By René Char
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Char is considered essentially the most vital smooth French poets. fashionable by way of Heidegger for the profundity of his poetic philosophy, he used to be additionally a hero of the French Resistance. linked to the surrealist circulation, he wrote poetry which confronts the main 20th century ethical, political, and inventive matters with a simplicity of imaginative and prescient and expression that owes a lot to the poet-philosophers of historic Greece.
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Good-quality OCR'd scan.
Char is thought of as the most vital smooth French poets. renowned through Heidegger for the profundity of his poetic philosophy, he used to be additionally a hero of the French Resistance. linked to the surrealist stream, he wrote poetry which confronts the most important 20th century ethical, political, and inventive issues with a simplicity of imaginative and prescient and expression that owes a lot to the poet-philosophers of historical Greece.
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II est vitu de toile. II porte un fusil et une gibeciere. II dit avec lenteur, la voix triste, /es premiers vers du poeme, accompagne tres doucement par /es guitares, puis va chasser. Chaque guitariste, a tour de role, module la part du poeme qui lui revient, en observant un silence apres chaque quatrain, silence ventile par /es guitares. Un coup de feu est entendu. Le chasseur reapparait, et comme precedemment, s'avance vers le public. II dit /'avant-final du poeme, harcele par /es guitares dont /es joueurs se sont dresses et l'encadrent.
The poem ends with an invocation to the Sorgue which resumes Char's moral attitude: 'Keep me violent and the friend of the bees on the horizon'. Poetic language is the most challenging and disquieting of all languages, in that it both juxtaposes differing stances and self-consciously explores and proclaims its own silences, inadequacies, redundancies and possibilities. At the same time, it is always inscribing itself inescapably but voluntarily into a history of previous thinking. Modern French poetry is perhaps more explicitly intertextual than any since the Renaissance, in that the past is woven into the present with both gratitude and a certain aggression, as poets seek to delineate their own space.
DEUXIEME GUIT ARE Le creur s'eprend d'un ruisseau clair, Y jette sa cartouche amere. 11 feint d'ignorer que la mer Lui recedera le mystere. PREMIERE GUIT ARE Douleur et temps flanent ensemble. ielle volonte les assemble? Prenez, hirondelles atones, Confidence de leur personne. ii marque leur place ici-bas. Retour du chasseur. 'emotion de tous, A distance des portes, a peine reconnue. Devant l'etincelle du vide, Vous n'etes jamais seule, o grande disparue! 56 SECOND GUITAR If you lose sight of your quarrels, You also exchange your house For a rock whose horizon Drips down under a fern.