By McGrath, Hugh P.; Comenetz, Michael; Valéry, Paul
Valéry’s Graveyard is in elements. the 1st half offers the French textual content of Paul Valéry’s poem Le Cimetière marin (The Graveyard by means of the Sea) and a dealing with English translation, via a descriptive account of the poem that units out its major structural and dynamic positive factors and lines its narrative. the second one half contains 9 brief chapters on chosen topics of the poem of their relation to the poet’s idea, together with definite of his medical matters, and to literature old and modern.
Le Cimetière marin is without doubt one of the so much celebrated works of poetry of the final hundred years, well known as exclusive for fantastic thing about shape and wealth of which means. at the foundation of the French textual content and a translation that's without delay actual and poetical, this publication offers an advent to the poem, and thereby to the advanced highbrow international of Valéry. It indicates the intensity and breadth either one of the poem and of the poet’s thought.
A worthwhile source for students, Valéry’s Graveyard is offered to all severe readers. because it doesn't require an information of French, the booklet is appropriate for learn in any direction on sleek literature
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Valéry’s Graveyard is in elements. the 1st half offers the French textual content of Paul Valéry’s poem Le Cimetière marin (The Graveyard via the ocean) and a dealing with English translation, via a descriptive account of the poem that units out its major structural and dynamic gains and strains its narrative.
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Extra info for Valery's Graveyard: Le Cimetiere Marin, Translated, Described, and Peopled
We withdraw from gazing upon the sky and the sea, from the perhaps overweening contemplation of the divine light, which is now restored, as is only just, to its original solitary purity. The brilliance of the sea is replaced by the brilliance of the graveyard earth and marble under the blazing sun. The poet has begun to walk, and the sun has passed the zenith. The poet becomes aware of his shadow passing over the graves, and this reminder of insubstantial being tames his former access of pride.
Booij, “Psalm 127,2b: a Return to Martin Luther,” Biblica 81 (2000), 262-268. 5–15 (Vulgate, 3 Kings). Hegel, Preface, 8–9 (Oxford paras. 9–10). Valéry “was so convinced of the emptiness of dialectic that he never took the trouble to read Hegel”: Judith Robinson, L’Analyse de l’Esprit dans les Cahiers de Valéry (Paris: José Corti, 1963), 26, n. 11, citing C (CNRS) 15:534, 28:923, in both of which places he says that he is ignorant of Hegel. Cf. his comments in a 1943 letter to Heidsieck, Œ 2:1503.
Ah! sun… A tortoise shadow for the soul Is Achilles motionless… in mighty strides! The poet begins his transition by turning to the particular, to the philosopher, to Zeno, as an instance of pure thought. He addresses him in distress. Zeno is cruel. He has pierced the poet with his winged arrow that cannot fly. (You all know, of course, that the reference is to the paradoxes of Zeno proving that motion is impossible. ) The arrow thrums and flies, but it cannot fly, since thought will not allow it to fly.