Educators From France

"Anna Margolin was greatly influenced by Baudelaire, Verlaine, and Rimbaud; among the Germans, by Else Lasker-Schüler and Rainer Maria Rilke; and among the Yiddish poets, by Itsik Manger and Avrom Sutzkever."

"Que ton vers soit la bonne aventure Éparse au vent crispé du matin Qui va fleurant la menthe et le thym… Et tout le reste est littérature."

"That time, that excitement, I will always remember,/like a song without words, like a poem by Verlaine."

"Pas la Couleur, rien que la nuance!"

"De la musique avant toute chose, Et pour cela préfère l'Impair Plus vague et plus soluble dans l'air Sans rien en lui qui pèse ou qui pose. Il faut aussi que tu n'ailles point Choisir tes mots sans quelque méprise: Rien de plus cher que la chanson grise Où l'Indécis au Précis se joint."

"Prends l'éloquence et tords-lui son cou! Tu feras bien, en train d'énergie, Du rendre un peu la Rime assagie. Si l'on n’y veille, elle ira jusqu’où? Ô qui dira les torts de la Rime! Quel enfant sourd ou quel nègre fou Nous a forgé ce bijou d'un sou Qui sonne creux et faux sous la lime?"

"Two of the most perfect lives I have come across in my own experience are the lives of Verlaine and of Prince Kropotkin: both of them men who have passed years in prison: the first, the one Christian poet since Dante; the other, a man with a soul of that beautiful white Christ which seems coming out of Russia."

"Il pleure dans mon cœur Comme il pleut sur la ville. Quelle est cette langueur Qui pénètre mon cœur?"

"La lune blanche Luit dans les bois; De chaque branche Part une voix Sous la ramée."

"C'est bien la pire peine De ne savoir pourquoi Sans amour et sans haine Mon cœur a tant de peine!"

"Les sanglots longs Des violons De l'automne Blessent mon cœur D'une langueur Monotone."

"Et je m'en vais Au vent mauvais Qui m'emporte Deçà, delà, Pareil à la Feuille morte."

"Qu'as-tu fait, ô toi que voilà Pleurant sans cesse, Dis, qu'as-tu fait, toi que voilà De ta jeunesse?"

"Verlaine, the maudit poet, but with a strong religious torment that ended up prevailing, speaking of the love for Mary: «all other loves are orders». With similar words, he wanted to underline that "free" character of Marian devotion that the Church has always safeguarded. Over 20 centuries, only a few dogmas have been proclaimed about her di lei: which among other things, we know, are at the service and shelter of her di lei Son di lei, well before her di lei. Only to these defined truths does the Catholic owe homage. Everything else, regarding Mary, is left to the free sensitivity and initiative of the believer."

"It is the things which Ausonius reveals unconsciously that win him liking, not those which he sets out to celebrate with a kind of innocent pomp: not the chair of rhetoric at twenty-five, nor the imperial tutorship in his fifties, nor the consulship at sixty-nine, but that he loved and taught rhetoric all his life, and kept his simplicity."

"Iniurium est de poeta male sobrio lectorem abstemium iudicare."

"Multis terribilis timeto multos."

"The poetical fame of Ausonius condemns the taste of his age."

"Monumenta fatiscunt: mors etiam saxis nominibusque venit."

"Collige, virgo, rosas, dum flos novus et nova pubes, et memor esto aevum sic properare tuum."

"Omne aevum curae; cunctis sua displicet aetas."

"In the history of versification did anyone ever juggle so wildly well with iambics, sapphics, dactylics, anapestics, and all the rest? He fabricated verses most ingeniously, most enthusiastically. His virtuosity is amazing. Almost every line he wrote was a tour de force. And in spite of all this highly self-conscious technical facility he managed occasionally to write poetry."

"Quis color ille vadis, seras cum propulit umbras Hesperus et viridi perfudit monte Mosellam! tota natant crispis iuga motibus et tremit absens pampinus et vitreis vindemia turget in undis."

"Jejunis nil scribo: meum post pocula si quis legerit, hic sapiet. Sed magis hic sapiet, si dormiet: et putet ista somnia missa sibi."

"Errantes silva in magna et sub luce maligna inter harundineasque comas gravidumque papaver et tacitos sine labe lacus, sine murmure rivos, quorum per ripas nebuloso lumine marcent fleti, olim regum et puerorum nomina, flores."

"Ausonius must be read to be believed! As poet, no subject is too trivial for him; as courtier, no flattery too excessive."

"Tot species, tantosque ortus variosque novatus una dies aperit, conficit ipsa dies."

"Barthes's discovery and articulation of the "new" liberatory category of perception and deciphering, semiotic-mythology, belongs to the praxis of his heroic mythologist, alone. This unfortunate theoretical strategy makes the articulation of a coalitional consciousness in social struggle impossible to imagine or enact. ... His terminologies appropriate the technologies of the oppressed for use by academic classes."

"The discourse on the Text should itself be nothing other than text, research, textual activity, since the Text is that social space which leaves no language safe, outside, nor any subject of the enunciation in position as judge, master, analyst, confessor, decoder. The theory of the Text can coincide only with a practice of writing."

"When I was a student I was assigned “Mythologies” and “A Lover’s Discourse,” by Roland Barthes, and felt at once that something momentous had happened to me, that I had met a writer who had changed my course in life somehow; and looking back now, I think he did."

"What the public wants is the image of passion, not passion itself."

"The petit-bourgeois is a man unable to imagine the Other. If he comes face to face with him, he blinds himself, ignores and denies him, or else transforms him into himself."

"The Text is not a definitive object."

"Myth deprives the object of which it speaks of all history. In it, history evaporates."

"Statistically, myth is on the right. There, it is essential, well-fed, sleek, expensive, garrulous, it invents itself ceaselessly. It takes hold of everything, all aspects of the law, of morality, of aesthetics, of diplomacy, of household equipment, of Literature, of entertainment."

"By reducing any quality to quantity, myth economizes intelligence: it understands reality more cheaply."

"A work has two levels of meaning: literal and concealed. A Text, on the other hand is engaged in a movement … a deferral … a dilation of meaning … the play of signification. Metonymy — the association of part to whole — characterized the logic of the Text. In this sense the Text is "radically symbolic" and lacks closure."

"Bourgeois norms are experienced as the evident laws of a natural order—the further the bourgeois class propagates its representations, the more naturalized they become."

"The bourgeoisie is defined as the social class which does not want to be named."

"Myth is depoliticized speech."

"Language is a skin: I rub my language against the other. It is as if I had words instead of fingers, or fingers at the tip of my words. My language trembles with desire."

"La forme bâtarde de la culture de masse est la répétition honteuse: on répète les contenus, les schèmes idéologiques, le gommage des contradictions, mais on varie les formes superficielles: toujours des livres, des émissions, des films nouveaux, des faits divers, mais toujours le même sens."

"The politician being interviewed clearly takes a great deal of trouble to imagine an ending to his sentence: and if he stopped short? His entire policy would be jeopardized!"

"The bourgeoisie hides the fact that it is the bourgeoisie and thereby produces myth; revolution announces itself openly as revolution and thereby abolishes myth."

"The Text is plural. Which is not simply to say that it has several meanings, but that it accomplishes the very plural of meaning: an irreducible (and not merely an acceptable) plural. The Text is not a co-existence of meanings but a passage, an overcrossing; thus it answers not to an interpretation, even a liberal one, but to an explosion, a dissemination."

"Whereas the work is understood to be traceable to a source (through a process of derivation or "filiation"), the Text is without a source — the "author" a mere "guest" at the reading of the Text."

"Encratic language (the language produced and spread under the protection of power) is statutorily a language of repetition; all official institutions of language are repeating machines: schools, sports, advertising, popular songs, news, all continually repeat the same structure, the same meaning, often the same words."

"J'ai osé beaucoup, mais la prochaine fois, vous verrez, j'oserai plus encore..."

"India survived only by virtue of its patience, its superhuman power and its immense size. The levies it had to pay were so crushing that one catastrophic harvest was enough to unleash famines and epidemics capable of killing a million people at a time. Appalling poverty was the constant counterpart of the conquerors’ opulence. … The Muslims … could not rule the country except by systematic terror. Cruelty was the norm burnings, summary executions, crucifixions or impalements, inventive tortures. Hindu temples were destroyed to make way for mosques. On occasion there were forced conversions. If ever there were an uprising, it was instantly and savagely repressed: houses were burned, the countryside was laid waste, men were slaughtered and women were taken as slaves."

"Events are the ephemera of history; they pass across its stage like fireflies, hardly glimpsed before they settle back into darkness and as often as not into oblivion. Every event, however brief, has to be sure a contribution to make, lights up some dark corner or even some wide vista of history."