Paul Valéry Quotes

Ambroise Paul Toussaint Jules Valéry was a French poet, essayist, and philosopher. In addition to his poetry and fiction , his interests included aphorisms on art, history, letters, music, and current events. Valéry was nominated for the Nobel Prize in Literature in 12 different years. Wikipedia  

✵ 30. October 1871 – 20. July 1945   •   Other names Paul Ambroise Valéry
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Monsieur Teste
Monsieur Teste
Paul Valéry
Paul Valéry: 89   quotes 130   likes

Famous Paul Valéry Quotes

“War: a massacre of people who don't know each other for the profit of people who know each other but don't massacre each other.”

La guerre, c'est un massacre de gens qui ne se connaissent pas, au profit de gens qui se connaissent, mais ne se massacrent pas.
Bizarre, issues 24-31 (1962), p. 102
This apocryphal quote from Paul Valéry is never precisely sourced: neither on the internet nor in the works we have consulted. See: https://www.guichetdusavoir.org/question/voir/52650

“Poems are never finished - just abandoned”

Unsourced

Paul Valéry Quotes about time

“What grace of light, what pure toil goes to form
The manifold diamond of the elusive foam!
What peace I feel begotten at that source!
When sunlight rests upon a profound sea,
Time's air is sparkling, dream is certainty —
Pure artifice both of an eternal Cause.”

Quel pur travail de fins éclairs consume
Maint diamant d'imperceptible écume,
Et quelle paix semble se concevoir!
Quand sur l'abîme un soleil se repose,
Ouvrages purs d'une éternelle cause,
Le temps scintille et le songe est savoir.
As translated by by C. Day Lewis
Charmes ou poèmes (1922)

“Now present here, the future takes its time.
The brittle insect scrapes at the dry loam;
All is burnt up, used up, drawn up in air
To some ineffably rarefied solution...
Life is enlarged, drunk with annihilation,
And bitterness is sweet, and the spirit clear.”

Ici venu, l'avenir est paresse.
L'insecte net gratte la sécheresse;
Tout est brûlé, défait, reçu dans l'air
A je ne sais quelle sévère essence . . .
La vie est vaste, étant ivre d'absence,
Et l'amertume est douce, et l'esprit clair.
As translated by by C. Day Lewis
Charmes ou poèmes (1922)

Paul Valéry: Trending quotes

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

Source: Unsourced

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

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

Paul Valéry Quotes

“The wind is rising! . . . We must try to live!”

As translated by by C. Day Lewis
Variant translations:
The wind is rising ... we must attempt to live.
Charmes ou poèmes (1922)
Context: The wind is rising!... We must try to live!
The huge air opens and shuts my book: the wave
Dares to explode out of the rocks in reeking
Spray. Fly away, my sun-bewildered pages!
Break, waves! Break up with your rejoicing surges
This quiet roof where sails like doves were pecking.

“To construct oneself, to know oneself—are these two distinct acts or not?”

Socrates, p. 81
Eupalinos ou l'architecte (1921)

“The artist works out his own formulas; the interest of science lies in the art of making science.”

Moralités (1932)
Context: Science is feasible when the variables are few and can be enumerated; when their combinations are distinct and clear. We are tending toward the condition of science and aspiring to do it. The artist works out his own formulas; the interest of science lies in the art of making science.

“Collect all the facts that can be collected about the life of Racine and you will never learn from them the art of his verse.”

Introduction to the Method of Leonardo da Vinci (1895)
Context: Collect all the facts that can be collected about the life of Racine and you will never learn from them the art of his verse. All criticism is dominated by the outworn theory that the man is the cause of the work as in the eyes of the law the criminal is the cause of the crime. Far rather are they both the effects.

“For the musician, before he has begun his work, all is in readiness so that the operation of his creative spirit may find, right from the start, the appropriate matter and means, without any possibility of error.”

Originally delivered as a lecture (late 1927); Pure Poetry: Notes for a Lecture The Creative Vision (1960)
Context: For the musician, before he has begun his work, all is in readiness so that the operation of his creative spirit may find, right from the start, the appropriate matter and means, without any possibility of error. He will not have to make this matter and means submit to any modification; he need only assemble elements which are clearly defined and ready-made. But in how different a situation is the poet! Before him is ordinary language, this aggregate of means which are not suited to his purpose, not made for him. There have not been physicians to determine the relationships of these means for him; there have not been constructors of scales; no diapason, no metronome, no certitude of this kind. He has nothing but the coarse instrument of the dictionary and the grammar. Moreover, he must address himself not to a special and unique sense like hearing, which the musician bends to his will, and which is, besides, the organ par excellence of expectation and attention; but rather to a general and diffused expectation, and he does so through a language which is a very odd mixture of incoherent stimuli.

“Stupidity is not my strong point.”

Variant translations:
Stupidity is not my strong suit.
Monsieur Teste (1919)
Context: Stupidity is not my strong point. I have seen many persons; I have visited several countries; I have taken part in various enterprises without liking them; I have eaten nearly every day; I have had women. I can now recall a few hundred faces, two or three great spectacles, and the substance of perhaps twenty books. I have not retained the best nor the worst of these things: what could stay with me did.

“Poe is the only impeccable writer. He was never mistaken.”

Letter to writer André Gide, as quoted in The Tell-Tale Heart: The Life and Works of Edgar Allan Poe (1978) by Julian Symons, Pt. 1, Epilogue

“Moreover, he must address himself not to a special and unique sense like hearing, which the musician bends to his will, and which is, besides, the organ par excellence of expectation and attention; but rather to a general and diffused expectation, and he does so through a language which is a very odd mixture of incoherent stimuli.”

Originally delivered as a lecture (late 1927); Pure Poetry: Notes for a Lecture The Creative Vision (1960)
Context: For the musician, before he has begun his work, all is in readiness so that the operation of his creative spirit may find, right from the start, the appropriate matter and means, without any possibility of error. He will not have to make this matter and means submit to any modification; he need only assemble elements which are clearly defined and ready-made. But in how different a situation is the poet! Before him is ordinary language, this aggregate of means which are not suited to his purpose, not made for him. There have not been physicians to determine the relationships of these means for him; there have not been constructors of scales; no diapason, no metronome, no certitude of this kind. He has nothing but the coarse instrument of the dictionary and the grammar. Moreover, he must address himself not to a special and unique sense like hearing, which the musician bends to his will, and which is, besides, the organ par excellence of expectation and attention; but rather to a general and diffused expectation, and he does so through a language which is a very odd mixture of incoherent stimuli.

“You have neither the patience that weaves long lines nor a feeling for the irregular, nor a sense of the fittest place for a thing … For you intelligence is not one thing among many.”

Writing at the Yalu River (1895) quoted in Of Time, Passion, and Knowledge: Reflections on the Strategy of Existence (1990) by Julius Thomas Fraser, Part 2, Images in Heaven and on the Earth, Ch. IV, The Roots of Time in the Physical World. Sect. 3 The Living Symmetries of Physics
Context: You have neither the patience that weaves long lines nor a feeling for the irregular, nor a sense of the fittest place for a thing … For you intelligence is not one thing among many. You … worship it as if it were an omnipotent beast … a man intoxicated on it believes his own thoughts are legal decision, or facts themselves born of the crowd and time. He confuses his quick changes of heart with the imperceptible variation of real forms and enduring Beings.... You are in love with intelligence, until it frightens you. For your ideas are terrifying and your hearts are faint. Your acts of pity and cruelty are absurd, committed with no calm, as if they were irresistible. Finally, you fear blood more and more. Blood and time.

“Politeness is organized indifference.”

Tel Quel (1943)

“God made everything out of nothing. But the nothingness shows through.”

Mauvaises Pensées et Autres (1941)

“All perishes. A thing of flesh and pore
Am I. Divine impatience also dies.”

Allez! Tout fuit! Ma présence est poreuse,
La sainte impatience meurt aussi!
As translated by by C. Day Lewis
Charmes ou poèmes (1922)

“I cannot think that there exists more than one Sovereign Good.”

Socrates, p. 81
Eupalinos ou l'architecte (1921)

“This quiet roof, where dove-sails saunter by,
Between the pines, the tombs, throbs visibly.
Impartial noon patterns the sea in flame —
That sea forever starting and re-starting.
When thought has had its hour, oh how rewarding
Are the long vistas of celestial calm!”

Ce toit tranquille, où marchent des colombes,
Entre les pins palpite, entre les tombes;
Midi le juste y compose de feux
La mer, la mer, toujours recommencée
O récompense après une pensée
Qu'un long regard sur le calme des dieux!
Le Cimetière Marin · Online original and translation as "The Graveyard By The Sea" by C. Day Lewis http://unix.cc.wmich.edu/%7Ecooneys/poems/fr/valery.daylewis.html
Variant translations:
The sea, the ever renewing sea!
Charmes ou poèmes (1922)

“We civilizations now know ourselves mortal.”

La Crise de l'Esprit (1919)

“What is most beautiful is of necessity tyrannical.”

Eupalinos quoted by Phaedrus, p. 86
Eupalinos ou l'architecte (1921)

“My soul is nothing now but the dream dreamt by matter struggling with itself!”

Eryximachus, p. 27
L'Âme et la danse (1921)

“Man can act only because he can ignore.”

Socrates, p. 124
Eupalinos ou l'architecte (1921)

“What's loftiest in the mind can only live through growth.”

Lucretius, p. 171
Dialogue de l'arbre (1943)

“The painter should not paint what he sees, but what will be seen.”

Mauvaises Pensées et Autres (1941)

“Beautiful heaven, true heaven, look how I change!
After such arrogance, after so much strange
Idleness — strange, yet full of potency —
I am all open to these shining spaces;
Over the homes of the dead my shadow passes,
Ghosting along — a ghost subduing me.”

Beau ciel, vrai ciel, regarde-moi qui change!
Après tant d'orgueil, après tant d'étrange
Oisiveté, mais pleine de pouvoir,
Je m'abandonne à ce brillant espace,
Sur les maisons des morts mon ombre passe
Qui m'apprivoise à son frêle mouvoir.
As translated by by C. Day Lewis
Charmes ou poèmes (1922)

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