Natalie Clifford Barney citations

Natalie Barney, dite Natalie Clifford Barney est une femme de lettres américaine du XXe siècle connue pour ses poésies, mémoires et épigrammes et une des dernières salonnières parisiennes, .

Fascinée par les poésies de Sappho et ouvertement lesbienne, elle a cherché à faire de son salon littéraire une nouvelle Mytilène, une école de femmes poètes qui réponde à une Académie française strictement masculine. Pendant plus de soixante ans, le 20 de la rue Jacob a revivifié un monde littéraire et artistique féminin, à travers les nombreuses conquêtes amoureuses de son hôtesse, telles la poétesse Renée Vivien, la courtisane Liane de Pougy, la mécène Élisabeth de Clermont-Tonnerre, la peintre Romaine Brooks, la romancière Colette - à qui elle inspira le personnage de Flossie dans Claudine s'en va - , mais aussi des intellectuels qui ont compté des deux côtés de l'Atlantique, tels Salomon Reinach ou Gertrude Stein, homosexuels ou non mais favorables à la libération des mœurs et des arts. Par son indépendance d'esprit, sa liberté de mœurs, sa séduction, son goût pour les choses de l'esprit, sa fortune personnelle, elle a su donner dans le Paris de la Belle Époque et de l'Entre deux guerres un retentissement international à la cause féministe. Wikipedia  

✵ 31. octobre 1876 – 2. février 1972
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Natalie Clifford Barney: 12   citations 0   J'aime

Natalie Clifford Barney citations célèbres

Natalie Clifford Barney: Citations en anglais

“If we are bothered by possessions we cannot really live either from without or from within; we are the possession of our possessions.”

In "My Country 'tis of Thee", ADAM International Review, No. 299 (1962)
Contexte: I am beginning to have a healthy dread of possessions, be it of a country, a house, a being or even an idea. If we are bothered by possessions we cannot really live either from without or from within; we are the possession of our possessions. All wars and most loves come from the possessive instinct. Why grab possessions like thieves, or divide them like socialists when you can ignore them like wise men: that you may belong to everything and everything be yours inclusive of yourself.
Could we, and we can, have the vital necessities for all, we should do away with this cry of class and begin to differentiate between individuals.
Individual superiority can alone feed the soul and give back through some materialisation of itself this individualised wealth of being.

“Why grab possessions like thieves, or divide them like socialists when you can ignore them like wise men: that you may belong to everything and everything be yours inclusive of yourself.”

In "My Country 'tis of Thee", ADAM International Review, No. 299 (1962)
Contexte: I am beginning to have a healthy dread of possessions, be it of a country, a house, a being or even an idea. If we are bothered by possessions we cannot really live either from without or from within; we are the possession of our possessions. All wars and most loves come from the possessive instinct. Why grab possessions like thieves, or divide them like socialists when you can ignore them like wise men: that you may belong to everything and everything be yours inclusive of yourself.
Could we, and we can, have the vital necessities for all, we should do away with this cry of class and begin to differentiate between individuals.
Individual superiority can alone feed the soul and give back through some materialisation of itself this individualised wealth of being.

“The advantage of love at first sight is that it delays a second sight.”

In "Samples from Almost Illegible Notebooks", ADAM International Review, No. 299 (1962)

“If we keep an open mind, too much is likely to fall into it.”

In "Samples from Almost Illegible Notebooks", ADAM International Review, No. 299 (1962)

“Youth is not a question of years: one is young or old from birth.”

In "Samples from Almost Illegible Notebooks", ADAM International Review, No. 299 (1962)

“Time engraves our faces with all the tears we have not shed.”

As quoted in The Amazon of Letters, Ch. 10 (1976) by George Wickes

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