Alphabet : Inédit by Paul Valéry

By Paul Valéry

"En présence de l. a. lumière, et toutefois hors d'elle, de los angeles 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 aspect ; en présence de mes mains, de mes puissances, de mes faiblesses, de mes modèles, et hors d'eux ; detailed 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 aspect 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 los angeles première fois.

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Extra resources for Alphabet : Inédit

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CP 681) chopping down a prized cherry tree.  On 24 August, Lawrence received from Charles Lahr a negative review by Thomas W. Earp (1892–1958) entitled ‘Mr. Lawrence on Painting’, from the New Statesman of 17 August 1929. On the same day, Lawrence returned to Lahr this retaliatory ‘squib’ or ‘Earp cackle’ with a request that Lahr ‘circulate it’ (L vii 447). The ‘Nettles’ and ‘Last Poems’ Notebooks 27 Language is shown to have become indecent and obscene through its empty use in modern society, particularly among those who have been vested with authority.

The ‘Nettles’ and ‘Last Poems’ Notebooks 37 between the composition of the ‘Nettles’ and ‘Last Poems’ versions of ‘Lucifer’. Perhaps Lawrence was consciously looking in the ‘Nettles’ notebook for a poem that would fit into the ‘Bavarian Gentians’ sequence, concerned with underworlds resembling Etruscan tombs and the visibility/invisibility occasioned by darkness lit by blue gentian torches. The title ‘Lucifer’ (identical to that of the ‘Nettles’ notebook poem) also helps us to a near certainty that the earlier draft was consciously adopted and adapted: a case distinct from that of the related poem ‘When Satan Fell’ (appearing much earlier than ‘Lucifer’ in ‘Last Poems’) whose altered title affords it a new identity.

Lawrence each book in its completed form, considering Lawrence’s psychological motivation for reordering, omitting or fragmenting particular poems or clusters used in later collections. In Laird’s view, Lawrence’s restless search for himself through poetic sequence is progressive, and culminates in his ‘Last Poems’, which she feels is a masterpiece in sequencing, despite its incomplete, unrevised condition: By the time Lawrence wrote his Last Poems, sequential composition had become instinctive.

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