A Season in Hell & the Drunken Boat/Une Saison En Enfer & Le Bateau Ivre

by Arthur Rimbaud

Book Overview

Although he stopped writing at the age of nineteen, Arthur Rimbaud (1854-1891) possessed the most revolutionary talent of the past hundred years, and his poetry and prose have increasingly influenced the major writers of our century. To his masterpiece A Season in Hell is here added Rimbaud's longest and possibly greatest single poem The Drunken Boat , with the original French en face . The reputation of A Season in Hell, which is a poetic record...

• Format: Paperback
• Language: English
• ISBN: 0811201856
• ISBN13: 9780811201858
• Release Date: January 1961
• Publisher: New Directions Publishing Corporation
• Length: 103 Pages
• Weight: 0.34 lbs.
• Dimensions: 0.4" x 5.2" x 8.0"

Customer Reviews

Rimbaud at his best.

After reading his Illuminations, I decided that I definitely wanted to encounter more of Arthur Rimbaud. I was intrigued by his creative proposition that in order to become engaged with existence the poet must place himself at variance with life. This positioning of the poet in surging counter-subjectivity to life is somewhat Hegelian in that it induces not only a creative synthesis but suffering as its essential Muse. While A Season in Hell is mature Rimbaud toward the end of his life, the Drunken Boat is clearly his finest individual poem. One discovers a symbolic clarity in this single work that summarizes his amazing thirst for life and the human condition in a brief poem of only 25 stanzas. This really is a magnificent work reminiscent of Blake with a style and a passion that transformed his genre and left him immortal. I earnestly invite you to read this telling, visually rich and important work by a major poet of immense talent. It will broaden the palette through which you perceive the brush strokes and colors of your life's impressions.

Passionate, Painful, Agonizing and Surreal

.What an amazing passionate book of prose and poetry! It's alive with pain, chaos and joy, screaming in anguish in streaming movement that is pouring out of the pages in utter agonizing derision and pain, flowing in surreal release of tension and expression.The beginning of the book has a short bio and although short and concise, it vaguely talks about how scandalous Rimbaud and his companion Verlaine were in descriptive sexual analogy, refusing to use the word "sexual" and "lover." Here was a young man who found a gay lover 20 years his senior and traveled in complete uncertainty and insecurity, a "Faustian Man," such as Dean Moriarty in Jack Kerouac's 'On The Road.' Rimbaud was a man who lived in the present moment of risk, spontaneity and the faith to walk in uncertainly and courageously. And this of course brings true living over the comfort zone of existing, which accompanies such an artist with intense pain, guilt, creativity, joy, hurt, anguish and exploding passions. The pages reek with chaotic artistic surrealism. This man was a rare creator. An outcast of society, a vagabond in decadence and carousing avenging scandal, however a living man of flowing movement, unlike our dead, civilized and rational society. And for this, the man and his poetry snubbed and forgotten, only to be noticed at a later time and recognized for its aesthetic, passionate value. This is typical with almost all true creators of autonomous ability and dangerous living.From page 23:"Boredom is no longer my love. Rages, debauchery, madness, - I have known all their soarings and their disasters, - My whole burden is laid down. Let us contemplate undazed the extent of my innocence. I would no longer be capable of begging the solace of a bastinado. I don't fancy myself embarked on a wedding with Jesus Christ as father-in-law. I am not a prisoner of my reason. I said: God, I want freedom in salvation: how am I to seek it? Frivolous tastes have left me. No more need of devotion or of divine love. No more regrets for the age of render hearts. Each of us has his reason, scorn and charity; I reserve my place at the top of that angelic ladder of common sense. As for established happiness, domestic or not . . . no, I cannot. I am too dissipated, too weak. Life flourishing through toil, old platitude! As for me, my life is not heavy enough, it flies and floats far above action, that precious focus of the world. What an old maid I am getting to be, lacking the courage to be in love with death! If only God would grant me celestial, aerial calm, prayer, - like the ancient Saints, - Saints, giants! anchorites, artists such as are not wanted any more! Farce without end? My innocence would make me weep. Life is the farce we all have to lead."

Classic translation

This is one of the better translations of a Season in Hell. It's very faithful to the original French without compromising its poetry; many of the passages are nothing short of brilliant. Also, it's a bilingual edition for those who are either able or willing. However, Varese struggles a bit under the poetic demands of the Drunken Boat. For example:(Varese):I can no longer, bathed in your languors, O waves,Obliterate the cotton carriers' wake,Nor cross the pride of pennants and of flags,Nor swim past prison hulk's hateful eyes!>> But trust me, for the superb quality of translation in A Season in Hell, this book's well worth the price.

Birth of modern poetry

A Season in Hell and The Drunken Boat by Arthur Rimbaud is one of the turning points of world literature and poetry. Henry Miller, the Surrealists and the Beat Generation poets as well as rock star Jim Morrison owe a great debt to young Prince Arthur. This passionate leap into the depths of insanity is enthralling. The meek would be well advised to steer clear. This is the granddaddy of modern poetry. Now, is truly the time of the assassins