objethoraire

[objethoraire]

cellule

[objethoraire]

Shore

In the first day, we guess that the most striking phenomenon will be the time which it is necessary to absorb a landscape, in a way make it his, This essential difference enters to see, to confine the main part and to look.

The second day, framed by mist, indicates how much the view is a driving element of our report to the world, the poverty of our other senses "shout", "echo" closes us inevitably in the prospect "boredom"

In the third day, the hearing is strongly requested "Wind" and the touch is implicitly mentioned " Sand in eyes ", then, little by little, we enter inside the frame, as we enter inside an open-air painting.

But it is in the fourth day when the bascule takes place, as if the particular framework, suddenly, really began to soak the speaker " Sick? ", of the most distant " Sea, seasickness " in the closest " Seaweeds? / vagueness or vomited? " Of the studied prospect.

In the fifth day, details override. The forms vaguely sketched by characters "Shrimpers" base themselves in a set from now on in travel " Sea / bass / Distant " / " Sea which goes back up". We think then of Saint-John Perse " unspeakable Sea: mutable and piece of furniture in its metamorphoses, unchanging and in his mass ".

The sixth day still widens the prospect, upward this time " Flight of gulls towards the foreshore ", and the mental association of artistic order (mention of " Nicolas de Staël ") eventually absorbs and to take the vision.

The seventh day extends, by the mixture of tones " Rain / Sea " / "Interbreeding", by the way that they are to merge some in the others, the dense pictorial approach of the landscape, leading us towards an almost philosophic interpretation "Unlimitedness".

The eighth day (that we can legally suppose to be in the daytime of departure), returns on the fundamental of the beginning. The "drowning" raises the ultimate image of streams " eternal cyclists of victims " who haunt " The drunk boat ". Load is confided from now on to the pebbles to remind to us, by their presence on a mantelpiece or an office, various states through which the soul of the speaker passed during the successive observations from the shore.

In this asceticism, the brevity is as suggestive as the volubility, the indications of dramatization are strong. This bank finally causes a writing at least, a laziness, a reduction for an immense space... All this does not forbid the acuteness of the look and the felt of the author of this poetic schedule.

[objethoraire]

épitaphe