Download PDF by Paul Valéry: Alphabet : Inédit

By Paul Valéry

"En présence de l. a. lumière, et toutefois hors d'elle, de l. a. fenêtre haute, l'Ange du monde entier, qui d'une voix d'azur et d'or, sur le seuil de ce jour et de l'espace libre, annonce les cieux, les campagnes, les mers, les étendues, les peuples et les déserts, proclame et représente le reste et le Tout, affirme toutes ces choses qui sont en ce second même et qui sont comme si elles n'étaient element ; en présence de mes mains, de mes puissances, de mes faiblesses, de mes modèles, et hors d'eux ; specific de mes jugements, également éloigné de tous les mots et de toutes les formes, séparé de mon nom, dépouillé de mon histoire, je ne suis que pouvoir et silence, je ne fais element partie de ce qui est éclairé par le soleil, et mes ténèbres abstention est plénitude. "

Alors qu'il venait d'acquérir vingt-quatre lettrines gravées, un éditeur demanda à Valéry d'y associer vingt-quatre poèmes en prose dont chacun commencerait par une lettre différente. L'écrivain se proposa aussitôt d'y évoquer les vingt-quatre heures du jour, composa le recueil sans tout à fait l'achever, mais ne le publia pas. A certaines lettres de l'alphabet correspondent donc plusieurs poèmes, et c'est l'ensemble de ces textes qui se trouve ici rassemblé pour l. a. première fois.

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Extra info for Alphabet : Inédit

Sample text

Four English poems, all by Westminster and Christ Church men, were published in Musarum Oxoniensium Pro Rege Suo Soteria early in January 1633, a publication which celebrated the King's recovery from smallpox 22 Royalism and Poetry in the English Civil Wars the previous month. 65 Two other volumes published later that year saw the proportion of English poems increase, a trend which continued until 1640, when Horti Carolini Rosa Altera - published to mark the birth of Henry, Duke of Gloucester - included 39 English poems in its first issue.

129 But the conventional expressions of inadequacy on the poet's part here lead to an intriguing reconfiguration of the relationship between verse and its subject. Crashaw declares: My quill to thee may not praesume to sing: Lett th' hallowed plume of a Seraphick wing Bee consecrated to this worke, while I Chant to my selfe with rustick melodie. (21-4) This severe circumscription of audience is not the only way in which the poem abases itself. Exploiting the familiar topos of the 40 Royalism and Poetry in the English Civil Wars Princess as a copy, map and portrait of her parents' qualities, the poem recasts her as 'the Quintessence of art' (38) and reinterprets itself as an inadequate act of exegesis, a 'muddy glosse' on a 'cleare text' (54).

34 The personal character of royal government was also inscribed on London, the location most clearly criss-crossed by interrelated topographies of royal, civic and ecclesiastical authority.

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Alphabet : Inédit by Paul Valéry

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