Anthologie poétique et romanesque by Anna de Noailles

By Anna de Noailles

Edition enrichie (Introduction, notes)

Fille d’un prince roumain, héroïne du Paris aristocratique du début du siècle, Anna de Brancovan, comtesse de Noailles, est l’auteur de neuf recueils de vers, de trois romans et de poèmes en prose dont on trouvera ici le meilleur. Sa poésie, très autobiographique, est d’une sensibilité universelle. Elle nous permet de partager son amour de los angeles nature, mais aussi les élans et les tourments d’une femme passionnée, aux enthousiasmes communicatifs. Par los angeles magie d’une langue musicale et racée, Anna de Noailles nous touche au cœur. Son œuvre, éblouissante, est une partie de notre mémoire, de notre vie.

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A man drifted out of his fields, aglow under crown and plumage, immeasurable: he, Ronne. (1916) Translated by E. B. Ashton 12 HOME FRONT Cast. Privy Councillor Professor Dr. Paschen, Chief of Welfare. Haris, his son. Dr. Olf, his deputy. Dr. Dunker, resident at a base hospital. Professor Dr, Kotschniiffel, pediatrician. Herr Johlinger. H err Mabuse. Duke of Wildungen. Prince Gerolstein. Count Vichy. Prince Fachinger. H is Excellency, the commanding general. Offi­ cers, clergymen, orderlies. The action takes place in the welfare section of military government, in a conquered province.

Then it struck him that pallor was the fruit, and the tear was pain----: tremors! Gaping distance! The park glowed luxuriantly. A bush on the law wore fem like foliage, each frond large and fleshy as a deer. About each flowering 7 tree the earth lay like a closed bucket, watering it and surrendering itself. Sky and blossoms: softly, out of eyes, came blueness and snow. —Sobbing and more, ever nearer, Edmee, to thee! A marble parapet rims the sea. Meridionally gathered lilies and barks. A violin opens you, all the way into your muteness— He blinked upward.

It seem ed to express a fading formal tension, an aging, a decrease in numbers and living space on the one side, and an unfolding presence on the other; there seemed to be a polarity of the formative drive, an inner tension between formal features. In scales, balanced by gods, existence seemed to rest: now there was more water 32 around, now more land, here a coral, there a bivalve in repose at the base, rising and falling about the figure of man who exuded animals and split off plants—he, inescapably subject to forces of further creation, of the scalebearers, and of their distance.

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