(in English) The diploma thesis "Who are we for the contemporary French poetry?" Searching for identity in poetry collection La Chute des temps by Bernard Noël aims to explore the contemporary - in this case primarily French - poetry. The first part is asking about the causes of poetry decline in sense of readership and popularity of such genre and seeks for an answer to the question what contribution does the poetry reading bring for a contemporary reader. Based on analysis of texts by literary critics, theoreticians and poets, the paper comes to conclusions, which are applied in the second part on the analysis of particular text by French poet Bernard Noël - La Chute des temps. The paper analyses the search for an identity "I" of the author and the reader, the musicality in verses as subconscious signature of the author, the relationship between the body of the poet, the reader and the poem itself and, last but not least, the metaphor of skin as the boundary between the inside and the outside. Key words: contemporary French poetry, literality, new lyric, Bernard Noël, identity of a subject, poetic space, musicality, flesh

Au coeur de la culture et de l’histoire européennes depuis plus de deux mille ans, le Rhin faitl’objet d’une abondante littérature. La fascination qu’il exerce s’accompagne généralementd’une focalisation sur certains secteurs de son cours dont la Suisse semble exclue, alors que lefleuve prend sa source dans ce pays et qu’il le traverse ou le longe sur environ 250 kilomètres.La Suisse étant, surtout depuis le milieu du XVIIIe siècle, une destination de voyage trèsprisée, l’objectif de notre recherche a été de savoir si l’intérêt apparemment limité pour leRhin helvétique valait également dans le domaine de la littérature de voyage. Basé surl’analyse de guides, d’ouvrages descriptifs et iconographiques et de récits de voyage, leprésent travail a pour objet de mettre en lumière les représentations du fleuve depuis sessources jusqu’à Bâle telles qu’elles ont été véhiculées par la littérature viatique européenne duXVe au XIXe siècle. Notre corpus ne se limitant pas à la sphère germanophone, nous abordonsl’image du Rhin suisse sous un angle comparatiste et proposons un panorama européen desreprésentations en question. Par ailleurs, notre enquête s’inscrit dans l’évolution de laperception du paysage, tant dans ses manifestations naturelles que culturelles, et s’efforce defaire ressortir l’influence de notions comme le sublime et le pittoresque sur les écrits que nosauteurs ont consacrés au tronçon helvétique du fleuve. / The Rhine, which has been in the heart of European culture and history for twothousand years, is the subject of a rich literature. The fascination it exerts goes generallytogether with a focus on some parts of its course of which Switzerland seems to be excluded,although the river springs up in this country and runs across it or along it for 250 km. AsSwitzerland has been a prized destination, particularly since the middle of the 18th century, thepurpose of this study was to know if the apparently limited interest for the Swiss Rhine alsoapplies to Travel literature. Based on the analysis of guide books, descriptive andiconographical books and travel accounts, the present work intends to bring out therepresentations of the river from its spring to Basel, and to show the way European Travelliterature from the 15th to the 19th century conveyed them. As our corpus is not limited to theGerman speaking area, we take up the Swiss Rhine with a comparative point of view andpropose a European panorama of the representations in question. Furthermore, ourinvestigations lie in the evolution of the perception of the landscape in its natural as much asin its cultural expressions, and try to show how notions such as the sublime and thepicturesque influenced the writings our authors consecrated to the Swiss part of the river.

Cette thèse de doctorat vise, à partir de l'exemple que constitue le traitement du mythe d'Œdipe par les trois dramaturges que sont Eschyle, Sophocle et Euripide, à comprendre comment les tragiques grecs, qui traitaient toujours des mêmes histoires, et suscitaient pourtant l'intérêt du public, ont su renouveler la création théâtrale, en parvenant à ne pas faire les mêmes pièces à partir des mêmes légendes. Certes, la matière mythique n'était pas figée en soi ; toutefois, comme la tragédie était un genre très codifié dans sa structure et relativement limité en termes d’effets visuels, c'est surtout sur le texte même que l'auteur pouvait intervenir, au prix d'un travail toujours renouvelé sur sa langue.C'est donc au texte même des tragédies que cette étude s'attache, texte qui est abordé selon une triple perspective, à la fois herméneutique, philologique et comparatiste, ce qui permet de comprendre non seulement les enjeux profonds de chacun d'eux, mais aussi les variations sur le mythe et les effets ainsi créés. Le corpus, restreint mais raisonnable (Les Sept contre Thèbes d'Eschyle, l'Œdipe Roi, l'Antigone et l'Œdipe à Colone de Sophocle, et les Phéniciennes d'Euripide), est analysé avec rigueur et aussi peu d'a priori que possible. Cette étude permet de mieux comprendre le fonctionnement de la tragédie, ainsi que la façon dont une poétique se renouvelait sans cesse et évoluait de la sorte, en explorant les possibilités que lui offrait sa langue et en travaillant sur les représentations et les contenus traditionnels dont le poète tragique héritait. Ce projet vise ainsi à mieux saisir les ressorts de la création poétique dans un contexte culturel qui permet d’appréhender au mieux les limites entre lesquelles elle est mise en œuvre ; il permettra également d'approfondir la compréhension d'une culture qui prenait plaisir à aller voir des pièces dont elle connaissait déjà la fin. / The aim of this PhD thesis, based on Aeschylus’, Sophocles’ and Euripides’ treatments of the Oedipus myth, is to understand how Greek tragic playwrights – who aroused the public interest while always dealing with the same stories – managed to reinvent theatre and write new plays out of the same myths. Admittedly, mythical material was not fixed, yet, tragedy was a genre which structure was highly codified, and quite limited in terms of visual effects. Thus, it was mainly within the text itself that authors could intervene by way of an ever-repeated work on their own language. Therefore, it is the texts of tragedies themselves which are the subject of this study, and which will be explored from three different perspectives; hermeneutic, philological and comparative. This not only allows for an understanding of the deeper issues each text tackles, but also of the variations on the myth and the effects they create. The corpus (Aeschylus' Seven against Thebes, Sophocles' Antigone, Œdipus Rex, Œdipus at Colonus, Euripides' Phoenician Women) – limited yet reasonable – will be analysed rigorously and with as little a priori as possible. What is proposed in this study is a better understanding of how the mechanics of tragedy worked, as well as of how part of a poetics could evolve through perpetual renewal, as tragic poets explored the possibilities of their language, worked on representations and traditional materials they had inherited. The aim of this study is to better grasp the means of poetic creation in a given cultural context so as to gain the best possible understanding of the limits within which it took place. It also allows for a deepened understanding of a culture in which people still enjoyed plays while already knowing how they would end.

Cette thèse se propose de faire une critique traductologique de la première traduction complète du Divân de Hâfez en français qui, dès sa parution, a suscité admirations et reproches et qui a valu au traducteur, Charles-Henri de Fouchécour, plusieurs prix et titres littéraires. Dans la première partie, intitulée « À la recherche du traducteur », on s’intéresse à C. H. de Fouchécour en tant que chercheur et spécialiste de la littérature classique persane et traducteur du Divân de Hâfez. Dans le premier chapitre, on étudie sa carrière dès ses commencements afin de révéler la manière dont il aborde et conçoit les œuvres persanes. Le deuxième chapitre est consacré au traducteur qu’est C. H. de Fouchécour et on révèle ce qu’il pense de l’acte de traduire (sa position traductive), le projet traductif qu’il a adopté pour traduire l’œuvre de Hâfez et enfin l’horizon traductif, c’est-à-dire la situation de la traduction poétique en France et surtout l’historique de la traduction des poèmes hâféziens en français. La deuxième partie de cette recherche, « La traduction et la poésie », est consacrée au texte à traduire et au texte traduit ; c’est-à-dire que dans le troisième chapitre, on présente une nouvelle lecture de la pensée hâfézienne en prêtant une attention privilégiée à la forme de sa poésie. Dans le quatrième chapitre, après avoir établi une méthode de confrontation tridimensionnelle fondée sur la lecture présentée dans le chapitre précédent, on aborde la confrontation de cinq ghazals hâféziens avec leurs traductions françaises d’A. Guy, G. Lazard et C. H. de Fouchécour. / This thesis intends to offer a “traductological critique” of the first complete translation of the Divan of Hafiz in French, which, upon its publication, aroused both admiration and criticism and earned its translator, Charles-Henri de Fouchécour, several literary awards and titles. In the first part, entitled "In Search of the translator," we focus on C. H. de Fouchécour as a researcher and specialist in classical Persian literature and translator of the Divan of Hafiz. In the first chapter, we examine his career from its beginning, to reveal how he approaches and presents Persian works. The second chapter is devoted to the translator that is C. H. de Fouchécour and reveals how he conceives translation, the specific perspective he adopted to translate the Divan of Hafiz and finally his “horizon traductif”, in other words the situation of the poetic translation in France and especially the history of the translation of Hafiz’s poems in French. The second part of this research, "Translation and poetry", is devoted to the source text and the translated text; that is to say, in the third chapter, we present a new reading of the Hafizian thought, paying a special attention to the form of his poetry. In the fourth chapter, having established a three-dimensional method of comparison, based to the reading presented in the previous chapter, we compare five ghazals of Hafiz with their French translations by A. Guy, G. Lazard and C. H. de Fouchécour.

Cette thèse de doctorat porte sur la mendicité et la figure du mendiant dans la littérature grecque, d’Homère jusqu’au philosophes cyniques. Quatre familles de mots servent de point de départ à cette étude : πτωχός « le mendiant », ἀγύρτης « le prêtre mendiant », ἀλήτης « vagabond », πλάνης « le rôdeur » et la triade ἐπαίτης, προσαίτης, μεταίτης « le quémandeur ». Le hasard de la conservation veut que les attestations de la mendicité dans la littérature grecque se cantonnent au corpus poétique. Or, par sa dimension pragmatique, la poésie grecque reste liée à son contexte d’origine, en traitant toujours de problématiques sociales qui lui sont contemporaines. Notre travail se propose d’étudier dans quelle mesure les représentations littéraires et esthétiques de la mendicité sont investies d’une fonction sociale. Notre thèse adopte trois perspectives méthodologiques : une étude lexicale de la mendicité examinant les jeux de synonymie et les connotations, un examen des fonctions littéraires et dramatiques du personnage, tantôt catalyseur de l'action, tantôt vecteur d'émotions, et une analyse sur son rôle argumentatif dans les réflexions politiques et morales sur la pauvreté au IVème siècle. Le motif de la mendicité permet aux Grecs d’envisager un certain type d’exclusion civique, et en contre-point, d’appréhender la nature du lien social. Une étude chronologique montre que ce personnage, initialement contre-modèle du parfait citoyen, devient aux moments de grands bouleversements économiques un personnage attachant, permettant à la cité de réintégrer symboliquement les pauvres et de prôner indirectement la solidarité collective. / This study/PhD thesis is focused on the beggary and the beggar in Greek literature, from Homer to the cynicism. At the beggining, I am dealing with the study of four word groups : πτωχός ‟beggar”, ἀγύρτης ‟begging priest”, ἀλήτης ‟vagabond”, πλάνης ‟wanderer” and ἐπαίτης, προσαίτης, μεταίτης ‟almsman”. The preserved corpus of Greek literature with mention of the beggary is fortuitously restricted to poetry. By her pragmatic function, ancient Greek poetry remains connected with contemporary social problems. My work's aim is to investigate how literary and aesthetic representations of the beggary have a social function. I adopted three methodological perspectives: a semantic study of the beggary (synonyms and connotations), an study of the literary and dramatic functions of that character (sometimes action accelerator, sometimes factor of emotions), and an analysis of his argumentative role in political and moral reflexions about poverty during the fourth century B.C. The motive of the beggary enabled Greek people to consider a type of civic exclusion, and in parallel, to apprehend the nature of the social cohesion. A chronological approach shows that this character, previously a counter-model of the perfect citizen, becomes - when big economical changes arrive - an endearing character, who symbolically reinstates excluded people in the city and indirectly promote public solidarity.

The aim of this thesis is to analyse methods used in translation of the Arabic poetry written in a quantitative metre based on the syllable length to Czech, regarding its form and preserving, substitution or elimination of the classical Arabis metre, and to try to propose a new, alternative method of translation that would corresponded with demands of the Czech prosody but also would preserve - at least partially - some typical elements of the Arabic poetry. In the first part of this thesis the basic character of the Arabic prosody is explained and the two basic formal components of the Arabic metric poetry are introduced: the quantitative metre and the continuous rhyme scheme. Then, a comparison of the Arabic verse to several European systems is provided. In the second part, the existing Czech translations of the Arabic poetry are summarized, especially regarding the metric poetry, and the attention is also paid to the way in which the translators deal with the formal components of the translated verses. The crucial parts of this thesis are the third part and the forth part. The third part includes the overview of the possible ways to translate the Arabic metric poetry with regard to the metre and the rhyme scheme. It presents four individual ways: complete preservation of the metre, its complete...

Enigmatique, poétique, fragmentaire, foisonnante, réitérative, l’œuvre de Pascal Quignard attire par son univers complexe composé de fiction, de vécu personnel, de récits fabuleux, d’érudition, de pensées philosophiques, dans lequel on rencontre des lieux qui constituent des ports d’attache et qui détiennent les secrets du temps. Ces lieux semblent structurer l’œuvre. L’auteur s’intéresse à l’esprit des lieux comme pour mieux souligner les liens invisibles et imaginaires qui se tissent entre l’homme, son territoire et son passé. Etudier l’esprit des lieux et le mythe de l’origine chez Quignard, c’est essayer de comprendre l’évocation récurrente de ce territoire devenu obsédant et sa puissance de représentation dans la création de l’écrivain. Avec le choix du double corpus, romanesque et philosophique, avec le choix d’une méthode de recherche pluridisciplinaire (critique littéraire, anthropologie, imaginaire), notre thèse se construit en trois parties, qui abordent successivement la question de l’attirance des lieux, celle du glissement de l’enchantement à la mélancolie, ainsi que les caractéristiques de l’écriture poétique et mythique de Quignard. Nous trouvons des lieux enchantés qui reflètent la Weltanschauung de l’auteur. Véritables sources de vie, de l’imagination et de la création, ils suscitent la réconciliation entre l’homme et son passé, son territoire et son identité, même si la mélancolie y demeure fondamentale. Les personnages de Quignard sont extrêmement sensibles à tout ce qui est perdu et oublié, à des maisons et lieux abandonnés, à des hommes qui sont présentés comme des enfants d’Eve exilés. Le désir de ré-enraciner, de se ré-ancrer dans le lieu d’autrefois révèle l’attachement mais aussi la défaillance, car l’homme se trouve vite confronté à ce qui est perdu, au vide. L’enchantement reste éphémère, la mélancolie nous ouvre la porte des lieux sombres. Pour mettre en lumière l’esprit des lieux, Pascal Quignard a recours à une écriture riche en réminiscences, en images, en mythes. Son œuvre est le fruit de l’imaginaire, de l’intuition. Les relations complexes entre Fragments, Réminiscences, Mémoire dans son écriture révèlent la profondeur poétique de l’œuvre, tandis que le narrateur suit l’instant, la trace des êtres, les appels lointains, toujours avec son intuition, et ses impressions de poète mélancolique. L’écrivain sert également d’anciens mythes, les transforme et les enrichit comme un moyen efficace pour créer son propre mythe des lieux : mythe du perdu, mythe du retour et mythe de l’origine. / Enigmatic, poetic, fragmentary, abundant, the attraction of Pascal Quignard's work comes from the complex universe of fiction, personal experiences, fabulous stories, extensive documentation and philosophical thoughts, in which some places are homeports, holding the secrets of time. Such places seem to structure the work. The author favors the spirit of places, as if to underline the invisible imaginary links between man, his territory and his past. To study the spirit of places and the origin of myth in the work of Quignard one has to try to understand the recurring evocation, which has become obsessive, of this territory, and his power of creation as writer. With the choice of a double corpus, fiction and philosophy, and a method of interdisciplinary research (literary criticism, anthropology, imagination), our thesis divides into three parts, which will examine in succession the attractiveness of places, then proceed from enchantment to melancholy, and eventually determine the characteristics of the poetic and (the) mythical writing of Quignard. We will find enchanted places that reflect the worldview of the author. They are the true sources of life, imagination and creativity, bringing about reconciliation between man and his past, his territory and his identity, even if melancholy remains fundamental in them. The characters of Quignard are extremely sensitive to all that is lost and forgotten, abandoned homes and places, and to men who are Eve's children in exile. The desire to re-root oneself into the place of the past reveals attachment but also failure, because man is quickly confronted with loss and emptiness. The enchantment remains elusive; melancholy appears constant and opens somber places in his work. To enhance the spirit of place, Quignard makes use of a rich choice of reminiscences, images and myths. His work is at the same time search for, analysis and a quest on man and his place on earth, but it is also a product of imagination and intuition. The complex relations between Fragments, Reminiscences, and Memory in his writing reveal the poetic depth of the work. The narrator also follows moment and instinct, always with the intuition and feelings of a melancholy poet. The writer also uses ancient myths and transforms and enriches them as an effective way to create his own myth of place: myth of (the) loss, myth of (the) return and the myth of (the) origin.

La poétique du dénouement pré-moderne, dans les tragédies italiennes, françaises et espagnoles, est liée à un souci éthique: la fin de l'intrigue est le lieu attendu qui en dévoile le sens et qui dit sa morale. Or, le dénouement tragique répond à une double exigence: s'il conclut la tragédie, il doit aussi renverser le sort du héros. Pour achever la tragédie, le dénouement doit réaliser un équilibre moral; pour renverser l'intrigue, il doit susciter un excès pathétique. Ces deux exigences sont issues de deux modèles théoriques opposés: la logique de l'exemplarité et l'efficacité pathétique. La thèse analyse les stratégies poétiques que théoriciens et dramaturges mettent en place pour concilier ces deux modèles poétiques, au sein des trois critères qui définissent le dénouement (son orientation, ses modalités et sa structure) et des problèmes éthiques qu'ils posent (l'enchaînement de la causalité, la faute et la rétribution du héros). Les efforts pour concilier exemplarité et pathétique se soldent par un échec. En dépit de leurs différences, les trois traditions nationales dénoncent les faiblesses de la logique de l'exemplarité, qui ne permet pas de justifier, par une règle de conduite universelle, l'expérience du malheur, du désordre, de l'injustice. Le dénouement tragique incite alors le spectateur à un déchiffrement herméneutique pour trouver des raisons à la misère inexplicable du héros, que manifeste le renversement de fortune. / The poetics of early modern denouement in Italian, Spanish and French tragedies implies an ethical issue. The ending of the plot is the expected climax which reveals the meaning and the moral of the story. The aim of the tragic denouement is twofold: it concludes the play and it reverses the hero's fate. In order to conclude the tragedy, the denouement restores a moral balance; in order to reverse the plot, it gives rise to a pathetic excess. Two divergent theoretical models underlie this dual requirement: the logic of exemplarity and the poetics of pathos. I propose to examine the strategies displayed by theorists and dramatists in order to bring together these two theoretical models. I therefore consider the three main features of the denouement (its direction, mode and structure) and the ethical issues to which they give rise (the sequence of causality, the tragic flaw and its atonement). The conciliation between exemplarity and pathos proves an impossibility: Italian, Spanish and French tragedy, despite their differences, denounce the logic of exemplarity as inadequate and unfit to justify, through the expression of a theoretical rule, the experience of misfortune, injustice and chaos. The tragic denouement leads the spectator to a hermeneutic deciphering that may uncover the reasons for the hero's inexplicable misfortunes.

Eiselen (1932: 1) commented that the Black population of South Africa attached a particular religious value to the dolos art. He consequently collected some of the dolos sayings, but did not delve deeper into them. 1932 can hence be considered to be an important year with regard to this genre in the traditional literature of the Bapedi. The aim of this mini-dissertation is to investigate and discuss the design of the traditional dolos sayings in particular, because this research area in Sepedi literature has been neglected. In addition to a discussion of the dolos art, an attempt will be made to also find out what this form of art means to the people concerned. An adapted narratological model will be used for the interpretation of the various sayings; i.e. the content, the compilation and the meaning of the dolos sayings will be discussed. In an investigation of this kind, it is inevitable that attention will also be paid to the praise poem as a commendation. In this case, a distinction between the traditional and the modern forms of this genre is made of necessity. This distinction is based mainly on the fact that the modern praise poem sings the praise of present-day subjects, while kings, heroes, counsellor, animals, different kinds of objects and last but not least, dolosses are extolled in the traditional praise poem. A set of dolosses consists of 42 pieces, four of which are not only important but also indispensable in such a set. They are Moremogolo (male), Selomi (male), Mmakgadi (female) and Selomi (female). When the dolosses are thrown, they land in a specific way. This is called the landing of the dolosses, which is then interpreted and explained by the dolos master. Dolos sayings resort under the traditional praise poem as a separate genre. They are mainly short sayings and are not divided into stanzas. The verse form of the dolos saying by its nature differs from that of the European verse. The form of the dolos saying is, amongst other things, determined by the fact that these sayings never came into being in a written form; they were recitations. For the rest, those verse form principles that characterise them as verses, namely coordination and correspondence, are indeed applied by the reciter. The principle of coordination determines in this case that the caesura divides the dolos saying into 2 or 3 mutually dependent metrical units. The correspondence principle reconciles the various mutually dependent metrical units with one another through an equal number of syllable and length peaks plus the repetition of word stems or words. In the investigation, special attention was paid to the structuring of the dependent metrical units. When long measure repetition is investigated in the stanza of the traditional poem, it is indicated how this form of repetition in the metrical units brings about a solid unit through the repetition of a single word. This means that the lines of poetry inside the stanza are also bound together by this repetition. The important functions of repetition are emphasis and the reinforcement of the core information of the line being repeated. When dependent metrical units are repeated in the dolos saying, it is particularly the last line or a section thereof that is involved in this. At the same time it is a very important characteristic (resp.metre) of the dolos saying. Finally, linking is also looked at in so far as it brings about the second or subsequent line within the stanza. / Dissertation (MA (Sepedi))--University of Pretoria, 2007. / African Languages / unrestricted

Este trabalho aborda a linguagem poética de Alberto Caeiro, poeta fictício criado por Fernando Pessoa, cuja obra está reunida nos títulos O Guardador de Rebanhos, O Pastor Amoroso e Poemas Inconjuntos, a partir da ideia de que seu olhar para o real se constitui num processo de indagação sobre os limites do conhecimento e da constituição da experiência humana da realidade, sobre o signo, sobre a natureza da linguagem poética e da linguagem em geral. Para esta reflexão, uso a Semiótica de Peirce, a Lingüística de Saussure, a teoria da linguagem de Benveniste, a poética das sensações de Fernando Pessoa, trabalhos de Perrone- Moisés, além de outros autores, como Seabra, Dessons e Meschonnic. A poesia de Caeiro é interpretada como um embate com os limites impostos pela mediação sígnica, embate que é ao mesmo tempo metáfora dessa poesia e é metaforizada por ela. Consciente da não transparência da linguagem como retrato do real e do pensamento, Caeiro faz dessa condição assunto e instrumento de seu discurso. Nesse processo, a língua é repensada e refundida em seus fundamentos, indo aos limites de sua capacidade de significação e aos limites entre o que é e o que não é poesia e entre o que é e o que não é língua. A noção de arbitrário do signo linguístico e a dicotomia língua e fala são repensadas, com base na ideia de limitação do arbitrário de Saussure e nas ideias de enunciação e discurso de Benveniste. A poesia de Caeiro é tomada no campo da linguagem, e apresentada como resultado de uma operação de homologia entre língua e outros sistemas, tornando-se assim capaz de evocar seu objeto. O discurso poético é interpretado ainda como um dizer que é fazer, mas não é tão particular a ponto de ser um semântico sem semiótico, pois é arte que se faz na língua, no que difere das artes não verbais. A linguagem poética tem a capacidade de acentuar os traços da linguagem em geral, sendo útil para a compreensão do fenômeno linguístico. Caeiro não é um poeta só de sensações, pois a intelectualização faz parte de sua criação e de sua poesia. Não é também o poeta das coisas: o real não é o objeto dessa poesia; é antes meio para veicular a emoção poética que se constrói, além disso, em seu próprio dizer. Coerente com um sujeito feito de aspectos, que tenta conciliar em si a unidade e a multiplicidade do real, a linguagem de Caeiro é constituída de tensões internas. Discursivo e poético integram o seu dizer. O embate de Caeiro é uma busca, mas ele não encontra a solução. Ele é um intervalo de encantamento. / This thesis approaches Alberto Caeiro’s poetry, fictitious poet created by Fernando Pessoa, whose work is gathered into the titles The Keeper of Flocks, The Amorous Shepherd and Detached Poems, from the idea that his looking to the real is a process of inquiry on the limits of knowledge and on the constitution of human experience of reality, on the sign, on the nature of poetic language and of language in general. For this analysis, I use Peirce's Semiotics, Saussure's Linguistics, Benveniste's theory of language, Fernando Pessoa’s poetic of sensations, works of Perrone-Moisés, beyond other authors, as Seabra, Dessons and Meschonnic. Caeiro's poetry is interpreted as a struggle against limits imposed by mediation of the sign, struggle that is metaphor of this poetry, which is also metaphor of that struggle. Aware of the non-transparency of language as photograph of reality and thought, Caeiro makes this condition object and instrument of his speech. In this process, the langue is rethought and recast in its fundamentals, reaching at the limits of its capacity to signify and at the limits between what is and what is not poetry, and between what is and what is not langue. The notion of arbitrary of linguistic sign and the dichotomy of langue and speech are reconsidered, based on the idea of limitation of the arbitrary of Saussure and the ideas of enunciation and discourse of Benveniste. Caeiro's poetry is taken in the field of language, and presented as a result of an operation of homology between langue and other systems, thus being capable of evoking its object. Poetic discourse is still interpreted like a saying that it is doing, but it is not so particular in order to be a semantic without semiotic, because it is art that is made into the langue, which differs from the non-verbal arts. Poetic language has the capacity to accentuate the features of language in general, being useful for understanding the linguistic phenomenon. Caeiro is not only a poet of sensations, because intellectualization makes part of his creation and of his poetry. He is not also the poet of things: the real is not the object of this poetry; it is rather a means to convey the poetic emotion that is built, furthermore, on your own saying. Coherent with a subject made of aspects that attempts to reconcile in him the unity and multiplicity of the real, Caeiro’s language is constituted of internal tensions. Discursive and poetic speeches integrate his saying. The fight of Caeiro is a searching, but he does not find the solution. He is a pause of enchantment.