grosso modo, la composante syntaxique est passée au second plan, voire à l’arrière-plan. Cela dit, l’étude du texte de poésie prend forcément appui sur des arguments stylistiques, et l’analyse stylistique sur des arguments d’abord grammaticaux. C’est cette idée que les trois exemples de l’article cherchent surtout à mettre en lumière.In the second half of the French nineteenth century a re-evaluation and concomitantly a relative structuration of the poetical text can be seen developping. More particularly, the syntaxic component of the poetical text loses some of its importance, at times to the limits of minimality. But minimality does not mean disappearance and all the more so since, in certain poets’ works, the syntaxic element is reinforced, as can be seen in a few poems by Mallarmé, or in a different way in Lafargue. What’s more, the de-punctuation of a poetical text introduced later by Apollinaire, or among his followers, and then systematized by most of the surrealists, requires greater clarity and increased grammatical legibility.That said, and whatever may be the exact weight of the aforesaid component in the works of modern and contemporary poets, it remains the fundamental instrument of analysis and the principal access to meaning and interpretation. In the opinion of the present author, if a study in depth of a poem is impossible without precise stylistic arguments, neither is satisfactory stylistic interpretation possible without postulates which are first and foremost grammatical. It is that position which inspired the choice and the treatment of the three examples studied in this article