Desconstruction of Syntax l

8/20/2019 Desconstruction of Syntax l

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1913

DESTl\UCTION

OF

SYNTAX.

1MA(IINATION

WITHOUT

STI{INGS

WOIII)S

IN FREEI)OM

l. I llu,t,u

r\tiDs rsi.t. c\er\

$Lrpd fonrlLrh rDd

rll rhe corrli,.ed

v$h,,lis,,rr

ol the

froii.\sor\.

I ros

Jerl.rrc

thrt

l$i-

crnr r' $r crqurrtt iicultr ol rntor

rcetrru onrself Nirh

1i1-e,

ol lllllng

lrti \rth tlic nret rlrrlor) oi onc\t'lt-

Thc

,i.ultv

of

.L.rirgiuS

i,r(o s'ine rhc

rrr.ldv

s,rter

o1 th.

1ili

th.rt

\ irl\

rnrl cngult' rs. Thc rbilit,,

to color

rhc

rt,rlJ

uitl,

rLc Ll,)i(1,(

.olors oaou, ch.urs(ib1...1\e'.

No\ nLtpos. rh.r..r trcDrl ot rours grlitd

\rrh thrr

tlrulrv

tir

shinrscllin.r

zon.

oainr.n\.

lit.

(r.\olutic,r. r.rr.

rhiptrcrk.

irrrhqu.rkc

.rn(l

'o

ot)l

.r)d \trrh

nghi

.r\\.r\

ror.lL\o lrArurpr,sion'

i)ororknrN

\llrrrhr.hrr..e\.rr.dtli..dol

\our\

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ill ibru,.u\il\ d,,:

He

ulL

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1.r

1.,ullh

Jr.rrorrrg

rh..\nr.,\

oihis

spc..h.

Hc

\.rrcs

no

nnrc

rn

l.url,Ln,r

'rr:rr,i.

I'ur.rr.,rinr:.rnJ

rh. nghr rdrc.tn.\ sill rrerr) rorhirs ti)

hrri. Hc

rrll

Je.:r.r

.LLl.:lr:r.,

:r,i nu.rnrc. or Lrq .rg.. Ilrerthlcsrlr

hi rrll

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nrrh ot srcur

crrrorror,

rrll

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..iri ..

're.urprp.,

thc \',rl c\

(,i

prrr(tLr.rtx)n.

.rnd

rl,e ,rrljecriv.,l

.l.rn,f

F,.rti,l' oi.-.rur1

\,,d' ,n

.o

.onv.,,noD.,1

o .r Sol.

ttr''

occup.Ltror oirht u.rrr.rror.

r1,

re,r,l.r.r.l

ubr.rtrcn ofhr

bclrrg

litire lrnxl oirhi\

giii.d lrrrc.n n.rrr.rtor ir.r1:o

popuhted bv

ttrer.rl

irlcrs.

he

wrll

rnvolLrntrrrlv

hrrd

up

hr

strutiorrr

rith

thi

tntrre

rrriversc

rhrt

hc

innuoveli

knorvs And rn

orlcr to rer erthetrue\lorthrnd.linr.nsion\oihrslnedLic.hcsill



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'When,

in

y

Brrl/e o/

?i,1d1,,

I .onlpared

a trench brisding

Nirh

bayoners

to

.rn or.hestra.

a

nrachrne gun

to

a

Jennc

.faralc,

1 intuitivelv

introduced

a

hrge pan

of

the universe into ;r

shorr episode

ofAfricrn

brttle.

'lmages

are

not flolvers to

bc

chosen

and

picked

\rirh parsi drn

asvoltairc

seid.

Thev

are the very lileblood

of

poetr,y

Poctry

should be rn unlnrerrupred

sequence

ofnew

nnigcsi

o

t

is

mere

anaen

a

rnd

greensickness.

'The

broader their amnities. $e longer sill

rrnages

keep rheir power

to

(Technic:rl

Mrnifcsro

of

Furuisr

Literatue)

The imrgination

without strings. and rvorcts in

lieedonl,wil bring

us

to

the es-

sence

ofnaterial.

A5 Ne

dxcover new analogies berlvccn

dist3nr and apparently

con-

trary

things, rve

rvrll

enctow

them Nith

an ever nrore

intiuute mhc.

Insr.ad

at

hftni

izinq

anim:

s,

vcsetables.

and minerals (:tn

outmodcd

s,vstcm)

we

rvill

be

able

ro

dnitnlkt,

lqeti:e, ninerali*, tlurt;ly,

or liqrcJy orrr

vylr.

rmLing

it live

the life of marerial.

For

exemple.

to

represent

the life ofa bladc

ofgrass,I sa,r''To orrow I'11

be greener.

With rvords

in-freedonr

we

will htrvr:

CoNDENSEI) MErApHoRs.

TEL -

CRAPHIC

IMAGES,

MAXINIUN'I

VIL]RATIONS, NODES OF THOUCIiT,

CLOSII) OR

OPEN

FAN"S

OF

A'IOV[MEN.'T,

CONJPRESSED ANAIOCI S,

COLOR

]JALAN'ES, ])I] 1[NSK)N .

WE(]HT\. MFASURIS.

ANI) THE

SI'EED

OF SEIYSATK)NS,

TI IE

PLUNGE

OT THE ESSINTIAL

WORI) INTO THE \TATER

OF

IENSIL]ILITY, N1INUS THI CONCE,N

TRIC CIR('LES THAI'

fI]E

WORD

PROI)U(]ES,

RESTFUL

MOMENTS

OF

INTUITION, MOVEMENTS

IN

1W(], THRET.

FOUR.

fiVE I)IFFI]RINT

I{HYTHMS,

THE

ANAI. 1

I.-

f'xPLoI(AToRY

PoLES THA1.

sIj\TAIN

TIIE

I]UNDLE

oF

INTT,'ITIVE

\TRIN(i\

DEATH

(IF

l HE LI I FRARY

I

Molntdt

liJc drd nrfutirl

Mv technical

rn lifesro opposed

the

obsessive

/

thrt up to

norv

the

poets

hevc

described. sung, rnal),zed,

and

vonrited

up.Tb

rid ourelves

ofthrs

obsessive /. we

n]ust

abandon

the

h:rbit

olhumrnizrng

nrrure by

rrrributing

hunran

passions

and

prcoccu-

pritions

to

aninnls.

plants.

Nrtcr.

stonc,

and clouds. Instead rvc should

express dre

lnlinite smalln.ss

that

surrounds us.

the imperceptible.

rhe invrsible,

the rgitarion

of

atonr:,

dre Brolvnirn movcments.

all the

passionare

hypotheses

and rll dre domains

explorcd

by the high-powered Di.roscope.To

exphm.l \r:rnto

introducc

$e

infinite

molecular life

nto

poerry not

as

a

scientiic docunrenr

but

as

an

intuitive cl.menr.It

ihould

mix. in the rvork ofart, rvith

the

infinrtelv greirt

spectacles

rDd

dramas. bccause

this fusion

consdnrtes the

irtegral

synthcsis

oflile

To givc some

aid to the innrition of

mr.

rlcal

reader

I

use

itrlics for

all rvords

in-freedon

that

cxpress

rhe

infinrrelv

srlrll

rnd

the

m,lecular

life.

sl\i.{t,HoRr(i ADr[(]

l

rvF

Lifhtho$e-ddidir(

at

dtnk

ph& adidut.

Everyrvhere

ue

tend

to suppres the

qurlifyins

rtrcrive

be.ruse it

presupposes

an

arresr

in i tllition,

too Durute

a definirion

ofthe

noun.None

ofthx

is categoric:l.l

spcak of

a tendencv

We must nakc

u\e of

the adjective rs

littlc as posil,le

and

in

a

llunner

completely

different

from

its

usc

hirherro.

One

should tre:tt

adjcctives

like

raiLvay

signrls

ofstylc,

emplov

them to mark the tenpo.

the retards and

pruses

along



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I

TYPL)GRAPHICAL REVL]LU I IoN

I mltiite.r t\pogitphi.al revolution:tirled rt

the bertial, nauseating idea

ofthe

book

ofpa s6ist

and

D'Annunzian

verse,

on

seventeenth-centLrry

hrndmr.le

paper

bordered

ivirh helnets. Minervas.

Apollos, elaborate red inirirls,

vegetables,

nvthological

nussrl

ribbons,

epigr.rphs,

rnd

ronrn

nunlcr:tls.Thc

Look

must be

the Futurist

expression

of

our

Futurist

thought. Not only that. My revolution is r;rcd ar the wr

called typo

glaphical

h:rrmony

ofthe

page,

uhich rs

contrrry

ro

the fiux and reflux, thc lcaps

.rnd

buna of sqle thrt run through

the

page.

On the srnc

page. rhercfore. rve

ril1

use

th le ot

four

.alob ofirzl,

or even trventv different tlpefrces ifnecesrry For

exanrple:

italics

for r

series of

sinilar

or

\wift

senrationi. boldface

for

the violeDr ono-

nutopoei$, rnd

so

on.With

this

tvpognphicrl revolution

xnd thrs multicolored varr-

et_v in the letters I mern to redouble the expresive force

ofrvords.

I oppose the decorative,

precious

aestheric of M:rll:rrma ,nd his

iearch for thc

rare

rvord,

thc onc

indispensable. elegant,

suggesrir.e.

exquisire

adjecrive.

I do nor

w]llt

to suggest an idea or:r sensation with

pass€ist

rirs:rnd graces.lnstend

I want to

grasp

them brutally

and hurl them in the reader face.

Moreover, I comblt

Mallarm6ls

static

idcal rvith

this

rypographical

revolution

that allovs

me to impress on the words

(alrerdy

free, dynamic, and torpcdo

like) every

velocrt,v

of the

stars.

the

clouds, aeroplanes. trains, n:rves, erplosives, globules

of

seafoam,

molecules, and

atoms.

Thus I realize the fourth principle of

my

First Futu st Manifesro

(20

February 1909):'We

alirm

thrt

the Norld's beauty

is

enriched by

a

ncrv

beautv: the

MULTILINEAR fYRICISM

ID addirion,

I have concei\ed nuhilineat lyrntsn, wrth which

I

succeed

in

rexching thar

lyric

snnultaneiry

that

obsessed

the

Futurist

paintcrs

as

Nell:

multilinear

lvri.ism

by

means ofrvhich

I

am sure to rchieve thc most complex

lyric simuftaneities.

On

several parailel lines,

rhc poet will

rhro\r'

our

severrl chains

of

color,

sound, rnell. noisc, wcight.

thicknes,

analogy.

One ofthese lincs night. for

instance,

bc

olfactory

another

nrusic:r1,

rnother

pictorirl.

Let

us suppose

thrt the chain ofpi.torial

scnsations

rnd

an. ogies dominares

the

othe

.

ln

this case

it

vill

be

printed n

r

heavier qpeface

than the sccond

rnd

third lines

(one

ofthem containlng. fbr

example. the

chrin of

t1lrsical \ensations

rnd

analogies. the other thc chain

of olfactory sensations and an:rlogieg.

Civen

a page

that

conrains manv bundles ofsensrtions

rnd

an:rlogies.

each

of

which is coniposed

ofthree or lour Iines, the chain ofpicrorirl sensarions

and anrlo

gies (printed

in

boldface)

r'i1l lorm

the frrst

iine otthe

6rst

bundle and

will

contin

ue

(alw:ys

in the

sarne

type) on the

Iirn

line

ofall

the

other

bundles.

The

chain

ofnlusicel

sensations and analogies,les important thrn the

chain

ofpictorial

lensations rnd analogies

(fint

line) but more inrportant than

thar

ofrhc

olfictory

sensations antl anrlosies

(third

line).

willbe

printed

in

smaller tvpe rhrn rhat

ofthe

6nt line

and larger rhan

th.rt ofthe third.

FR EF IJXP]L SSIVE

OI'THOGRAPHY

The hrstorical

necesit_v

of

free expressive

orthogr:tphy

x

demonstrated

by

the suc-

cessive re\.olutions rhat have

continuously freed dre

lyric

powcrs

of

the human

rece

from shrckles and rules.



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Desconstruction of Syntax l

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Transcript of Desconstruction of Syntax l