Paul Valéry cytaty

strona 3

Źródło: Jerzy Adamski, Historia literatury francuskiej. Zarys, Wrocław 1989, s. 151.

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)

Źródło: Regards sur le monde actuel [Reflections on the World Today] (1931), pp. 167-168

History and Politics http://books.google.com/books?id=7I82AAAAIAAJ&q="If+the+state+is+strong+it+crushes+us+If+it+is+weak+we+perish" as translated by D. Folliot and J. Mathews (1971)

Lucretius, p. 163
Dialogue de l'arbre (1943)

Źródło: Regards sur le monde actuel [Reflections on the World Today] (1931), p. 166

Le mal de prendre une hypallage pour une découverte, une métaphore pour une démonstration, un vomissement de mots pour un torrent de connaissances capitales, et soi-même pour un oracle, ce mal naît avec nous.
Introduction to the Method of Leonardo da Vinci (1895)

Tityrus, p. 169, quoting "a philosopher whose name I have forgotten". The philosopher is Valéry himself, who used this phrase at the end of his essay on Poe's Eureka, and elsewhere (Dialogues, textual note on p. 195).
Dialogue de l'arbre (1943)

Socrates, p. 137
Eupalinos ou l'architecte (1921)

Socrates, p. 141
Eupalinos ou l'architecte (1921)

"Recollection", Collected Works, vol. 1 (1972), as translated by David Paul
Variant translations:
A poem is never finished; it's always an accident that puts a stop to it — i.e. gives it to the public.
As attributed in Susan Ratcliffe, Concise Oxford Dictionary of Quotations (2011), p. 385.
A poem is never finished; it is only abandoned.
Widely quoted, this is a paraphrase of Valéry by W. H. Auden in 1965. See W. H. Auden: Collected Poems (2007), ed. Edward Mendelson, "Author's Forewords", p. xxx.
An artist never finishes a work, he merely abandons it.
A paraphrase by Aaron Copland in the essay "Creativity in America," published in Copland on Music (1944), p. 53
In the eyes of those lovers of perfection, a work is never finished — a word that for them has no sense — but abandoned; and this abandonment, whether to the flames or to the public (and which is the result of weariness or an obligation to deliver) is a kind of an accident to them, like the breaking off of a reflection, which fatigue, irritation, or something similar has made worthless.

Socrates, pp. 128–9
Eupalinos ou l'architecte (1921)

Źródło: Regards sur le monde actuel [Reflections on the World Today] (1931), p. 58

Tel Quel (1943)

Tel Quel (1943)

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

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

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

Socrates, pp. 147–8
Eupalinos ou l'architecte (1921)

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)

Eryximachus to Phaedrus, p. 43
L'Âme et la danse (1921)

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

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)

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Oryginał: (fr) Ma main se sent touchée aussi bien qu’elle touche ; réel veut dire cela, et rien de plus.
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Oryginał: (fr) On a toujours cherché des explications quand c’était des représentations qu’on pouvait seulement essayé d’inventer.
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