By Paul Valéry
Merely poetry is twin language
James R. Lawler's stylish creation bargains with Valéry's issues and his impact, and likewise with serious interpretations of his paintings. the quantity starts off with "The night with Monsieur Teste" (1896), from the well-known "anti-novel" Monsieur Teste, for whose translation Jackson Mathews acquired the nationwide publication Award in 1974. It contains such amazing essays because the "Introduction to the tactic of Leonardo da Vinci," "The hindrance of Mind," and "Poetry and summary Thought."
The significance of Valéry's prose poetry has only in the near past been well-known, and a variety is gifted right here. There also are ten of his best-known poems in verse, between them "La Jeune Parque" and "Le Cimetiere Marin," with the French texts dealing with the English translations by means of David Paul. The anthology closes with dialogues, one relationship from the twenties, the opposite from 1943; which reveal the play of ideas--the highbrow power and grace--that are attribute of Valéry's paintings as a whole.
"There might be no distinction of opinion in this collection of Mr. Lawler as editor: he's the main eminent of the Valéry students this present day, the wisest, and the main modest. If is creation is great, evidently impeccably educated, suggestive, and well-written."--Henri Peyre
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90–1) and fears that he will stick at nothing in his campaign ‘Our person to arraign | In ear and ear’ (IV. v. 93–4). ⁵⁵ The play’s literalization of dying from a poisonous word in the ear brings to light the phantasy that language can kill. Sharpe’s 1929 essay ‘The Impatience of Hamlet’ argues that Shakespeare both is all the characters and murders them too. ⁵⁴ See Essays in Applied Psycho-Analysis, 2 vols. (London: Hogarth Press, 1951), ii. 266–351. : MIT Press, 1991), 222–31. Body Poetics: Ella Sharpe 23 This is how he survives: ‘He has killed them and himself by writing the play.
The abuse of the ear of Denmark is concretized in the Ghost’s lurid narrative of his murder by Claudius—‘and in the portals of my ears did pour | The leperous distilment’ (I. v. 63–4)—and later re-enacted for us in the play-within-the-play. Reproached by Hamlet, Gertrude exclaims ‘These words like daggers enter in mine ears’ (III. iv. 95). Claudius diagnoses in Ophelia’s madness ‘the poison of deep grief ’ (IV. v. 76). A usurper via the ear, Claudius worries that Laertes ‘wants not buzzers to infect his ear | With pestilent speeches of his father’s death’ (IV.
By virtue of his return in the real, the Ghost is a sign of the potential foreclosure of mourning at the level of the symbolic. Lacan claims (erroneously) to ⁷⁰ Literature and Psychoanalysis, 37. ⁷¹ Scott McMillin, ‘Lacan’s Ghost: The Player in Hamlet’ (unpublished paper), notes the oddity of Lacan’s assertion that no one can experience their own death, citing the Ghost’s lurid account as ‘an all-around engrossment which threatens the boundary between inside and outside . . This is what you get with a father just come from the tomb’ (quoted by kind permission of the author).