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Edition Tales of Hoffmann

reference of the work e: Hoffmann, ETA Tales , et al. "Classic short" The school recreation, 2011.

Preface and adaptation : Stephane Labbe

The first draft preface is published below.

List Short stories s: The Adventures of the night New Year's Eve, The Mines of Falun, The Nutcracker and the Mouse King, Councillor Crespel (The Violin of Cremona) The Sand Man, The Vision, The Mysterious Guest (Specter fiance).

Back Cover

A man seems to give life to the toys he makes, another manufactures robots so perfect that they inspire love, yet another tear their eyes to children too curious ... Sometimes the devil is in it and, for the nights of New Year's Eve, brings to innocent victims wildest passions. A mysterious White Lady haunts the unfortunates who had the misfortune to see him, and a strange visitor with flashing eyes to his will the poor Angelique ...
In the enchanted world of Hoffmann, everything is possible: from one moment to another reality can tip over, leaving the creatures emerge from a dream or a nightmare which sway the result. Published in France in 1828, Les Contes d'Hoffmann met with immediate success and had considerable say in Theophile Gautier: "His stories were read by everyone, the door and the great lady, the artist and the grocer have been happy. The reader of today will be just as "happy" to rediscover the imagination of this visionary genius.

Ernst Theodor Amadeus Hoffmann

Lost in the legal profession, Ernst Theodor Wilhelm Hoffmann (1776-1822) barter his third name of the cons Amodeus tribute to ... Mozart. Man is first and foremost artist: writer, of course, but also a painter and musician. His influence on the French Romantics will be crucial.

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Phaedrus, kites and doves

Few read of his contemporaries, it seems that Phaedra has been exiled because of the political allusions in his fables. Augustus was not kidding. If he had certainly not read Rousseau, Phaedra had preceded him with this little fable, Milan and doves who, moreover, Florian inspired, equally succinct on the subject. But where Phaedra seems to denounce the misuse of the social contract, rather Florian stigmatizes religious hypocrisy.

Milus and columbae

Who committer homini tutandum improbo,

Auxilia dum requirit, exitium invenit.

Columb æ s æ pe cum fugissent milvum,

Et celeritate pinnæ vitassent necem,

Consilium raptor vertit ad fallaciam,

Et genus inerme tali decepit dolo:

Quare sollicitum potius ævum ducitis

Quam regem me creatis icto fœdere,

Qui vos ab omni tutas præstem injuria?

Illæ credentes tradunt sese milvo.

Qui regnum adeptus cœpit vesci singulas,

Et exercere imperium sævis unguibus.

Tunc de reliquis una Merito plectimur,

Huic Spiritum prædoni Quae commisimus.

Whoever starts under the protection of a wicked man, seeking help is their loss.

The doves have escaped several times to milan and avoided death by their rapid flight, the bird robber resorted to trickery and mistake this breed helpless by this artifice.

- Why, he says, do you lead a life filled with anxiety, rather than take me to the king, after we have concluded a treaty, so I put you to cover any damages?

Full of confidence, she indulged in Milan who succeeded to the throne, began to eat them, one after the other and make them feel his empire by his cruel talons. So one of those who remained said

- is precisely that bous are affected, we delivered without reservation to the brigand.

Phaedra Fables, translated by A. Hamel, Hatier, 1936.

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Gilgamesh, descents into hell

The Tale of Gilgamesh

1 / Reading record of the meeting scene between Enkidu and Gilgamesh

2 / The epic

3 / The present values

4 / Reading record of an encounter with scorpion men, the initiatory dimension text

5 / The wonderful in the epic

6 / The Flood of Gilgamesh to the Old Testament

descents into hell in ancient

1 / The concept of hell

2 / Hell in the story of Gilgamesh

3 / Ulysses among Cimmerians

4 / COD

5 / comparison of the pattern of catabase in the Aeneid and the Odyssey

6 / From the descent of Ishtar to the Underworld to Ovid's Metamorphoses

Read an interesting case mutations of the press.

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A poem Reverdy's prose

It is sort of a precursor of surrealism, he founded in 1917, the magazine will host the North South reflections of all the avant-garde of the twenties. The immediate postwar period is for the young poet a period of intense production literature, he produced many books ( Poems in prose , The Skylight oval ...) and asserting a unique style that s urréalistes recognize unanimously. In 1926 Reverdy leaves the hubbub of the capital and settled near the abbey of Solem offering an asylum to his taste for the absolute. Beautiful books appear sporadically Sources Wind in 1929 Singing died in 1948, letting an existential concern and the need to find meaning through the poetic journey.

The Word

If the light goes out, you stand alone before the night. And what are your eyes open to light you.

Du Jardin, rise the sounds that you do not listen. Of leaf rust and branches, the water runs until morning, and it changes votes. And suddenly, you think the white portrait framed by the window. But no one passes by without looking. And not even the wind will disturb the trees, animate this stillness, this silence when your wounded spirit rises and spins.

the ball , 1928.

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Spell for Creation by Kathleen Raine


Within the flower there lies a seed,
Within the seed there springs a tree,
Within the tree there spreads a wood.

In the wood there burns a fire,
And in the fire there melts a stone,
WIthin the stone a ring of iron.

Within the ring there lies an O,
Within the O there looks an eye,
In the eye there swims a sea,

And in the sea reflected sky,
And in the sky there shines the sun,
Within the sun a bird of gold.

Within the bird there beats a heart,
And from the heart there flows a song,
And in the song there sings a word.

In the word there speaks a world,
A world of joy, a world of grief,
From joy and grief there springs my love.

Oh love, my love, there springs a world,
And on the world there shines a sun,
And in the sun there burns a fire.

Within the fire consumes my heart,
And in my heart there beats a bird,
And in the bird there wakes an eye,

Within the eye, earth, sea and sky,
Earth, sky and sea within an O
Lie like the seed within the flower.

Incantation du monde

Au sein de la fleur demeure la graine

Within the seed tree can

In the tree expansion of the forest.

There in the forest, a fire burns

And there, the flame burns in the stone ,

Within the stone a ring of iron.

Within the ring remains an O

Within this O look a look,

And eye swims an ocean.

And in the sea, the sky reflected

And there in the sky, shining sun,

Within the sun, a golden bird.

Within the bird, a heart that beats,

And this chorus flows a song

And this song, sing a word.

In speech, speaks a world,

Word of joy, world of suffering,

From joy, suffering comes my love.

love, my love from which the world

And the world shines a sun

And the sun burns a fire.

Within the fire burns my heart

And my heart beats a bird

And in the bird awakens an eye.

In the eye, the earth, sea and sky,

Earth, Sea and Sky in an O

Resident such seed in the flower.

Kathleen Raine, p Oth contained in the first day , Granite, 1980, with a translation of F. - X. Jaujard.

Trad. S. Labbe

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Les Contes d'Hoffmann (4)

no doubt that this first "outpouring of dreams in real life," to paraphrase Nerval, is one of the engines Hoffmannienne creation: it also contributes greatly to build this hesitation if necessary with the advent of fantasy by Todorov (9). For if the themes are the future of Hoffmann guns fantasy literature: the Devil ("The Adventures of Nuits de Saint-Sylvestre '), the evil creature (" The Sandman "), the spectrum (" Vision "), the UPS air (" The Mines of Falun), their treatment - especially the taste of Hoffmann for the aesthetics of the grotesque offset - makes it necessary to resort to dreaming to explain the eccentricity of the situations that it implements.

of Hoffmann's fantastic not only secondarily rooted in reality, its very excess condemns him not to leave in the reader's consciousness that the trace of smoky dreams he came. But it's also what makes his uniqueness and modernity. Philippe van Thieghem already stressed in 1961 (10) the prodigious originality of Hoffmann: "The tales of Hoffmann," he writes, brought the romance, a source of mystery and fantasy that relayed the romantic tradition of English in a thriller more modern spirit. "And then noting the influence he had on writers such as Balzac, Nerval, Gautier or Baudelaire. This is obviously the second generation was sensitive to romantic eccentricities of genius hoffmannien which, breaking yet more openly with the rationality of the Enlightenment and with the need of the referential illusion, would fascinate the forefront of Symbolists, and continue to exert a lasting fascination on the surreal or novelists like Jouve, or Mandiargues Gracq. The introduction of Hofmann's work in France is undoubtedly a turning point in our literary history and its influence was also durable than decisive.

9 Todorov, Introduction to Literature fantastic, "Points", Seuil, 1976.

10 Philippe van Thiegem, Foreign influences on French literature , 1550-1880, PUF, 1961.

Ill. Our editing Tales of Hofmmann for the "Ecole des Loisirs.

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Les Contes d'Hoffmann (3)

And this is the theme of the femme fatale, gasoline supernatural found in the heart of news like "The Night of Saint-Sylvestre," "The Sand Man," "The Mines of Falun" or even "The Vision." "The Adventures of the Night of Saint New Year, "we seem, as such, especially revealing because the drama of the lost woman built it into perspective. In the narrator's disappointments who thinks a moment to find the love of his youth and finds, in a stage of disillusionment treated very ironic that she is married to a "foolish figure in the legs of spiders," are the adventures Erasmus Spikher succumbing to the poisonous Giulietta clearly an accomplice Signor Dappertutto none other than the devil himself. If the tale recalls the plot of the story Cazotte it resonates with the tragedy that Hoffmann lived when he was Master of Music Julia Marc (see chronology) and Marcel Schneider (7) establishes the link between judiciously this adventure and vocation of Hoffmann storyteller: "What does Julia Marc during the weeks when his friend and master of music, mad, delicious Hoffmann is becoming Ernst Theodor Amadeus-? She sees in him a change, a metamorphosis? He is the spiritualized, to perpetuate ... In other words, the author came into full creative process. In a Jungian perspective, we say the narrator hoffmannien it grapples with the seductions of the anima, the feminine side of himself. Male archetype of the unconscious that man projected on the beloved, dangerous seductress which may lead to destruction ("The Mines of Falun), the anima is the important principle that led the artist through the labyrinth of the unconscious to allow it to extract the juice ignored these areas even its creation. The archetype of the anima is dual, like all the archetypes and this ambivalence Hoffmann continues to interrogate "La Nuit de la Saint-Sylvestre", the "Mines of Falun, through the "Sandman". The loss of the anima also causes the cessation of all creative possibility: Councillor Krespel once his daughter (twice his mother) buried waives the violin, and while little Marie's famous Nutcracker git between life and death, the story seems suspended, terminated and you must resort to other expedients, other stories revive the plot until the heroine has regained its vitality to carry the tale to an end and the hero's accomplishment. "The Mines of Falun," say the opposite of the dangers of seduction animated when it is accompanied by regressive temptation: instead of going to marriage and the emotional maturity, the hero gives in to the call mine which leads to death and petrification a highly symbolic.

This importance of unconscious materials may explain the rejection of Walter Scott, who preferred to draw the legends clear light of reason, it also explains the aura of dreamlike quality that emanates from the stories. And their success with the surreal. "The god of dreams," writes Albert Béguin (8) dictated to Hoffman, his most dramatic works, darkest tales as the lighter and brighter. "Haunted Mines of Falun in the wonderful world of "Nutcracker", the dream is everywhere at work in the world of the dreamer and Hoffmann, everywhere subject to dizziness confusion.

Are they real, these scenes of his childhood Natahanaël, hero of "The Sand Man" brings to life for his friend Lothario? Is there in these Coppelius Coppola and his nights haunting, threatening to deprive him of his eyes, the slightest ounce of reality? The tender lover Clara thinks not: "it is your belief in their power enemy that can only make them powerful," she says calmly. But Nathanael does (can?) hear nothing. And despite the objectification experienced by the story from Chapter IV, the reader can not help but once the story closed, to ask if this terrible sandman was not the result of a dream. And to think, in a tale as "The Vision," the White Lady of Adelgunde, the strange turn of events which it operates? This sister, who handles the burden of madness when Adelgunde miraculously found the reason? The reader suspects that although some mental breakdown, a phenomenon of inflation, but remains unconscious material in the perplexity.

7 Marcel Scneider, the meteor Hoffmann, Editions du Rocher, 2006.

8 Albert Beguin, L'Ame romantic dream José Corti, 1991.

Ill. A Naiad, Table J. Waterhouse. The Naiad is a representation of the archetype of the anima.

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Les Contes d'Hoffmann (2) Les Contes d'Hoffmann

Remember that Victor Hugo "grotesque" was an aesthetic principle is intended to avert the "sublime" which until then was the ideal, the essence of classical tragedy tonal . With the grotesque Hugo rehabilitated the bizarre, the incongruous taste for disproportion and deformity, mockery and ironic laughter of the fool liberator, a symbol of the concept. Now it is not a tale of the collection presented here that can not, one way or another, to avail himself of the concept of the grotesque. Whether "The night of the Eve" as its composition and its seemingly chaotic characters curses prey more comical than tragic show, even today, of a singular modernity or " Cremona Violin, "whose central figure in the eccentric Krespel Advisor is the epitome of the grotesque.

The inaugural episode of the story, the construction by the adviser of a house without a concerted plan and appreciate the insights of its owner, might seem like a veritable manifesto of artistic creation. Rules of reason, Krespel prefers meandering intuition and ended up giving the book "fairly good appearance", a house whose exterior is "the most bizarre" but "the interior arrangement "is" a great convenience. " This council house building Krespel which offers only a very indirect connection with the plot, however, is of interest to more than one way: one can, as we just did, read a manifesto this aesthetic principle that Hugo and Hoffmann defend doing so we will see this as a sign of romantic irony that Peter Schoentjes (4) defines as a deliberate attempt by the author to destroy referential illusion generated by fiction. Pierre Schoentjes recourse besides a letter to describe the workings Hoffman Process: "The first principle on which you base all your efforts is this: the war poet and musician! reversal of their wicked plan to surround the viewer with misleading images, and snatch the real world. "(4) War on referential illusion, then! It is more for the artist to create a universe but rather to give misleading to read his text as a manifestation of my other elusive already foreshadows the Freudian unconscious and refers readers to its own otherness.

Somehow, the house of Krespel is a metaphor for me abroad. Jung repeatedly noted that the house is "a kind of image of the psyche" (5). Krespel and home, with its quirky appearance, his young female prisoner whose the song can express itself and its owner and monomaniacal strange presents many analogies with our author's particular physical, composer unknown, that haunts a frantic quest for the absolute that constantly vies with pangs of a haunting sensuality.

If Hoffmannien fantasy rooted in some reality, it remains essentially a mapping to be an attempt by its author to circumscribe regions within me constantly threatened with dissolution. If, to take one example, an issue that keeps coming up in our stories is that of the young woman supernatural essence.

Hoffman told on one of his heroes how he was captivated by the romance of Cazotte Le Diable Amoureux, which as we know, tells a passionate love story between a young Italian student, Alvaro, and the fascinating Biondetta, avatar of the devil: "I fell, Hoffman told his hero, to hand a book produced upon my being such an impression that I can not even explain it, [ ...] I saw, I heard that the charming Biondetta; as Alvaro, I succumbed to a martyr voluptuous. "(6)

Schoentjes 4 Pierre, Poetics of Irony , Seuil, 2001.

5 Carl Gustav Jung, "My Life." Memories, dreams and thoughts, Gallimard, Folio, 1991.

About 6 Victor, hero of a tale of Hoffmann The Spirit Elementary , quoted by Pierre-Georges Castex in Le Conte Fantastique in France, Librairie Jose Corti, 1951.

Ill. The Cremona Violin (aka the Krespel Advisor), adapted by Tommy Redolfi BD Delcourt.

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curious editorial enterprise that tales of Hoffmann in 1829. The editor, Renduel, preceded the text with a preface by novelist Walter Scott, adored in France since the publication of Ivanhoe - translated by Defeaucompret - in 1820. Or hated Walter Scott Hoffman, the findings are unequivocal:

" It is impossible to submit such stories to criticism. These are not visions of a poetic mind and have not even this apparent association that the aberrations of dementia sometimes leave the ideas of a madman: it is the dreams of a weak head, prey to the fever, a moment that can excite our curiosity by their oddity, or our surprised by their originality, but never more than a very fleeting attention, and, indeed, the inspiration of Hoffmann like so many ideas generated by the immoderate use of opium, which we believe had longer need the aid of medicine as opinions of criticism . "(1)

It was hardly possible to make judgments more severe or more biased. And one can only wonder at the business of a publisher who, as a promotion, the author chose to present in a light so unfavorable. Is that the operation seemed very random, so Loève-Weimar, the translator, enjoyed a certain aura worldly, Hoffmann was virtually unknown to the public. While some reviews have mentioned his name during the previous year but his work remained unknown. Renduel had sought a name likely to avert the risks entailed by such a publication, a literary sort of bond. Loeve-Weimar yet managed to maneuver to curry favor with the press and the Tales should prevail in France a real popular success continues unabated during successive editions, being seen to Theophile Gauthier (2), in 1836, Hoffmann was now more popular in France than in Germany.

If the opposition between Walter Scott and Hoffmann presents an anecdotal interest, it falls more deeply in a controversy will arise where modernity. Recall that the Preface to Cromwell in 1827. Victor Hugo defends a conception of the drama, not content to go after conventional units defends new values: freedom of inspiration for the artist, mixing records, promotion the grotesque. (3)

Now that criticizes Walter Scott Hoffmann? His unbridled imagination, the incongruity of his intrigues, the quirkiness of his characters in a word, everything that Victor Hugo defends known as "grotesque." In other words, a new aesthetic in which the author of Ivanhoe could not agree because it already belongs to the past century. His demands of rationalism, reasonableness and moral education are not those of the younger Romantic generation that is about to overturn the rules in depth of Western art.

Placing himself under the aegis of Jacques Callot, Hoffmann implicitly demanded of the grotesque.

(1) Walter Scott's preface is reprinted in the Garnier Flammarion edition of Les Contes d'Hoffmann (1979), t. 1, p. 39-53.

(2) Theophile Gautier, "Les Contes d'Hoffmann," Chronique de Paris, August 14, 1836.

(3) The first collection of stories published by Hoffmann called Fantasies in the manner of Jacques Callot. Recall that Callot, engraver of the seventeenth century, embodies the grotesque as its predilection for the deformity by the nature of the subjects he tackles, popular figures, war atrocities, etc. ...

Ill. Walter J. Scott Graham

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Ella Enchanted

latest article published in School of letter s : Ella Enchanted by Gail Carson Levine , a novel of rebellion.
Step 1: Read image
Objective: To understand how the coverage already offers a novel reading of the book.
Step 2: Open the novel
Objective: To analyze how the narrative sets up the theme of the curse as well as a specific tone to the genre of humorous rewriting.
Step 3: Language Study, Imperata f
Objective: Know join, recognize and interpret the present imperative.
Step 4: Reading compared
Objective: To compare the entire first chapter to the opening of two tales of Perrault to capture what is special about writing fiction.
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Step 7: The Myth of Cinderella
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Objective: Understand that a story has a specific ideological and that the character of Ella, somehow symbolizing the status of women, indicates the need for rebellion into freedom.
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House Gothic

Magnificent Aloysius, Baudelaire awarding the "impeccable poet" to Gautier, than he also gave it to Michael, who, one of the few among the French, was able to cultivate this vein visionary who was the genius of Novalis, Hoffmann, Keats. The poetry of Aloysius is even more rare and valuable, not content to draw inspiration from the hallucinatory visions of the dream, the poet was able to give it that unique shape that the resonances grows, weaving an echo of thematic networks which bring the obsession with aesthetic principle and gives the nobility of the Lost Souls preferred to have the madness to the flatness of a prosaic newspaper.

Nox solitudo plenae sunt diabolo.
The Fathers of the Church.
night, my room is full of devils

"Oh! earth, - I whispered to the night, is a fragrant cup which the pistil and stamens are the moon and stars! "And

, eyes heavy with sleep, I closed the window qu'incrusta Calvary's cross, black in the yellow halo of stained glass.

*

again - if it was midnight - the time emblazoned with dragons and devils ! - The gnome that gets drunk oil in my lamp!

If it was the nurse that rocks with a monotonous chant, in the armor of my father, a baby born dead!

If it was only the skeleton of the foot-soldier jailed in the woodwork, and striking the forehead, elbow and knee!

If it was my grandfather who falls off of its frame rotting, and hardening his gauntlet in the holy water stoup!

But Scarbo that bites me in the neck, and, to cauterize my wound bleeding, plunges his finger at the red-hot iron founaise.

Gaspard de la Nuit, 1842.

http://aloysiusbertrand.blogspot.com/

Ill. Aloysius Bertrand

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The four reformers

Stevenson's writing is entirely inhabited by his taste for the fable. Dr Jekyll and Mr Hyde but also the Treasure Island are a way of fables. Written between 1874 and 1888, his Tales are the result of a work whose writing has steadily gained control and finesse, they have attracted particular attention of the general Borges, who is well known, venerated Stevenson's prose. We are far, with Stevenson, the tradition of Florence and La Fontaine, morality is ambiguous, humor mocks the company's fabulist and fable asks, hustle, playing certainties, far removed from care moral edification.


Four reformers is Under a bramble bush.
They Were All The World Must Be Agreed changed.
"We Must Abolish property," Said one.
"We Must Abolish Marriage," Said the second.
"We Must Abolish God," Said The Third.
"I Wish We Could Abolish work," said the fourth.
“Do not let us get beyond practical politics,” said the first.
“The first thing is to reduce men to a common level.”“The first thing,” said the second, “is to give freedom to the sexes.”
“The first thing,” said the third, “is to find out how to do it.”
“The first step,” said the first, “is to abolish the Bible.”
“The first thing,” said the second, “is to abolish the laws.”
“The first thing,” said the third, “is to abolish Mankind. "

fables can be found on our author: http://www.authorama.com/fables-1.html

Four reformers gathered under a hedge of brambles.

All agreed it was necessary to change the world.
- We must abolish property, said the first.
- We must abolish marriage, "said the second.
- God says we should abolish the third.
- I wish so much that we could abolish work, "said the fourth.
- Do not go beyond the framework of a realistic policy, said the first. The first thing to do is to reduce inequalities among men.
- The first thing to do, "said the second is to give freedom to both sexes.
- The first step, "said the first will be to abolish the Bible .
- The first thing to do, "said the second is to abolish the laws.
- The first thing to do, "said the third, is to abolish mankind.

The translation of the fables of Stevenson diponible in t. 2 of the complete news Stevenson at Phoebus.

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On the beach at night (3) Tamara Drewe


Then, dearest child, thou only for Jupiter mournest?
Considerest thou alone the burial of the stars?

Something there is,
(With my lips soothing thee, adding, I whisper,
I give thee the first suggestion, the problem and indirection,)
Something there is more immortal even than the stars,
(Many the burials, many the days and nights, passing away,)
Something that shall endure longer even than lustrous Jupiter,
Longer than sun, or any revolving satellite,
Or the radiant brothers, the Pleiades.

Alors, enfant chérie, est-ce pour la seule Jupiter que tu te désoles ?
Est-ce seulement la mort des étoiles qui te préoccupe ?

There is something
(I'm the whisper in my soothing voice
I entrust to you the initial suggestion, the problem and ways to avoid it)
there something more eternal than the stars ,
(beyond the days and nights that die constantly)
Something that will outlast the brilliant Jupiter, Longer
no sun or no satellite in orbit
The longer the radiant sisters the Pleiades.

Leaves of Grass , 1855, for the first publication.

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Posy Simmonds

undeniably invented a genre, the media often speak of "graphic novels" and the word is not too bad choice but it should not be used to designate the works Hugo Pratt or Comès that remain traditional comics. With Gemma Bovery and Tamara Drewe , Posy Simmonds adapts the intrigues of classic nineteenth and managed, without pedantry and with humor, to implement a moralist. The text fits between the thumbnails at the option of a fantasy consideration, the characters reach the complexity of their counterparts fiction. The line, hesitating and closes at the time, support the pastel tone intimate scenes and give the main character in this sensual fragility he loses in the film Stefen Frears.
The film is nevertheless an excellent adaptation, even if some strange characters seem to have less stage presence than he had on paper (I think of Glen or Ben, the drummer of rock). Frears manages to capture the tone of bittersweet romance and changes in the scenario are rather welcome they reduce the scope of dramatic events and help keep this feeling of lightness qu'on retire de la lecture de Posy Simmonds.

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On the beach at night (2)

     From the beach, the child, holding the hand of her father,    
   Those burial-clouds that lower, victorious, soon to devour all,    
   Watching, silently weeps.    
        
   Weep not, child,    
   Weep not, my darling,   
   With these kisses let me remove your tears;    
   The ravening clouds shall not long be victorious,    
   They shall not long possess the sky—shall devour the stars only in apparition:    
   Jupiter-be patient "shall emerge again Another Night-watch-the Pleiades" shall emerge,  
  They Are All Those immortal-stars, golden and silvery Both, "shall shine out again,  
  The great stars and The Little Ones Shall shine out again-they endured;  
  The Vast immortal suns, And The long-enduring pensive moons, shall "shine again.  
 
  From the beach the child holding the hand of his father,  
  Observe the clouds, gravediggers fatal hurrying to swallow everything  
  And weeps silently.  
 
 
 
  Do not cry, my child,  
  Do not cry, my darling;  
  Let these kisses, hunt those tears.  
  These voracious clouds will not always victorious.  
  She does not own the sky very long, and do dévooreront the stars so 
 illusory.  
  Have patience, Jupiter will emerge, contemplates the sky again, the Péïades 
 will rise up.  
  They are immortal, all-star bursts of gold and silver shine 
 still  
  From largest to smallest, they will shine again - they last;  
  Vast eternal suns and moons always thoughtful shine again  . 
 

Leaves of Grass , 1855, when first published.

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Klimt's Three Ages of Woman

Allegory in the tradition of Baldung and Titian, the three ages of women presented by Klimt issue in 1905, however, a modern discourse. The first frame is the most interesting, we can only deplore the reproductions of the painting that tighten the area around women. Relieve the table its lateral spaces is obviously expand proportionately living space and undermine the discourse of the painter: the corridor of life is a bottleneck between the earth where seeds of life and nothingness towards which levitate the old woman. All the figures are examined (with the exception of the child), as the Melancholy of Dürer . But if the inclination of the mother, bathed in blue, means gentleness and tenderness, the old woman who wears her left hand to his eyes expressed his despair. The old woman in question has his feet resting on a space of nothingness Echoing the black background, bubbles, exhalation of life, escape from the living space where she bathes and the mother, on the contrary, above the head a colorful mosaic, a space of her dreams metaphor for their hopes. Klimt offers us a wonderful meditation that moves ontological hope ethereal regions of the afterlife ( Baldung ) transmission of mankind in the renewal of generations.

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On the beach at night

Part of a poem by Walt Whitman, excerpt from Leaves of Grass. This collection resulted in Laforgue have a lasting impact on the latest Belgian Symbolist, verse owes much Claudel and lyricism of Saint-John Perse he is not abroad .


On the beach, at night, Stands
a Child With Her father,
Watching the east, The Autumn sky

Up Through the darkness,
While Ravening clouds, The burial clouds, in black masses Spreading,
Lower, sullen and fast, Athwart and down the sky,
Amid a transparent clear belt of ether yet left in the East,
Ascends, large and calm, the lord-star Jupiter, And nigh
at hand, only has very little Above,
Swim The Delicate Brothers, The Pleiades.

Leaves of Grass , 1855, when first published.

night on the beach,
Keeps a child who, with his father
Look, the east, the autumn sky.

Up through the darkness,
While the clouds, voracious diggers in the profusion of their mass black
piling up fast and sullen in the hollow of a low sky,
the heart of a band ether remained clear to the east, Monte
, calm and stately, Jupiter, the noble planet
And nearby, barely above the paddle
delicate sisters the Pleiades.


approximate translation, S. Labbe, we must admit that the good Walt is not always as clear as his celestial ether.

Photo: Jupiter

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Vain prayer to the elements of Rene Daumal

As in Baudelaire, images of fog, smoke, dust contains, among Daumal the dissolution of the ego. Permanent State of unrealized human, man remained in draft form, the "black poet". The rock is therefore an illusion; y "insinuate" freedom, purpose. And find its freedom, is precisely beware of illusions, reject the trappings of lyrical exaltation of misleading that provides the spectacle of nature. Do not see the ocean in a "puddle" is to preserve the illusion that fosters a culture that can lead man to flourish, Venus has "bad teeth".

Dust, dust, ocean, first handkerchief over the wave, call for free cloud ...
The cloud drops suddenly, it's a block of stone.
dust, rock dust in this rock I insinuated my freedom in this rock-strewn wind. The burning sand
bites fronts simoom flames.
Smoke, smoke from fires torsos, full of smoke mirages, finally, I generate my caprice in you.
The smoke returned to the ocean, puddle of dirty water where a hunchback Venus mocks the hope of his decayed teeth.

Rene Daumal, Rear-Heaven Poetry / Gallimard, 1990.

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Bed for sale in France - Aquitaine

Breakfast for sale in The Famous Wine Region In The Bordeaux / St. Emilion excellent year in Sought after location in The Gironde / Dordogne, Les Granges Is A Highly Successful cottage rental business and a challenge for anyone Wishing to start a new life in France.


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Guest House For Sale -

Sector Vichy Auvergne beautiful castle of the fifteenth and nineteenth bed and dhoti, classified 3 ears Gite de France.




the outskirts of a small town, beautiful castle of 590m ² with 20 rooms including 11 rooms, with its courtyard, large outbuildings, swimming pool, tennis, in a pleasant park of 6700m ². Guest rooms. Southern exposure

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Bed and Breakfast For Sale - Auvergne

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Owners ROOMS COTTAGES dhoti, between Cannes and Grasse


in villa 380 m2, quiet 200 m course (18 holes), tennis, horseback riding - near all amenities - pool

12 x 6 / 10 Parking veh.

have eight accommodation rooms (with or without kitchenette

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ROOMS dhoti for sale

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Bed for sale in France - Alsace / UP RHINE

Alsace, sell cause beautiful charming retreat composed of 3 apartments with 2 fully furnished cottages and accommodation houses in France, of a house and adjoining dun very large apartment with a private room with free opportunity to guest rooms, cellar, laundry room, garage and attic . Plus a separate appendix at the back of the property. In perfect condition and useable immediately. Land of 6350 m2 planted with trees and provided dun Dagre pond. Available in whole sale. Very good location, many attractions in the area and the wine route

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