0. Mallarmé’s ambiguously positive response to Valéry’s early work was reported by Gide: [Gide to Valéry, July 12, 1892] “My friend, Mallarmé has given me your poems; since he criticized them, he must esteem them. “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). From then until 1912, he wrote little poetry, instead devoting most of his creative energies to the Notebooks. Valéry’s Notebooks (Cahiers) record his conviction that the subject of a poem was far less important than its “program”: “A sort of program would consist of a gathering of words (among which conjunctives are just as important as substantives) and of types of syntactical moments, and above all a table of verbal tonalities, etc.” Mallarmé had said something very similar in “Music and Letters” (“La Musique et les lettres”): “I assert, at my own aesthetic risk ... that Music and Letters are the alternate face here widened towards the obscure; scintillating there, with certainty of a phenomenon, the only one, I have named it Idea.”  Pierre Vidal-Naquet, « Au pire de toi-même. He was born the same year as Proust, the year of the Paris Commune and the Franco-Prussian War: 1871. Incohérente sans le paraîtr Voir ici une anthologie des poèmes de la langue française. According to Derrida, Valéry rejected psychoanalysis and metaphysics because they focused upon meaning, and for Valéry meaning was associated with the elevation of the physical, the sensual, over the formal properties of ‘pure’ intellect. 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 2. Indeed, Valéry’s poetic output slowed to the merest trickle from 1892 to 1912 because at that time he apparently judged literature not the best medium for “enjoying his brain.”, The events of Valéry’s life clearly influenced the development of his poetic theories and practices. In 1888, he passed the baccalaureat and entered law school, where literature first began to strike a responsive chord in him and he began to make contacts with the Parisian literary group surrounding Mallarmé. And that’s about it.” By 1920, Valéry had already published The Young Fate, a long, very difficult poem, to great critical and popular acclaim. Le cimetière marin | Poème de Paul Valéry. Valéry’s passion for “scientific speculation,” which is how he preferred to label his metaphysical writing and that of others, was the reason for his lifelong fascination with American writer Edgar Allan Poe. As he put it in his Notebooks, “In sum, Mallarmé and I, this in common—poem is problem. But it is the glory of man to be able to spend himself on the void; and it is not only his glory. Fabien Vasseur commente La Jeune Parque, Poésies, Foliothèque, Gallimard, 2006. 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. 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. … In 1820, at this place, a skeleton was discovered, and according to local traditions, it was thought to be the tomb of the poet [Edward] Young. I have burned my papers also. Poe is the only impeccable writer. {5} Texts: And problems: Air de Sémiramis. Every beginning is a coincidence; we would have to conceive it as I don’t know what sort of contact between all and nothing. Poems are the property of their respective owners. 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.” Here the magical, musical spell of a beautiful evening brings Faust rapidly to a high point of pure enjoyment of being ...  ‘Lust’ ... attempts to synthesize extreme existence of mind and body with the extreme experience of love, even if in a very incomplete fashion. par Paul Valéry. He has nothing but the coarse instrument of the dictionary and the grammar. 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. (Author of introduction) Martin Huerlimann, photographer. J. Matthews (1970). 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. Furthermore, Freud offered the obvious explanation of why Valéry might so vociferously vilify a belief in and search for meaning: the mind’s repressed contents are always sexual. [Louis] is completely mute. 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). Examples of this are the sonnet ‘Cesar’ ... and the references in the Cahiers to the Emperor Tiberius, to Napoleon, and to Caesar. Valéry would publish four more volumes of Variety in his lifetime. French poet and critic Paul Valéry was born in the small western Mediterranean village of Sète, France in 1871. L’Amateur de poèmes. Valéry was nominated for the Nobel Prize in Literature in 12 different years. This was not, in him, an excessive trait but rather a trained and transformed faculty. Connais le poids d’une palme Portant sa profusion! Paul Valéry. Un grand calme m’écoute, où j’écoute l’espoir. El cementerio marino. La mejor poesía clásica en formato de texto. “Lust” allegorizes this profound conflict, never resolved by Valéry. Au Bois Dormant. 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. Critics have called Valéry the last French symbolist, the first post-symbolist, a masterful classical prosodist, and an advocate of logical positivism. For me, the self ...  Poetry has never been an objective for me, but an instrument, an exercise.” Responding to 17th-century poet and critic Nicolas Boileau’s time-honored dictum that “my verse, good or bad, always says something,” Valéry asserted in the Notebooks, “There is the principle and the germ of an infinity of horrors.” Découvrez les poèmes de Paul Valéry, poète, philosophe et écrivain français né le 31/10/1871à Sète (France), décédé le 20/07/1945 à Paris (France). In 1912, Valéry was persuaded to break his poetical fast by undertaking a major revision of his earlier poems, which would be published under the title Album of Old Verses (Album de vers anciens) in 1920. 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. Out of Stock. Valéry himself wrote in his Notebooks that “Lust and Faust are me—and nothing but me. 370 compartilhamentos. Social. Tous les poèmes et textes par ordre alphabétique. 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. (With Paul Eluard, Renee Moutard-Uldry, Georges Blaizot, and Louis-Marie Michon), (Author of prefaces with Stephane Mallarme). As before, to get a rendering as free from interpretation as possible, we feed the text into an online (machine code) translator. Navigate; Linked Data; Dashboard; Tools / Extras; Stats; Share . En 1917, sous l’influence de Gide notamment, il revient à la poésie avec La Jeune Parque, publiée chez Gallimard. Encantamiento. 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.”  I wrote at the time the very first Narcissus, an irregular sonnet ... ”  Paul Valéry. 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. 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. 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.”  Out of Stock. La meilleure citation de Paul Valéry préférée des internautes. On the other hand, he is understood as having broken away from symbolism, as having rejected the cult of poetry for its own sake in favor of a cult of the mind. 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: PLACANDIS NARCISSAE MANIBUS (to placate the spirit of Narcissa). All joking apart, you are loathsome. The French poet, Symbolist leader, and Decadent Paul-Marie Verlaine was born in Metz, Northeast France on March 30, 1844. Au Platane. Sur Vergé. In an early letter to André Gide, Valéry wrote, “Poe, and I shouldn’t talk about it for I promised myself I wouldn’t, is the only writer—with no sins. Poesia de Paul Valéry. And this, very important.” But Valéry also declared: “For him: the work. Never was he mistaken—not led instinctively—but lucidly and successfully, he made a synthesis of all the vertigoes.”  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. The role of the nonexistent exists; the function of the imaginary is real; and pure logic teaches us that the false implies the true. 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. His family moved to Paris in 1851, where he was enrolled in the lycée. Liste des citations de Paul Valéry sur poeme classées par thématique. Mail Moralités (1932). 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. Then I developed the idea of the myth of this young man, perfectly handsome or who found himself so in his reflection. In 1924, Variety (Variété), a collection of his essays, appeared. 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. La Fausse Morte. His fear of sensuality may also explain his violent intellectual prejudices—against Freud, for instance, or against philosophy. James Lawler, probably the most prominent and reliable American critic of Valéry’s work, has, in The Poet as Analyst: Essays on Paul Valéry, convincingly explained Valéry’s interest in “Eureka”: “Quite apart from Poe’s poetics, here was a work that fascinated [Valéry] by its scientific theories, by its poetic subject ... [‘the expression of a generalized will to relativity’] and, significantly, by the form adopted, which coincides, one may say, with Valéry’s own literary practice in La Jeune Parque [The Young Fate] and Charmes [Charms] ... [‘example and enactment of the reciprocity of appropriation’].” In “Eureka” Poe described knowledge and being as part of an interconnected system: “In the original unity of the first thing lies the secondary cause of all things, with the germ of their inevitable annihilation.” From Poe’s theory Valéry extracted his own, odd fusion of the visionary and the logical, the mystical and the rational, which he however refused to admit as anything but pure science and logic. Among the celebrities who, along with Zola, took up Dreyfus’s case were Proust, the painter Claude Monet, and Anatole France. 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. Algunos nombres destacados de su obra son: El Bosque Amigo, El Cementerio Marino, Encantamiento, Esbozo De Una Serpiente, Helena, y mas. Texte et poèmes / V / Paul Valéry / Le Cimetière marin. UCLA Library. Los pasos. As long as the audience for a text was kept in mind, Valéry wrote in his Notebooks, “there are always reserves in one’s thoughts, a hidden intention in which is to be found a whole stock of charlatanism. In the face of such statements, Valéry’s scorn for the mystical may seem incongruous, but this attitude is nevertheless a prominent feature of his thought, evident most of all in his contempt for the 17th-century mathematician and philosopher Blaise Pascal. 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.”  Liste des citations de Paul Valéry sur amour classées par thématique. It was rather the sense of my own identity, of a sameness within vast, elusive differences.” It may be in the enduring classicism of Southern letters, passed from Tate to such contemporary Southern writers as Reynolds Price, Fred Chappell, and James Applewhite, that Valéry’s voice, through the veil of translation, can be heard most clearly today. Yves Bonnefoy, who held Valéry’s chair in poetry at the College de France and succeeded him as the most prominent contemporary French poet, has said in L’Improbable that Valéry had no real influence on his own poetic development. A glance at the French text and literal (machine) translation shows the problems facing a translator. Paul Valéry suit les « mardis de Stéphane Mallarmé, Rue de Rome », séminaire qui a lieu au domicile du poète dont il restera l’un des plus fidèles disciples. La dormeuse. 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. O frères ! 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 criticized French novelist Marcel Proust for this very tendency, though in doing so he misread Proust. RETOUR: PERIODES: THEMES: AUTEURS: LIENS: 15eme Siècle: 16eme Siècle: 17eme Siècle: 18eme Siècle: 19eme Siècle: 20eme Siècle: 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. Valéry’s introduction to Gide, by Louis, began a friendship that lasted throughout Valéry’s life and that has been documented in Robert Mallet’s Self-Portraits: The Gide/Valéry Letters, 1890-1942. Out of Stock. Corriger le poème. Insinuant - le Vin perdu - l'Abeille - trois poèmes de Paul Valéry par Louis Latourrehttp://theatreartproject.com Of an early poem on this subject, “Narcissus Speaks” (“Narcisse Parle”), he wrote (quoted in volume I of Oeuvres [Works]): “The theme of Narcissus, which I have chosen, is a sort of poetic autobiography which requires a few explanations and indications. From this point until the end of his life, Valéry was known as the French poet. I keep what I want.’”. Paul Valéry. He was never mistaken. Hélène. We are tending toward the condition of science and aspiring to do it. 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. Paul Valéry (1871-1945), French poet, essayist. Le Sylphe. Le Bois Amical. Collected Works of Paul Valery, Volume 10: History and Politics. His fascination and personal identification with the Narcissus myth is well documented. “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. 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. All information has been reproduced here for educational and informational purposes to benefit site visitors, and is provided at no charge... Paul Valéry, French poet, essayist, and critic was born in Sète, France in 1871. Services . 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. Because his mother was Italian and his father was Corsican, Valéry was probably as comfortable speaking Italian as French. Ambroise Paul Toussaint Jules Valéry was a French poet, essayist, and philosopher. Ode secrète. His recurrent, even obsessive, denigration of Pascal may reflect Valéry’s fear that his own distinction between science and metaphysics, rationalism and mysticism, might not hold up, that in fact—as is so evident in Valéry’s own “scientific” musings—there might be some mutual contamination of the categories. During a stormy and sleepless night, he decided that poetry was not the loftiest and purest expression of the mind’s activity. 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. Pour autant qu’elle se plie À l’abondance des biens, Sa figure est accomplie, Ses fruits lourds sont ses liens. Paul Valéry. Despite Mallarmé’s reservations, several of the poems were published. Whom shall I kill? 0. He was given a state funeral in Paris and buried at the cemetery at Sète, his birthplace and the setting for “The Seaside Cemetery.”  There exists in Montpellier a botanical garden where I used to go very often when I was nineteen. Tes pas, enfants de mon silence, Saintement, lentement placés, Vers le lit de ma vigilance Procèdent muets et glacés. Poèmes de cet auteur. 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. That inscription had brought on reveries in me, and here, in two words, is its story. Poesía de Paul Valéry Poemas de amor, de amistad, versos, poesía, poemas cortos de poetas del amor. In Collected Works, vol. Texte et poèmes / V / Paul Valéry. Regards sur le monde actuel. Trying to think of it one finds that all beginning is a consequence—every beginning completes something.”  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. 2 mil compartilhamentos. The dead girl’s name was Narcissa. 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. Los pasos ( otra versión) . Adicionar à coleção. A Jeannue. Valéry’s crisis occurred during an October, 1892 stay in Genoa, Italy. The artist works out his own formulas; the interest of science lies in the art of making science. 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. Valéry died on July 20, 1945, at the close of France’s last 20th-century war with Germany, having been born at the conclusion of its last 19th-century one. Paul Valéry. Similar more or less debilitating infatuations symptomatic of Valéry’s extreme but repressed emotionalism and sensitivity occurred throughout his life. 1. 1K likes. Therefore every literary product is an impure product.” The relative purity of Mallarmé, “the Master,” as Valéry called him, was thus entirely congruent with and dependent on both Mallarmé’s total disregard for—indeed, ignorance of—the public taste and his consequent obscurity (no one outside of a very small Parisian circle had read his poems or knew of his existence until well into the twentieth century). 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. Teste might be thought of as a precursor of the figure Faust, but without the opposing figure of Lust. Œuvres ii, paul valery, édition gallimard, coll. repr. In 1925, he was elected to the French Academy, and in his 1927 inaugural speech he made the unprecedented gesture of attacking his predecessor, novelist Anatole France, probably because France, as co-editor of a literary magazine, had rejected the poetry of Mallarmé. Acontece o mesmo com o número dos amigos. 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. For me the name Narcissa suggested Narcissus. Collected Works of Paul Valery, Volume 13: Aesthetics. tristes lys, je languis de beauté Pour m’être désiré dans votre nudité, Et vers vous, Nymphes, Nymphes, ô Nymphes des fontaines Je viens au pur silence offrir mes larmes vaines. Indeed, his anxiety about Lust’s appeal must have been extreme, for he was unable to finish the work. Yet although Mallarmé believed that the end product of thought had to be a poem, Valéry disagreed. Personne pure, ombre divine, It contained the essay on Leonardo first published in 1895, the important article on Poe’s “Eureka,” and “Variations on a Thought” (“Variations sur une pensee”), in which he attacked Pascal as a thinker. Before him is ordinary language, this aggregate of means which are not suited to his purpose, not made for him. Poemes Paul Valéry - Découvrez les œuvres poétiques de Paul Valéry. Ver imagem. The bilingual edition, with David Paul's English translations facing the French texts, includes the autobiographical "Recollection," quoted below, and excerpts on poetry, selected and translated from Valéry's notebooks by James Lawler. Whereas you merely hint. In 1889 he read Joris Karl Huysmans’s novelistic manifesto of decadence, Against the Grain (A rebours), in which Mallarmé’s poem “Herodiade” is discussed admiringly, and the following year he met the young writers Pierre Louis and André Gide. 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. Paul Valéry. 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. 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. He attended school at the College de Sète, now renamed in his honor, and at the lycée of the nearby city of Montpellier. Critics have called Valéry the last French symbolist, the first post-symbolist, a masterful classical prosodist, and an advocate of logical positivism. Clearly, Valéry was heir to the symbolist tradition of another French poet, Stéphane Mallarmé, whom he knew and venerated, who encouraged his early work, and whose other young disciples—Pierre Louis in particular—got Valéry’s work published. A uniquely curated, carefully authenticated and ever-changing assortment of uncommon art, jewelry, fashion accessories, collectibles, antiques & more. Michel Philippon, Paul Valéry, une poétique en poèmes, Presses universitaires de Bordeaux, 1993. Texte et poèmes de Paul Valéry. 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. 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. Yet his reasons for remaining faithful to form—more so, in many instances, than Baudelaire and Mallarmé who were formalists but innovative ones—were much more interesting than a mindless traditionalism. In addition to his poetry and fiction (drama and dialogues), his interests included aphorisms on art, history, letters, music, and current events. 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.”  If I knew [Gide’s friend, writer Maurice] Quillot better, I should have you poisoned. 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. Phaedrus proclaims in this dialogue that “nothing beautiful can be separated from life, and life is that which dies.” The Soul and the Dance deals with the power of art to transcend individuality and the body and to reach toward the absolute. Lunatic researches are akin to unforeseen discoveries. His preoccupation with the intellectual superman had led him to a great interest in the man wielding extreme power, the dictator, the tyrant. 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. 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. Poemas de Paul Valéry: El bosque amigo. In fact, if not for Van Bever and Leautaud’s recognition of the merit of his early work, Valéry might have been completely forgotten during the long period when he wrote almost no poetry. 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.”  The remains that had been found were identified as hers. But in how different a situation is the poet! Valéry, it must be admitted, was blinded to a great deal in literature by his obsessive commitment to purity of thought. He also wrote and published The Evening With Monsieur Teste (La Soiree avec Monsieur Teste, 1896), in which he created the fictional character of Edouard Teste, a paragon of intellectual austerity and self-absorption, an “ideal” thinker, and therefore a role model for Valéry himself. There were more than 250 of these notebooks at the end of his life, and they are not only now available in published form, but are, ironically, among the most important and most read—most public—of his writings. At first the narrator observes the calm sea under the blazing noontime sun and accepts the inevitability of death. Idee fixe. 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. 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.