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Monsieur Teste
Paul ValéryFamous Paul Valéry Quotes
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
Paul Valéry Quotes about time
Source: Regards sur le monde actuel [Reflections on the World Today] (1931), pp. 158-159
Preface
Monsieur Teste (1919)
Socrates, p. 128
Eupalinos ou l'architecte (1921)
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)
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)
Source: Regards sur le monde actuel [Reflections on the World Today] (1931), p. 172
Paul Valéry: Trending quotes
Socrates, p. 35
L'Âme et la danse (1921)
“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.
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.
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.
“The deeper education consists in unlearning one's first education.”
Source: An Anthology
Socrates, p. 145
Eupalinos ou l'architecte (1921)
“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
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.
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.
“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)
Phaedrus, p. 47
L'Âme et la danse (1921)
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)
Remarks on Poetry in The Art of Poetry (1958)
Socrates, p. 130. Ellipsis in original.
Eupalinos ou l'architecte (1921)
Eryximachus, p. 52
L'Âme et la danse (1921)
“An intelligent woman is a woman with whom one can be as stupid as one wants.”
Mauvaises Pensées et Autres (1941)
“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)
“What's loftiest in the mind can only live through growth.”
Lucretius, p. 171
Dialogue de l'arbre (1943)
Source: Regards sur le monde actuel [Reflections on the World Today] (1931), p. 55
“The painter should not paint what he sees, but what will be seen.”
Mauvaises Pensées et Autres (1941)
Source: Regards sur le monde actuel [Reflections on the World Today] (1931), p. 161
Source: Regards sur le monde actuel [Reflections on the World Today] (1931), p. 42
Socrates, p. 107. Ellipsis in original.
Eupalinos ou l'architecte (1921)
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)
Source: Regards sur le monde actuel [Reflections on the World Today] (1931), pp. 167-168