Episode 9 The Nancy Conference

While Pierre was preparing the subject of his conference, Françoise had alerted the group to the serious risks that such an intervention entailed. Of course Pierre between 10 and 20 years had written poems, some of which had been published for account and a half author, that is to say that the cost had been borne half by the publisher and half by Pierre. On the other hand, Pierre did not stop at a strictly artistic or literary plan. Francoise repeated it: he mixed everything to end up remaking the world with some beautiful ideas but also with very revolutionary positions that in general the small circle of his family forgave him by putting this on the account of a rather sympathetic naiveté. All of this was acceptable within the confines of his daily relationships, although most often, listening to the poet’s diatribes quickly became painful.

Dominique’s invitation

But Dominique did not realize at all the scope of his invitation!

The reactions of the public, which could only be hostile, would turn against the professor and bring her into disrepute. Françoise, who was closely monitoring her husband’s work, asked Dominique: what if Pierre started quoting a phrase from Aragon like “we know that the genius is to provide ideas to idiots twenty years later”? If Pierre, without comparing himself to a genius, still took the audience to task to ask him frankly what ideas this audience present in the room was today able to follow when they had been displayed by geniuses twenty years earlier, what would Dominique do? The public could only see that he was indeed part of the morons and why not, super morons since his delay would appear quickly more than twenty years!

And that wasn’t all! Françoise knew that when her husband’s poet quoted Aragon, very quickly he arrived at Eluard, her favorite poet and then, what would Dominique do if Pierre began to invite the public to calmly declaim like him the criticism of the poetry of Eluard and then to expel from the room those and those who intellectually could not declaim such a position and criticize so fiercely the baseness of men?

Would the audience begin to recite with one chorus: “It is understood that I hate the reign of the bourgeois, the reign of the cops and the priests but I hate even more the man who does not hate him as I do with all his strength, I spit at the man smaller than nature who has all my poems does not prefer this criticism of poetry”?

And since Pierre would naturally start spitting on the ground and would demand the same from others, would it be Dominique who, on the orders of the steward and the principal of his high school, would then go with a bucket, a broom and a mop, to scour the floor of the room?

Laurie and Dominique did not completely agree with Françoise. Peter had contacted Laurie’s father and his celebration of the Eucharist had responded correctly to the group’s desire to pray and communion. We had to give the poet a chance! Françoise nevertheless managed to convince Laurie, Patrick and Carine as well as Gérard to attend the conference to protect the poet against possible reactions from the public.

The large attendance came more to this conference as part of a seasonal subscription, out of habit of following the entire program of proposed conferences than by a real interest in poetry and the speaker. Places had been reserved for first-graders who would, at the end of the school year, take the French Baccalaureate.

The conference that Pierre wants to present.

Pierre understood that the opportunity of this conference presented an important but new challenge in the development of their political, economic, social, cultural and spiritual movement. By openly presenting himself as a poet and an initiate who had made the round trip in our human condition and not just the one-way trip planned for all, was he able to simply present the spiritual approach and the expected consequences of the use of our two sources of knowledge, the spiritual source that does not need to know how to read and write and the rational intellectual source, the only one allowed in systems of power and theocracies.

Poetry is made to change life. The poet was going to work fiercely, all alone with his own poetry, his spiritual experience but also his skills in Law, Economy, Management and Management. In short, enough to change Life and the World! And during his remarks, he did not hesitate to quote the motto of the Battalion of Alpine Hunters where he had done his military service: live free or die. Yes, it was easy to say for a human being who has already made the round trip in his human condition, precisely during his military service. But he was not going to mix everything up and not be afraid of death is absolutely not a manifest sign of naiveté.

That evening, in front of the room, Pierre had taken care to bring an external hard drive with his documentation and his plan to support his speech and show that his words were not wind, only a reality, a knowledge that had not always had the right of place and which for two millennia was forbidden in the West. In law, there is the positive law but there is also the prohibited law which has been successfully used under other political regimes and which is now prohibited by the political regime in place. Pierre had learned this lesson from a professor at his Faculty of Law and he had studied this forbidden law. Now he also wanted to use it to change Life.

The conference room was well equipped with everything you needed for multimedia. After Dominique’s brief presentation of the conference and the speaker, Pierre opened his Powerpoint presentation and he announced

his approach and the different parts of his intervention.

He had not planned to start his lecture with his personal presentation. « I am another »: explaining this as soon as the contact was made would have taken some unsuitable time in this circumstance.

In the first part he would address his poetry, how he perceived it and how he lived with it every day. Its purpose is to show that this dialog of the soul for the soul is only a way, a path to use our first source of knowledge that does not need to know how to read and write, the personal spiritual initiatory step. The poet was going to take the example of Arthur Rimbaud to support his own spiritual approach. Poetry is made to change life. Pierre wanted to show what this change was and why it was necessary especially in the 21st century.

In a second part, the poet’s mission would allow the public to confront the struggle to overcome the prohibition of using our first source of knowledge, the personal spiritual approach, by the leaders of systems of power and theocracies based on religious dogmas. The poet would present several historical events to illustrate the ferocity with which tyrants and religious fanatics have destroyed the flourishing humanist civilizations that have used the complementarity between our two sources of knowledge to live without theocracies or systems of power but with a powerful spiritual movement that conducts intellectual and rational work. Since taking power, these tyrants and religious fanatics have not stopped eliminating their political opponents and all dissidents, poets or not. The result is known through the submission of peoples to the violence of wars, genocides and the exploitation of the work of all for the unlimited enrichment of the richest who dare to present themselves as predestined to govern the world.

In a third part, the poet proposed to show what changes could be implemented quickly through the use of our first source of knowledge once we broke its current and millennial ban. Peter was going to use the forbidden law, all that is forbidden in economics, management, management to show how we are going to develop a new flourishing civilization without systems of power and without theocracies.

Poetry is made to change life and tonight, if the public would listen to it, our lives here could change if they wanted to.

Peter and his poetry.

Pierre approached several approaches to poetry,

he said he did not want to expose the links between these approaches in a historical analysis of the subject. On the other hand, the listener could well understand that between these approaches, there is a customary distinction between descriptive poetry and suggestive poetry. The first considers poetry as an art, a profession where we juggle words to achieve beauty in form… One hundred times to hand over his work before hoping to get there! It is poetry that uses only the second source of knowledge, the intellectual source without using anything of the personal and initiating source. This is the classical poetry against which the romantics led by Victor Hugo and then other literary movements had risen.

The second is suggestive poetry. It is based on the principle that there is an unspeakable, a mystery, a source, a voice in us that cannot be described but that we can only testify to by suggesting what it can represent for man. Victor Hugo had made it clear that a writer never writes alone and not necessarily for the present time.

Pierre situated his remarks essentially in the context of suggestive poetry, a movement born with the Romantics that continued through work on the double world, surreality and the exclusion of the prohibition of using our first source of knowledge.

There is a common, unavoidable point: the poet does not express his thought but he testifies, he relays a voice, a source that he does not master, that he can only with all his art better know, better translate from the unspeakable to the language of men. As this spring is present in all of us, nothing prevents us from talking about it, drinking there, mixing the streams of water produced by each of us into a long peaceful river.

Le dormeur du val, poem by Arthur Rimbaud

Since we were in a high school, Pierre introduced his remarks thanks to an anecdote about a student facing a question of French literature at the baccalaureate.

At the bakery where he was buying his bread, in front of him, a young high school student from his neighborhood had told the baker how the French baccalaureate’s speech had gone and the young girl, disappointed, admitted that she had not understood anything about Rimbaud’s poem, ” le dormeur du val “, which the jury had asked her to comment on.

Pierre had reread this poem and he suspected that the girl’s teachers had prepared her only for a superficial reading of this poem: to recognize a soldier who died in the ditch during the War of 1870. This consists in seeing in this text only one descriptive poetry, much easier to read among all the other eminently suggestive texts of Rimbaud.

Pierre warns his audience that there is a clear difference between suggestive poetry discreetly admitted by the Academy as long as it remains intellectual and poetry that uses our first source of knowledge to translate our spiritual journey. The latter was not visibly recognized by the Academy and even less by theocracies and tyrants. He would approach this questioning by talking about the Rimbaud mystery.

In the front row, Dominique and Laurie nodded, and their gazes prompted the speaker to support his words.

The poet began by summarizing

the commentary of this poem presented in the corrected of this subject of Baccalaureate of French.

Excerpts from this corrected text taken and read by Pierre:

The text is a sonnet entitled Le Dormeur du Val, written in 1870 by Arthur Rimbaud, born in 1854. Rimbaud was then only 16 years old. He made several fugues, even went as far as Belgium, and wrote during his travels several poems, including Le Dormeur du Val, inspired by the scenes he witnessed when he passed very close to the German lines.

In order to answer the question, what is the place of this poem in the Rimbaud itinerary, we will first see the picture of a natural and enchanting setting, then in a second time, the relations between the setting and the character and finally, we will analyze the poetic riddle.

Pierre insisted to show that this academic plan does indeed illustrate descriptive poetry. The poetic riddle within the framework of this rational intellectual analysis then represents Rimbaud’s intellectual construction.

The poet begins by describing someone who sleeps: « He sleeps in the sun, his hand on his chest, ». The progression of the poem takes place little by little. From the beginning, we cannot expect this tragic end. « Pale in his green bed where the light is raining », the character is certainly not well, he is at least sick. Then comes the decisive fall of the poem in verse 14 which puts a relationship between the 2 red holes that lead to the injuries and then the death of the soldier “Quiet. It has two red holes on the right side. »

The scope of this poem thus represents a denunciation of war. In this correction it is written “Rimbaud chose to put the soldier in relation with nature for whom nature is the association with life, a normal destiny for a young man and who could not therefore be resolved by the harmful facts of the war which decided otherwise and led to his loss. Rimbaud has therefore made the death of this young soldier a reality of the many human losses that may have occurred throughout this war. »

Nature and life are thus opposed to death and war. And the conclusion of this corrected marvels at the maturity of this young poet of 16 years.

Reading the poem in the context of suggestive, intuitive poetry.

Pierre pointed out that the date of writing of this poem is important to situate it in Rimbaud’s poetic approach.

Le Dormeur du val is an Alexandrian sonnet by Arthur Rimbaud. This poem is the second poem in Douai’s second Cahier (or Recueil Demeny). The autograph manuscript, dated October 1870, is kept at the British Library.

The Franco-German War of 1870, and more particularly the Battle of Sedan sealing the French defeat on September 3, 1870, took place less than twenty kilometers from Charleville, his place of residence at the time.

1870 was a pivotal year for Rimbaud. Pierre summarizes the documentation available to follow the young poet.

In January 1870, while in rhetoric class, Arthur Rimbaud befriended Georges Izambard, his teacher of rhetoric, who began his career at the age of 22. On May 24, 1870, Arthur Rimbaud, then fifteen and a half years old, wrote to the leader of Parnassus, Théodore de Banville. In this letter, he conveys his wishes to « become Parnassian or nothing » and to be published.

At the end of his rhetoric class, he had just won the most prestigious prizes during the following summer school holidays, on August 29, 1870, a few days before the Battle of Sedan, Rimbaud deceived his mother’s vigilance (the poem « Mémoire » possibly describes the scene) and escaped with the firm intention of going to Paris. He was stopped at the Nord station because his train ticket was irregular. He asks Izambard to send him money to pay his debt and he receives in addition to what to pay his train ticket to return to Douai around September 8 where he remains three weeks before returning home to his mother.

October 6, 1870, new fugue. Paris being under siege, Arthur Rimbaud leaves for Charleroi — he recounts this arrival in the sonnet « Au Cabaret-Vert, five o’clock in the evening ». Dreaming of being a journalist, he tried, without success, to get hired as an editor in the Journal de Charleroi. In the hope of finding Georges Izambard, he went to Brussels, then to Douai where his teacher arrived a few days later, under the orders of Vitalie Rimbaud, to bring him back, escorted by gendarmes, on ¹ November 1870.

In the meantime, he went to Paul Demeny‘s house to deposit the seven poems composed during this last journey (earlier versions of which were transmitted to Théodore de Banville and Georges Izambard).

On June 10, 1871, Rimbaud wrote to Demeny: « … burn all the verses I was foolish enough to give you during my stay in Douai. » Forgotten by Demeny, these manuscripts were found seventeen years later. These were listed by the biographers under the name of « Cahier de Douai » or « Recueil Demeny ».

Rimbaud the seer who openly means what he sees.

Rapidly from June 10, 1871, Rimbaud rejected these poems which no longer correspond to the state of mind of the seer who means more openly what he sees. This means that he did not dare go far enough in his translation of the illumination but it also means that he has already spoken about it and this poem “le dormeur du val” is indeed one of the few in the booklet “Poésies” in which the poet, facing the death of this soldier, goes beyond death to attest to this divine light that attracts us to transform us and welcome us home.

A poet initiated to the spiritual approach reads the Sleeper of the Val de Rimbaud.

It is a green hole where sings a
riverHooking madly to the herbs of the silver
rags; where the sun, of the proud mountain,
Luit: it is a small valley that mosses with rays.

A young soldier, open mouth, bare head,
And his neck bathed in the cool blue watercress,
sleeps; he is lying in the grass, under the naked,
pale in his green bed where the light rains.

With his feet in the gladioli, he sleeps. Smiling
as a sick child would smile, he naps:
Nature, cradle him warmly: he is cold.

The fragrances do not shiver his nostril;
He sleeps in the sun, his hand on his
chest. It has two red holes on the right side.

Peter began a personal reading using his spiritual translation of this poem.

I saw you well, you the dead soldier but as a poet who passes here, I will guide you to life after human life so that you find peace and your soul pursues its destiny away from this carnal body killed in this cruel war so inhuman.

I don’t know your family, your deceased relatives who will or won’t pick you up to help you get into the skylight so I pray that the presences of Nature will come to your aid. Poet I know them for having started my personal initiatory approach by meditation in nature and the perception of the presences and powers that live there.

They’re here with us. Life is active in the river and its drops of water draw in the grass shreds of silver clothes that shine under the sun. This sun pierces above the greenery as if it comes from the top of this mountain and this vegetable tunnel is indeed this well of light where we must penetrate to be sucked into this light of life. We then perceive the presence of our deceased loved ones who come to push us with all their love to give us confidence and advance towards this light, without fear. To you the young dead soldier, I give you this life that foams from this little valley so that it pushes you with confidence towards this light that shines from this proud mountain. Go and earn this life according to human life.

After the exit of the skylight you will have to cut all the links with your carnal body and your human condition. Don’t worry, the young poet who passes by to meet your body of soldier killed by enemy rifles, will take care of him because he is destined to stay on Earth. Your carnal body is laid as if it were asleep in this grass and this blue watercress under the light among the gladioli.

You who entered the country of our home, in the life according to our human life, your body also found its tranquility. He is peaceful and sleeps in his green bed. Nature cradles slowly. Bring him all the warmth of your earthly life with that of the sun that illuminates us with its rays. It has two red holes on the right side. Watch over this carnal body. This soul with the consciousness of this young man is already beyond the skylight, far from planet Earth.

Let us smile together as our soul smiles happily to return to the country of our home to the creator of all life, of all our lives among his creation.

The Rimbaud mystery about his level of initiation to life after human life.

We have just translated into conventional language this spiritual work to help a soldier die to earn a living according to human life.

Poetry is the only written expression that allows each reader to make his own interpretation, his own reading. The poet writes for all those who will read his texts, today and later as long as his texts are accessible because poetry is essentially a translation of the unspeakable on the spiritual level or of an unknown on the intellectual level. She is the Art of translation from a source that drives her inspiration.

Poetry uses the different levels of translation of the unspeakable since

• the hermetic language that the poet can invent or follow through the example of other authors or groups of insiders who have already used it.

The use of hieroglyphs among Egyptians corresponds to the essential need to transmit knowledge and facts, calculations, only to learned people able to read and translate them.

Apart from Solon, very few Greek scholars have been able to benefit from the years of learning provided by a scholar or Egyptian priests. Pythagoras has had access to levels of knowledge transmitted in non-hermetic language but does not seem to be at the heart of this knowledge. Hence the advice given to him by the priests of Denderah to continue his initiation among the Druids of Hyperborea known to know more than the priests of Denderah who, at that time, had certainly no longer access to the Golden Circle buried under the sands of the desert precisely to protect this Knowledge which was not written on the walls of the temple of Denderah or in the other temples on the banks of the Nile.

Hermetic language is used by insiders who pass on knowledge, experiences, teachings that are contrary or forbidden by the leaders of the systems of power and especially by theocracies with their supremacist, segregationist, racist religious dogmas, the predestination of the elites to govern the world, etc.

• After this first level of translation least accessible to the readers, comes the level of symbolic language that uses one or more codes of signs, words or expressions. Words or letters correspond to images, colors, emotions, etc. Insiders and poets frequently use this level of translation and language, sometimes novelists too.
• The next level is that of sustained language. It uses a rich vocabulary and rules of syntax that relate to the construction of sentences. The acquisition of this level of writing and reading requires several years of study and the acquisition often of other foreign languages as the language of each country borrows words, syntaxes, to those of other countries.
• Then we get to the level of everyday language that is basically spoken and not intended to be written. Each social group builds its own common language to be safe and not to be understood by others but this protection has nothing solid and comparable at the level of hermetic language.

These levels or registers of language used in the Art of translating the unspeakable all belong to our second source of knowledge, the intellectual and rational source.

What we need to understand is that our first source of knowledge, the personal spiritual initiatory source, does not need to be able to read and write and does not use one of the language registers of our source of rational intellectual knowledge.

In our personal spiritual initiatory approach and in our encounters with the mysteries of life, we use the language of the heart, not that of the brain and even less that of the human heart, but that of the heart of creation when we dialog with the one who lives in us and who is the same in each of us. We use the dialog of our soul with the generic soul in the presence within us of the creator of all Life.

Of course this dialog uses the words of the common language of each human being but the encounter with the mysteries of Life takes place with the language of the heart of Life and during these experiences, of this experience, we receive only a very tiny part of knowledge of the mysteries of Life, just an element that comes to meet our request and our need.

Remember this, without our request, nothing happens even if with the language of the heart we perceive the presence of the one who lives in us. And when something happens that we receive, we understand it in the language of the heart. We see through the walls, we are outside our carnal body and we exchange with the presences that surround us without making sentences, an emotion is enough. The language of the heart is so personal and punctual and above all unknown and ignored in our rational intellectual knowledge that it immediately remains in our unspeakable. We are unable immediately to translate it into the language of rational intellectual knowledge and very quickly we understand that this experience must remain in our source of spiritual initiatory knowledge and that it has nothing to do with our rational intellectual knowledge, even in hermetic translation.

Except that these encounters with the mysteries of Life are so many gifts of absolute Love that we cannot keep in secret. We know that the one who lives in us is the same in each of us but that the others, who do not yet know him, live any way, and to say this is a sweet understatement. The initiate, child, woman, man, during his meeting, did not necessarily receive the mission to persuade others to accept the sharing of the absolute Love that was given to him. True, but this sharing is possible and he knows that he must at least begin this sharing using the hermetic language of rational intellectual knowledge.

The poet who speaks before you tonight does not go further in his explanations of this Art of translating the inexpressible of spiritual knowledge into the common language of rational intellectual knowledge.

When we go to the bookstore, browse the books of other poets, we will not buy their books, already that we do not have enough money to pay our author’s accounts with our publisher. We seek quickly, furtively, just to measure where this poet is in his level of translation and what he translates: from the unspeakable spiritual or simply intellectual emotions or the unknown and in what register of language.

We can now go back to Arthur Rimbaud and you will be able to follow me more clearly as indeed with any of the other seer poets in their translations of a spiritual experience.

Rimbaud did not testify and clearly wrote the account of his initiatory approach.

Let us take again, during the month of October 1870 Rimbaud deposited with Demeny this manuscript contained the poem the Sleeper of the Val.

We can read his Letter from the Seer, sent to Paul Demeny, May 15, 1871.

In this letter we do not find a single spiritual element, everything is intellectual! Rimbaud disturbs his senses to arrive at the unknown which presents itself as an irrational element. He does not discover the one who lives in us. He speaks of the soul that allows him the intelligence of his visions. It is clear and clear: the seer poet cultivates his soul, he makes it monstrous to arrive at the unknown, only at the unknown he travels by discovering visions that he grasps with the intelligence of his human mind. Yes, on our spiritual initiatory path we know how to use remote visualization which works much better if we have come out of our carnal body with its narrow sensory limits. Yes, but the one who lives in us and helps us in our exits from our carnal body to get out and to return, it is not a stranger and even less the stranger!

On June 10, 1871, he wrote to Demeny asking him to destroy this manuscript because these texts no longer correspond to what he wanted to write. In this second letter, we can find a germ of hope: the seer will not only remain to inspect the unknown, he will go further!

The collection Illuminations.

As Paul Verlaine writes in the notice opening the first edition of Les Illuminations (Publications de la Vogue, 1886), the pieces that make up the collection were written « from 1873 to 1875, among trips both to Belgium and England and throughout Germany ». 

document:

« A poetics echoing the « simple hallucination » exhibited in Une saison enenfer and the project of « going to see » announced in the letters of May 1871 to Demeny and Izambard: Rimbaud collects images, clichés, formulas, perceptions and common sensations to better reconfigure them if not subvert them, placing himself in this way on an experimental ground that breaks with the Parnassian practice then dominant within the French poetic milieu.

« It is certain today that Mr. Arthur Rimbaud has fixed the prose of the future » (Anatole France, Le Temps, October 24, 1886).  

This rupture is consummated in particular on the formal level: Rimbaud, who had already engaged in various forms of metric alteration during the year 1872 and in the Season, opts for a major part, in Les Illuminations, for a complex use of prose, whose syntax he puts to the test of multiple inversions, hyperbates (separation of two elements connected by syntax) and other convulsions. » 

source: https://essentiels.bnf.fr/fr/article/f7cb99cb-15ff-4a78-bc13-21d31c364fcf-illuminations

We are still and always in the use of our rational intellectual source with this time hallucinations. The criticism is severe because visions, the intelligence of visions, have nothing to do with hallucinations caused by agitation of the human brain and the use of drugs or hallucinogenic plants.

Rimbaud ordered not to publish the texts of his first collection ” Poésies ” because he had not dared to speak of what he saw, and we find in his collection ” Illuminations ” a more frank description of his encounter with this light of which he spoke the dead soldier. Yet these texts describe visions allowed by our soul by going through the unknown! Yes, but it is very superficial and incomplete. What are the powers of our soul, which lives in our soul and therefore also lives in us as we have a soul?

The text entitled “Mystic ” takes up the description of this double movement of light and once again speaks of “slope of the slope, meadows, ridge of the nipple “. Now the landscape of light is inhabited. There are angels. The ridge line is divided into three: on the left, the horrors and homicides, on the right, the line of progress. The band at the top of the painting is made up of human nights that agitate like sea conches before sailing towards the peace of eternity.

The soft light no longer descends only to take the dead soldier but it carries a principle that changes our world and « makes the abyss blooming and blue there ». like the « blue cress » of the small valley down there, on earth.

Rimbaud disdained bigotry and a Catholic religion that then supported a royalist political current and exhibited the sacred heart of Jesus as if to defend a primacy that republican secularism took away from him. Yet Rimbaud does not deny the presence of God, he simply implies it, which complicates the endeavor of Rimbaud’s Christian readers to link his work to inspired, revealed writings.

In the « Enlightenment » he will speak of God but in the poem « Barbarian » it will be to make a mockery of the image of the God who flourished in his time: « the pavilion in bleeding meat on the silk of the seas and of the arctic flowers », that is to say these banners in the image of the Sacred Bleeding Heart of Jesus whose bearers are for the seer similar to barbarians, to people who understand nothing about culture, beauty and the encounter with God.

We are in 1873, precisely the year in which Baron de Belcastel, animator of the Apostolate of Prayer and one of the main promoters of Catholic committees and Eucharistic congresses, coordinated the national pilgrimage to Paray-le-Monial which dedicated France to the Sacred Heart, as if this devotion could redeem the homeland of the military and civil disasters of 1870 and 1871. Rimbaud sarcastically covers up this divine representation of junk that in no way corresponds to the beauty and wisdom of his personal encounter with God. Although this meeting is implied, deduced in a certain benevolent logic by the readers.

Paul Verlaine will respect and support the poetic research of his friend and lover. In February 1875 in Stuttgart, Verlaine received the manuscript from Rimbaud and then sent it to Germain Nouveau, who organized the first edition in October 1886.

Yet two years before the publication of Rimbaud’s Illuminations, Verlaine wrote the text of the poem Les Loups Jadis et Naguère, Léon Vanier, 1884. We are free to note this nod to the poem le dormeur du val. No more helping a dead soldier with spiritual or only intellectual help. Verlaine and his wolves on the battlefields, make ripaille of the bodies of the soldiers killed and it is a pleasure to see them…This is the reality that no poetic vision can embellish. Go see the wolves devour the human pulpit on the piles of corpses littering the battlefields!

As for the Baccalaureate test on this poem, rather than throwing incomprehension into the mind of this young girl met in the neighborhood bakery, the Academy and the National Education should stick to the will of the author: Rimbaud wanted this manuscript and this poem to be destroyed. He had his reasons, so respect them!

The religious question that refuses to recognize the personal spiritual experience of death.

In the text « Vies », Rimbaud prefers to explain the mission that has been his since his illuminations. He can be seen on the terraces of the temple. « Exiled here I had a scene where I played the dramatic masterpieces of all the literatures. I would point you to the unheard-of riches. I look at the history of the treasures you found. I see the rest! My wisdom is as disdained as chaos. What is my nothingness, with the stupor that awaits you? »

The seer poet speaks but he does not seek to proselytize. He simply warns those who do not want to recognize his testimony: the stupor that will strike them at the moment of their encounter with the light, in the last place, the moment of the death of their body, will be much stronger than all human endeavors to contain the seer in nothingness and reject his wisdom!

Rimbaud writes that he met the stupor and therefore he defeated it since he is there to tell us about it. Stupor is not a vision, it’s lived experience. If he had not defeated her, he would have died carried away by the envoy of darkness or chaos. This an initiate who has experienced this spiritual encounter knows it because he too has managed to overcome this stupor in the face of the death of the carnal body that seizes us.

This is the most perilous step of an initiatory process and we must be well prepared to face it and above all to break this stupor that paralyzes us feet and fists tied! The Buddhist sages warn the postulants to the initiation to renounce it unless they have a vital need that pushes them to change their lives through the encounter with the mysteries of life.

« Better not to start. Once you’ve started, it’s better to finish. So don’t go down the path of spirituality if you don’t feel the need to. » 

This encounter with stupor was very disturbing for Rimbaud. If he lived this encounter in the face of the death of his carnal body, why does he not tell us anything about the one who lives in us and is the same in each of us. Because he is there when we are struck with stupor and because he is the one who helps us out of our stupor.

The mystery of Rimbaud

Why does he discard his spiritual experience and confine himself solely to our source of rational intellectual knowledge? This is the Rimbaud mystery!

Yes, we know that others, especially at this time when Rimbaud was living, cannot understand this spiritual experience and their ignorance, their fear of the death of the human carnal body, the absolute power of religion over human thoughts, lead them to reject us and sometimes violently and definitively.

The young Rimbaud advances alone in his poetry and he has a huge need to find other poets with whom he hopes to be able to share his poetic journey. The slogan of the literary movement, Parnassus, to which he adheres is « Art for Art ». But the Art of what?

The 21st will be spiritual or not.

Malraux will finally be clear and precise: Art is the translation of the Unspeakable the most difficult to transmit to others. Initially, only poets are capable of it, it is their work, including the translation of the divine and human Love. That is what we have just presented and explained. Malraux knew a lot about the arts.

Malraux will continue his thought by evoking the difficulty of settling the religious question that has poisoned Western Judeo-Christian civilization for at least two millennia in the West with its theocracies and religious dogmas. Rimbaud, like most of us, has come up against this religious question, and we cannot blame him if he has kept his poetry away from these theocracies, and especially from the Roman Catholic theocracy. There is evidence that Rimbaud was interested in the Muslim religion, particularly during his years in Africa and Sudan.

Rimbaud and Malraux, like us, knew this statement of Honoré de Balzac:

« The final battle of Christianity will be around the problem of money, and until this problem is solved, there can be no universal application of Christianity » Honoré de Balzac.

We will clarify the meaning of this statement in our third and last part because it is the central point of how theocracies and systems of power subject us to their dogmas and interests contrary to those of human beings. The religious question is present but it is not sufficient, we must add the question of money, of the currency that allows us to buy everything, to corrupt everything, to steal the wealth produced by the work of all, which is used to ruin and develop misery, the fear of misery that pushes us not to dare to free ourselves from the yoke of the impostors who claim to be predestined to govern the world until they destroy those who oppose them or, better according to them, who are predestined to be subjugated and eliminated if necessary.

We will come back to this by also specifying what the word Christianity carries as its message and content on the spiritual level through its direct relationship with the spiritual movement of Egyptian civilization since its origins. Theocracies and tyrannies, especially those of Persia, including the Jewish theocracy allied with the Persians and later the nascent Christian theocracy of the popes of Rome, destroyed Egyptian civilization. And they are the ones that lead to the disaster of Western Judeo-Christian-Muslim civilization.

The final battle of which Balzac speaks is not yet won, but the peoples have understood that religious dogmas are indeed at the origin of the wars and genocides that reached in the 20th century levels of violence and massacres unprecedented in the history of our humanity. We will have to put an end to these horrors and atrocities! It’s over with this soldier who died in 1870 in a small valley that foams with rays, as since all these soldiers, these prisoners, these deportees, these hostages put in the mass graves of Europe, Russia, China, Japan, Africa, the Middle East, Southeast Asia and elsewhere. They all found religious to pray on these graves and clumps of earth. It’s over, let’s take care of the 21st century to live free!

Malraux to clarify his thoughts on this religious issue essential in the culture of a social group, will make several statements that we will read together:

Document:

source:

https://www.dicocitations.com/questions-reponses/question/qui-a-dit-le-xxieme-siecle-sera-spirituel-ou-ne-sera-pas

end of the document.

The poet who speaks before you tonight, can invite you elsewhere to another conference on spiritual development and the 4 ways we can go to meet the Mysteries of Life:

• exceeding the limits of our carnal body,
• love ecstasy, which is the fusion of bodies and beings most accessible to two or more human beings,
• the famous mystical path that Malraux speaks of,
• and finally the direct way of the dialog of the soul for the soul with that lives in us and that poets use through our first source of Knowledge.

Except Rimbaud who only speaks of the dialog of the soul for the soul to see the unknown and measure it, to go through it with the intelligence of his minks, without apparently knowing who lives in him in his human condition. For a sighted poet, admit it’s ballot! Well, that’s the Rimbaud mystery, we just talked about it.

Poetry changes Life as we move forward in our personal spiritual initiatory process until our encounters with the Mysteries of Life that give us the answers to our reasons for living and dying in our human condition. Better these encounters give us much more when we live just one brief moment of life after human life, once crossed the skylight.

All these experiences, this experience change our vision of life in our human condition so as no longer to be afraid of the death of our carnal body but also and above all to no longer accept on Earth a submission to despots, systems of power that allow their leaders to steal the wealth produced by the work of all, to finance and organize the wars that allow them to obtain miraculous profits impossible in times of peace and, by the taxation of blood imposed on peoples, to tighten even more the chains that keep these peoples prisoners.

This is the main reason for prohibiting the use of our personal spiritual source, for tyrants and so-called masters of the world to protect their usurpation of power at the expense of peoples until their annihilation.

At that moment, according to supremacist, segregationist, racist religious dogmas, only the chosen people will remain on Earth to celebrate the end of the world with their god who knows only his chosen people; in short there will be no more centuries, it will be over, they will have destroyed everything on Earth!

When the calm returned, Pierre began by applauding them gently and then more strongly. The room joined his applause with cries of joy and exuberance in a joyous rattle to shake the walls.

After a few minutes, by gestures, he asked for silence.

We have come to the heart of this conference and of this affirmation that poetry changes life.

All we have to do is give examples to illustrate how they subject us to their religious interests and dogmas and other examples to show how we will develop our humanist civilization without systems of power and theocracies.

Now this can go very fast. You got it!

Let’s take advantage of this moment to take a break, to regain strength and discuss among ourselves. The organization of the conference has planned a snack for the end of the conference, everything is ready. If Dominique agrees, I ask him to join me and invite you to this snack. It’s time!

At the end, after this break, when I will be silent or you will force me to finally be silent, after our « goodbyes », it will be high time to reach our homes and fall asleep with the smile of a human being who has just changed his life, a little bit his life waiting for the better days that we will build together.

Dominique came to join the poet and she gave instructions to join the next room where the assembly would have this friendly snack.