{"id":11679,"date":"2011-06-13T12:04:03","date_gmt":"2011-06-13T12:04:03","guid":{"rendered":"http:\/\/blogs.oulipo.net\/qc\/?page_id=11679"},"modified":"2011-06-13T12:04:04","modified_gmt":"2011-06-13T12:04:04","slug":"chapitre-2-%e2%80%94-le-descriptif-formel","status":"publish","type":"page","link":"https:\/\/blogs.oulipo.net\/qc\/description-du-sonnet-francais\/chapitre-2-%e2%80%94-le-descriptif-formel\/","title":{"rendered":"Chapitre 2 \u2014 Le descriptif formel"},"content":{"rendered":"

1 <\/span><\/span>O<\/strong><\/span><\/span>n pourrait proc\u00e9der de nombreuses mani\u00e8res pour d\u00e9crire et suivre l\u2019\u00e9volution de la forme<\/strong><\/span><\/span> <\/strong><\/span><\/span><\/p>\n

1 1 <\/span><\/span>On pourrait proc\u00e9der de nombreuses mani\u00e8res pour d\u00e9crire et suivre l\u2019\u00e9volution de la forme dans les limites temporelles fix\u00e9es ici (1801-1998) . Celle que j\u2019ai choisie, compte tenu des consid\u00e9rations qui pr\u00e9c\u00e8dent, ne part pas d\u2019une <\/span><\/span>d\u00e9finition pr\u00e9cise<\/span><\/span><\/span> du sonnet. J\u2019ai inclus dans mon \u00e9tude le plus grand nombre possible de textes qu\u2019il me semblait possible de traiter comme des sonnets. Il y a \u00e9videmment une large part d\u2019arbitraire dans ces d\u00e9cisions. Mais pas seulement. J\u2019ai reconnu comme sonnets <\/span><\/span><\/p>\n

1 2 <\/span><\/span><\/p>\n

a – Des textes qui directement ou indirectement sont d\u00e9sign\u00e9s comme tels dans les ouvrages o\u00f9 ils figurent<\/span><\/span><\/p>\n

1 3 <\/span><\/span><\/p>\n

b – D\u2019autres textes qui sont formellement b\u00e2tis de la m\u00eame mani\u00e8re que certains de ceux qui appartiennent \u00e0 la premi\u00e8re classe.<\/span><\/span><\/p>\n

1 4 <\/span><\/span><\/p>\n

c – Certains textes dont la forme m\u2019apparait d\u00e9duite de celle des pr\u00e9c\u00e9dents par une transformation simple et explicite. <\/span><\/span><\/p>\n

1 5 <\/span><\/span>Dans la plupart des cas, l\u2019attribution \u00e0 un texte du CHOIX de l\u2019\u00e9tiquette SONNET ne soul\u00e8vera gu\u00e8re d\u2019objections. Mais pour un petit nombre d\u2019entre eux elle est loin d\u2019\u00eatre \u00e9vidente. Ce sont des CAS-FRONTI\u00c8RES. <\/span><\/span><\/p>\n


\n<\/span><\/span><\/p>\n

<\/span>2 <\/span><\/span>Le corpus de l\u2019\u00e9tude<\/strong><\/span><\/span><\/span><\/p>\n

2 1 <\/span><\/span>J\u2019ai examin\u00e9 un tr\u00e8s grand nombre de po\u00e8mes que je nomme <\/span><\/span>sonnets,<\/strong><\/span><\/span> et consid\u00e8re comme des exemples d\u2019une forme po\u00e9tique, la <\/span><\/span>forme-sonnet <\/strong><\/span><\/span>: <\/span><\/span><\/p>\n

2 2 <\/span><\/span>Disons, et seulement pour fixer les id\u00e9es, \u00e0 peu pr\u00e8s <\/span><\/span><\/p>\n

<\/span><\/span>50 000<\/strong><\/span><\/span><\/p>\n

2 3 <\/span><\/span> Les biblioth\u00e8ques en enferment certainement beaucoup plus (je ne saurais dire combien, m\u00eame approximativement). La plupart de mes exemples proviennent de la Biblioth\u00e8que de France. Ils sont contenus dans des livres, des brochures et des revues. J\u2019indique tr\u00e8s sommairement la provenance de chacun. On verra ais\u00e9ment ainsi que mon livre n\u2019est pas un livre savant. Car je ne me suis pas priv\u00e9, par exemple, d\u2019avoir recours \u00e0 des \u00e9ditions r\u00e9centes plut\u00f4t qu\u2019aux originales quand cela m\u2019\u00e9tait plus commode (il en r\u00e9sulte certainement des erreurs). Je n\u2019ai pas plac\u00e9 toujours un sonnet \u00e0 la date de sa premi\u00e8re parution, \u2026 Mais quels que soient les d\u00e9fauts de ma d\u00e9marche (on y ajoutera les erreurs de lecture, les erreurs d\u2019analyse formelle de certains textes, \u2026.), elle pr\u00e9sente, il me semble, un avantage certain\u00a0: il y a <\/span><\/span>beaucoup d\u2019exemples<\/span><\/span><\/span>, et ce simple fait pourra permettre \u00e0 mes lecteurs de prendre la mesure de la grande vari\u00e9t\u00e9 formelle et esth\u00e9tique de ce qui a \u00e9t\u00e9 \u00e9crit dans le genre \u2018sonnet\u2019 d\u2019une part, d\u2019autre part d\u2019\u00e9viter de croire \u00e0 telle ou telle de ces g\u00e9n\u00e9ralisations abusives qui abondent dans la litt\u00e9rature critique (je me suis permis de mentionner telle ou telle \u00e0 la suite de certains sonnets). <\/span><\/span><\/p>\n

2 4 <\/span><\/span>Mon CHOIX, \u00e0 l\u2019int\u00e9rieur de l\u2019ensemble des sonnets examin\u00e9s (d\u00e9sign\u00e9s tels par moi) n\u2019est pas, quantitivement, r\u00e9ellement repr\u00e9sentatif de l\u2019ensemble\u00a0: les ph\u00e9nom\u00e8nes les plus rares y sont \u00e9videmment sur-repr\u00e9sent\u00e9s <\/span><\/span><\/p>\n

2 4 1 <\/span><\/span><\/span>voir par exemple, la tr\u00e8s longue liste des \u2018sonnets sur le sonnet\u2019.<\/span><\/span> <\/span><\/span><\/span><\/p>\n

2 5 <\/span><\/span>J\u2019ai ajout\u00e9, d\u00e9duites de l\u2019examen de la plus grande partie des po\u00e8mes examin\u00e9s pendant le temps de mon \u00e9tude, quelques donn\u00e9es chiffr\u00e9es pour corriger un peu la fausse impression que, parfois, le CHOIX pourrait donner au lecteur. <\/span><\/span><\/p>\n

3 <\/span><\/span>Pr\u00e9sentation du <\/strong><\/span><\/span>DESCRIPTIF FORMEL, I<\/strong><\/span><\/span><\/span><\/p>\n

3 1 <\/span><\/span>Le <\/span><\/span>CHOIX<\/strong><\/span><\/span>, premi\u00e8re partie de cette \u00e9tude, est une succession d\u2019<\/span><\/span>ARTICLES. <\/span><\/span><\/span>La plupart de ces <\/span><\/span>articles<\/span><\/span><\/span> sont consacr\u00e9s \u00e0 un sonnet particulier. Les autres sont, soit des titres de <\/span><\/span>chapitres<\/span><\/span><\/span> (le <\/span><\/span>CHOIX<\/strong><\/span><\/span> est divis\u00e9 en 14 chapitres, correspondant \u00e0 des tranches chronologiques), soit des <\/span><\/span>INCISES<\/span><\/span><\/span>, constitu\u00e9es, par exemple, d\u2019extraits de trait\u00e9s de versification. Il y a plus de 2052 <\/span><\/span>ARTICLES<\/span><\/span><\/span>. <\/span><\/span>(01\/03\/2011<\/span><\/span>)<\/span><\/span><\/p>\n

3 2 <\/span><\/span>Chaque sonnet reproduit dans un <\/span><\/span>ARTICLE <\/span><\/span><\/span>de la premi\u00e8re partie, le <\/span><\/span>CHOIX<\/strong><\/span><\/span>, est accompagn\u00e9 \u00e9ventuellement d\u2019un commentaire, dont une partie est un <\/span><\/span>commentaire formel minimal<\/span><\/span><\/span> qui met en \u00e9vidence certaines caract\u00e9ristiques de sa forme. <\/span><\/span><\/p>\n

3 3 <\/span><\/span>Ces caract\u00e9ristiques sont les <\/span><\/span>CATEGORIES<\/span><\/span><\/span> du <\/span><\/span>DESCRIPTIF FORMEL<\/strong><\/span><\/span><\/span>, attribuables \u00e0 ce sonnet. <\/span><\/span><\/p>\n

3 4 <\/span><\/span>Chaque <\/span><\/span>CATEGORIE<\/span><\/span><\/span> du <\/span><\/span>DESCRIPTIF FORME<\/strong><\/span><\/span><\/span>L<\/span><\/span><\/span> repr\u00e9sente un aspect de la <\/span><\/span>FORME-SONNET<\/span><\/span><\/span>. <\/span><\/span><\/p>\n

3 5 <\/span><\/span>Plus de 200 <\/span><\/span>CATEGORIES<\/span><\/span><\/span> (<\/span><\/span>222 au 01\/03\/2011<\/span><\/span>) sont utilis\u00e9es pour la <\/span><\/span>DESCRIPTION<\/strong><\/span><\/span><\/span>. Je les pr\u00e9sente maintenant sommairement.<\/span><\/span><\/p>\n

3 6 <\/span><\/span>Dans quelques cas, le nombre des sonnets appartenant \u00e0 une <\/span><\/span>CATEGORIE<\/span><\/span><\/span> est trop important pour qu\u2019il soit n\u00e9cessaire de le signaler. Dans c cas on a affaire \u00e0 une <\/span><\/span>CATEGORIE SILENCIEUSE<\/span><\/span><\/span><\/p>\n

3 6 <\/span><\/span>La <\/span><\/span>FORME-SONNET<\/span><\/span><\/span> est une forme \u00e9crite. La mani\u00e8re dont un sonnet appara\u00eet dans une page est un trait significatif de sa forme. Ce trait est not\u00e9 <\/span><\/span>DISPOSITION STROPHIQUE<\/strong><\/span><\/span>. La grande majorit\u00e9 des sonnets a la disposition strophique\u00a0: quatre strophes, s\u00e9par\u00e9es les unes des autres par une ligne de blanc. Les vers sont au fer \u00e0 gauche dans la ligne. Cette DISPOSITION STROPHIQUE serait not\u00e9e \u20184+4+3+3\u2019, si elle n\u2019\u00e9tait une <\/span><\/span>CATEGORIE SILENCIEUSE<\/span><\/span><\/span> .<\/span><\/span><\/p>\n

3 7 <\/span><\/span>Les<\/span><\/span> <\/span><\/span>DISPOSITIONs STROPHIQUEs signal\u00e9es sont\u00a0: <\/span><\/span><\/p>\n

a) quelques dispositions notables (par exemple \u20184+4+4+2\u2019)<\/span>
\nb) les sonnets \u00e0 strophes non s\u00e9par\u00e9es, signal\u00e9es comme \u2018sns\u2019.
\nc) les autres dispositions qui sont distinctes de la <\/span><\/span>disposition silencieuse<\/span><\/span><\/span> sont plac\u00e9es dans la cat\u00e9gorie \u2018dispositions diverses\u2019<\/span><\/span><\/p>\n

3 7 1 <\/span><\/span><\/span>des dispositions envisag\u00e9es dans le chapitre 7 de la seconde partie, relative au sonnet fran\u00e7ais des 16<\/span><\/span>\u00e8me<\/span><\/sup><\/span> et 17 \u00e8me si\u00e8cle ne sont pas ici pertinentes\u00a0: <\/span><\/span>disposition gauche<\/span><\/span><\/span> et <\/span><\/span>disposition droite<\/span><\/span><\/span>. <\/span><\/span><\/p>\n

4 <\/span><\/span>Pr\u00e9sentation du <\/strong><\/span><\/span>DESCRIPTIF FORMEL, II\u00a0: les FORMULES de RIMES\u00a0: I <\/strong><\/span><\/span><\/span><\/p>\n

4 1 <\/span><\/span>Le mod\u00e8le dominant du sonnet fran\u00e7ais (en accord sur ce point avec son anc\u00eatre italien) est divis\u00e9 (comme l\u2019indique la <\/span><\/span>DISPOSITION STROPHIQUE)<\/strong><\/span><\/span> en deux parties\u00a0: un <\/span><\/span>octave<\/strong><\/span><\/span>, compos\u00e9 de deux <\/span><\/span>quatrains<\/strong><\/span><\/span>, suivi d\u2019un <\/span><\/span>sizain<\/strong><\/span><\/span>, compos\u00e9 de deux <\/span><\/span>tercets. <\/strong><\/span><\/span><\/p>\n

4 2 <\/span><\/span>La suite des rimes du sonnet est un \u00e9l\u00e9ment essentiel de sa forme. Je la note <\/span><\/span>FORMULE DE RIMES. <\/strong><\/span><\/span><\/p>\n

4 3 <\/span><\/span>Les rimes des <\/span><\/span>quatrains <\/strong><\/span><\/span>sont not\u00e9es par les lettres a, b, a\u2019, b\u2019, .. <\/span><\/span><\/p>\n

4 4 <\/span><\/span>Dans la version ordinaire, largement majoritaire, des sonnets du <\/span><\/span>choix<\/strong><\/span><\/span> chaque quatrain est b\u00e2tis sur deux rimes, et pr\u00e9sente l\u2019un des trois mod\u00e8les possibles de quatrains\u00a0: <\/span><\/span><\/p>\n

a) quatraint plat\u00a0: \u2018<\/span><\/span>xxyy<\/strong><\/span><\/span>\u2019
\nb) quatrain altern\u00e9\u00a0: \u2018<\/span><\/span>xyxy\u2019<\/strong><\/span><\/span>
\nc) quatrain embrass\u00e9\u00a0: \u2018<\/span><\/span>xyyx\u2019<\/strong><\/span><\/span><\/p>\n

4 5 <\/span><\/span>Ordinairement, toujours, <\/span><\/span>l\u2019octave<\/strong><\/span><\/span> du sonnet se compose de deux quatrains, chacun de l\u2019un des types indiqu\u00e9s plus haut. <\/span><\/span><\/p>\n

4 6 <\/span><\/span>Il y a, pour les <\/span><\/span>octaves<\/strong><\/span><\/span> <\/span><\/span>ordinaires<\/strong><\/span><\/span> 63 <\/span><\/span>CATEGORIEs<\/span><\/span><\/span> de <\/span><\/span>FORMULES DE RIMES de <\/strong><\/span><\/span>QUATRAINS<\/strong><\/span><\/span><\/span> \u00e9num\u00e9r\u00e9es ci-apr\u00e8s, en suivant l\u2019ordre lexicographique. <\/span><\/span>Je note la premi\u00e8re rime rencontr\u00e9e par <\/span><\/span>a<\/strong><\/span><\/span>, la deuxi\u00e8me par <\/span><\/span>b<\/strong><\/span><\/span>. Si de nouvelles rimes apparaissent dans le deuxi\u00e8me quatrain, elles sont not\u00e9es <\/span><\/span>a’<\/strong><\/span><\/span>, <\/span><\/span>b’<\/strong><\/span><\/span>. <\/span><\/span><\/p>\n

4 7 <\/span><\/span>Octave sur deux rimes distinctes<\/span><\/span> <\/span><\/span>: <\/span><\/span><\/p>\n

Q1 aabb aabb<\/strong>
\nQ2 aabb abab<\/strong>
\nQ3 aabb abba<\/strong>
\nQ4 aabb baab<\/strong>
\nQ5 aabb baba<\/strong>
\nQ6 aabb bbaa<\/strong>
\nQ7 abab aabb <\/strong>
\nQ8 abab abab<\/strong>
\nQ9 abab abba<\/strong>
\nQ10 abab baab<\/strong>
\nQ11 abab baba<\/strong>
\nQ12 abab bbaa<\/strong>
\nQ13 abba aabb<\/strong>
\nQ14 abba abab<\/strong>
\nQ15 abba abba<\/strong>
\nQ16 abba baab<\/strong>
\nQ17 abba baba<\/strong>
\nQ18 abba bbaa<\/strong><\/p>\n

4 8 Octave sur trois rimes<\/span><\/p>\n

Q19 aabb aab’b’<\/strong>
\nQ20 aabb ab’ab’ <\/strong>
\nQ21 aabb ab’b’a<\/strong>
\nQ22 aabb bba’a’ <\/strong>
\nQ23 aabb ba’ba’ <\/strong>
\nQ24 aabb ba’a’b<\/strong>
\nQ25 aabb a’bba’ <\/strong>
\nQ26 aabb a’ba’b<\/strong>
\nQ27 aabb a’a’bb<\/strong>
\nQ28 aabb b’aab<\/strong>
\nQ29 aabb b’ab’a<\/strong>
\nQ30 aabb b’b’aa <\/strong>
\nQ31 abab aab’b’<\/strong>
\nQ32 abab ab’ab’<\/strong>
\nQ33 abab ab’b’a<\/strong>
\nQ34 abab bba’a’ <\/strong>
\nQ35 abab ba’ba’<\/strong>
\nQ36 abab ba’a’b <\/strong>
\nQ37 abab a’bba’ <\/strong>
\nQ38 abab a’ba’b<\/strong>
\nQ39 abab a’a’bb <\/strong>
\nQ40 abab b’aab’<\/strong>
\nQ41 abab b’ab’a <\/strong>
\nQ42 abab b’b’aa<\/strong>
\nQ43 abba aab’b’<\/strong>
\nQ44 abba ab’ab’<\/strong>
\nQ45 abba ab’b’a<\/strong>
\nQ46 abba bba’a’<\/strong>
\nQ47 abba ba’ba’<\/strong>
\nQ48 abba ba’a’b<\/strong>
\nQ49 abba a’bba\u2019<\/strong>
\nQ50 abba a’ba’b<\/strong>
\nQ51 abba a’a’bb<\/strong>
\nQ52 abba b’aab’<\/strong>
\nQ53 abba b’ab’a<\/strong>
\nQ54 abba b’b’aa<\/strong><\/p>\n

4 9 Octave sur quatre rimes<\/span><\/p>\n

Q55 aabb a’a’b’b’ <\/strong>
\nQ56 aabb a’b’a’b’ <\/strong>
\nQ57 aabb a’b’b’a’<\/strong>
\nQ58 abab a’a’b’b’ <\/strong>
\nQ59 abab a’b’a’b’<\/strong>
\nQ60 abab a’b’b’a’<\/strong>
\nQ61 abba a’a’b’b’<\/strong>
\nQ62 abba a’b’a’b’<\/strong>
\nQ63 abba a’b’b’a’<\/strong><\/p>\n

4 10 <\/span><\/span>Si le premier, le second quatrain ou les deux sont monorimes (<\/span><\/span>aaaa<\/strong><\/span><\/span>), ou si les quatrains ne sont pas autonomes, la s\u00e9quence des rimes de l’<\/span><\/span>octave<\/span><\/span><\/span> est not\u00e9e enti\u00e8rement. <\/span><\/span>Les octaves qui ne rentrant pas dans les cat\u00e9gories pr\u00e9c\u00e9dentes sont dits <\/span><\/span>octaves excentriques<\/strong><\/span><\/span>. Ils sont de trois sortes<\/span><\/span><\/p>\n

a) <\/span><\/span>sym\u00e9triques<\/strong><\/span><\/span><\/p>\n

b) <\/span><\/span>dissym\u00e9triques<\/strong><\/span><\/span><\/p>\n

4 11 <\/span><\/span>Les <\/span><\/span>octaves sym\u00e9triques <\/strong><\/span><\/span>sont ceux o\u00f9 une des rimes du premier quatrain est isol\u00e9e, mais o\u00f9 le second quatrain a soit la m\u00eame formule de rimes (<\/span><\/span>aaba<\/strong><\/span><\/span> <\/span><\/span>bbab<\/strong><\/span><\/span> ; <\/span><\/span>abaa babb<\/strong><\/span><\/span>, \u2026), soit son palindrome (<\/span><\/span>aaab baaa<\/strong><\/span><\/span>, \u2026)\u00a0; l\u2019octave dans son ensemble peut \u00eatre \u00e0 deux ou \u00e0 trois rimes (<\/span><\/span>abbb ab\u2019b\u2019b\u2019 \u2026).<\/strong><\/span><\/span>Les autres octaves sont <\/span><\/span>dissym\u00e9triques<\/strong><\/span><\/span><\/p>\n

4 12 <\/span><\/span>c)<\/span> <\/span><\/span>Une troisi\u00e8me cat\u00e9gorie d\u2019octaves est celle o\u00f9 chaque quatrain est monorime\u00a0: <\/span><\/span>aaaa bbbb<\/strong><\/span><\/span>. Je note <\/span><\/span>A4B4<\/strong><\/span><\/span><\/p>\n

5 <\/span><\/span>Pr\u00e9sentation du <\/strong><\/span><\/span>DESCRIPTIF FORMEL, III\u00a0: les FORMULES de RIMES\u00a0: II <\/strong><\/span><\/span><\/span><\/p>\n

5 1 <\/span><\/span>Reprise de rimes<\/span><\/span> <\/strong><\/span><\/span>: les rimes des tercets (sizain) sont ordinairement distinctes de celles de l\u2019octave (quatrains). Il arrive qu\u2019une ou deux rimes de l\u2019octave soient reprises dans les tercets. Notation\u00a0: <\/span><\/span>y=x<\/strong><\/span><\/span><\/p>\n

5 2 <\/span><\/span>Souvent, mais pas toujours, j\u2019indique la nature de ces reprises\u00a0: <\/span><\/span>e=a\u00a0; c=b & d=a \u2026<\/strong><\/span><\/span><\/p>\n

5 3 <\/span><\/span>Il y a, pour les <\/span><\/span>sizains<\/strong><\/span><\/span> <\/span><\/span>ordinaires<\/strong><\/span><\/span> 41 <\/span><\/span>CATEGORIEs<\/span><\/span><\/span> de <\/span><\/span>FORMULES DE RIMES de <\/strong><\/span><\/span>TERCETS<\/strong><\/span><\/span><\/span> \u00e9num\u00e9r\u00e9es ci-apr\u00e8s, en suivant l\u2019ordre lexicographique<\/span><\/span><\/p>\n

5 4 <\/span><\/span><\/p>\n

T1 ccc ccc<\/strong>
\nT2 ccc cdd<\/strong>
\nT3 ccc dcd<\/strong>
\nT4 ccc ddc<\/strong>
\nT5 ccc ddd<\/strong>
\nT6 ccd ccd <\/strong>
\nT7 ccd cdc<\/strong>
\nT8 ccd cdd<\/strong>
\nT9 ccd dcc<\/strong>
\nT10 ccd dcd<\/strong>
\nT11 ccd ddc<\/strong>
\nT12 ccd ddd <\/strong>
\nT13 cc dd ee<\/strong>
\nT14 ccd ede<\/strong>
\nT15 ccd eed<\/strong>
\nT16 cdc ccd<\/strong>
\nT17 cdc cdc<\/strong>
\nT18 cdc cdd <\/strong>
\nT19 cdc dcc<\/strong>
\nT20 cdc dcd<\/strong>
\nT21 cdc ddc<\/strong>
\nT22 cdc ddd <\/strong>
\nT23 cdc dee<\/strong>
\nT24 cdc ede<\/strong>
\nT25 cdc eed <\/strong>
\nT26 cdd ccc<\/strong>
\nT27 cdd ccd<\/strong>
\nT28 cdd cdc<\/strong>
\nT29 cdd cdd <\/strong>
\nT30 cdd cee <\/strong>
\nT31 cdd dcc<\/strong>
\nT32 cdd dcd <\/strong>
\nT33 cdd ddc <\/strong>
\nT34 cdd ece<\/strong>
\nT35 cdd eec<\/strong>
\nT36 cde cde<\/strong>
\nT37 cde ced<\/strong>
\nT38 cde dce<\/strong>
\nT39 cde dec<\/strong>
\nT40 cde ecd<\/strong>
\nT41 cde edc <\/strong><\/p>\n

5 5 <\/span><\/span>Les tercets sont \u00e0 deux ou \u00e0 trois rimes <\/span><\/span>(T13 \u00e0 T15\u00a0; T23 \u00e0 T25\u00a0; T30\u00a0; T34 \u00e0 T41)<\/span><\/p>\n

5 6 <\/span><\/span>Si certains vers n’ont pas de rime, ils sont not\u00e9s x, y, z, …, et la s\u00e9quence des rimes des tercets est not\u00e9e en entier . <\/span><\/span>Les sizains qui n\u2019entrent pas dans les cat\u00e9gories pr\u00e9c\u00e9dents sont les <\/span><\/span>tercets excentriques<\/strong><\/span><\/span><\/p>\n

6 <\/span><\/span>Pr\u00e9sentation du <\/strong><\/span><\/span>DESCRIPTIF FORMEL, IV\u00a0: les FORMULES de RIMES\u00a0: III <\/strong><\/span><\/span><\/span><\/p>\n

6 1 <\/span><\/span>Il n\u2019est pas possible de consacrer des cat\u00e9gories descriptives \u00e0 toutes les combinaisons envisageables de quatrains et de tercets (plus de 2500). Les rimes des tercets sont g\u00e9n\u00e9ralement ind\u00e9pendantes de celles des quatrains, mais il existe un certain nombre de cas o\u00f9 il est important de noter la <\/span><\/span>Formule enti\u00e8re<\/strong><\/span><\/span><\/span> des rimes du sonnet. J\u2019en ai signal\u00e9 quelques unes\u00a0:<\/span><\/span><\/p>\n

6 2 <\/span><\/span>Les quatrains et les tercets sont monorimes (sur des rimes distinctes). Cette cat\u00e9gorie est not\u00e9e <\/span><\/span>A4B4C3D3<\/strong><\/span><\/span><\/p>\n

6 3 <\/span><\/span>Pour un sonnet non rim\u00e9 (en vers blancs)\u00a0: <\/span><\/span>bl<\/strong><\/span><\/span><\/p>\n

6 4 <\/span><\/span>Une seule rime pour tout le sonnet\u00a0: <\/span><\/span>monorime<\/strong><\/span><\/span><\/p>\n

6 5 <\/span><\/span>A la rime peut se susbstituer la reprise des m\u00eames mots (un ou plusieurs)\u00a0: <\/span><\/span>mots-rimes<\/strong><\/span><\/span><\/p>\n

6 6 <\/span><\/span>A la place de l\u2019organisation ordinaire des strophes\u00a0 (deux quatrains suivis de deux tercets\u00a0: <\/span><\/span>QQTT<\/strong><\/span><\/span>) (cat\u00e9gorie silencieuse), on peut avoir affaire \u00e0 des <\/span><\/span>Permutations de strophes<\/strong><\/span><\/span><\/span> : QTQT, QTTQ, s.rev<\/strong><\/span><\/span> (<\/span><\/span>sonnet renvers\u00e9<\/span>), <\/span><\/span>TQQT, TQTQ<\/strong><\/span><\/span><\/p>\n

6 7 <\/span><\/span>Formule plate (sept distiques successifs)\u00a0: <\/span><\/span>PL<\/strong><\/span><\/span><\/p>\n

6 8 <\/span><\/span>Le sonnet en prose\u00a0: <\/span><\/span>pr<\/strong><\/span><\/span><\/p>\n

6 9 <\/span><\/span>La formule enti\u00e8re du sonnet est excentrique\u00a0: <\/span><\/span>r.exc.<\/strong><\/span><\/span><\/p>\n

6 10 <\/span><\/span>Il y a des vers-refrains\u00a0: <\/span><\/span>refrains<\/strong><\/span><\/span><\/p>\n

6 11 <\/span><\/span>Sonnets o\u00f9 il manque des vers\u00a0: <\/span><\/span>s.lacunaire<\/strong><\/span><\/span><\/p>\n

6 12 <\/span><\/span>Une formule de rimes qui reproduit celle du sonnet anglais dit \u2018shakespearien\u2019, (abab cdcd efef gg), mais avec des strophes s\u00e9par\u00e9es, de disposition <\/span><\/span>4+4+4+2 <\/strong><\/span><\/span>: <\/span><\/span>shmall<\/strong><\/span><\/span> (<\/span><\/span>Mallarm\u00e9 l\u2019utilise beaucoup<\/span>)<\/span><\/span><\/p>\n

6 13 <\/span><\/span>Une variante de la pr\u00e9c\u00e9dente o\u00f9 les trois quatrains sont \u00e0 rimes embrass\u00e9es ( abba cddc effe gg)\u00a0: <\/span><\/span>shmall-bis<\/strong><\/span><\/span><\/p>\n

6 14 <\/span><\/span>Formule de rimes \u2018spens\u00e9rienne\u2019, \u00e0 strophes s\u00e9par\u00e9es (4+4+4+2), (abab bcbc cdcd ee)\u00a0: <\/span><\/span>sp<\/strong><\/span><\/span><\/p>\n

6 15 <\/span><\/span>Les quatre <\/span><\/span>mod\u00e8les dominants<\/strong><\/span><\/span> au seizi\u00e8me si\u00e8cle sont identifi\u00e9s comme <\/span><\/span>Formules principales<\/strong><\/span><\/span><\/span><\/p>\n

6 16 <\/span><\/span>La combinaison <\/span><\/span>Q15-T14<\/strong><\/span><\/span> (abba abba ccd ede) qui est la formule exig\u00e9e par Banville est indiqu\u00e9e par <\/span><\/span>banv<\/strong><\/span><\/span><\/p>\n

6 17<\/span><\/span> La combinaison <\/span><\/span>Q15- T15 <\/strong><\/span><\/span>(abba abba ccd eed) (<\/span><\/span>que pr\u00e9f\u00e9rait Ronsard<\/span>) est not\u00e9e <\/span><\/span>Rons<\/strong><\/span><\/span><\/p>\n

6 18 <\/span><\/span>La combinaison <\/span><\/span>Q8-T15<\/strong><\/span><\/span> (abab abab ccd eed) (<\/span><\/span>employ\u00e9e syst\u00e9matiquement en alternance avec <\/span>banv<\/strong><\/span> par Carnot en 1820<\/span>) est not\u00e9e <\/span><\/span>carn<\/strong><\/span><\/span><\/p>\n

6 19 <\/span><\/span>La combinaison <\/span><\/span>Q8 \u2013 T14<\/strong><\/span><\/span> (abab abab ccd ede), <\/span><\/span>qui utilise trois quatrains altern\u00e9s <\/span>est not\u00e9e <\/span><\/span>alal<\/strong><\/span><\/span><\/p>\n

6 20 <\/span><\/span>Si, dans chacune des formules prc\u00e9dentes on renverse les tervets, on obtient quatre nouvelles formules que je signale comme <\/span><\/span>Formules secondes<\/strong><\/span><\/span><\/p>\n

6 21 <\/span><\/span>Q8 \u2013 T23<\/strong><\/span> (abab abab cdc dee)\u00a0: <\/span>alal-2<\/strong><\/span><\/p>\n

6 22 <\/span><\/span>Q8 \u2013 T30 <\/strong><\/span>(abab abab cdd cee)\u00a0: <\/span>carn-2<\/strong><\/span><\/p>\n

6 23 <\/span><\/span>Q15 \u2013 T23<\/strong><\/span> (abba abba cdc dee)\u00a0: <\/span>banv-2<\/strong><\/span><\/p>\n

6 24 <\/span><\/span>Q15 \u2013 T30<\/strong><\/span> (abba abba cdd cee)\u00a0: <\/span>rons-2<\/strong><\/span><\/p>\n

7 <\/span><\/span>Pr\u00e9sentation du <\/strong><\/span><\/span>DESCRIPTIF FORMEL, V<\/strong><\/span><\/span><\/span><\/p>\n

7 1 <\/span><\/span>La prosodie fran\u00e7aise, depuis le milieu du 16<\/span><\/span>\u00e8me<\/span><\/span><\/sup> si\u00e8cle environ et jusque tr\u00e8s <\/span><\/span><\/p>\n

avant dans le 19<\/span><\/span>\u00e8me<\/span><\/span><\/sup> s\u2019est soumise \u00e0 la r\u00e8gle de l\u2019<\/span><\/span>alternance des rimes<\/span><\/span><\/span>. Les rimes sont de deux esp\u00e8ces, masculine et f\u00e9minin et on ne peut changer de rime sans changer de genre. <\/span><\/span><\/p>\n

7 2 <\/span><\/span>Diverses cat\u00e9gories recensent les types de violations du <\/span><\/span>Genre des rimes<\/strong><\/span><\/span><\/span> <\/strong><\/span><\/span>: <\/span><\/span><\/p>\n

Si la premi\u00e8re rime du sonnet est f\u00e9minine\u00a0: <\/span><\/span>1-fem<\/strong><\/span><\/span>. <\/span><\/span><\/p>\n

Les sonnets de Malherbe qui ont donn\u00e9 naissance \u00e0 l\u2019id\u00e9e de <\/span><\/span>sonnet r\u00e9gulier<\/span><\/span><\/span> sont \u00e0 placer \u00e0 la fois dans la cat\u00e9gorie <\/span><\/span>banv, <\/strong><\/span><\/span>et dans la cat\u00e9gorie<\/span><\/span> 1-fem<\/strong><\/span><\/span> ; la combinaison de ces deux trraits repr\u00e9sente un sonnet \u2018banvilien strict\u2019, ou \u2018malherbien\u2019. La cat\u00e9gorie <\/span><\/span>malh<\/strong><\/span><\/span> les marque. <\/span><\/span><\/p>\n

Quatrains \u00e0 rimes f\u00e9minines, <\/span><\/span>Q-fem <\/strong><\/span><\/span>; \u00e0 rimes masculines, <\/span><\/span>Q-masc <\/strong><\/span><\/span>; Tercets \u00e0 rimes f\u00e9minines, <\/span><\/span>T-fem <\/strong><\/span><\/span>; \u00e0 rimes masculines, <\/span><\/span>T-masc <\/strong><\/span><\/span>; Formules enti\u00e8res f\u00e9minines, <\/span><\/span>r.fem <\/strong><\/span><\/span>; formules enti\u00e8res masculines<\/span><\/span>, r.masc <\/strong><\/span><\/span>; combinaisons diverses de ces cat\u00e9goies, <\/span><\/span>divers genre – <\/strong><\/span><\/span>dans quelques cas on rencontre un jeu associant \u00e0 une rime masculine x la rime f\u00e9minine qui lui correspond. Je note <\/span><\/span>x*<\/strong><\/span><\/span> la rime f\u00e9minine associ\u00e9e \u00e0 x <\/span><\/span><\/p>\n

7 3 <\/span><\/span>Le nombre des vers d\u2019un sonnet du CHOIX est ordinairement 14. Mais il existe des sonnets plus longs ou plus courts. Dans <\/span><\/span>Longueur du sonnet<\/strong><\/span><\/span><\/span> figurent plusieurs sous-cat\u00e9gories, caract\u00e9ris\u00e9es par le nombre des vers, <\/span><\/span>8v, 10v, 11v \u2026, autres longueurs <\/strong><\/span><\/span>; des cas sp\u00e9ciaux\u00a0: le sonnet <\/span><\/span>caudato<\/strong><\/span><\/span>, le <\/span><\/span>s.double <\/strong><\/span><\/span><\/p>\n

7 4 <\/span><\/span>Les <\/span><\/span>M\u00e8tres<\/strong><\/span><\/span><\/span>: identifi\u00e9s par le nombre des positions m\u00e9triques (\u2018syllabes\u2019)\u00a0: <\/span><\/span>mono, 2s \u00e0 7s, octo, 9s, d\u00e9ca, tara<\/strong><\/span><\/span> (autre m\u00e8tre \u00e0 dix syllabes, le taratantara, \u00e0 deux h\u00e9mistiches de 5 syllabes), <\/span><\/span>11s, 13s \u00e0 16s<\/strong><\/span><\/span>. L\u2019<\/span><\/span>alexandrin <\/strong><\/span><\/span>est une cat\u00e9gorie silencieuse. Le vers de 12 syllabes coup\u00e9 4+4+4 est not\u00e9 <\/span><\/span>trim\u00e8tre. <\/strong><\/span><\/span>Il y a des sonnets qui emploient deux ou plusieurs m\u00e8tres diff\u00e9rents\u00a0: <\/span><\/span>2m.<\/strong><\/span><\/span> Et des sonnets sont la m\u00e9trique est irr\u00e9guli\u00e8re\u00a0: <\/span><\/span>m.irr<\/strong><\/span><\/span><\/p>\n

7 5 <\/span><\/span>Les vers sont <\/span><\/span>non compt\u00e9s non rim\u00e9s<\/strong><\/span><\/span><\/span> : vL<\/strong><\/span><\/span><\/p>\n

7 6 <\/span><\/span>La cat\u00e9gorie <\/span><\/span>Ornements<\/strong><\/span><\/span><\/span> <\/span><\/span><\/span>distingue\u00a0: les acostiches, <\/span><\/span>acr <\/strong><\/span><\/span>; les bouts-rim\u00e9s, <\/span><\/span>b.rim <\/strong><\/span><\/span>; diverses <\/span><\/span>homophonies<\/strong><\/span><\/span>, les <\/span><\/span>logogriphes<\/strong><\/span><\/span>, les sonnets en argot, <\/span><\/span>s.argot <\/strong><\/span><\/span>; et une sous-cat\u00e9gorie fourre-tout pour des contraintes vari\u00e9es, nomm\u00e9es globalement <\/span><\/span>oulipismes<\/strong><\/span><\/span><\/p>\n

7 7 <\/span><\/span>La cat\u00e9gorie <\/span><\/span>past-part<\/strong><\/span><\/span><\/span> met ensemble les pastiches et les parodies, <\/span><\/span>past<\/strong><\/span><\/span><\/p>\n

7 8 <\/span><\/span>J\u2019ai introduit dans le CHOIX plus d\u2019une centaine de sonnets traduits. La cat\u00e9gorie <\/span><\/span>Traduction<\/strong><\/span><\/span><\/span> distingue les traductions de P\u00e9trarque, <\/span><\/span>rvf1<\/strong><\/span><\/span> (traduction du premier sonnet), <\/span><\/span>rvf<\/strong><\/span><\/span> (un autre sonnet)\u00a0; les traductions de sonnets de Shakespeare\u00a0: <\/span><\/span>sh52<\/strong><\/span><\/span> et <\/span><\/span>sh<\/strong><\/span><\/span>. Les autres traductions sont not\u00e9es simplement <\/span><\/span>tr<\/strong><\/span><\/span><\/p>\n

7 9 <\/span><\/span>Dans la cat\u00e9gorie <\/span><\/span>Variantes de la forme <\/strong><\/span><\/span><\/span>: <\/span><\/span>14l<\/strong><\/span><\/span> (<\/span><\/span>14 lignes<\/span>)\u00a0; <\/span><\/span>demi-sonnet <\/strong><\/span><\/span>; la <\/span><\/span>forme-lorrain<\/strong><\/span><\/span> <\/span><\/span>(invent\u00e9e par Jehan Lorrain<\/span>)\u00a0; <\/span><\/span>s.+s.rev <\/strong><\/span><\/span>(<\/span><\/span>variante du sonnet double\u00a0: un sonnet suivi d\u2019un sonnet renvers\u00e9<\/span>)\u00a0; le <\/span><\/span>sonnet irrationnel<\/strong><\/span><\/span> (<\/span><\/span>invention de Jacques Bens, de l\u2019Oulipo<\/span>)\u00a0; le <\/span><\/span>sonnet triolet <\/strong><\/span><\/span>; <\/span><\/span>quelques autres non honor\u00e9es d\u2019une cat\u00e9gorie particuli\u00e8re. <\/span><\/p>\n

7 10 <\/span><\/span>Derni\u00e8re grande cat\u00e9gorie, les <\/span><\/span>vari\u00e9t\u00e9s particuli\u00e8res<\/strong><\/span><\/span><\/span> : arv<\/strong><\/span><\/span> (<\/span><\/span>les r\u00e9ponses au, et parodies du fameux \u2018sonnet d\u2019Arvers\u2019<\/span>), les \u2018boules de neige\u2019, <\/span><\/span>bdn <\/strong><\/span>; le \u2018bouquet inutile\u2019 (une<\/span> s\u00e9lection d\u2019une vingtaine de \u2018sonnets quelconques\u2019), <\/span><\/span>bi <\/strong><\/span><\/span>; les couronnes de sonnets, <\/span><\/span>couronnes <\/strong><\/span><\/span>; et plus de 130 \u2018sonnets sur le sonnet\u2019, <\/span><\/span>s sur s<\/strong><\/span><\/span><\/p>\n

8 <\/span><\/span>Commentaires du <\/strong><\/span><\/span>DESCRIPTIF FORMEL, I<\/strong><\/span><\/span><\/span><\/p>\n

8 1 <\/span><\/span>Les sonnets du CHOIX sont accompagn\u00e9s d\u2019une tr\u00e8s courte description formelle, qui signale en particulier les peincipales cat\u00e9gories du descriptif pertinentes pour l\u2019analyse formelle du po\u00e8me. <\/span><\/span><\/p>\n

8 2 <\/span><\/span>Pour chaque trait du descriptif, le nombre des sonnets du Choix qui ont \u00e9t\u00e9 class\u00e9s dans cette cat\u00e9gorie est \u00e9videmment une donn\u00e9e importante pour le trac\u00e9 du \u2018portrait formel\u2019 de la forme-sonnet, qui est le but de cette partie de mon ouvrage. Je vais consid\u00e9rer maintenant ces donn\u00e9es num\u00e9riques. <\/span><\/span><\/p>\n

8 3 <\/span><\/span>Il faut tenir compte du fait que le nombre total des textes (en dehors de la <\/span><\/span>coda<\/strong><\/span><\/span><\/span>) est 2000. <\/span><\/span><\/p>\n

8 4 <\/span><\/span>Et de cet autre fait que les traits rares et certaines cat\u00e9gories sont favoris\u00e9s dans le CHOIX par le mode de s\u00e9lection des sonnets. Pour cette raison, je compl\u00e8terai et corrigerai en partie les conclusions qui vont suivre, d\u2019un examen d\u2019une grande partie du corpus des sonnets \u00e0 partir duquel le CHOIX a \u00e9t\u00e9 constitu\u00e9. <\/span><\/span><\/p>\n

8 5 <\/span><\/span>Signalons enfin que les donn\u00e9es num\u00e9riques sur les cat\u00e9gories du CHOIX sont des donn\u00e9es <\/span><\/span>globales<\/span><\/span><\/span> qui ne donnet aucune indication sur l\u2019<\/span><\/span>\u00e9volution<\/span><\/span><\/span> de la forme. Une correction partielle de ce d\u00e9faut sera obtenue par l\u2019exament des donn\u00e9es portant sur la partie \u00e9tendue du corpus que j\u2019ai analys\u00e9e par tranches chronologiques. <\/span><\/span><\/p>\n

8 6 <\/span><\/span>DISPOSITIONS STROPHIQUES<\/strong><\/span><\/span><\/span>. <\/span><\/span><\/p>\n

La disposition ordinaire (silencieuse) des sonnets est de loin la plus fr\u00e9quente. Peu de sonnets y \u00e9chappent\u00a0: gu\u00e8re plus d\u2019une centaine. Les moins rares des dispositions non ordinaire sont les <\/span><\/span>sns<\/strong><\/span><\/span> (strophes non s\u00e9par\u00e9es\u00a0; une cinquantaine de cas) et les dispositions \u2018pseudo anglaises\u2019 de la cat\u00e9gorie <\/span><\/span>shmall<\/strong><\/span><\/span> une trentaine). <\/span><\/span><\/p>\n

8 7 <\/span><\/span>QUATRAINS<\/strong><\/span><\/span><\/p>\n

Dans <\/span><\/span>1644<\/strong><\/span><\/span> textes, la formule de rimes des quatrains appartient \u00e0 l\u2019une des <\/span><\/span>63<\/strong><\/span><\/span> cat\u00e9gories not\u00e9es dans le descriptif. <\/span><\/span><\/p>\n

8 8 <\/span><\/span>Le type le plus fr\u00e9quent de quatrains est le type <\/span><\/span>Q15- abba abba<\/strong><\/span><\/span>, de quatrains <\/span><\/span>embrass\u00e9s,<\/span><\/span><\/span> qui est celui des premiers sonnets en langue fran\u00e7aise (Marot, Ronsard) et vient directement du mod\u00e8le italien (P\u00e9trarque). <\/span><\/span>681<\/strong><\/span><\/span> exemples sont recens\u00e9s dans le CHOIX. C\u2019est beaucoup, mais beaucoup, beaucoup moins qu\u2019il ne devrait y en avoir, si le sonnet \u00e9tait soumis aux r\u00e8gles les plus souvent all\u00e9gu\u00e9es par les trait\u00e9s de versification (et pas seulement par Banville). <\/span><\/span><\/p>\n

8 9 <\/span><\/span>En seconde position (pour la fr\u00e9quence), on trouve les quatrains <\/span><\/span>altern\u00e9s<\/span><\/span><\/span>, <\/span><\/span>Q08 \u2013 abab abab<\/strong><\/span><\/span>, pr\u00e9sents dans moiti\u00e9 moins des cas, <\/span><\/span>336<\/strong><\/span><\/span> exemples. <\/span><\/span><\/p>\n

8 9 1 <\/span><\/span><\/span>Cette vari\u00e9t\u00e9 de quatrains \u00e9tait pr\u00e9sente chez P\u00e9trarque, mais peu repr\u00e9sent\u00e9e. Elle \u00e9tait rare encore dans les d\u00e9buts du sonnet fran\u00e7ais. Elle \u00e9tait devenue plus fr\u00e9quent d\u00e8s la fin du 16<\/span><\/span>\u00e8me<\/span><\/sup><\/span> si\u00e8cle. <\/span><\/span><\/p>\n

8 9 2 <\/span><\/span><\/span>Les progr\u00e9s des quatrains altern\u00e9s sont une cons\u00e9quence, me semble-t-il d\u2019une tendance g\u00e9n\u00e9rale de la prosodie fran\u00e7aise depuis les origines (les Trouv\u00e8res) \u00e0 \u00e9viter le plus possibles le retard \u00e0 l\u2019\u00e9cho d\u2019une rime<\/span><\/span><\/p>\n

<\/span><\/span><\/span>8 9 2 1 <\/span><\/span><\/span>Les quatrains embrass\u00e9s sont quasi-absents dans l\u2019oeuvre de Hugo. <\/span><\/span><\/p>\n

<\/span><\/span><\/span>8 9 2 1 1 <\/span><\/span><\/span>Il s\u2019en trouve, curieusement, deux dans <\/span><\/span>Booz endormi<\/span><\/span><\/span><\/p>\n

8 10 <\/span><\/span>A eux deux, les quatrains <\/span><\/span>Q08<\/strong><\/span><\/span> et <\/span><\/span>Q15<\/strong><\/span><\/span> sont pr\u00e9sents dans plus de la moiti\u00e9 des quatrains du CHOIX (<\/span><\/span>1017)<\/strong><\/span><\/span> <\/span><\/span><\/p>\n

8 11 <\/span><\/span>Poursuivant l\u2019examen par fr\u00e9quences d\u00e9croissantes, on trouve, un peu au-dessus de <\/span><\/span>100<\/strong><\/span><\/span> exemples, <\/span><\/span>Q59 \u2013 abab a\u2019b\u2019a\u2019b\u2019<\/strong><\/span><\/span> (<\/span><\/span>118)<\/strong><\/span><\/span> et <\/span><\/span>Q63 \u2013 abba a\u2019b\u2019b\u2019a\u2019 (106)<\/strong><\/span><\/span>. <\/span><\/span><\/p>\n

8 12 <\/span><\/span>Ces deux formules sont \u00e0 quatre rimes, violent cyniquement la fameuse \u2018r\u00e8gle de la quaduple rime\u2019\u00a0; et sont pourtant pas mal nombreuses. <\/span><\/span><\/p>\n

8 13 <\/span><\/span>La premi\u00e8re, <\/span><\/span>Q59<\/strong><\/span><\/span>, est faite de deux quatrains altern\u00e9s, et appara\u00eet donc comme r\u00e9sultant d\u2019une \u2018desserrement\u2019 de la contrainte de <\/span><\/span>Q08<\/strong><\/span><\/span> qui oblige \u00e0 trouver quatre mots de rime \u2018a\u2019 et quatre mots de rime \u2018b\u2019 (\u2018quadruple rime\u2019\u00a0!). <\/span><\/span><\/p>\n

8 14 <\/span><\/span>Il en est de m\u00eame pour <\/span><\/span>Q63<\/strong><\/span><\/span> qui \u2018simplifie\u2019 <\/span><\/span>Q15<\/strong><\/span><\/span>. <\/span><\/span><\/p>\n

8 14 1 <\/span><\/span><\/span>La l\u00e9g\u00e8re pr\u00e9f\u00e9rence de <\/span><\/span>Q59<\/strong><\/span><\/span> sur <\/span><\/span>Q63<\/strong><\/span><\/span> est un t\u00e9moin suppl\u00e9mentaire de la tendance \u00e0 choisir le type \u2018altern\u00e9\u2019 plut\u00f4t que le type \u2018embrass\u00e9\u2019 de quatrains. <\/span><\/span><\/p>\n

8 15 <\/span><\/span>La formule <\/span><\/span>Q16 \u2013 abba baab<\/strong><\/span><\/span>, qui s\u2019obtient \u00e0 partir de <\/span><\/span>Q15<\/strong><\/span><\/span> par \u2018\u00e9change\u2019 des rimes \u2018a\u2019 et \u2018b\u2019 dans le second quatrain, a <\/span><\/span>68<\/strong><\/span><\/span> repr\u00e9sentants. <\/span><\/span><\/p>\n

8 16 <\/span><\/span>On passe ensuite \u00e0 un petit groupe de formules, qui comptent entre 20 et cinquante exemples\u00a0: <\/span><\/span>Q10 \u2013 abab baab (48), Q11 \u2013 abab baba (34), Q09 \u2013 abab abba (29), Q17 \u2013 abba baba (27)<\/strong><\/span><\/span>, d\u2019une part, formules qui utilisent la concat\u00e9nation de quatrains altern\u00e9s et embrass\u00e9s, avec \u00e9ventuellement \u2018\u00e9change\u2019 des rimes \u2018a\u2019 et \u2018b\u2019\u00a0; et la formule <\/span><\/span>Q01 \u2013 aabb aabb (28) <\/strong><\/span><\/span>, concat\u00e9nation de deux quatrains plats (parfaitement respectueuse de la r\u00e8gle de Gautier, mais certainement pas conforme \u00e0 son id\u00e9e de la forme\u00a0!). Plus de 1% de sonnets du CHOIX sont ainsi \u00e0 quatrains plats, ce qui n\u2019est pas n\u00e9gligeable, n\u2019en d\u00e9plaise \u00e0 mr Robb. <\/span><\/span><\/p>\n

8 16 1 <\/span><\/span><\/span>L\u2019amour de la prosodie fran\u00e7aise pour la \u2018platitude\u2019, dont elle fit une orgie dans le th\u00e9\u00e2tre classique, est tr\u00e8s visible au 19<\/span><\/span>\u00e8me<\/span><\/sup><\/span> si\u00e8cle. <\/span><\/span><\/p>\n

8 16 1 1 <\/span><\/span><\/span>Jointe \u00e0 une version tr\u00e8s faible de la rime, on la retrouve aujourd\u2019hui dans le \u2018slam\u2019. <\/span><\/span><\/p>\n

8 17 <\/span><\/span>On arrive maintenant \u00e0 des formules rares\u00a0: de 10 \u00e0 20 exemples, on trouve\u00a0: <\/span><\/span><\/p>\n

a) <\/span><\/span>Q62 \u2013 abba a\u2019b\u2019a\u2019b, (19) Q60 \u2013 abab a\u2019b\u2019b\u2019a\u2019 (15), <\/strong><\/span><\/span>\u00e0 quatre rimes<\/span><\/span><\/p>\n

b) <\/span>Q14 \u2013 abba abab (16)<\/strong><\/span><\/span><\/p>\n

c) <\/span>Q32 \u2013 abab ab\u2019ab\u2019 (13),<\/strong><\/span><\/span> <\/strong><\/span>Q38 \u2013 abab a\u2019ba\u2019b (12) , Q45 \u2013 abba ab\u2019b\u2019a (11)<\/strong><\/span><\/span>, seules formules \u00e0 trois rimes d\u00e9passant les 10 exemplaires. <\/span><\/span><\/p>\n

8 18 <\/span><\/span>Toutes les autres formules de quatrains ont moins de 10 exemples. <\/span><\/span><\/p>\n

8 19 <\/span><\/span>En particulier, plusieurs formules sont des \u2018unicum\u2019\u00a0: <\/span><\/span><\/p>\n

Q05 \u2013 aabb baba<\/strong><\/span><\/span><\/p>\n

Q21 \u2013 aabb ab\u2019b\u2019a , Q24 \u2013 aabb ba\u2019a\u2019b , Q33 \u2013 abab ab\u2019b\u2019a , Q34 \u2013 aabb bba\u2019a\u2019 , Q44 \u2013 abba ab\u2019ab\u2019, Q47 \u2013 abba ba\u2019ba\u2019, Q53 \u2013 abba b\u2019ab\u2019a<\/strong><\/span><\/span><\/p>\n

Toutes, sauf une, sont \u00e0 trois rimes. <\/span><\/span><\/p>\n

8 20 <\/span><\/span>Les <\/span><\/span>63<\/strong><\/span><\/span> formules de quatrains \u2018ordinaires\u2019 ne sont pas toutes attest\u00e9es. <\/span><\/span><\/p>\n

8 21 <\/span><\/span>Toutes les formules \u00e0 deux rimes sont pr\u00e9sentes dans le CHOIX<\/span><\/span><\/p>\n

8 22 <\/span><\/span>Toutes les formules \u00e0 quatre rimes sont pr\u00e9sentes dans le CHOIX. <\/span><\/span><\/p>\n

8 23 <\/span><\/span>Les seule formules absentes sont \u00e0 trois rimes\u00a0: <\/span><\/span>Q20, Q22, Q23, Q25, Q26, Q28 \u00e0 Q31, Q37, Q39 \u00e0 Q43, Q46, Q50 & Q51, Q54<\/strong><\/span><\/span>. 19 en tout, sur 36 possibles. C\u2019est plus de la moiti\u00e9\u00a0; c\u2019est beaucoup. <\/span><\/span><\/p>\n

8 24 <\/span><\/span>J\u2019ai comment\u00e9 la cat\u00e9gorie des <\/span>quatrains excentriques<\/strong><\/span><\/span> <\/strong><\/span>lors de la pr\u00e9sentation du descriptif formel, je n\u2019y reviens pas maintenant. J\u2019en donnerai la <\/span>liste<\/span><\/span> plus loin. <\/span><\/p>\n

8 25 <\/span><\/span>TERCETS<\/strong><\/span><\/span><\/p>\n

Comme dans le cas des <\/span><\/span>quatrains<\/strong><\/span><\/span>, 1650 sonnets environ du CHOIX ont une des <\/span><\/span>41<\/strong><\/span><\/span> formules de rimes de sizain r\u00e9pertori\u00e9es dans les <\/span><\/span>cat\u00e9gories <\/span><\/span><\/span>du blog <\/span><\/span>QUASI-CRISTAUX<\/strong><\/span><\/span>.<\/span><\/span> <\/span><\/span><\/span><\/p>\n

8 26 <\/span><\/span>La formule \u2018marotique-ronsardisante\u2019 <\/span><\/span>Q15 \u2013 ccd eed<\/strong><\/span><\/span> est la mieux repr\u00e9sent\u00e9e\u00a0: <\/span><\/span>647<\/strong><\/span><\/span> exemples. <\/span><\/span><\/p>\n

8 27 <\/span><\/span>La deuxi\u00e8me formule historique, la formule \u2018Peletier du Mans\u2019, <\/span><\/span>Q14 \u2013 ccd ede<\/strong><\/span><\/span>, a <\/span><\/span>508 <\/strong><\/span><\/span>exemples. <\/span><\/span><\/p>\n

8 28 <\/span><\/span>A elles 2 ces formules, dominantes depuis les origines du sonnet fran\u00e7ais totalisent <\/span><\/span>1155<\/strong><\/span><\/span> exemples, et ne laissent, pour les autres formules que <\/span><\/span>489 <\/strong><\/span><\/span>possibilit\u00e9s. <\/span><\/span><\/p>\n

8 29 <\/span><\/span>C\u2019est quand m\u00eame beaucoup.<\/span><\/span><\/p>\n

8 30 <\/span><\/span>Viennent ensuite (fr\u00e9quence d\u00e9croissante) <\/span><\/span>T30 \u2013 cdd cee<\/strong><\/span><\/span> (<\/span><\/span>107<\/strong><\/span><\/span>) et <\/span><\/span>T23 \u2013 cdc dee<\/strong><\/span><\/span> (<\/span><\/span>89)<\/strong><\/span><\/span><\/p>\n

8 31 <\/span><\/span>autour de <\/span><\/span>50 <\/strong><\/span><\/span>: <\/span><\/span>T20 \u2013 cdc dcd (51)\u00a0; T13 \u2013 ccd dee (50) <\/strong><\/span><\/span>(<\/span><\/span>formule plate<\/span>)<\/span><\/span><\/p>\n

8 32 <\/span><\/span>T06 \u2013 ccd ccd (30)\u00a0; T21 \u2013 cdc ddc (19)\u00a0; T28 \u2013 cdd cdc (16)\u00a0; T29 \u2013 cdd cdd (12)\u00a0; T17 \u2013 cdc cdc (11) <\/strong><\/span><\/span>. Formules \u00e0 deux rimes <\/span><\/span><\/p>\n

\u00e0 trois rimes\u00a0: <\/span><\/span>T24 \u2013 cdc ede (11)\u00a0; T25 \u2013 cdc eed (10)<\/strong><\/span><\/span><\/p>\n

8 33 <\/span><\/span>Toutes les autres formules de tercets sont attest\u00e9es par moins de 10 sonnets.<\/span><\/span> <\/span><\/span><\/p>\n

8 34 <\/span><\/span>Les <\/span><\/span>41<\/strong><\/span><\/span> formules de tercets sont <\/span><\/span>toutes<\/strong><\/span><\/span> pr\u00e9sentes dans le CHOIX. <\/span><\/span><\/p>\n

8 35 <\/span><\/span>Plusieurs formules sont des unicums\u00a0: <\/span><\/span><\/p>\n

a) <\/span><\/span>T02 \u2013 ccc cdd\u00a0; T03 \u2013 ccc dcd\u00a0; T11 \u2013 ccd ddc\u00a0; T12 \u2013 ccd ddd\u00a0; T26 \u2013 cdd ccc\u00a0; T32 \u2013 cdd dcd <\/strong><\/span><\/span>qui ont une caract\u00e9ristique commune\u00a0: elles contiennent des s\u00e9quences d\u2019aumoins 3 rimes cons\u00e9cutives\u00a0: <\/span><\/span>ccc <\/strong><\/span><\/span>ou <\/span><\/span>cccc, ddd<\/strong><\/span><\/span> ou <\/span><\/span>dddd<\/strong><\/span><\/span><\/p>\n

b) <\/span>T40 \u2013 cde ecd<\/strong><\/span><\/span><\/p>\n

8 36 <\/span><\/span>Les formules \u00e0 trois rimes <\/span><\/span>T24<\/strong><\/span><\/span> et <\/span><\/span>T36 \u00e0 T41<\/strong><\/span><\/span>, essentielles dans le sonnet italien ne totalisent que <\/span><\/span>30<\/strong><\/span><\/span> exemples. <\/span><\/span><\/p>\n

<\/span><\/span>8 36 1 <\/span><\/span><\/span>La r\u00e8gle d\u2019alternance y est \u00e9videmment pour beaucoup. <\/span><\/span><\/p>\n

<\/span><\/span>8 36 2 <\/span><\/span><\/span>La formule <\/span><\/span>T24 \u2013 cdc ede<\/strong><\/span><\/span> a \u00e9t\u00e9 beaucoup employ\u00e9e par Ba\u00eff, au 16<\/span><\/span>\u00e8me<\/span><\/sup><\/span> si\u00e8cle. <\/span><\/span><\/p>\n

8 37 <\/span><\/span>La formule p\u00e9trarquiste principale \u00e0 deux rimes, <\/span><\/span>T20 \u2013 cdc dcd <\/strong><\/span><\/span>( la plus ancienne des formules \u2018siciliennes\u2019) n\u2019a droit qu\u2019\u00e0 <\/span><\/span>51<\/strong><\/span><\/span> exemples. <\/span><\/span><\/p>\n

8 38 <\/span><\/span>Je recense <\/span><\/span>25 tercets excentriques<\/strong><\/span><\/span> (g\u00e9n\u00e9ralement contenant un vers sans rime au moins, ou une rime des quatrains)<\/span><\/span><\/p>\n

9 <\/span><\/span>Commentaires du <\/strong><\/span><\/span>DESCRIPTIF FORMEL, II<\/strong><\/span><\/span><\/span><\/p>\n

9 1 <\/span><\/span>Certaines <\/span><\/span>cat\u00e9gories<\/span><\/span><\/span> impliquent la <\/span><\/span>Formule enti\u00e8re<\/strong><\/span><\/span><\/span> d\u2019un sonnet. Ellles concernent <\/span><\/span>1058<\/strong><\/span><\/span> d\u2019entre eux. <\/span><\/span><\/p>\n

9 2 <\/span><\/span>A4B4C3D3 <\/strong><\/span><\/span>: toutes les strophes sont monorimes.<\/span><\/span> <\/strong><\/span><\/span>(<\/span><\/span>8<\/strong><\/span><\/span> ex.)<\/span><\/span><\/p>\n

9 3 <\/span><\/span>les <\/span><\/span>formules principales <\/strong><\/span><\/span><\/span>: (<\/span><\/span>832)<\/strong><\/span><\/span><\/p>\n

9 3 1 <\/span><\/span><\/span>La combinaison des quatrains <\/span><\/span>Q15 \u2013 abba abba<\/strong><\/span><\/span> et des tercets <\/span><\/span>T14 \u2013 ccd ede<\/strong><\/span><\/span>, <\/span><\/span>banv, <\/strong><\/span><\/span>seule reconnue comme <\/span><\/span>r\u00e9guli\u00e8re<\/span><\/span><\/span> par Banville compte <\/span><\/span>321<\/strong><\/span><\/span> repr\u00e9sentants. Ce n\u2019est pas beaucoup\u00a0! . M\u00eame si le CHOIX favorise les cas plut\u00f4t rares, ce n\u2019est quand m\u00eame pas beaucoup.<\/span><\/span> <\/span><\/span><\/p>\n

9 3 2 <\/span><\/span><\/span>rons\u00a0: 200\u00a0; carn\u00a0: 170\u00a0; alal\u00a0: 65<\/strong><\/span><\/span><\/p>\n

9 3 3 <\/span><\/span><\/span>les quatrains embrass\u00e9s l\u2019emportent sur les quatrains altern\u00e9s<\/span><\/span><\/p>\n

9 3 4 <\/span><\/span><\/span>les donn\u00e9es concernant les <\/span><\/span>formules secondes<\/strong><\/span><\/span> sont \u00e0 peu pr\u00e8s \u00e9quivalentes pour les quatre types\u00a0: <\/span><\/span>rons-2 (30)\u00a0; banv-2 (18)\u00a0; carn-2 (17)\u00a0; alal-2 (16)<\/strong><\/span><\/span><\/p>\n

9 4 <\/span><\/span>Sonnets non rim\u00e9s, <\/span><\/span>bl <\/strong><\/span><\/span>: <\/span><\/span>80<\/strong><\/span><\/span><\/p>\n

9 5 <\/span><\/span>Sonnets <\/span><\/span>monorimes\u00a0: 7<\/strong><\/span><\/span><\/p>\n

9 6 <\/span><\/span>Enti\u00e8rement plats, <\/span><\/span>PL\u00a0: 4<\/strong><\/span><\/span><\/p>\n

9 7 <\/span><\/span>Sonnets en prose\u00a0: <\/span><\/span>22<\/strong><\/span><\/span> (la plupart sont des traductions)<\/span><\/span><\/p>\n

9 8 <\/span><\/span>Les formules d\u00e9riv\u00e9es des formes propres au sonnet anglais <\/span><\/span>shmall, shmall*, sp <\/strong><\/span><\/span>: <\/span><\/span>38<\/strong><\/span><\/span> (j\u2019en donnerai la liste compl\u00e8te dans le chapitre consacr\u00e9 aux <\/span><\/span>listes)<\/span><\/span><\/span><\/p>\n

9 9 <\/span><\/span>Le nombre ordinaire des vers (<\/span><\/span>longueur silencieuse)<\/strong><\/span><\/span> \u00e9tant de <\/span><\/span>14<\/strong><\/span><\/span>, les exemples de <\/span><\/span>Longueur<\/strong><\/span><\/span><\/span> diff\u00e9rente de la longueur ordinaire sont recens\u00e9s\u00a0: <\/span><\/span>56<\/strong><\/span><\/span><\/p>\n

9 10 <\/span><\/span>M\u00e8tres<\/strong><\/span><\/span><\/span><\/p>\n

Le <\/span><\/span>m\u00e8tre silencieux<\/strong><\/span><\/span> est l\u2019<\/span><\/span>alexandrin<\/strong><\/span><\/span>. <\/span><\/span>585 <\/strong><\/span><\/span>sonnets emploient un ou d\u2019autres m\u00e8tres, ou encore sont d\u2019une m\u00e9trique irr\u00e9guli\u00e8re <\/span><\/span>(m.irr\u00a0: 54)<\/strong><\/span><\/span><\/p>\n

9 11 <\/span><\/span>Le m\u00e8tre le plus fr\u00e9quent apr\u00e8s l\u2019alexandrin est l\u2019octosyllabe, <\/span><\/span>octo\u00a0: 228<\/strong><\/span><\/span>. <\/span><\/span><\/p>\n

9 12 <\/span><\/span>Autres m\u00e8tres\u00a0: d\u00e9casyllabe, <\/span><\/span>d\u00e9ca (50) <\/strong><\/span><\/span>; heptasyllabe, <\/span><\/span>7s (44)\u00a0; <\/strong><\/span><\/span>monosyllabe, <\/span><\/span>mono (38) <\/strong><\/span><\/span>; taratantara, <\/span><\/span>tara (23) <\/strong><\/span><\/span>; vers de 14 syllabes, <\/span><\/span>14s (18) <\/strong><\/span><\/span>; <\/span><\/span>9s (15) <\/strong><\/span><\/span>; hend\u00e9casyllabes, <\/span><\/span>11s (14)\u00a0; 6s (11)\u00a0; 2s (11)\u00a0; 5s (8)\u00a0; 3s (8)\u00a0; 13s (5)\u00a0; 4s (4)\u00a0; <\/strong><\/span><\/span>deux unicums\u00a0: <\/span><\/span>15s\u00a0;16s<\/strong><\/span><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

1 On pourrait proc\u00e9der de nombreuses mani\u00e8res pour d\u00e9crire et suivre l\u2019\u00e9volution de la forme 1 1 On pourrait proc\u00e9der de nombreuses mani\u00e8res pour d\u00e9crire et suivre l\u2019\u00e9volution de la forme dans les limites temporelles fix\u00e9es ici (1801-1998) . Celle que j\u2019ai choisie, compte tenu des consid\u00e9rations qui pr\u00e9c\u00e8dent, ne part pas d\u2019une d\u00e9finition pr\u00e9cise … Continuer la lecture de Chapitre 2 \u2014 Le descriptif formel<\/span> →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":98,"menu_order":3,"comment_status":"open","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-11679","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/blogs.oulipo.net\/qc\/wp-json\/wp\/v2\/pages\/11679","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.oulipo.net\/qc\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/blogs.oulipo.net\/qc\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.oulipo.net\/qc\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.oulipo.net\/qc\/wp-json\/wp\/v2\/comments?post=11679"}],"version-history":[{"count":1,"href":"https:\/\/blogs.oulipo.net\/qc\/wp-json\/wp\/v2\/pages\/11679\/revisions"}],"predecessor-version":[{"id":11680,"href":"https:\/\/blogs.oulipo.net\/qc\/wp-json\/wp\/v2\/pages\/11679\/revisions\/11680"}],"up":[{"embeddable":true,"href":"https:\/\/blogs.oulipo.net\/qc\/wp-json\/wp\/v2\/pages\/98"}],"wp:attachment":[{"href":"https:\/\/blogs.oulipo.net\/qc\/wp-json\/wp\/v2\/media?parent=11679"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}