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Paul Valéry

Geburtstag: 30. Oktober 1871
Todesdatum: 20. Juli 1945
Andere Namen: Paul Ambroise Valéry

Ambroise Paul Toussaint Jules Valéry war Lyriker, Philosoph und Essayist.

Diese Übersetzung wartet auf eine Überprüfung. Ist es korrekt?

„Und wir sehen jetzt, dass der Abgrund der Geschichte Raum hat für alle. Wir fühlen, dass eine Kultur genau so hinfällig ist wie ein einzelnes Leben.“

—  Paul Valéry

Die Krise des Geistes. Erster Brief. Corona 1931, Seite 531 books.google https://books.google.de/books?id=_tjjAAAAMAAJ&q=%22abgrund+der%22
Original franz.: "Et nous voyons maintenant que l'abîme de l'histoire est assez grand pour tout le monde. Nous sentons qu’une civilisation a la même fragilité qu’une vie." - La crise de l'ésprit, in: Nouvelle Revue Française, 1919, Tome XIII, p. 321-337, :fr:s:La Crise de l’esprit. Première lettre.

„Im Abgrund der Geschichte ist für alle Platz.“

—  Paul Valéry

La crise de l'ésprit, Première lettre; in: Valéry, Paul: Œuvres, Vol. 1 / éd. par Jean Hytier; Paris 1957, S. 988

„Die Geschichte rechtfertigt, was immer man will. Sie lehrt schlechterdings nichts, denn es gibt nichts, was sich mit ihr nicht beweisen ließe.“

—  Paul Valéry

Original franz.: "L’histoire justifie ce que l’on veut. Elle n’enseigne rigoureusement rien, car elle contient tout, et donne des exemples de tout." - De l'Histoire; in: Regards sur le monde actuel. Paris : Stock, Delamain & Boutelleau, 1931. p. 64 gallica.bnf.fr https://gallica.bnf.fr/ark:/12148/bpt6k1510319s/f72

„We have always sought explanations when it was only representations that we could seek to invent.“

—  Paul Valéry

Original: (fr) On a toujours cherché des explications quand c’était des représentations qu’on pouvait seulement essayé d’inventer.
Quelle: Unsourced

„My hand feels touched as well as it touches; reality says this, and nothing more.“

—  Paul Valéry

Original: (fr) Ma main se sent touchée aussi bien qu’elle touche ; réel veut dire cela, et rien de plus.
Quelle: Unsourced

„It is therefore reasonable to think that the creations of man are made either with a view to his body, and that is the principle we call utility, or with a view to his soul, and that is what he seeks under the name of beauty.“

—  Paul Valéry

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)

„You have neither the patience that weaves long lines nor a feeling for the irregular, nor a sense of the fittest place for a thing … For you intelligence is not one thing among many.“

—  Paul Valéry

Writing at the Yalu River (1895) quoted in Of Time, Passion, and Knowledge: Reflections on the Strategy of Existence (1990) by Julius Thomas Fraser, Part 2, Images in Heaven and on the Earth, Ch. IV, The Roots of Time in the Physical World. Sect. 3 The Living Symmetries of Physics
Kontext: You have neither the patience that weaves long lines nor a feeling for the irregular, nor a sense of the fittest place for a thing … For you intelligence is not one thing among many. You … worship it as if it were an omnipotent beast … a man intoxicated on it believes his own thoughts are legal decision, or facts themselves born of the crowd and time. He confuses his quick changes of heart with the imperceptible variation of real forms and enduring Beings.... You are in love with intelligence, until it frightens you. For your ideas are terrifying and your hearts are faint. Your acts of pity and cruelty are absurd, committed with no calm, as if they were irresistible. Finally, you fear blood more and more. Blood and time.

„Stupidity is not my strong point.“

—  Paul Valéry, buch Monsieur Teste

Variant translations:
Stupidity is not my strong suit.
Monsieur Teste (1919)
Kontext: Stupidity is not my strong point. I have seen many persons; I have visited several countries; I have taken part in various enterprises without liking them; I have eaten nearly every day; I have had women. I can now recall a few hundred faces, two or three great spectacles, and the substance of perhaps twenty books. I have not retained the best nor the worst of these things: what could stay with me did.

„Moreover, he must address himself not to a special and unique sense like hearing, which the musician bends to his will, and which is, besides, the organ par excellence of expectation and attention; but rather to a general and diffused expectation, and he does so through a language which is a very odd mixture of incoherent stimuli.“

—  Paul Valéry

Originally delivered as a lecture (late 1927); Pure Poetry: Notes for a Lecture The Creative Vision (1960)
Kontext: For the musician, before he has begun his work, all is in readiness so that the operation of his creative spirit may find, right from the start, the appropriate matter and means, without any possibility of error. He will not have to make this matter and means submit to any modification; he need only assemble elements which are clearly defined and ready-made. But in how different a situation is the poet! Before him is ordinary language, this aggregate of means which are not suited to his purpose, not made for him. There have not been physicians to determine the relationships of these means for him; there have not been constructors of scales; no diapason, no metronome, no certitude of this kind. He has nothing but the coarse instrument of the dictionary and the grammar. Moreover, he must address himself not to a special and unique sense like hearing, which the musician bends to his will, and which is, besides, the organ par excellence of expectation and attention; but rather to a general and diffused expectation, and he does so through a language which is a very odd mixture of incoherent stimuli.

„For the musician, before he has begun his work, all is in readiness so that the operation of his creative spirit may find, right from the start, the appropriate matter and means, without any possibility of error.“

—  Paul Valéry

Originally delivered as a lecture (late 1927); Pure Poetry: Notes for a Lecture The Creative Vision (1960)
Kontext: For the musician, before he has begun his work, all is in readiness so that the operation of his creative spirit may find, right from the start, the appropriate matter and means, without any possibility of error. He will not have to make this matter and means submit to any modification; he need only assemble elements which are clearly defined and ready-made. But in how different a situation is the poet! Before him is ordinary language, this aggregate of means which are not suited to his purpose, not made for him. There have not been physicians to determine the relationships of these means for him; there have not been constructors of scales; no diapason, no metronome, no certitude of this kind. He has nothing but the coarse instrument of the dictionary and the grammar. Moreover, he must address himself not to a special and unique sense like hearing, which the musician bends to his will, and which is, besides, the organ par excellence of expectation and attention; but rather to a general and diffused expectation, and he does so through a language which is a very odd mixture of incoherent stimuli.

„The wind is rising! . . . We must try to live!“

—  Paul Valéry

As translated by by C. Day Lewis
Variant translations:
The wind is rising ... we must attempt to live.
Charmes ou poèmes (1922)
Kontext: The wind is rising!... We must try to live!
The huge air opens and shuts my book: the wave
Dares to explode out of the rocks in reeking
Spray. Fly away, my sun-bewildered pages!
Break, waves! Break up with your rejoicing surges
This quiet roof where sails like doves were pecking.

„Collect all the facts that can be collected about the life of Racine and you will never learn from them the art of his verse.“

—  Paul Valéry

Introduction to the Method of Leonardo da Vinci (1895)
Kontext: Collect all the facts that can be collected about the life of Racine and you will never learn from them the art of his verse. All criticism is dominated by the outworn theory that the man is the cause of the work as in the eyes of the law the criminal is the cause of the crime. Far rather are they both the effects.

„The artist works out his own formulas; the interest of science lies in the art of making science.“

—  Paul Valéry

Moralités (1932)
Kontext: Science is feasible when the variables are few and can be enumerated; when their combinations are distinct and clear. We are tending toward the condition of science and aspiring to do it. The artist works out his own formulas; the interest of science lies in the art of making science.

„Is not to meditate to deepen oneself in Order?“

—  Paul Valéry

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

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