Valéry face à ses idoles (French Edition)


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University of Chicago Press, pp. Nash, Suzanne , Paul Valery's Album de vers anciens: A Past Transfigured , Princeton: A Study in Dramatic Monologue , London: The Mind in the Mirror , New Haven: The Domain of the Self , New Brunswick: Rutgers University Press, pp. Influence Reputation Affinities , Iowa City: University of Iowa Press, pp. Yale University Press, pp.

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Retrieved from " https: Navigation menu Personal tools Log in Request account. Views Read View source View history. This page was last modified on 16 August , at This article's content derived from Wikipedia, the Free Encyclopedia See original source.

Privacy policy About Infogalactic: Legion of Honour Prix Blumenthal. Medieval Renaissance 17th 18th 19th 20th century Contemporary. The title was chosen late in the poem's gestation; it refers to the youngest of the three Parcae the minor Roman deities also called The Fates , though for some readers the connection with that mythological figure is tenuous and problematic. The poem is written in the first person, and is the soliloquy of a young woman contemplating life and death, engagement and withdrawal, love and estrangement, in a setting dominated by the sea, the sky, stars, rocky cliffs, and the rising sun.

However, it is also possible to read the poem as an allegory on the way fate moves human affairs or as an attempt to comprehend the horrific violence in Europe at the time of the poem's composition. The poem is not about World War I , but it does try to address the relationships between destruction and beauty, and, in this sense, it resonates with ancient Greek meditations on these matters, especially in the plays of Sophocles and Aeschylus.

In and , he published two slim collections of verses. The first, Album des vers anciens Album of ancient verses , was a revision of early but beautifully wrought smaller poems, some of which had been published individually before The second, Charmes from the Latin carmina , meaning "songs" and also "incantations" , further confirmed his reputation as a major French poet. His poem, Palme , inspired James Merrill 's celebrated poem Lost in Translation , and his cerebral lyricism also influenced the American poet, Edgar Bowers.

His far more ample prose writings, peppered with many aphorisms and bons mots , reveal a conservative and skeptical outlook on human nature, verging on the cynical. However, he never said or wrote anything giving aid or comfort to any form of totalitarianism popular during his lifetime. Early every morning of his adult life, he contributed something to the Cahiers , prompting him to write: Never was he mistaken—not led instinctively—but lucidly and successfully, he made a synthesis of all the vertigoes.

But it is the glory of man to be able to spend himself on the void; and it is not only his glory. Lunatic researches are akin to unforeseen discoveries.


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  • viaLibri ~ Valéry Face à Ses Idoles?
  • E. M. Cioran (1911–1995).
  • It seems then that the history of the mind can be resumed in these terms: As for the idea of a beginning,—I mean of an absolute beginning—it is necessarily a myth. Every beginning is a coincidence; we would have to conceive it as I don't know what sort of contact between all and nothing. Trying to think of it one finds that all beginning is a consequence—every beginning completes something. One might say that he projected the visionary aspect, usually recognized in Poe, onto Pascal, while making Rene Descartes, Pascal's contemporary, a figure of what he admired in Poe, a logician and scientist.

    He criticized French novelist Marcel Proust for this very tendency, though in doing so he misread Proust. What he reproaches psychoanalysis for is not that it interprets in such or such a fashion, but quite simply that it interprets at all, that it is an interpretation, that it is interested above all in signification, in meaning, and in some principal unity—here, a sexual unity—of meaning.

    He is undoubtedly the last French poet to write such intensely regular verse; to this extent at least his influence on later French poetry has been nil. Let us however try to find a matter for rejoicing in this The exigencies of a strict prosody are the artifice which confers upon natural language the qualities of a resistant matter. His fascination and personal identification with the Narcissus myth is well documented. There exists in Montpellier a botanical garden where I used to go very often when I was nineteen. In a rather secluded corner of this garden, which formerly was much wilder and prettier, there is an arch and in it a kind of crevice containing a slab of marble, which bears three words: That inscription had brought on reveries in me, and here, in two words, is its story.

    In , at this place, a skeleton was discovered, and according to local traditions, it was thought to be the tomb of the poet [Edward] Young. This girl, who died in Montpellier toward the end of the eighteenth century, couldn't be buried in the cemetery, since she was a Protestant. Her father is supposed to have buried her, on a moonlit night. The dead girl's name was Narcissa. The remains that had been found were identified as hers.

    For me the name Narcissa suggested Narcissus. Then I developed the idea of the myth of this young man, perfectly handsome or who found himself so in his reflection. He was born in the small western Mediterranean village of Cette, now spelled Sete, in the same year as Proust, the year of the Paris Commune and the Franco-Prussian War: He attended school at the College de Sete, now renamed in his honor, and at the lycee of the nearby city of Montpellier.

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    E. M. Cioran | LibraryThing

    I was delighted by a few that I didn't know; some of them are much less good—that is, in comparison with others of your own. Whereas you merely hint. Whom shall I kill? All joking apart, you are loathsome. Speak then, with no fear of stating every lamentable word.

    Paul Valéry

    And that's about it. This first love probably had something to do with the intellectual and spiritual crisis of that caused him to renounce poetry for twenty years. He took up poetry again, of course, but even as an old man he would continue to be profoundly troubled by what he regarded as the unsolvable equation of love. His fear of sensuality may also explain his violent intellectual prejudices—against Freud, for instance, or against philosophy. Here the magical, musical spell of a beautiful evening brings Faust rapidly to a high point of pure enjoyment of being Almost from the beginning of the garden-scene Lust shows her love for Faust, and immediately after Faust's great monologue, she unconsciously places her hand upon his shoulder.

    Immediately, however, Faust retreats, and the apotheosis of the garden-scene comes to an end as he turns again to the dictation of his memoirs. Indeed, his anxiety about Lust's appeal must have been extreme, for he was unable to finish the work. Already in the first act, Faust tells Mephistopheles that he wants only tenderness, not love, from Lust Love is a danger because [it is] so closely related to instincts, to the cyclical and repetitive functions of life And so the intimacy of Lust and Faust is only a fleeting moment in the second act, and the too difficult fourth act was never written.

    During a stormy and sleepless night, he decided that poetry was not the loftiest and purest expression of the mind's activity. Every morning he would get up at around five o'clock and write meditations, notes, and speculations in small volumes that he intended for no one but himself. Teste might be thought of as a precursor of the figure Faust, but without the opposing figure of Lust. This was not, in him, an excessive trait but rather a trained and transformed faculty.

    Here are his own words: I have burned my papers also. I scrape the quick I keep what I want. It represents a kind of chronicle in which the older poet seeks to recreate the intellectual crisis which led him to reject a nineteenth-century concept of poetry founded on an ethics of Symbolist idealism in favor of a poetry which claims autonomy through critical self-reference. Phaedrus proclaims in this dialogue that "nothing beautiful can be separated from life, and life is that which dies.

    His preoccupation with the intellectual superman had led him to a great interest in the man wielding extreme power, the dictator, the tyrant. It was rather the sense of my own identity, of a sameness within vast, elusive differences. More About this Poet. Manuscrit autographe, texte de l'edition , etats successifs et brouillons inedits du poem includes unpublished drafts , Club du Meilleur Livre, , translation by Alistair Elliot published as La jeune Parque, , Bloodaxe Books, Monnier, , Editions de la Nouvelle Revue Francaise, Whiting with English introduction and notes, Athlone Press, , reprinted, , translation by James L.

    Brown published as Charms , Forsan Books, L'Ange , Gallimard,

    Valéry face à ses idoles (French Edition) Valéry face à ses idoles (French Edition)
    Valéry face à ses idoles (French Edition) Valéry face à ses idoles (French Edition)
    Valéry face à ses idoles (French Edition) Valéry face à ses idoles (French Edition)
    Valéry face à ses idoles (French Edition) Valéry face à ses idoles (French Edition)
    Valéry face à ses idoles (French Edition) Valéry face à ses idoles (French Edition)
    Valéry face à ses idoles (French Edition) Valéry face à ses idoles (French Edition)

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