By Liu X., Liang N.
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The repetitions, the military metaphors, the underlying notion of sexual desire convey a radical energy that must perforce find expression. " Yet, alongside this phonetic drive, there is the lucidly articulated mystery of that which is sought after and not obtained, yet nonetheless fragmentarily grasped. It makes us think of Surrealist ambitions: "Ie merveilleux" might well come straight from a Breton text, as could "la rebellion" and "la bienfaisance," if it were not for the generality with which Char conveys his urge to speak to his fellow-men.
A flower can find him unguarded, its beauty suddenly redounding to his strength: Courte parvenue, La fleur des talus, Le dard d'Orion Est reapparu. 27 It is, however, not easy to determine where love begins and nature ends. Each is bound to each, the arrow of beauty inseparable from sensuous delight. 25 "Birds hunters of other birds" ("Les Parages d'Alsace," Commune Presence, p. 225). 26 "A native aromatic I Continued the vanished flower" ("Les Trois Sceurs," Commune Presence, p. 57). 27 "Swiftly come, / The flower of the slopes, / Orion's dart I Has reappeared" ("Jeu muet," Le Nu perdu, p.
We realize the organic importance of "Sur Ie francbord," as that of the single marginal annotation, the epigraph, the title pointing to a musical tradition; each performs a similar function of stylization. Moreover, this strategy marks not only the points observed, but the structure of the entire text. Of significance in this regard are the first three paragraphs that form the introductory movement. Printed in italics, they serve from the start to emphasize distance of time and place—although distance is here not detachment—and they announce the resolution that will be achieved in the body of the poem.