A personal
example of this would be my recent discovery of the writer Jules Supervielle, a
writer I liked but knew nothing of beyond a couple of poems, this lead me to
investigating more & writing a post about him, purely as a
way of learning more about this individual. Stephen Romer also goes on to say
that the emphasis in this anthology is on the poems not the poet, meaning that
there is no significance into how many poems a particular poet is represented
by. Another point raised in the preface is that this is not a bilingual edition.
Romer’s reasoning on this is lack of space, and that to have made it so would
have doubled the size of the anthology, so he chose to concentrate on the
quality of the translation, following Antoine Berman’s criteria for
evaluating translation of éthicité
and poéticitè, that is, faithfulness
to the original and the poetic quality of the translation. Stephen Romer
follows this criteria by seeking out versions that work as poems in English and
where he couldn’t find then commissioned them, he also states that
the majority of the translations were made by practising poets.
The Man of Glass ~ Paul Valéry (1871- 1945)
“So sharp
is my vision, so pure my senses, so pathologically
complete
my knowledge, so clear and clean my image, so
keen my expertise
that I know myself from the ends of the
world to
my innermost speech: and from that inchoate
“thing” to
the rising desire, I follow my progress along
familiar
fibres and ordered centres – self-answering,
self-reflecting,
self-echoing – I quiver in the infinity of
mirrors –
I am made of glass.” (Trans: Stephen Romer)
In
the introduction to 20th Century French Poems, Romer uses Paul Valéry’s
diminutive & amusingly titled “Complete Poem”(1903)*
as his starting point and then
goes on to chart the rise and fall of the different movements in French poetry
of the twentieth century. Ranging from those that he sees as heralding in the
century such as Valéry, Jarry & Roussel, who he deems as the
precursors through fourteen categories such as the “Modern Age” Apollinaire, Cendrars & Reverdy through
the likes of “Dada” Tzara, Breton and the “Surrealists” Eluard, Aragon, Desnos, Artuard & Prévert, and onto those he
defines as “Poets of being & presence”
Char, Bonnefoy, Jacottet & Dupin, working his way
through the century & the schisms that developed during that period.
Features and Shapes ~ Pierre Reverdy (1889 –
1960)
A break
in the clouds, with blue in the sky; in the forest,
The
clearings all green: but in the city where the design
Holds us
prisoner – the semi-circular arch of the porch, the
Rectangles
of windows, the lozenges of roofs,
Lines, nothing but lines, for the
commodiousness of
Human
buildings.
And in my head, lines, nothing but lines; if
only I could
put a
little order there.
(Trans:
Martin Bell)
The
last poet featured in this anthology, Valérie Rouzeau was born in 1967 &
the last poem (I put on my walking shoes*) was
written in 1999 which nicely rounds off the century & also, according to
the editor, is seen as a “return to the lyric” or even as a return to the
world, an idea that had been considered remote and attenuated during the
intellectual severity of the 1970s. The group defined as “The New Lyric” Réda, Kaddour, Rouzeau, Goffette, Ortlieb, & Le Jéloux, although a diverse bunch, owe their prominence
to one man, Jacques Réda, who during
this period was editor of the Nouvelle Revue Française (1987-96) and who in
rejecting “textuality” sought
for the wonderful, the magic in the face
of passers-by or in the change of light reflecting off surfaces. He saw in this
idea a return to the earlier ideals of the “flânerie” whose greatest
exponents were Baudelaire and Rimbaud.
Breakfast ~ Jacques Prévert (1900 – 1970)
He put the coffee
In the cup
He put the milk
In the cup of coffee
He put the sugar
In the café au lait
With the coffee spoon
He stirred
He drank the café au lait
And he set down the cup
Without a word to me
He lit
A cigarette
He made smoke-rings
With the smoke
He put the ashes
In the ash-tray
Without a word to me
Without a look at me
He got up
He put
His hat upon his head
He put his raincoat on
Because it was raining
And he left
In the rain
Without a word
Without a look at me
My
head in my hand
And
I cried. (Trans: Lawrence
Ferlinghetti)
As stated previously the editor sees this anthology
as no more than a wine tasting, merely a small representation of French poetry
in the 20th century, making this post at most, a quick trip round
the French wine section of my local supermarket. There are many big names,
important poets that I’ve not included due to this being a post on a small
poetry blog, hence no Genet, Césaire, no Beckett, Jacob, or Queneau, these and many more are represented in this
collection and as such serves it’s ambition admirably & serves it with a
passion that is almost asking you to argue the selection, knowing that it has
the subject well and truly covered. In fact my only query is minor as I don’t
speak French & Stephen Romer, has
already answered it & that is this is not bilingual, minor quibble, in what
is a great introduction to a fascinating subject.
By
rank of hunger, the indigents were lined up
By
rank of anger, the seditious were examined
By
rank of good conscience, the masters were judged
By
rank of offense, the humiliated were interrogated
By
rank of mutilation, the crucified were considered
In
this extreme misery the mutes came to the front lines
A
whole nation of mutes stayed on the barricades
Their
desire for the word was so urgent
That
the verb came through the streets to meet them
The
burden it was charged with was so heavy
That
the cry “fire” exploded from its heart
Disguised
as a word. (Trans: A. Poulin. Jr)
Stephen Romer, FRSL is
an English poet, academic and literary critic. He was born
in Hertfordshire in 1957 and educated at Trinity Hall, Cambridge. Since
1981 he has lived in France, where he is Maître de Conferences in the English
department of Tours University. He has been three times Visiting Professor in
French at Colgate University, New York. Stephen Romer has four published
collections of poetry with the Oxford Poets imprint of Carcanet.
*
Complete Poem ~
Paul Valéry
The sky is bare. The smoke floats.
The wall shines.
Oh! How I should like to think
clearly! (Trans: Stephen Romer)
*I put on my walking shoes - Valérie Rouzeau
I put on my walking shoes
I had shown you with the soles retreaded
from old tires.
In pilgrim boats I floated to you
petals stuck to the leather as proofs
of my wishes on the way.
I know you've a good pair too
on your cold feet I know that
better than you and how does it help you.
I wanted to see you to empty
the sand eternally in my shoes to be your
little sand girl for a bit but you have
shut your eyes too tight.
I put on my walking shoes
I had shown you with the soles retreaded
from old tires.
In pilgrim boats I floated to you
petals stuck to the leather as proofs
of my wishes on the way.
I know you've a good pair too
on your cold feet I know that
better than you and how does it help you.
I wanted to see you to empty
the sand eternally in my shoes to be your
little sand girl for a bit but you have
shut your eyes too tight.
I think a sampler like this can be very enjoyable and enlightening for someone like me who does not know much about French poets.
ReplyDeleteA Bilingual edition of this would have been something that I could have used. Though I am not, my wife is fluent in French and we could have explored the poems together with added dimension.
Hi Brian , I think that was the editors intention, as such it is a success as you get an overview of French poetry during this period with the idea that you can take it further if you want. As to it being bilingual it would have been a better book but it would have been a lot larger & a lot more expensive.
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