Variations on a theme by Rimbaud

Abstract

This article presents an analysis of the poem “Cocheiro Bêbado” by Rimbaud, translated by Augusto de Campos. The Portuguese version expressive ly high lights the acousticism pression of the characters' movements during the lyrical plot. More specifically, the noises — created from sound figures, symmetrical frequency, and periodicity — alter there adding of the verses. To an extent, “Cocheiro Bêbado” signals the emancipation of noise that occurs in both poetry and music at the end of the 19th century and during the 20th century, which also culminates in the ascension of percussive sounds. We Will proceed with a theoretical introduction on the points presented and follow – seeking an interaction between versification and orality, and between verse and music – by presenting two layers of reading, sound-rhythmic and structural, each with specific variation used by the poem. For each variation, we present a brief musical interpretation utilizing percussion instruments and their respective score.