Arthur Rimbaud's poem, "The Drunken Boat," served as a compelling introduction for the poet when he arrived in Paris in 1871, presenting the work to Paul Verlaine. Though the original manuscript is not in Rimbaud's handwriting, it was likely crafted shortly before its handover to Verlaine. First appearing in print in the journal Lutèce in 1883 and later included in Verlaine's anthology Poètes maudits in 1884, the poem was pivotal in establishing Rimbaud’s literary reputation.

Interpreting a Sea of Imagery

The enigmatic nature of "The Drunken Boat" has intrigued scholars and readers alike for generations. While some view it as a vivid succession of images influenced by adventure literature like the works of Jules Verne and James Fenimore Cooper, others perceive deeper metaphysical and symbolic meanings. The poem's vivid imagery also holds echoes of Edgar Allan Poe’s tales, such as The Narrative of Arthur Gordon Pym and "The Manuscript Found in a Bottle," along with the nautical voyages described in Verne’s Twenty Thousand Leagues Under the Sea.

Rimbaud’s Vision Beyond Experience

Rimbaud had neither visited America nor seen the ocean when he penned these rich images of distant shores, haunting sunsets, and glowing waves. Despite borrowing elements from Verne’s Nautilus adventures, "The Drunken Boat" transcends mere storytelling, reflecting instead the poet's inner turmoil and disillusionment experienced during the winter of 1870-1871. Baudelaire’s poem “Le Voyage” likely served as a significant influence, sharing themes of elusive dreams and eventual despair.

Traditional Form, Unique Expression

This poem consists of twenty-five quatrains, adhering to the abab rhyme scheme and the classical twelve-syllable Alexandrine line. Despite its traditional structure, the content and style of "The Drunken Boat" bring forth a freshness and depth unique to Rimbaud’s vision.

Exploring Subjective Reality

Written in the first person, the poem immediately immerses readers into a subjective world experienced by its solitary narrator. The initial seven stanzas revel in the freedom of a lone sailor amidst an exotic maritime dreamscape. However, with the phrase "I know" in the eighth stanza, a shift occurs, introducing the speaker's ennui and sense of futility: “I saw at times what man believed he saw.” The poem’s imagery, though reminiscent of adventure tales, takes on a surreal quality, disconnected from logic and reality.

The Boat as a Symbol of Aimlessness

The speaker likens himself to a drunken boat, adrift and without human guidance, a "martyr" to the whims of the sea. This is poignantly illustrated in the lines:

A martyr tired of poles and zones, at moments
the sea whose weeping fed my gentle roll
lifted up shadow-flowers with yellow suckers
towards where I rested like a woman kneeling.

From Exaltation to Despair

As the poem progresses, the initial euphoria fades into exhaustion and disenchantment. In the twenty-first stanza, the speaker yearns for the "old parapets of Europe," signaling a desire to return to familiar, albeit confining, realms. The emotional climax arrives with the declaration "Yes, true, I've wept too much," acknowledging a deep-seated weariness and lack of hope.

A Longing for Oblivion

The iconic line, “Oh let my keel burst! Let me find the sea!” expresses a longing for release, but here it implies a yearning for oblivion rather than adventure. Despite the boat already being at sea, this wish suggests a desire to sink beneath the waves, seeking solace in nothingness.

The Imagery of Childhood Lost

Throughout the poem, references to children surface, adding layers of meaning to Rimbaud’s work. The twenty-fourth stanza paints a poignant picture of innocence with the image of an "unhappy child" releasing a boat "frail as a butterfly in May." This longing for a lost childhood underscores the poet’s exploration of realms unknown to his peers and his sorrow over losing youthful innocence.