Home > entertainment > I thought that some of his poems were in line with the claims of Surrealism in form, but gradually I realized the contradictions in this view - at least, it was not a comprehensive and accurate judgment. Rene Charles (1907-1988) was a famous French poet. Born in Vaucluse, he bega

I thought that some of his poems were in line with the claims of Surrealism in form, but gradually I realized the contradictions in this view - at least, it was not a comprehensive and accurate judgment. Rene Charles (1907-1988) was a famous French poet. Born in Vaucluse, he bega

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I thought that some of his poems were in line with the claims of Surrealism in form, but gradually I realized the contradictions in this view - at least, it was not a comprehensive and accurate judgment.

I thought that some of his poems were in line with the claims of Surrealism in form, but gradually I realized the contradictions in this view - at least, it was not a comprehensive and accurate judgment. Rene Charles (1907-1988) was a famous French poet. Born in Vaucluse, he bega - Lujuba

Rene Charles (1907-1988) is a famous French poet. Born in Vaucluse, he began writing poetry in the 1920s. In 1929, he joined the Surrealist movement, but later broke with it. During World War II, Charles joined the resistance movement and participated in actual combat. In the 1950s and 1960s, his writing entered a mature period. The two poetry collections "Early Riser" and "Conversation on the Islands" included in the Chinese translation collection of poems "On the Wind" are representative of his writing achievements during this period.

Perception of real experience

As early as 2002, the poet Shucai translated and published René Charles's "Anger and Mystery". That was the first time I read Charles's poems in a concentrated way:

In Yanzi's In somersaults, a storm is gathering news, and a garden is completed.

produces that knowledge that wants to be kept secret, knowledge that passes by hundreds of times.

We live in lightning, and lightning is the heart of eternity.

There is no doubt that these powerful and strange poems of Charles and the unexpected charm of language make him suddenly enter the forefront of my favorite poet list. In what sense will readers be conquered by such poetry? It's not that I haven't thought about this problem. According to the German critic Hugo Friedrich, "The difference between modern poetry and previous lyric poetry is that the balance between the content of speech and the way of speech is broken by the overweight of the latter." In view of what I have learned since childhood. The influence of the language in the textbooks, newspapers, and magazines I read, and the weight of "way of speech" are obviously overweight in my reading, a kind of force that must be reversed when the extreme ends of things. The creative freedom of poetry, the vitality brought by the change of form, and even the transcendent pursuit of a language have influenced some poets, including myself, for a long time. In relying on language and imagination, whether we will lose our sensitivity to real experience becomes an immediate question and test. At the same time, I also read some other poems by Charles:

People who believe in sunflowers do not meditate in their houses. All thoughts of love will become his thoughts.

You are always a poet in essence, always at the pinnacle of love, always longing for truth and justice.

and "Truth Sets You Free" in Charles's newly translated poetry collection "On the Wind" -

You are the light, you are the night;

This skylight is for your gaze,

This wooden board is for your fatigue ,

This little bit of water is for your thirst,

This complete wall belongs to that person -

Your brightness gave birth to him,

O prisoner, O bride!

These verses immediately brought me back to the Ciel that I wanted to confirm in my heart. In other words, the poet as a narrative subject is narrating his life experience and the feelings derived from it. It is not the mysterious and fantasy imagination that replaces the poet in writing these words, nor is it abstract theology or "pure language" pretending to be philosophy. Face cancels the representation of the true situation.

I thought that some of his poems were in line with the claims of Surrealism in form, but gradually I realized the contradictions in this view - at least, it was not a comprehensive and accurate judgment. Rene Charles (1907-1988) was a famous French poet. Born in Vaucluse, he bega - Lujuba

"On the Wind: Collected Poems of René Charles", author: (France) René Charles, translator: Shucai, version: Century Wenjing·Shanghai People's Publishing House, August 2024

It seems , for Charles, "the balance between the content of speech and the way of speech" is not a question of whose weight must overwhelm the other, but a question of "truth" at certain moments. I realized that the issues contained in "surrealism" that were concerned by Heidegger and Blanchot were not issues of rhetoric or literary form that people took for granted.

Break with Surrealism

From the Enlightenment that began in the seventeenth century to the Romantic movement in the nineteenth century, rationalism has continued to receive attention in various fields of European society.However, precisely because of the completion of the industrial revolution, the criticism of traditional culture promoted by it also gave birth to Nietzsche, Schopenhauer and other standard-bearers who inherited Kierkegaard's anti-rationalism; at the same time, they criticized the modern capitalist system and culture The Marxist school is also on the rise. In 1885, French literary giant Victor Hugo passed away. He may not have expected that the Alexandrian poetry, which represents French orthodox literature, would disappear with him. This kind of metrical poetry with strict metrical regulations, which began in the 12th century AD, dominated the French poetry scene for several centuries, and then withered after bearing the final fruit under Hugo's pen.

Since the poet Gautier was summoned by the Muses of Mount Parnassus in ancient Greece to set off the aesthetic movement of "art for art's sake", France soon ushered in Baudelaire's "determination to make art transcend ordinary time and space" framework leading to more radical challenges beyond the realm of language and morality. In 1886, the year after Hugo's death, the poet Jean Moreas published the "Symbolist Manifesto". In this article, he particularly mentioned the creative techniques of Baudelaire, Verlaine, and Mallarmé that replaced naturalistic description with subjective perception. Later critic George Steiner also expressed it this way: "The crisis of poetry began in the late nineteenth century. It stemmed from the awareness of the gap between the new sense of spiritual reality and the old modes of rhetorical poetic expression. ... Lan Poe, Lautréamont, and Mallarmé endeavored to restore the fluidity and tentativeness of language; they wished to return to words the magic, the power to weave the unprecedented." and "Rimbaud managed to liberate language from the inherent constraints of the law of cause and effect; effects occur simultaneously in non-sequential forms before causes and events unfold. This became a typical Surrealist device. Mallarmé's language is not primarily about communication Behavior, but imitative behavior that enters private mythology. This is roughly the path that Surrealism took from the "extended line" of Symbolism.

I thought that some of his poems were in line with the claims of Surrealism in form, but gradually I realized the contradictions in this view - at least, it was not a comprehensive and accurate judgment. Rene Charles (1907-1988) was a famous French poet. Born in Vaucluse, he bega - Lujuba

René Charles.

When commenting on Rene Charles, we have to mention Surrealism, and then go back to Rimbaud and Mallarmé. If these poets initially only wanted to try their best to get rid of the expression form of traditional poetry and get rid of "traditional syntax that arranges our cognition into linear and unitary patterns", the consequences and dangers caused by this move are also unimaginable. The preface to the translation of "On the Wind" tells us that only five years after Breton published the "Surrealist Manifesto" in 1924, the 22-year-old Charles joined the Surrealist movement. But ten years later, "he fell into a period of depression. He was depressed and felt that the vitality of Surrealism had been exhausted." Then he left Paris and his old Surrealist friends, returned to his hometown in the south of France, and published He wrote "Letter to Benjamin Perrin", officially declaring his break with Surrealism. This was certainly a major event in a poet's life, and it shocked Charles's best friend Eluard. Charles's reply to this was: "I haven't changed, man! ... I just want to confirm the resistance that has been roaring in me."

As a former artillery private, he would not be insensitive to Hitler in Germany in 1933 The threat to France that came to power and establish the Nazi system, Mussolini's fascist regime that had been operating in Italy for many years, and the jitters that the rise of the Soviet Union brought to Europe. The world is no longer the world predicted by Rimbaud in which "the poet becomes a prophet after all the senses have gone through a long, vast, rational delirium." It will not wait for Lautréamont to "beautiful." Like the sudden encounter between a sewing machine and an umbrella on the dissecting table," it is not the world that Mallarmé said, "Under today's verbal games, natural things are transformed into vibrations that are about to disappear; unless pure concepts emerge from them." The vast distance between these "word dreams" and the surrealist "automatic writing" advocated by Breton and the oppressive and ominous atmosphere on the eve of World War II could not blind Rene Charles's eyes -

Try not to To imitate those who are struggling with mysterious illnesses.

To break free from the shameful dilemma of choosing between submission and insanity, to dodge the tyrant's ax that keeps chopping away. We cannot resist the ax but to fight it relentlessly. This is our rightful role, our destination and our Constantly adjusting body posture. We must cross the worst fences, rush towards danger, hunt there, cut injustice into pieces...

Resistance to violence, love for people

Rene Charles, Mallarmé and Breton There is a big difference. If the pursuit of free creation of poetry and the stimulation of language potential are not unique pursuits of the Surrealists, then the "surrealism" delineated by Blanchot cannot be equated with Charles. I am by no means denying the positive significance that Surrealism brought to the possibility of art. Its focus on human subconscious psychology and its exploration of the boundaries of language freedom have deeply affected many areas of culture. However, the "sublime" diligently pursued by Surrealism, the playfulness and chance brought about by automatic writing, and the direction that relies entirely on language without any connection with reality have also deeply attracted various "theologians" and mystics. It has always been their secret wish to draw the poets into their own camp. For example, Heidegger, who was considered by the German critic Carl LeWitt to be "engaged in the task of destroying the arrogance of human reason", emphasized that "pure words remain in harmony with the divine... just like the sacred words, the written content comes from nowhere." "Since then, there is no author, no source" Blanchot has included poets as key objects of analysis, and the reasons and secrets have been explored in depth in the history of modern political thought. It can be known that - Heidegger once said: "Poetry has an inevitable function in ethnobiology."

From Mallarmé's "dehumanization" point of view, his basic legal requirements for "absolute lyric poetry" That is, "the sound of poetry no longer comes from anyone's mouth, nor does it flow into anyone's ears." Hugo Friedrich once recorded an incident - a naive visitor asked Mallarmé: "You never cry in your poems?" Mallarmé replied: "And you never blow your nose." On the other hand, Summer However, he wrote the "hidden truth of tears" "in love and dry bones" -

Nightingale, night, sometimes also sings the executioner's song, my pain recognizes it.

Poets cannot stay in the thermostatic layer of language for long. If he wants to continue on his own path, he should curl up in a ball of bitter tears. (This sentence is translated by Lei Guang)

I thought that some of his poems were in line with the claims of Surrealism in form, but gradually I realized the contradictions in this view - at least, it was not a comprehensive and accurate judgment. Rene Charles (1907-1988) was a famous French poet. Born in Vaucluse, he bega - Lujuba

During World War II, Rene Charles (center in the back row) and other resistance fighters.

In fact, after the outbreak of World War II, Charles re-enlisted in the resistance movement and fought with the Nazis through life and death with his comrades, and became close friends with Camus. "Nobody's Hammer", which came out before the war, foreshadowed his break with Surrealism. The poems he wrote during the war were collected into "The Pages of Ipnos" and "Anger and Mystery". Charles insisted on writing in France in 1949 It was published after liberation. These poems come from the arduous anti-fascist struggle, resistance to violence and love for people. Camus immediately recognized their value, and he helped Charles publish The Pages of Ipnos in Gallimard.

According to Camus, language must of course match the richness of the world, human feelings and complex experiences, including intuition, imagination and subconsciousness, but what must first match is the reality of the world and experience. He has a sharp criticism of Surrealism, believing that Surrealism worships absurdity, defies all limitations, and only accepts the supremacy of the unconscious; "It is the gospel of disorder, but it has to shoulder the responsibility of creating order, but it only thinks of destruction first." , as Breton claimed that violence is the only appropriate way of expression, "they chose to serve the revolution of their own time", not only resisting society, but also resisting reason. Regarding the Bretons' desire for poetry to conquer the "sublime summit", Camus keenly discerned that mystics are more familiar with this, because the inherent enemy of Surrealism is rationalism.Therefore, Camus was deeply pleased that Charles broke away from the Surrealist movement. What he saw in Charles's poems was not only the outstanding talent of "old and new, precise and simple", but also the outstanding talent of Charles as a human being. Moral: "Bend only for love" - ​​

On my lute a dead man weighs more than a thousand years.

We are born with mankind; we die without comfort among the gods.

Only in the space and freedom of my love can I exist and be willing to live.

I thought that some of his poems were in line with the claims of Surrealism in form, but gradually I realized the contradictions in this view - at least, it was not a comprehensive and accurate judgment. Rene Charles (1907-1988) was a famous French poet. Born in Vaucluse, he bega - Lujuba

Camus (right) and René Charles.

As a loyal friend of Charles, Camus clearly realized that "after being baptized by Surrealism, Charles only retained the best parts of it." This is probably an explanation of Charles's unclear relationship with Surrealism. The most accurate description. In Camus's book "Rebels", he had an incisive analysis of surrealism and revolution, and pointed out that "when Breton was still complacent about the starry night, perhaps this clear night did herald the dawn of the future. and heralded the dawn of our Renaissance poet René Charles."

I have always been puzzled as to why both Charles and Paul Celan accepted Heidegger's calculated invitation to a meeting after the war. at. Charles also wrote several poems for Blanchot, who once "profoundly" analyzed Charles's poems in an article. Is this due to Charles' naivety? Perhaps that is another Charles who wrote "Beauty means sacrificing the true truth", a Charles who left his shadow in the "mystery of language"? Poet Wang Wei, who was equally confused as I was, wrote an article based on a photo of Charles and Heidegger. He gave some guesses, and at the same time raised more questions and a proposition involving how to write the Chinese experience in the 20th century. Perhaps only Albert Camus knew this. When Heidegger cultivated many fans in France after the war, he did not hesitate to reject the Nazi Party member's invitation to meet with him.

"Window Glass"

Pure rain, the waiting woman,

The face you wiped

is the face of the rebel,

is the face of the glass destined to be tortured,

Another one, the glass of the happy,

in Shivering before the fire.

I love you, twin mysteries,

I touch each one of you;

I hurt, I am light.

"Sink"

The grapes regard the picking women's fingers

as their motherland.

But she, who was she,

walked through the narrow path of the cruel vineyard?

The big rosary of grapes;

At night, the last glimmer of

flowed down from the high-lying fruits.

《Complete》

When our bones hit the soil,

collapse from our faces,

My love, nothing ends.

A new love comes from a cry

Reactivates us, catches us.

If the heat of the physical body has disappeared,

things are continuing,

resisting the dying life,

towering in infinity.

Everything we have ever seen

fly alongside pain

was there like in a nest,

and its eyes united us

in the promise of a new life.

Death does not grow taller

Although the wool is wet,

Happiness has not begun

Listen to our existence,

The grass is naked and trampled.

I thought that some of his poems were in line with the claims of Surrealism in form, but gradually I realized the contradictions in this view - at least, it was not a comprehensive and accurate judgment.

I thought that some of his poems were in line with the claims of Surrealism in form, but gradually I realized the contradictions in this view - at least, it was not a comprehensive and accurate judgment. Rene Charles (1907-1988) was a famous French poet. Born in Vaucluse, he bega - Lujuba

Rene Charles (1907-1988) is a famous French poet. Born in Vaucluse, he began writing poetry in the 1920s. In 1929, he joined the Surrealist movement, but later broke with it. During World War II, Charles joined the resistance movement and participated in actual combat. In the 1950s and 1960s, his writing entered a mature period. The two poetry collections "Early Riser" and "Conversation on the Islands" included in the Chinese translation collection of poems "On the Wind" are representative of his writing achievements during this period.

Perception of real experience

As early as 2002, the poet Shucai translated and published René Charles's "Anger and Mystery". That was the first time I read Charles's poems in a concentrated way:

In Yanzi's In somersaults, a storm is gathering news, and a garden is completed.

produces that knowledge that wants to be kept secret, knowledge that passes by hundreds of times.

We live in lightning, and lightning is the heart of eternity.

There is no doubt that these powerful and strange poems of Charles and the unexpected charm of language make him suddenly enter the forefront of my favorite poet list. In what sense will readers be conquered by such poetry? It's not that I haven't thought about this problem. According to the German critic Hugo Friedrich, "The difference between modern poetry and previous lyric poetry is that the balance between the content of speech and the way of speech is broken by the overweight of the latter." In view of what I have learned since childhood. The influence of the language in the textbooks, newspapers, and magazines I read, and the weight of "way of speech" are obviously overweight in my reading, a kind of force that must be reversed when the extreme ends of things. The creative freedom of poetry, the vitality brought by the change of form, and even the transcendent pursuit of a language have influenced some poets, including myself, for a long time. In relying on language and imagination, whether we will lose our sensitivity to real experience becomes an immediate question and test. At the same time, I also read some other poems by Charles:

People who believe in sunflowers do not meditate in their houses. All thoughts of love will become his thoughts.

You are always a poet in essence, always at the pinnacle of love, always longing for truth and justice.

and "Truth Sets You Free" in Charles's newly translated poetry collection "On the Wind" -

You are the light, you are the night;

This skylight is for your gaze,

This wooden board is for your fatigue ,

This little bit of water is for your thirst,

This complete wall belongs to that person -

Your brightness gave birth to him,

O prisoner, O bride!

These verses immediately brought me back to the Ciel that I wanted to confirm in my heart. In other words, the poet as a narrative subject is narrating his life experience and the feelings derived from it. It is not the mysterious and fantasy imagination that replaces the poet in writing these words, nor is it abstract theology or "pure language" pretending to be philosophy. Face cancels the representation of the true situation.

I thought that some of his poems were in line with the claims of Surrealism in form, but gradually I realized the contradictions in this view - at least, it was not a comprehensive and accurate judgment. Rene Charles (1907-1988) was a famous French poet. Born in Vaucluse, he bega - Lujuba

"On the Wind: Collected Poems of René Charles", author: (France) René Charles, translator: Shucai, version: Century Wenjing·Shanghai People's Publishing House, August 2024

It seems , for Charles, "the balance between the content of speech and the way of speech" is not a question of whose weight must overwhelm the other, but a question of "truth" at certain moments. I realized that the issues contained in "surrealism" that were concerned by Heidegger and Blanchot were not issues of rhetoric or literary form that people took for granted.

Break with Surrealism

From the Enlightenment that began in the seventeenth century to the Romantic movement in the nineteenth century, rationalism has continued to receive attention in various fields of European society.However, precisely because of the completion of the industrial revolution, the criticism of traditional culture promoted by it also gave birth to Nietzsche, Schopenhauer and other standard-bearers who inherited Kierkegaard's anti-rationalism; at the same time, they criticized the modern capitalist system and culture The Marxist school is also on the rise. In 1885, French literary giant Victor Hugo passed away. He may not have expected that the Alexandrian poetry, which represents French orthodox literature, would disappear with him. This kind of metrical poetry with strict metrical regulations, which began in the 12th century AD, dominated the French poetry scene for several centuries, and then withered after bearing the final fruit under Hugo's pen.

Since the poet Gautier was summoned by the Muses of Mount Parnassus in ancient Greece to set off the aesthetic movement of "art for art's sake", France soon ushered in Baudelaire's "determination to make art transcend ordinary time and space" framework leading to more radical challenges beyond the realm of language and morality. In 1886, the year after Hugo's death, the poet Jean Moreas published the "Symbolist Manifesto". In this article, he particularly mentioned the creative techniques of Baudelaire, Verlaine, and Mallarmé that replaced naturalistic description with subjective perception. Later critic George Steiner also expressed it this way: "The crisis of poetry began in the late nineteenth century. It stemmed from the awareness of the gap between the new sense of spiritual reality and the old modes of rhetorical poetic expression. ... Lan Poe, Lautréamont, and Mallarmé endeavored to restore the fluidity and tentativeness of language; they wished to return to words the magic, the power to weave the unprecedented." and "Rimbaud managed to liberate language from the inherent constraints of the law of cause and effect; effects occur simultaneously in non-sequential forms before causes and events unfold. This became a typical Surrealist device. Mallarmé's language is not primarily about communication Behavior, but imitative behavior that enters private mythology. This is roughly the path that Surrealism took from the "extended line" of Symbolism.

I thought that some of his poems were in line with the claims of Surrealism in form, but gradually I realized the contradictions in this view - at least, it was not a comprehensive and accurate judgment. Rene Charles (1907-1988) was a famous French poet. Born in Vaucluse, he bega - Lujuba

René Charles.

When commenting on Rene Charles, we have to mention Surrealism, and then go back to Rimbaud and Mallarmé. If these poets initially only wanted to try their best to get rid of the expression form of traditional poetry and get rid of "traditional syntax that arranges our cognition into linear and unitary patterns", the consequences and dangers caused by this move are also unimaginable. The preface to the translation of "On the Wind" tells us that only five years after Breton published the "Surrealist Manifesto" in 1924, the 22-year-old Charles joined the Surrealist movement. But ten years later, "he fell into a period of depression. He was depressed and felt that the vitality of Surrealism had been exhausted." Then he left Paris and his old Surrealist friends, returned to his hometown in the south of France, and published He wrote "Letter to Benjamin Perrin", officially declaring his break with Surrealism. This was certainly a major event in a poet's life, and it shocked Charles's best friend Eluard. Charles's reply to this was: "I haven't changed, man! ... I just want to confirm the resistance that has been roaring in me."

As a former artillery private, he would not be insensitive to Hitler in Germany in 1933 The threat to France that came to power and establish the Nazi system, Mussolini's fascist regime that had been operating in Italy for many years, and the jitters that the rise of the Soviet Union brought to Europe. The world is no longer the world predicted by Rimbaud in which "the poet becomes a prophet after all the senses have gone through a long, vast, rational delirium." It will not wait for Lautréamont to "beautiful." Like the sudden encounter between a sewing machine and an umbrella on the dissecting table," it is not the world that Mallarmé said, "Under today's verbal games, natural things are transformed into vibrations that are about to disappear; unless pure concepts emerge from them." The vast distance between these "word dreams" and the surrealist "automatic writing" advocated by Breton and the oppressive and ominous atmosphere on the eve of World War II could not blind Rene Charles's eyes -

Try not to To imitate those who are struggling with mysterious illnesses.

To break free from the shameful dilemma of choosing between submission and insanity, to dodge the tyrant's ax that keeps chopping away. We cannot resist the ax but to fight it relentlessly. This is our rightful role, our destination and our Constantly adjusting body posture. We must cross the worst fences, rush towards danger, hunt there, cut injustice into pieces...

Resistance to violence, love for people

Rene Charles, Mallarmé and Breton There is a big difference. If the pursuit of free creation of poetry and the stimulation of language potential are not unique pursuits of the Surrealists, then the "surrealism" delineated by Blanchot cannot be equated with Charles. I am by no means denying the positive significance that Surrealism brought to the possibility of art. Its focus on human subconscious psychology and its exploration of the boundaries of language freedom have deeply affected many areas of culture. However, the "sublime" diligently pursued by Surrealism, the playfulness and chance brought about by automatic writing, and the direction that relies entirely on language without any connection with reality have also deeply attracted various "theologians" and mystics. It has always been their secret wish to draw the poets into their own camp. For example, Heidegger, who was considered by the German critic Carl LeWitt to be "engaged in the task of destroying the arrogance of human reason", emphasized that "pure words remain in harmony with the divine... just like the sacred words, the written content comes from nowhere." "Since then, there is no author, no source" Blanchot has included poets as key objects of analysis, and the reasons and secrets have been explored in depth in the history of modern political thought. It can be known that - Heidegger once said: "Poetry has an inevitable function in ethnobiology."

From Mallarmé's "dehumanization" point of view, his basic legal requirements for "absolute lyric poetry" That is, "the sound of poetry no longer comes from anyone's mouth, nor does it flow into anyone's ears." Hugo Friedrich once recorded an incident - a naive visitor asked Mallarmé: "You never cry in your poems?" Mallarmé replied: "And you never blow your nose." On the other hand, Summer However, he wrote the "hidden truth of tears" "in love and dry bones" -

Nightingale, night, sometimes also sings the executioner's song, my pain recognizes it.

Poets cannot stay in the thermostatic layer of language for long. If he wants to continue on his own path, he should curl up in a ball of bitter tears. (This sentence is translated by Lei Guang)

I thought that some of his poems were in line with the claims of Surrealism in form, but gradually I realized the contradictions in this view - at least, it was not a comprehensive and accurate judgment. Rene Charles (1907-1988) was a famous French poet. Born in Vaucluse, he bega - Lujuba

During World War II, Rene Charles (center in the back row) and other resistance fighters.

In fact, after the outbreak of World War II, Charles re-enlisted in the resistance movement and fought with the Nazis through life and death with his comrades, and became close friends with Camus. "Nobody's Hammer", which came out before the war, foreshadowed his break with Surrealism. The poems he wrote during the war were collected into "The Pages of Ipnos" and "Anger and Mystery". Charles insisted on writing in France in 1949 It was published after liberation. These poems come from the arduous anti-fascist struggle, resistance to violence and love for people. Camus immediately recognized their value, and he helped Charles publish The Pages of Ipnos in Gallimard.

According to Camus, language must of course match the richness of the world, human feelings and complex experiences, including intuition, imagination and subconsciousness, but what must first match is the reality of the world and experience. He has a sharp criticism of Surrealism, believing that Surrealism worships absurdity, defies all limitations, and only accepts the supremacy of the unconscious; "It is the gospel of disorder, but it has to shoulder the responsibility of creating order, but it only thinks of destruction first." , as Breton claimed that violence is the only appropriate way of expression, "they chose to serve the revolution of their own time", not only resisting society, but also resisting reason. Regarding the Bretons' desire for poetry to conquer the "sublime summit", Camus keenly discerned that mystics are more familiar with this, because the inherent enemy of Surrealism is rationalism.Therefore, Camus was deeply pleased that Charles broke away from the Surrealist movement. What he saw in Charles's poems was not only the outstanding talent of "old and new, precise and simple", but also the outstanding talent of Charles as a human being. Moral: "Bend only for love" - ​​

On my lute a dead man weighs more than a thousand years.

We are born with mankind; we die without comfort among the gods.

Only in the space and freedom of my love can I exist and be willing to live.

I thought that some of his poems were in line with the claims of Surrealism in form, but gradually I realized the contradictions in this view - at least, it was not a comprehensive and accurate judgment. Rene Charles (1907-1988) was a famous French poet. Born in Vaucluse, he bega - Lujuba

Camus (right) and René Charles.

As a loyal friend of Charles, Camus clearly realized that "after being baptized by Surrealism, Charles only retained the best parts of it." This is probably an explanation of Charles's unclear relationship with Surrealism. The most accurate description. In Camus's book "Rebels", he had an incisive analysis of surrealism and revolution, and pointed out that "when Breton was still complacent about the starry night, perhaps this clear night did herald the dawn of the future. and heralded the dawn of our Renaissance poet René Charles."

I have always been puzzled as to why both Charles and Paul Celan accepted Heidegger's calculated invitation to a meeting after the war. at. Charles also wrote several poems for Blanchot, who once "profoundly" analyzed Charles's poems in an article. Is this due to Charles' naivety? Perhaps that is another Charles who wrote "Beauty means sacrificing the true truth", a Charles who left his shadow in the "mystery of language"? Poet Wang Wei, who was equally confused as I was, wrote an article based on a photo of Charles and Heidegger. He gave some guesses, and at the same time raised more questions and a proposition involving how to write the Chinese experience in the 20th century. Perhaps only Albert Camus knew this. When Heidegger cultivated many fans in France after the war, he did not hesitate to reject the Nazi Party member's invitation to meet with him.

"Window Glass"

Pure rain, the waiting woman,

The face you wiped

is the face of the rebel,

is the face of the glass destined to be tortured,

Another one, the glass of the happy,

in Shivering before the fire.

I love you, twin mysteries,

I touch each one of you;

I hurt, I am light.

"Sink"

The grapes regard the picking women's fingers

as their motherland.

But she, who was she,

walked through the narrow path of the cruel vineyard?

The big rosary of grapes;

At night, the last glimmer of

flowed down from the high-lying fruits.

《Complete》

When our bones hit the soil,

collapse from our faces,

My love, nothing ends.

A new love comes from a cry

Reactivates us, catches us.

If the heat of the physical body has disappeared,

things are continuing,

resisting the dying life,

towering in infinity.

Everything we have ever seen

fly alongside pain

was there like in a nest,

and its eyes united us

in the promise of a new life.

Death does not grow taller

Although the wool is wet,

Happiness has not begun

Listen to our existence,

The grass is naked and trampled.Written by

/Editor by Lan Lan

/Proofread by Gong Zhaohua

/Xue Jingning

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