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The kind of proverb

dramatic The proverb is generally considered a minor genre. It is inherited from a worldly entertainment that practiced in the salons of the seventeenth precious, century, so we had fun playing skits, often improvised, which was ilustre a proverb. The guests then had to guess the proverb well illustrated.

the eighteenth century, when fairs are becoming increasingly important in the growing social and intellectual life, the saying grows and becomes dramatic fashion: a singer, Charles Colle, presents its Theatre Private, full of contemporary references to the Duke of Orleans and his entourage. This is especially Carmontelle (1717-1806) that will make this game a literary genre. Officer (organizer) of the court festivities of the Duke of Orleans, a friend of the grandfather of Musset Carmontelle published eight volumes of proverbs. With scenes entertaining, everyday, often satirical, proverbs are also a representation of society and of contemporary manners.

Abandoned during the Revolution and the Empire, the kind of proverb reappears under the Restoration. We play the proverbs of Carmontelle on theater stages Boulevard. New authors (Savage, Romieu, Scribe) are required. Theodore Leclerc met a real success when he gives his satirical sayings dimension against the Ultras and clericalism.

These satirical and even philosophical dimensions will be highlighted in the saying of Alfred de Vigny, Leaves for fear, shown at the Opera in 1833. The kind of dramatic turns proverb, the proverb is no longer the subject of a riddle illustrated by the case, but often appears in the title (You catch more flies with honey than with vinegar, or Who drank drink, said Leclercq) and almost always the end of the room.

As accustomed since childhood to hear and see him play the proverbs of Carmontelle, Musset appreciates this fine entertainment. He has already made use of proverbs to label his dramatic texts (Browns Fire, published in 1829, the Cup and Lip, 1832), but in 1834 we can also assume he is trying to enjoy a fad, giving the subtitle "saying" his piece: We do not trifle with love.

This title and moral development that are consistent with the listing rules of the traditional kind. But its length, the multiplication sets, the complexity of the plot and characters, the mixture of tones and the tragic ending, the piece de Musset far exceeds the scope and ambitions of the proverb.

Later, with He Say Never (1836), A door must be opened or closed (1845), We can not think of any (1849) and A caprice (1837), Musset reuses the kind of proverb, but these pieces do, however, turn more to the tragedy. It is with the proverb that Musset dramatic peaked and thereafter, it will be abandoned, and disappears from the scene permanently.

according to an article PID of the journal, folder "Musset, the disenchanted", March 2001.

Ill. :

No Trifling with Love , Alfred de Musset, directed by Philippe Faure. Théâtre de la Tempête, Paris, 2008.

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The Allegory of the pelican

The pelican, here is an allegory to a recurring theme in the work of Musset: the artist needs to create suffering. Having managed to find food for its young, the pelican giving its "Children" his "feelings of a father" as a meal.

The most desperate are the songs

[more beautiful,

And I know of immortals who are pure

[sobs.

When the pelican, tired from a long trip,

In the mists of evening rushes back to her, Her little hungry
run along the shore
Seeing off fall on the water.
Already believer capture and share their prey,
They run to their father with cries of joy
Shaking their beaks on their hideous goitre.
him, slowly gaining a high rock,
From his wing during his clutch housing,
Fisherman melancholy, watching the skies.
blood flowing long streams of his chest open;
In vain he searched the depths of the seas;
Ocean beach was empty and deserted;
For food he brings his heart.
Dark and silent, lying on the stone
Sharing his son's entrails father
In his sublime love it soothes the pain,
And looking run its bloody breast,
On his feast he collapses dead and staggers,
Drunk on lust, love and horror.
But sometimes in the middle of the divine sacrifice,
Tired of dying in too long ordeal,
He fears that his children will not leave alive;
Then he rises, opens its wings to the wind,
And, striking his heart with a wild cry,
It grows in the night so funereal farewell
What birds desert the sea shore,
And the belated traveler on the beach, go
Sensing death, commends himself to God.
Poet, thus are the great poets. They leave those merry
living time;
But human treats they serve at their festivals
Look Like most of those pelicans.
When they speak well of hopes,
From sadness and oblivion, of love and woe,
This is not a concert to dilate the heart.
Their rantings are like swords
They draw a circle in the air dazzling
But there still hangs a drop of blood.

Musset, "The May Night", New Poems,

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Musset, enfant terrible of Romanticism

Childhood

Empire was at its height when born in Paris in December 1810, Alfred de Musset in an old aristocratic family, his father is a scholar, he is the author of a history of life and works of Jean-Jacques Rousseau.

He and his older brother Paul, a happy childhood and pampered. It is entrusted to the age of nine years a tutor and then entered the College Henri IV where he was a brilliant student. He won first prize in French essay and the second prize Latin essay contest general in 1827. He becomes the friend of the Duc de Chartres, son of the future King Louis-Philippe, and Paul Foucher, brother of Victor Hugo, who will introduce the Cenacle romantic.

passionate young man, Alfred de Musset is also a poet early, in September 1827 he wrote in a letter to Paul Foucher: "I would not write or I would be Schiller and Shakespeare."

artist

Sometimes called "the enfant terrible of Romanticism," independent spirit, however Musset embodies the evil of the century romantic. His poetic, dramatic and romantic eats his unfortunate experiences. It also makes the idea that suffering is needed to create poetic (cf. "The Pelican" in the May Night ).

His collection of poems (Stories from Spain and Italy, is well received by critics but its his play The Venetian Night, played the next year is a failure.

Like many of his heroes, ( octave in Les Caprices ... , Lorenzo Lorenzaccio ), Musset practice of debauchery and intemperance. Anticlerical, he had said, the religion of love. His connections were numerous and varied but still intense. " In whatever place I was, says the hero of Confession of a child of the century, some occupation that I forced myself, I could think only of women: the sight of a woman made me tremble ... However, I thought only women and I no longer believed in the possibility of true love . "

This contradiction is at the heart of many works of the author and his" failures "in love. Many women through the life of Musset. Each time, it was elation and heartbreak. Met in 1833, George Sand was at that time, as Musset, "Infamous" in the words of Philip Soupault. Their love, emblematic of Romanticism was a long series moments of grace and heartbreak, places of choice (the forest of Fontainebleau and Venice ...) and passionate letters. "No man ever loved as I love you, Alfred wrote to George, I'm lost, you see, I'm drowned, flooded with love ... you have another lover, I know. J ' but die in love, love. "

In the years following this link, Musset published his masterpieces No Trifling with Love and Lorenzaccio in 1834, the May Night and the Night of December (two poems) in 1835 and Confession of a Child of the Century (novel about the evil of the century) in 1836.

The decline

From 1840 the literary production of Musset seems to dry up. His health is deteriorating and neurasthenia (depression) are increasing. His excesses there are probably no strangers.

Moreover, the indifference he now meets with critics and artists, although, after many failures, elected to the French Academy in 1852, probably contributes to his dejection.

The writers of the generation, regard him as the symbol of the excesses of romanticism (excess pathetic emphasis ...).

"I've never been able to endure this master of the dandies, the impudence of a spoiled child who relies on the Heaven and Hell for the adventures of breakfast, the muddy torrent of grammar and prosody" , wrote Baudelaire without indulgence.

Only a few dramatic late success, from the representation of a whim in 1847, will inform a purpose of existence was probably, as stated in his best friend Alfred Tattet, "a hideous suicide." Musset died in 1857, he was forty-seven. According to his vow, he will be buried in Pere-Lachaise in the protective shadow a willow.

Biographical greatly inspired by a dam Etienne Calais No Trifling with Love, Alfred de Musset , et al. "Tags", Nathan, 1992.

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Subject of duty, "Old Piano" Nelligan Nelligan

The soul trembles over at this old instrument;
Its lid down gives it a dark
Relegated the show, he sleeps in the shade
This misanthropic embittered isolation.

I still remember the night without number
What my mother played me , and I'm thinking, crying,
At these evenings once - passed in the dark,
When Liszt and Beethoven said sad dying.

O old piano ebony image of my life,
Like you happiness my poor soul is delighted,
You lack an artist, I have the Ideal ;

Yet where you sleep, my only joy in the world,
Who will be reborn, oh distress,
From your keyboard funeral a triumphant concert?

Nelligan Poems, 1904

1 / What are the images used in the first stanza?

2 / What is the sentiment expressed in the second stanza?

3 / What analogy he establishes the poet of the piano and him in the first triplet?

4 / What is the type of sentence, the poet uses does it take to close his poem? Why?

5 / Raise the lexical field of melancholy.

6 / What is close to the text he principles romantic?

7 / rhymes How are they arranged in quatrains? In the triplets? The sonnet is it regular?

8 / Raise a subordinate CTC and rewrite the sentence that contains it by replacing the conditional by a CCT of a different nature.

9 / What is the grammatical function of the groups highlighted.

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Old Piano

1 / The piano is personified, the poet lends "a" soul "that does" shuddered over "and a" dark side ". Personification is developed in the following quatrain and the piano becomes a metaphor for "embittered misanthrope" and isolated.

2 / In the second quatrain, the poet expresses his longing: he remembers the "night" and that his mother was crying at the mention of this memory. The "night of the past" are associated with music of Liszt and Beethoven , itself responsible for melancholy.

3 / The parallelism of the last verse ("You lack an artist, I have the ideal") stresses that, like the piano, the poet suffers from a lack. If the piano does not play, because as a pianist, artist mourns the loss of an ideal that gives him the strength to create the music of the instrument thus symbolically refers to the creation of the poet.

4 / The poem ends with a question: "Who will be reborn, O deep distress, / From your keyboard funeral a triumphant concert?" With this question the poet wonders if the instrument can still play so if it even still be able to write.

5 / The term "dark", "embittered misanthrope", "weeping", "poor soul", "Missing", "deep distress" is a lexical field of melancholy.

6 / The tone of the text is romantic, it is a lyric poem that evokes a melancholy, somewhat similar to the "mal du siecle" suffered by the Romantic poets, the dream to reconnect with an "ideal" ("You lack an artist, I have the ideal.") is also characteristic the sensitivity of the romantic hero.

7 / The rhymes are embraced in the first quatrain, crossed into the second stanza, they are followed and embraced in the triplets. The fact that the second quatrain uses rhymes prevents regarded the sonnet as a regular sonnet.

8 / "When Liszt is sad and said dying Beethoven" is the subject CTC. Can be substituted with a gerund (present participle) " Lizst saying sad dying Beethoven."

9 / Relegated the show: detached epithet of "he" (the piano)

What I was playing my mother: Completion of the antecedent "night"

At these nights past: IOC dream.

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the 3 gates of life and love ....

U n King's only son was a brave young prince, clever and intelligent. To complete his apprenticeship of life, he sent him to a wise old man.

- Enlighten me on the Path of Life , asked the Prince.

- My words will vanish like the traces of your footsteps in the sand, "replied the Sage . However I am willing to give you some pointers. On your way, you'll find three doors. Read the precepts given on each of them. An irresistible urge you push them forward. Do not try to turn him away because you would be condemned to relive what ever you would have fled. I can not tell you more. You have to experience it all in your heart and your flesh. Go now. Follow this road straight ahead.

Old Sage disappeared and the prince embarked on the Path of Life.

He soon found himself facing a large door on which was written:

"CHANGE THE WORLD"

- was indeed my intention, thought the Prince, because if I like some things in this world, others do not agree with me.

And he began his first fight. His ideal, his enthusiasm and his strength led him to confront the world, to undertake, to conquer, to shape reality according to his desire. He found pleasure and exhilaration of conquering, but not calm the heart. He managed to change some things but many others resisted him. Many years passed.

One day he met the Old Wise Man who asked him

- What did you learned on the way?

- I learned replied the Prince, to discern what is in my power and what escapes me, which depends on me and what does not.

- Good, said the Old Man. Use your forces to act on what is in your power. Forget what escapes your grasp.

And he disappeared.

Soon after, the Prince found himself face to a second door. It read:

"CHANGE THE OTHER"

- was indeed my intention, he thought. The others are a source of pleasure, joy and satisfaction but also with pain, bitterness and frustration.

And he rebelled against anything that could disturb or displease him from his fellows. He sought to change their character and root out their faults. This was his second fight. Many years passed.

One day while meditating on the usefulness of its attempts change others, he crossed the Wise Old Man who asked

- What did you learn on the way?

- I learned replied the Prince, that others do not cause or source of my joys and my sorrows, my pleasures and my disappointments. They are just the developer or the occasion. It is rooted in me that all these things.

- You're right, said Wise. By what they awaken in you, others you reveal yourself. Be thankful those that stir in you joy and pleasure. But be it also to those who are born in you pain or frustration, because through them the Life teaches you what you have left to learn and the way that you should still go.

And the Old Man disappeared.

Soon after, the Prince arrived at a door which contained these words:

"CHANGE YOURSELF"

- If I am myself the cause of my problems, this is what I have to do, he said.

And he began his third fight. He sought to influence its character, to fight its imperfections, to remove its defects, to change all that he did not like him, everything that does not fit his ideal.

After many years of this fight where he met some successes but also failures and resistance, the Prince met the sage who asked him

- What have you learned about the way?

- I learned replied the Prince, that there are things that we can improve, others which we resist and we can not break.

- Good, said Wise.

- Yes, continued the Prince, but I getting tired of me fighting against everything, against everybody, against myself. This will not end there forever? When I find the rest? I want to stop fighting, give up, abandon everything, to let go.

- Precisely thy neighbor learning, said the Wise Old Man. But before going further, turn around and contemplate the journey.

And he disappeared.

Looking back, the Prince lives in the distant third door and noticed it was on its back an inscription that said:

"Accept-YOURSELF "

The Prince was astonished not to have seen this entry when he reached the door the first time in the other direction.

- When we fight, we become blind he said.

He saw lying on the ground, scattered around him, all he had rejected and fought him his fault, its shadows, its fears, its limits, all his old demons. He learned to recognize, accept, to love them. He learned to love himself no longer compare, to judge, blame themselves.

He met the Old Wise Man who asked him

- What did you learn on the way?

- I learned, "said Prince, that hate or deny a part of me is never to condemn me to agree with myself. I learned to accept myself totally, unconditionally.

- Good, said the Old Man, this is the first Wisdom. Now you can retake the third door.

barely reached the other side, the Prince saw off the back of the second door and read:

"ACCEPTS THE OTHER"

All around him he saw people he had worked with in his life. Those he loved and those he hated. Those he had supported and those he had fought. But to his surprise, he was now unable to see (*) their imperfections, their defects , which formerly had so embarrassed and cons which he had fought.

He met again the Wise Old Man.

- What did you learn on the way? asked him.

- I learned replied the Prince, that being consistent with myself, I had nothing to blame others, nothing to fear them. I learned to accept and love others fully, unconditionally.

- Good, Old said Wise. This is the second Wisdom. You can pass the second door again.

Arrived on the other hand, the Prince saw the face behind the first door and read:

"ACCEPTS THE WORLD

Curious he said, I have not seen this first entry. He looked around and saw the world he had sought to conquer, to transform, to change. He was struck by the brilliance and beauty of all things. By their Perfection was .(**) Yet the same people as before. Was that the world had changed or look?

He crossed the Old Wise Man who asked

- What did you learn on the way?

- I learned said the Prince, that the world is the mirror of my soul. My soul does not see the world, she sees the world. When it is playful, the world seems gay. When she is overwhelmed, the world seems sad. The world, he is neither sad nor gay. It is there, there, that's all. It was not the world that worried me, but the idea I was doing. I learned to accept without judging, totally, unconditionally.

- This is the third Wisdom said the Old Man. There you are now in agreement with yourself, with others and with the World.

A deep sense of Peace, Serenity, invades the Prince of Wholeness. The Silence of the habit.

- You are ready now to take the final threshold, the Old Sage said. The passage Silence of the Fullness of the Fullness of Silence.

And the Old Man disappeared.

Charles Brulhart

© Karine Barki

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Florian, Jean-Pierre Claris de, 1755-1794.

March 6, 1755, Jean-Pierre Claris de Florian was born in the castle Florian in Languedoc. Her mother died the following year. Despite this tragedy, the young Florian lead a happy life and freedom in the homestead.
Jean Pierre is ten years his education was entrusted to his uncle, Philippe-Antoine de Claris, married to a niece of Voltaire. The young Florian stays Ferney, from the great philosopher, with his uncle and aunt, then moved home in the Marais district in Paris.
In 1768, he was admitted as a page at the Duke of Penthievre, which will help them discover the world of the court. Florian entered the military school at Bapaume in 1771. But it leaves Lieutenant literature draws more than the army.
In 1779 his first comedy, Two Tickets is well received by critics. In 1782, with, Voltaire and the serf du Mont-Jura , satire, Florian condemns slavery. The work is rewarded by the Academy. A new comedy, the Twins Bergamo obtained a triumph. The following year, Florian publishes a verse tale based on a story by Cervantes, Galatea . Florian reveals his talent for pastoral care. The work is preceded by a preface that recounts the life of Cervantes. Author
now in vogue, Florian frequent the salon of Madame de la Briche. He wrote in 1786, an epic novel Numa Pompilius , he seeks the backing of the epic to support his literary ambitions, he wants effect for a seat in the French Academy but his epic is not welcomed by critics as well as by the queen to whom the work was, however, was dedicated. In
, 1788, Florian returns to the pastoral with Estelle, the book won a considerable success. Promoted lieutenant-colonel, our author succeeds, the French Academy, Cardinal de Luynes. In 1789, when rumblings of revolution, Florian embarks the composition of the collection of Fables . Florian became commander in chief of the National Guard of the Seals in 1791. The Fables preceded by an essay on the kind of "fable, entitled From the fable are published in 1792 and obtained a great success. Florian then began to translate and adapt the Don Quixote by Cervantes .
Order Agenda Committee hello public in 1793, Florian was released after the fall of Robespierre in 1794, but sorely tried by his stay in prison, he succumbs to the attacks of consumption that the mine for several years.

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Haiku

1. Definition
Haiku (also called" haiku ") is a poem form Japanese fixed. It consists of three lines which are respectively five, seven and five syllables.

2. Japanese Haiku
Born outside the X ^e century haiku was long a sort of game, a poem intended to attract attention with a dash of humor, the evocation of an unusual detail. In the XVII th
century monk Matsuo Munefusa better known by the name Basho is based on the tradition of Zen Buddhism to make haiku a spiritual exercise.
Haiku become the word that serves to recall the virtues of silence and the emptiness of all speech.
Haiku likes to talk about the nature and after Basho, the rule is established to serve through a word or an indirect index, one of the four seasons.

This way, Nobody takes That autumn sunset. Basho, quoted by Henri Brunel The haiku , Librio.

trap octopus Moon Dreams fluttering summer Basho, Ants in without shade, the book of haiku, Phoebus.

"The Japanese offer," said Paul Claudel, in poetry as art in a sense very different from ours. Ours is to say everything, all to express [...] In Japan, however, on the written page or drawn from the most important is still left to silence "and the haiku is indeed appears to be a break in the silence of the blank page.

3. Haiku in France

The first collection of haiku French, Over water is directed by Paul-Louis Couchoud returned from a trip to Japan and two of his friends Albert Faure and Andre Poncin. Matured during a trip by barge carried by the three friends, the collection circulates anonymously in Paris in 1905 which has already succumbed to the fashion of Japanese prints.

The old canal Under the shade monotonous Was gray-green Over Water , Thousand and One Nights.

Pastor Took A pretty good for Catholic Over Water , Thousand and One Nights.

In 1920 the NRF publishes an anthology of haiku, which included poems by Eluard, Caillois ... "Eleven haiku by Paul Eluard.

A feather in the hat gives an air of lightness
The chimney smokes

Eluard, "11", To live here, eleven haiku .

Claudel, former ambassador to Japan, publishes his thoughts on Japanese culture in The Black Bird in the rising sun (1929) but with hundred sentences for a range it is exercised in art of haiku and paid tribute to Japan by placing the text next to ideograms composed by Japanese artists.
is from the seventies that haiku in France raises renewed interest. If the initial formal constraints are rarely met, the conciseness of expression, a certain sense of timelessness, an ontological inquiry remain.

Guillevic Eugene (1907-1997) refractory to readily image uses a condensed form of haiku to question the mysteries of nature:

water in the pond To keep occupied East time. Guillevic, Spheres.

In Towpath , The wolf and the moon , Yvon Le Men (B. 1953) returns to the essence of haiku and if he does not seek to return the form completely, it captures the spirit:

Ivy leaf in the current aware where is she? Yvon Le Men, The towpath .

night it does not fall down in the day Y von Le Men, The wolf and the moon .

The recent anthology of John Antonnini, the many associations of amateur poets are on the web reflect the enthusiasm growing genre.

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Colloque sentimental

These are the paintings of Watteau that have inspired Verlaine's Fetes Galantes . A strange little book in which Verlaine recreates the world of the painter, the party of course but also the strange languor that weighs on the characters: they apprehend the size of any artificial party? Did they know how the party is just human life does not last long? The poem that concludes the collection is undoubtedly the strangest and probably also the most disenchanted, the end of an illusion ...

In the deserted park, silent and icy
Two forms have happened earlier.

Their eyes are dead, their lips are soft,
And we hardly hear their words.

In the deserted park, silent and icy
Two spectra discussed before.

- Do you remember our old ecstasy?
- Why do you want me to remember?

- Your heart beats it always at my name?
you still see my soul in a dream? - No.

- Ah! the heyday of indescribable happiness
Where our lips! - Possibly.

- it was blue, the sky, and great hope!
- Hope has fled, defeated, to the black sky.

they walked in the wild oats,
And the night alone heard their words.

Verlaine gallant Christmas, 1869.

Ill. Watteau, "The two cousins," Louvre (1718)

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Ghosts of Love: beliefs

beliefs

If fears terrify us, we are also victims of our beliefs that destroy or kill the love.

A belief is a idea became a fact repeatedly confirmed in our relational life past or present.

Here's a few:

- love does not last

- love makes us lose our friends

- love makes it dependent on the other

- love hurts

- women are manipulative

- men do not commit

- women are profiteering

- men only think about football

....

And you are the beliefs that they cut you love, or you are living stories that confirm your "truths". We draw very often what we believe. And since humans like to be right, he prefers to confirm what he thinks rather than imagining a moment he was wrong!

I propose today to change the direction of 2 or 3 of your beliefs .... Instead of making a limiting belief I invite you to turn it into an attractive and motivating truth to lead you on the path of love.

Regain power over your beliefs, and attract the best in your life.

© Karine Barki

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the ghosts of love

Some things hinder or kill the love?

Fear is one of these terrifying monsters that makes us flee, fight, or we freeze when love shows its face.
Some fears are often announced:

- Fear of losing the other
- Fear of getting lost in the other
- Fear of commitment
- Fear of infidelity
- Fear of lying
- Fear
rejection - fear of abandonment
- Fear of betrayal
- Fear of being dominated
- Fear of violence to
- Fear of being wrong ....

And you what are your fears?

Fears once unmasked are less tough .... then go hunting, and relieve you of these ghosts mostly fantastic.

Karine Karine Barki

©