Kirjahaku

La Jeune Parque, (French: ?The Young Fate?) poem by Paul Val?ry, published in 1917. An enigmatic work noted for both its difficulty and its formal beauty, it presents in 500 lines the musings of Clotho, the youngest of the three Fates, as she stands at the seashore just before dawn. She stands uncertain whether to remain a serene immortal or to choose the pains and pleasures of human life. This book is translated by Dr. Yadolah Royai one of the best Iranian poets to Persian language.

El t tulo de este libro implica un desaf o que es de por s una apuesta. Pues al combinar dos t rminos -libertad y esp ritu- no casualmente pasados de moda, resalta a la esperanza en tanto valor de posibilidad, aun en medio de la grave y destructiva crisis existencial de nuestra hora. Esta combinaci n, en apariencia ins lita, de los escritos de dos autores casi antag nicos en la cultura francesa del siglo XX, se torna por lo tanto restauradora en la medida en que vincula lo polarizado y consigue con los extremos opuestos una nueva circularidad reflexiva.

Il reste d'un homme ce que donnent songer son nom, et les oeuvres qui font de ce nom un signe d'admiration, de haine ou d'indiff rence. Nous pensons qu'il a pens , et nous pouvons retrouver entre ses oeuvres cette pens e qui lui vient de nous: nous pouvons refaire cette pens e l'image de la n tre. Ais ment, nous nous repr sentons un homme ordinaire: de simples souvenirs en ressuscitent les mobiles et les r actions l mentaires. Parmi les actes indiff rents qui constituent l'ext rieur de son existence, nous trouvons la m me suite qu'entre les n tres; nous en sommes le lien aussi bien que lui, et le cercle d'activit que son tre sugg re ne d borde pas de celui qui nous appartient. Si nous faisons que cet individu excelle en quelque point, nous en aurons plus de mal nous figurer les travaux et les chemins de son esprit. Pour ne pas nous borner l'admirer confus ment, nous serons contraints d' tendre dans un sens notre imagination de la propri t qui domine en lui, et dont nous ne poss dons, sans doute, que le germe. Mais si toutes les facult s de l'esprit choisi sont largement d velopp es la fois, ou si les restes de son action paraissent consid rables dans tous les genres, la figure en devient de plus en plus difficile saisir dans son unit et tend chapper notre effort.

Paul Valery (1871-1945) was a poet and essayist, and along with Verlaine and Mallarme is regarded as one of the most important Symbolist writers, and an influence on poets from Eliot to Ashbery. He had a quiet life by many standards, but in one respect it was exemplary, even legendary; he made an early reputation in little magazines, decided to stop writing verse when still only 20, kept his silence for 20 years, then began again; and his first book of verse, published when he was 45, was his masterpiece La Jeune Parque.'A poem should not mean, but be,' said Archibald MacLeish. La Jeune Parque ('the goddess of Fate as a young woman') certainly exists: she's beautiful and makes great gestures. And as for what she means, there's a substantial amount of argument about that, so La Jeune Parque is a poem by either definition. It's a classic, by general agreement, written to the full 17th-century recipe for alexandrine couplets, and it's modern, with every word pulling its weight in more than one direction. Alistair Elliot's translation with notes is aimed at making this rewarding but difficult long poem accessible enough for bafflement to turn into admiration. He attempts to clarify its small puzzles and also trace the overall narrative line of Paul Valery's poem: it does have a story (what should a young woman do?) and does struggle towards a resolution. He also provides an introduction which deals with the interesting circumstances of the poem's four-year composition (1913-17), which resulted in Valery's instantly becoming a famous poet at the age of 45, after having written no poetry for 20 years.

"La Danse, mon sens, ne se borne pas tre un exercice, un divertissement, un art ornemental et un jeu de soci t quelquefois; elle est chose s rieuse et, par certains aspects, chose tr s v n rable. Elle est un art fondamental, comme son universalit , son antiquit imm moriale, les usages solennels qu'on en a fait, les id es et les r flexions qu'elle a de tout temps engendr es, le sugg rent ou le prouvent." Se d tachant de l'utilitarisme, la danse se veut action po tique et militante pour Paul Val ry: "L'homme a d couvert le plaisir pris dans le rythme, dans l'enivrement des sens jusqu' puisement". Si bien que le besoin de redevenir "danse" est humain. Paul Val ry dans cet ouvrage court et percutant nous invite observer le ballet des doigts du pianiste, le mouvement de la toupie, et de s'apercevoir que tout y est danse.

" ""La Danse, mon sens, ne se borne pas tre un exercice, un divertissement, un art ornemental et un jeu de soci t quelquefois; elle est chose s rieuse et, par certains aspects, chose tr s v n rable. Elle est un art fondamental, comme son universalit , son antiquit imm moriale, les usages solennels qu'on en a fait, les id es et les r flexions qu'elle a de tout temps engendr es, le sugg rent ou le prouvent."" Se d tachant de l'utilitarisme, la danse se veut action po tique et militante pour Paul Val ry: ""L'homme a d couvert le plaisir pris dans le rythme, dans l'enivrement des sens jusqu' puisement"". Si bien que le besoin de redevenir ""danse"" est humain. Paul Val ry dans cet ouvrage court et percutant nous invite observer le ballet des doigts du pianiste, le mouvement de la toupie, et de s'apercevoir que tout y est danse."

The" Cahiers/Notebooks" of Paul Valery are a unique form of writing. They reveal Valery as one of the most radical and creative minds of the twentieth century, encompassing a wide range of investigation into all spheres of human activity. His work explores the arts, the sciences, philosophy, history and politics, investigating linguistic, psychological and social issues, all linked to the central questions, relentlessly posed: 'what is the human mind and how does it work', 'what is the potential of thought and what are its limits' But we encounter here too, Valery the writer: exploratory, fragmentary texts undermine the boundaries between analysis and creativity, between theory and practice. Neither journal nor diary, eluding the traditional genres of writing, the" Notebooks" offer lyrical passages, writing of extreme beauty, prose poems of extraordinary descriptive power alongside theoretical considerations of poetics, ironic aphorisms and the most abstract kind of analysis. The concerns and the insights that occupied Valery's inner voyages over more than 50 years remain as relevant as ever for the contemporary reader: for the Self that is his principal subject is at once singular and universal."

Pervyj v Rossii dvujazychnyj sbornik stikhotvorenij Polja Valeri (1871-1945) vkljuchaet polnyj russkij perevod knigi "Charmes" (1922) (kuda vkhodjat takie shedevry frantsuzskoj poezii, kak "Kladbische nad morem", "Pifija", "Shagi" i "Palma"), nebolshogo sobranija "Neskolko stikhotvorenij raznykh epokh" i posmertnogo tsikla "Dvenadtsat stikhotvorenij", a takzhe Stikhotvorenija iz sensatsionnoj posmertnoj knigi Valeri "Korona. Koronijja. Stikhi Zhanu Vuale" (2008) - unikalnogo svoda ljubovnoj liriki, sozdannogo velikim frantsuzskim poetom v poslednie vosem let zhizni.Pol Valerii, polnoe imja - Ambruaz Pol Tussen Zhjul Valeri (Ambroise Paul Toussaint Jules Valry) (1871-1945) - frantsuzskij poet, esseist, filosof. Izvesten ne tolko svoimi stikhami i prozoj, no i kak avtor mnogochislennykh esse i aforizmov, posvjaschennykh iskusstvu, istorii, literature, muzyke.Perevodchik: Kokotov Aleksej

The" Cahiers/Notebooks" of Paul Valery are a unique form of writing. They reveal Valery as one of the most radical and creative minds of the twentieth century, encompassing a wide range of investigation into all spheres of human activity. His work explores the arts, the sciences, philosophy, history and politics, investigating linguistic, psychological and social issues, all linked to the central questions, relentlessly posed: 'what is the human mind and how does it work', 'what is the potential of thought and what are its limits' But we encounter here too, Valery the writer: exploratory, fragmentary texts undermine the boundaries between analysis and creativity, between theory and practice. Neither journal nor diary, eluding the traditional genres of writing, the" Notebooks" offer lyrical passages, writing of extreme beauty, prose poems of extraordinary descriptive power alongside theoretical considerations of poetics, ironic aphorisms and the most abstract kind of analysis. The concerns and the insights that occupied Valery's inner voyages over more than 50 years remain as relevant as ever for the contemporary reader: for the Self that is his principal subject is at once singular and universal."

The "Cahiers/Notebooks" of Paul Valery are a unique form of writing. They reveal Valery as one of the most radical and creative minds of the twentieth century, encompassing a wide range of investigation into all spheres of human activity. His work explores the arts, the sciences, philosophy, history and politics, investigating linguistic, psychological and social issues, all linked to the central questions, relentlessly posed: what is the human mind and how does it work?, what is the potential of thought and what are its limits? But we encounter here too, Valery the writer: exploratory, fragmentary texts undermine the boundaries between analysis and creativity, between theory and practice. Neither journal nor diary, eluding the traditional genres of writing, the Notebooks offer lyrical passages, writing of extreme beauty, prose poems of extraordinary descriptive power alongside theoretical considerations of poetics, ironic aphorisms and the most abstract kind of analysis. The concerns and the insights that occupied Valery's inner voyages over more than 50 years remain as relevant as ever for the contemporary reader: for the Self that is his principal subject is at once singular and universal."