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François Villon photo

„Embertestvérek, még élni tudók”

François Villon (1431–1463) francia reneszánsz költő

Gyászirat

François Villon photo

„Herceg, hol vannak már azóta”

François Villon (1431–1463) francia reneszánsz költő

Ballada a hajdani idők dámáiról

François Villon photo

„Addig kutyabarát, míg csontot oszt.<br”

François Villon (1431–1463) francia reneszánsz költő

Közmondások

François Villon photo

„Herceg, hogy hol vannak, hétszámra”

François Villon (1431–1463) francia reneszánsz költő

Ballada a hajdani idők dámáiról

François Villon photo
François Villon photo
Paul Valéry photo

“We have always sought explanations when it was only representations that we could seek to invent.”

Paul Valéry (1871–1945) French poet, essayist, and philosopher

Original: (fr) On a toujours cherché des explications quand c’était des représentations qu’on pouvait seulement essayé d’inventer.
Source: Unsourced

Paul Valéry photo

“Modern man no longer works at what cannot be abbreviated.”

Paul Valéry (1871–1945) French poet, essayist, and philosopher

Source: Unsourced

Paul Valéry photo

“My hand feels touched as well as it touches; reality says this, and nothing more.”

Paul Valéry (1871–1945) French poet, essayist, and philosopher

Original: (fr) Ma main se sent touchée aussi bien qu’elle touche ; réel veut dire cela, et rien de plus.
Source: Unsourced

Paul Valéry photo

“A poem is never finished; it's always an accident that puts a stop to it-that is to say, gives it to the public.”

Paul Valéry (1871–1945) French poet, essayist, and philosopher

Source: Unsourced

Paul Valéry photo

“A good poet is of no more use to his country than a good petanque player.”

Paul Valéry (1871–1945) French poet, essayist, and philosopher

Source: Unsourced

Paul Valéry photo

“A businessman is a hybrid of a dancer and a calculator.”

Paul Valéry (1871–1945) French poet, essayist, and philosopher

Source: Unsourced

Paul Valéry photo

“It is therefore reasonable to think that the creations of man are made either with a view to his body, and that is the principle we call utility, or with a view to his soul, and that is what he seeks under the name of beauty.”

Paul Valéry (1871–1945) French poet, essayist, and philosopher

But, further, since he who constructs or creates has to deal with the rest of the world and with the movement of nature, which both tend perpetually to dissolve, corrupt or upset what he makes, he must recognize and seek to communicate to his works a third principle, that expresses the resistance he wishes them to offer to their destiny, which is to perish. So he seeks solidity or lastingness.
Socrates, pp. 128–9
Eupalinos ou l'architecte (1921)

Paul Valéry photo

“Is not to meditate to deepen oneself in Order?”

Paul Valéry (1871–1945) French poet, essayist, and philosopher

Lucretius, p. 173
Dialogue de l'arbre (1943)

Paul Valéry photo
Paul Valéry photo

“And do not humans strive in a thousand ways to fill or to break the eternal silence of those infinite spaces that affright them?”

Paul Valéry (1871–1945) French poet, essayist, and philosopher

Socrates, p. 125
Valéry alludes to a famous pensée of Blaise Pascal: 'The eternal silence of these infinite spaces affrights me.' (Pensées, no. 201).
Eupalinos ou l'architecte (1921)

Paul Valéry photo
Paul Valéry photo

“The greatest liberty is born of the greatest rigor.”

Paul Valéry (1871–1945) French poet, essayist, and philosopher

Socrates, p. 131
Eupalinos ou l'architecte (1921)

Paul Valéry photo

“It is a sign of the times, and not a very good sign, that these days it is necessary—and not only necessary but urgent—to interest minds in the fate of Mind, that is to say, in their own fate.”

Paul Valéry (1871–1945) French poet, essayist, and philosopher

Source: Regards sur le monde actuel [Reflections on the World Today] (1931), p. 156

Paul Valéry photo

“Reason, sometimes, seems to me to be the faculty our soul possesses of understanding nothing about our body!”

Paul Valéry (1871–1945) French poet, essayist, and philosopher

Eryximachus, p. 46
L'Âme et la danse (1921)