Experience has shown me that what I wanted most is not to be found in another—and cannot find the other capable of trying without reserve to go to the end of the will to ... take love where it has never been.” Neither the period of relative silence from 1892 to 1912 nor the resumption of a poetic vocation resolved this crisis, the dilemma of all Valéry’s life and work: he was never able to bring himself to embrace Lust, though at the end of his life he admitted that she was as integral to him as was the austere, argumentative, and intellectually prudish Faust. (Compiler and author of explanatory notes) Rene Descartes. And that’s about it.” As Whiting explains, “Valéry planned a fourth act for ‘Lust’ which would have developed the love theme but he found the project too difficult for theatrical creation, perhaps in large part because of his own defensive attitudes. The dead girl’s name was Narcissa. Si je regarde tout à coup n’a véri subir cette parole intérieure sans éphémères ; et cette infinité d’en facilité, qui se transforment l’un elles. A corollary of these convictions was the idea that no pure literature was possible as long as the writer thought of himself as addressing a public. His father, Barthelmy Valéry, was a customs officer at the sea port of Sète, and his mother, Fanny Grassi, who was the daughter of an Italian consul and a descended from Venetian nobility. Valéry himself wrote in his Notebooks that “Lust and Faust are me—and nothing but me. Speak then, with no fear of stating every lamentable word.” [Gide to Valéry, July 25, 1892] “Here is what he said about your poems—and don’t have me poisoned: ‘I’m surprised that with the tact and knowledge of poetry he sometimes shows, he leaves, here and there, some that would seem to me facile.’ The remark surprised me. Examples of this are the sonnet ‘Cesar’ ... and the references in the Cahiers to the Emperor Tiberius, to Napoleon, and to Caesar. Au Platane. Every beginning is a coincidence; we would have to conceive it as I don’t know what sort of contact between all and nothing. It was the former, editor of a small literary magazine called La Conque, who first showed Valéry’s work to Mallarmé and got several of his early poems into print, including “Narcissus Speaks.”  Despite Mallarmé’s reservations, several of the poems were published. Trying to think of it one finds that all beginning is a consequence—every beginning completes something.”  During the years from 1892 to 1922, Valéry first worked as a bureaucrat in the French War Office and then as secretary to Edouard Lebey, director of the French Press Association; he attended the Tuesday evening gatherings of artists, writers, and intellectuals at the home of Mallarmé, and he married Jeannie Gobillard, a friend of Mallarmé’s daughter. Although Mallarmé and French poet Charles Baudelaire had celebrated the visionary qualities in Poe, Valéry most fully admired his powers of reason, as revealed through Poe’s pseudo-scientific meditation on the nature of human knowledge, “Eureka,” and through his brilliant practical logician, Auguste Dupin, the detective of “The Murders in the Rue Morgue” and “The Purloined Letter.” “Valéry’s unyielding positivism (rationalism) is thus another characteristic setting him apart from other French writers. Never was he mistaken—not led instinctively—but lucidly and successfully, he made a synthesis of all the vertigoes.”  Faust addresses her as ‘tu’ and there is a brief moment of emotional communion with a birth of intimacy and tenderness, those beginnings of love which Valéry prized above all other joys. Paul Valéry (1871-1945), French poet, essayist. De sa grâce redoutable Voilant à peine l’éclat, Un ange met sur ma table Le pain tendre, le lait plat; Il me fait de la paupière Le signe d’une prière Qui parle à ma vision: -Calme, calme, reste calme! This potentially self-constitutive dimension of the Album was certainly for Valéry its ultimate justification ... [Its somewhat dated tone is] the result of his intention to mount a critical engagement with his heritage, to offer a portrait gallery of predecessors whose faces emerge transfigured and transvalued according to the exigencies of a new poetics.” Thus, Nash continues, “The Album de vers anciens ... is a particularly precious and innovative poetic document, one which holds, inscribed within its structure, the poet’s interpretation of his creative confrontation with his past. La Fausse Morte. Date de naissance : Le 31 Octobre 1871 à Sète Date de décès : 20 Juillet 1945 à l'âge de 73 ans Tweeter; Soumettre une texte. Los pasos. He was born the same year as Proust, the year of the Paris Commune and the Franco-Prussian War: 1871. Collected Works of Paul Valery, Volume 10: History and Politics. In 1922, Édouard Lebey, Valéry’s employer at the French Press Association, died, and the necessity of finding a new source of income further confirmed his revived sense of a literary—a publicly literary—vocation. As Charles G. Whiting has written in Paul Valéry, “The unfinished play ‘Lust’ ... remains as a testimony of his longing for a perfect communion he never found.” In “Lust” and “The Solitary” (“Le Solitaire”), which together comprise “My Faust,” one finds the most frank treatment by Valéry of his profound fear of sensuality. La meilleure citation de Paul Valéry préférée des internautes. 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. From this point until the end of his life, Valéry was known as the French poet. Before him is ordinary language, this aggregate of means which are not suited to his purpose, not made for him. From then until 1912, he wrote little poetry, instead devoting most of his creative energies to the Notebooks. French poet and critic Paul Valéry was born in the small western Mediterranean village of Sète, France in 1871. Au Bois Dormant. La mejor poesía clásica en formato de texto. Ode secrète. Whiting’s brief account of the play may thus help explain Valéry’s 20-year refusal to embrace poetry as a career: “Before Faust’s conclusion by exhaustion of possibilities, liberation, and death, there is in ‘Lust’ a remarkable apotheosis of life in the garden-scene of the second act. For the musician, before he has begun his work, all is in readiness so that the operation of his creative spirit may find, right from the start, the appropriate matter and means, without any possibility of error. A brief comparison of Valéry’s famous poem “The Young Fate” (“La Jeune Parque”) to Mallarmé’s “Herodiade” concretely illustrates the nature of the older writer’s influence on the young one. 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. He attended school at the College de Sète, now renamed in his honor, and at the lycée of the nearby city of Montpellier. Tes pas, enfants de mon silence, Saintement, lentement placés, Vers le lit de ma vigilance Procèdent muets et glacés. Then I developed the idea of the myth of this young man, perfectly handsome or who found himself so in his reflection. “The cosmogonic form,” he wrote in his essay on “Eureka,” “comprises sacred books, admirable poems, excessively bizarre stories, full of beauty and nonsense, physico-mathematical researches of a profundity sometimes worthy of an object less insignificant than the universe. Poemas de Paul Valéry: El bosque amigo. One of his last works, a two-part dramatic work called “My Faust” (“Mon Faust”), attempted to deal with the issue and was never completed. 2. His preoccupation with the intellectual superman had led him to a great interest in the man wielding extreme power, the dictator, the tyrant. Yet although Mallarmé believed that the end product of thought had to be a poem, Valéry disagreed. The Graveyard by the Sea, poem by Paul Valéry, written in French as “Le Cimetière marin” and published in 1922 in the collection Charmes; ou poèmes.The poem, set in the cemetery at Sète (where Valéry himself is now buried), is a meditation on death. Her father is supposed to have buried her, on a moonlit night. En 1917, sous l’influence de Gide notamment, il revient à la poésie avec La Jeune Parque, publiée chez Gallimard. O número dos nossos inimigos varia na proporção do crescimento da nossa importância. Critics have called Valéry the last French symbolist, the first post-symbolist, a masterful classical prosodist, and an advocate of logical positivism. charmes paul valery charmes valery poemes paul valery charmes poemes charmer alain paul valery verge commenter valery. He was given a state funeral in Paris and buried at the cemetery at Sète, his birthplace and the setting for “The Seaside Cemetery.”  Algunos nombres destacados de su obra son: El Bosque Amigo, El Cementerio Marino, Encantamiento, Esbozo De Una Serpiente, Helena, y mas. The role of the nonexistent exists; the function of the imaginary is real; and pure logic teaches us that the false implies the true. notes sur la grandeur et decadence de l/europe, p. 931 - Paul Valéry La supériorité comme cause de l'impuissance : être incapable d'une sottise qui peut être avantageuse. There have not been physicians to determine the relationships of these means for him; there have not been constructors of scales; no diapason, no metronome, no certitude of this kind. Paul Valéry. There exists in Montpellier a botanical garden where I used to go very often when I was nineteen. His fascination and personal identification with the Narcissus myth is well documented. As before, to get a rendering as free from interpretation as possible, we feed the text into an online (machine code) translator. A work is never completed except by some accident such as weariness, satisfaction, the need to deliver, or death: for, in relation to who or what is making it, it can only be one stage in a series of inner transformations. The artist works out his own formulas; the interest of science lies in the art of making science. 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. Air de Sémiramis. He was never mistaken. “Narcissus Speaks” was immediately celebrated by the Paris literary establishment and selected by Adolphe Van Bever and Paul Leautaud for their important anthology Poets of Today (Poetes d’aujourd’hui). If I knew [Gide’s friend, writer Maurice] Quillot better, I should have you poisoned. 1K likes. These views need not be contradictory. In 1937 Valéry was appointed to the new chair in poetry at the College de France, a position he held until his death in 1945. For Valéry, as he reported in his Notebooks, “if a poet is allowed to use crude means, if a mosaic of images is a poem, then damn poetry.”  (With Paul Eluard, Renee Moutard-Uldry, Georges Blaizot, and Louis-Marie Michon), (Author of prefaces with Stephane Mallarme). à prix bas sur Rakuten. He has nothing but the coarse instrument of the dictionary and the grammar. Valéry’s poem is, in fact, more obscure and less musical than Mallarmé’s simply because it is more purely metaphysical (one is compelled to use the term despite Valéry’s abhorrence of it as connoting a certain intellectual frivolity). 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.”  Le Sylphe. His fear of sensuality may also explain his violent intellectual prejudices—against Freud, for instance, or against philosophy. Toute la poésie française du 20ème siècle: Paul Valéry. The poem is based on Valéry's musings by the Mediterranean at Sète, where he spent his boyhood. UCLA Library. ... L’Amateur de poèmes. In his view, thought—the mirror-like refraction of the human mind—was always an end in itself; poetry was simply a more or less desirable by-product, to be pursued as long as it stimulated the mental processes. Services . Teste might be thought of as a precursor of the figure Faust, but without the opposing figure of Lust. For Mallarmé, as for his younger disciple, Idea was not a theme that could be formulated in a sentence or two; it was not a thought but rather the ongoing process of thought within the mind. He criticized French novelist Marcel Proust for this very tendency, though in doing so he misread Proust. This was not, in him, an excessive trait but rather a trained and transformed faculty. In Collected Works, vol. Paul Valéry. Similar more or less debilitating infatuations symptomatic of Valéry’s extreme but repressed emotionalism and sensitivity occurred throughout his life. Ce toit tranquille, où marchent des colombes, Entre les pins palpite, entre les tombes ; Midi le juste y compose de feux La mer, la mer, toujours recommencée (Author of introduction) Martin Huerlimann, photographer. Valéry conceived himself as an anti-philosopher, and he despised the new discipline of psychology as it was emerging in the work of neurologist and psychoanalytical pioneer Sigmund Freud, because both philosophy and psychology sought to do precisely what he wished to avoid: to interpret, to reduce, the form of thought, event, and act to a content. Un grand calme m’écoute, où j’écoute l’espoir. At first the narrator observes the calm sea under the blazing noontime sun and accepts the inevitability of death. In The Tell-Tale Heart: The Life and Works of Edgar Allan Poe, Julian Symons has described Poe as divided between two obsessive tendencies in his writings, a visionary one and a logical one. The former dialogue treats much the same topics as “The Seaside Cemetery” (“Le Cimetiere marin”), probably Valéry’s best-known poem: the relationships of life and death, light and darkness, movement and stasis, which compose life itself. bibliotheque de la pleiade, 1960, chap. Some facts about Valéry might predict a less than faultless comportment on Valéry’s part during World War II and France’s occupation by Germany: first, he had been quietly but strongly “anti-Dreyfusard” during the famous Dreyfus affair, in which Emile Zola and others accused the French army and government of anti-Semitism in making a scapegoat of Captain Alfred Dreyfus during his 1894 trial for treason. Valéry was nominated for the Nobel Prize in Literature in 12 different years. Out of Stock. Paul Valéry $20.33. “Lust” allegorizes this profound conflict, never resolved by Valéry. The exigencies of a strict prosody are the artifice which confers upon natural language the qualities of a resistant matter.”  Moreover, he must address himself not to a special and unique sense like hearing, which the musician bends to his will, and which is, besides, the organ par excellence of expectation and attention; but rather to a general and diffused expectation, and he does so through a language which is a very odd mixture of incoherent stimuli. But it is the glory of man to be able to spend himself on the void; and it is not only his glory. Poe is the only impeccable writer. What Valéry admired so much in Teste was that, as The Evening With Monsieur Teste reveals, he had “killed his puppet.” That is, he did nothing conventional, “never smiled, nor said good morning or good night ... seemed not to hear a ‘How are you?’’ In “Letter From Madame Emilie Teste” (“Lettre de Madame Emilie Teste”), Valéry’s narrator imagined in him “incomparable intellectual gymnastics. All the rest is literature. Personne pure, ombre divine, Poesia de Paul Valéry. Both poems depict a young woman engaged in narcissistic introspection, both embody a severely formal, musical prosody, and both deliberately reject any identifiable “content,” or theme. Out of Stock. Page destinée à partager les écrits de Paul Valéry, écrivain, poète et philosophe français, né à Sète le 30 octobre 1871, mort à Paris le 20 juillet 1945. Valéry in fact went so far as to donate money to aid the widow of Colonel Henry, who in 1898 killed himself when it became known that he had forged the documents used to incriminate Dreyfus. Paul Valéry. 0. A cahier written late in 1898 contains the following multilingual slogans: ‘Le Cesar de soi-meme / El Cesar de sumismo / Il Cesare di se stesso / The Cesar (sic) of himself.’” Furthermore, Valéry was also friendly with Marshal Philippe Petain, one of the leaders of France’s pro-German Vichy government. This suspicion is also borne out by Valéry’s response to the Jewish philosopher Henri Bergson during the German occupation of France during World War II; Valéry publicly admired Bergson but added that he could not accept Bergson’s belief that scientific knowledge was antithetical to the human spirit. La meilleure citation de Paul Valéry préférée des internautes. This “dictation of memoirs” appears to represent Valéry’s own intellectual narcissism, the self-directed literary activity of the Notebooks; Lust with her other-directed emotion seems to symbolize poetry that is meant to be read. Paul Valéry. Perhaps the most salient characteristic of Valéry’s work and person, and certainly the one to which he himself would have attached greatest importance, was his cult of the intellectual self. Idee fixe. Whom shall I kill? Collected Works of Paul Valery, Volume 13: Aesthetics. … His family moved to Paris in 1851, where he was enrolled in the lycée. [Louis] is completely mute. We are tending toward the condition of science and aspiring to do it. Out of Stock. Retrouvez toutes les phrases célèbres de Paul Valéry parmi une sélection de + de 100 000 citations célèbres provenant d'ouvrages, d'interviews ou de discours. J. Matthews (1970). Here are his own words: ‘I gave up books twenty years ago. L’Amateur de poèmes. Pour autant qu’elle se plie À l’abondance des biens, Sa figure est accomplie, Ses fruits lourds sont ses liens. A glance at the French text and literal (machine) translation shows the problems facing a translator. Indeed, his anxiety about Lust’s appeal must have been extreme, for he was unable to finish the work. Why the young man should have been so inspired by this circumstantial evocation of the Narcissus story is perhaps suggested by a line—“I endlessly delight in my own brain”—appearing in a poem written in 1887. O frères ! {5} Texts: And problems: Paul Valéry (1871-1945) occupies a key place in French poetry, summing up the charm and technique of the nineteenth century while looking ahead to the psychological preoccupations of the twentieth. I wrote at the time the very first Narcissus, an irregular sonnet ... ”  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. Paul Valéry. Because his mother was Italian and his father was Corsican, Valéry was probably as comfortable speaking Italian as French. In 1924, Variety (Variété), a collection of his essays, appeared. Adicionar à coleção. par Paul Valéry. Find unreal value with everything starting at $1. 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. 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.” Liste des citations de Paul Valéry sur poeme classées par thématique. This fear probably accounts more than any other factor for his emotional crisis and 20-year renunciation of poetry, since poetry, despite his attempts to purify or sterilize it, emblemized for Valéry a certain sensuality of mind. The remains that had been found were identified as hers. However, the poet did prove sympathetic to the Free French Movement led by General Charles de Gaulle, and of the Nazis he wrote in “War Economy for the Mind”: “As for our enemies, we, and the whole world, know that their politics with regard to the mind has been reduced or limited for ten years to repressing the developments of intelligence, to depreciating the value of pure research, to taking often atrocious measures against those who consecrated themselves to these things, to favoring, even as far as endowed chairs and laboratories, worshippers of the idol to the detriment of independent creators of spiritual richness, and they have imposed on the arts as on the sciences the utilitarian ends which a power founded on declamations and terror pursues.” Moreover, his praise of Bergson was regarded as a courageous act. I keep what I want.’”. But in how different a situation is the poet! Since Valéry castigated all such audience-directed writing, he clearly must have felt comfortable with Faust’s activities and motivations and anxious about Lust’s. He continued writing his Notebooks and began to publish essays—Introduction to the Method of Leonardo da Vinci (Introduction a la methode de Leonard de Vinci), and his inquiry into dreams, Studies (Etudes). Derrida sees Valéry’s formalism as both reflection and instrument of his “repression” of meaning, and indeed, Valéry’s rigid adherence to classical prosody is another trait that sets him very much apart from other 20th-century French poets. Paul Valéry (1871 – 1945) : De la mer océane - Le bar à poèmes Hélène. repr. In the highly formal, mannered musicality of Valéry’s verse, the influence of Mallarmé is unmistakable.