Not having been "cleared", even tacitly, by the little sister to see in the writings Mireille Sorgue, accents of St. John of the Cross or Teresa of Avila - mystical did it, to my knowledge, no read (IX cf.chapitre the difficulty of being ), I Suffice to state, for future work of scholars, authors, works, who, to some degree, required.
In a book dating back to adolescence, there is, copied with the application, parts of Nerval, Verlaine, Apollinaire, Jammes ... Musset is present with "May Night", with Rimbaud fifteen pieces. Also included Mercatio's tirade on Mab, the Fairy Queen, Romeo and Juliet in , prayer of Iphigenia by Euripides and Racine, passages Claudine at school and Sido .
poet Aragon, honor around 1962, will not soon be little place in the pantheon of literary student. It's that time of "substantial allies" came, including, for the twentieth century, Proust and Saint-John Perse, Rilke, Eluard, Char and Giraudoux, Bachelard and Milosz, Apollinaire and Garcia Lorca which we have, English, the complete works. Without omit Letters of Heloise, the Claudel of the five great odes and Sharing noon, the Camus of The Stranger and The Plague, from the Ramuz Derborence .
Mireille taking an author must be approached with an open mind, for his work, his library was low in critical works. I only remember a volume of Jean-Pierre Richard: Eleven studies on modern poetry and venerated Journal of and Approximations Charles Du Bos, where criticism is created.
However, it rubbed abundant collections of poets. Pell-mell Sceve Maurice and Catherine Pozzi, Yves Bonnefoy and Jean Follain, Pierre-Jean Jouve and Jean-Paul Dadelsen the Carnac of Guillevic and Cantos of Ezra Pound, Mary Christmas and a collection of poems troubadours.
Louise Labe was among those poets of place. Mireille decides at the end of 1963, to inform his classmates the figure and work of "the beautiful Cordière" she admired. She would ask one of his teachers for permission to cut a presentation by reading many poems, which is granted. There are still thirty pages of booklet. Among the last lines: "It's mainly a matter of liberating [...] the extent that voice shouted what most can not or dare not say, since it delivers the lovers of their dumbness.
" can not be understood to support the work of fervent that Eluard by his "Story of the power of love":
'Men, women, delirious love,
aloud scream I love you
say what you feel, above all constraints, you will not regret it,
You do not have another opportunity to be sincere. " "
(What was claiming for itself the freedom to speak of love freely.)
Although she later agreed to make a presentation on the theme of Narcissus in Valery, it seems to me that his esteem for the poet Charmes stopped short of reverence, but it would at once sure its popular prose poetic, while unprecedented, the alphabet and Poetry lost, and especially his love poems Corona and Coronilla . Also was not it not a big reader of Gide, Mauriac, Céline, Giono even if that was his fiefdom Provence election.
It is true that the authors in the program, once one wanted to take a direct and wide, enough to fill the hours spent reading.
I said in "The difficulty of being " (Chapter IX) that were in his later years, his temptation to dispense with the rational, reasonable ..., that of bypass terminals that society assigns us. As if she was looking in the literary, the predecessors of the guarantors, we see so very attracted to esoteric mysticism. She reads with restraint Nerval, Andre de Richaud, she copied "the kiss of heavenly love" of the German Baroque poet, prophet and visionary, Quirinus Kuhlmann. Fascinated by the Cathar religion of the Perfect, it follows, in 1964-1965, the ethnography course Occitan Rene Nelli, and returns, each of them in a state of great excitement.
Malraux is worth eroticism. It is also his feeling. If it ignores the Restif Brittany Sade and it would have seemed too rude, repetitive and devoid of poetry (but the ruins of his castle in Lacoste, have chosen), it delights the chaff of M. Butterfly Lasphrise and what are the images of erotic poems Lou , Apollinaire, she chose to study in his memory. Death prevented him from working there, but the poem that closes the first volume of Letters , "The first night," proves that this register can be achieved - mingled boldness and decency - to a peak of lyrical carnality. Now she lives, she wrote at a time when the liberalization of morals is still to come, where censorship is exercised over the works deemed "indecent", where authors and publishers are prosecuted, convicted.
The novelty of his company is obvious: there is no example in the literature, a woman author has had the intention to celebrate the lover in all ... statements. (Ah, the silence of the crowds of women who were sung, Nush Eluard included!) In addition, authority, boldness of writing, combined with his quiet courage, make the eulogy even more challenging. This explains the criticism of amazement appeared when 's Lover. For the first time a woman answered the multiple coats of arms and hymns in praise of the female body ... full of praise of the man of flesh and pleasure that a well-born lover of retires!
The commentators will report tomorrow, no doubt, many influences, even though critics have written that it was only his voice. I would say it has proven , fervently, with lyrical tall of his age, it drew some - including Claudel "The spirit and water," the Holy John Perse of Praise and "Narrow are the vessels" - this utterance to loss of breath that grips us in its "Celebration of the hand."
For me, I regret that it has not been known or known works she had welcomed, justified, throaty voice that emotion, gratitude, hug. And the wanton Booklet Ronsard, Platero and I Jimenez, Pablo Neruda's collections, Journal of , and seizing the first Journal of Adolescence Catherine Pozzi, works by Marguerite Yourcenar, or the Cathie Heilbronn Kleist, letters of Emily Dickinson's poems especially, conformation of pink sand or geode, where multiple indents are like a finger, transverse sealer every moment the lips of the fortuneteller.
And are there any regrets that apply to all forms of art. We attend concerts of the Jeunesses Musicales de France, to those of the Chamber Orchestra of the Capitole de Toulouse headed Auriacombe Louis, and perhaps Corelli, Mozart, do they have great charm, but if it was galvanized by Rite Spring, I do not think we have seen the Carmina Burana, or what Quartet for the End of Time , Messiaen, who had snatched lines ecstatic.
She had seen a lot of paint. Yet I does not console me for not having heard comment Klimt Paul Delvaux, the Balthus landscape ... And she was so attached to "visions" of the humble and shy Seraphine de Senlis!
But who will say the gloomy melancholy, the kind of resentment that come from not being able to share that would be most worthy, and that one word - the creator - he finished we open the eyes, we would see in !
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