Best 11 quotes in «rimbaud quotes» category

¡A la mierda! ¡El que quiera leer a Rimbaud que aprenda francés!

No one's serious at seventeen, When lindens line the promenades

A poet has to be a bit childlike at heart, and in that sense all the romantic stereotypes about poets being "eternal children", etc, are all accurate. They believe, whatever they may say, that art and words can change the world.

Come back, come back, dear friend, only friend, come back. I promise to be good.

Ce qu'il y a de brutal et d'exemplaire chez Rimbaud, c'est qu'il rend la vie inutile. Inutilisable. Toute lecture, toute ambition intellectuelle, hors de question. Puisqu'un Rimbaud est possible, tout est vain. Il arrive et il parle. Et sa parole est un chant. Et ce chant implique tous les chants possibles. Et les annule. L'expérience, la durée, l'homme sont ici mis en déroute. Il renverse toutes les lois, en imposant la loi qui est et reste le haut fait d'être ce que l'on est. Il ne vit que par raccroc, il respire parce qu'il faut bien. Et peu importe alors ce qu'il va faire de cette vie dérisoire. Sa poche d'ignorance, d'inspiration est préservée. Il rend à ce qu'on nomme la vie le suprême hommage, qui consiste à opérer comme si l'on n'avait que faire de ce qu'elle laisse espérer. Héritier milliardaire qui vivrait comme si ce trésor ne lui était de rien. Superbe mépris. Il rendra la cassette pleine, sans même s'être soucié d'en vérifier les richesses. Antiphilosophe extrême qui respecte aussi peu la mort que la vie. Il avance oreilles bouchées, lèvres closes, muet jusqu'au rire; oui, proprement angélique. Brûlant toutes ses cartes sans calcul, sans préméditation, sans plaisir. Il est ce qu'il est et fait ce qu'il fait. Le secret de Rimbaud, c'est l'évidence. Un rien de présence déplacée et c'en était fait. Il réussissait ou il échouait. Alors que son destin n'est pas qualifiable. Est le présent même.

Come back, come back, dear friend, only friend, come back. I promise to be good. If I was short with you, I was either kidding or just being stubborn; I regret all this more than I can express. Come back and all is forgotten. It is unbearable to think you took my joke seriously. I have been crying for two days straight. Come back. Be brave, dear friend. All is not lost. You only need to come back. We will live here once again, bravely, patiently. I’m begging you. You know it is for your own good. Come back, all of your things are here. I hope you now know that our last conversation wasn’t real. That awful moment. But you, when I waved to you to get off the boat, why didn’t you come? To have lived together for two years and to have come to that! What will you do? If you don’t want to come back here, would you want me to come to you? Yes, I was wrong. Tell me you haven’t forgotten me. You couldn’t. I always have you with me. Listen, tell me: should we not live together anymore? Be brave. Write immediately. I can’t stay here much longer. Listen to your heart. Now, tell me if I should come join you. My life is yours.

It has been found again. What? – Eternity. It is the sea mingled with the sun.

Okay, there were loads of French poets, but Arthur Rimbaud was fucking out there!

Trip on this! Haile Selassie, who Rastafari regard as God, was possibly greatly influenced by a French poet who although he gave up writing at the age of 20 (which at first glance appears like a huge waste) must certainly have still held an esoteric, otherworldly mind. It can’t have just deserted him, can it? Rimbaud had a bewitching and at times ghoulish psyche which managed to explode out of long-established poetic forms while still in his teens. He did it with more rhythm and beauty than almost anyone you care to name. It’s extremely likely that ten years later this man had incredible influence on the child who Rastafari were to later think of as God. An intriguing thought.

They find me odd, and whisper behind hands…And my brutal desires sink hooks into their lips…

We must change life,' the poet [Rimbaud] had written, and so the Situationists set out to transform everyday life in the modern world through a comprehensive program that included above all else the construction of 'situations' -- defined in 1958 as moments of life 'concretely and deliberately constructed by the collective organization of a unitary ambiance and a play of events' -- but that also necessary entailed the supersession of philosophy, the realization of art, the abolition of politics, and the fall of the 'spectacle-commodity economy.