By Paul Valéry, Jackson Mathews
A number of writings that painting the interior lifetime of the artist. integrated are numerous brief autobiographical items during which Valéry talks approximately his early youth, his early life, his army event, his travels, his poetry, and his neighbors. the quantity comprises decisions from the Valéry-Gide and Valéry-Fourment correspondence and extra items, "The Avenues of the Mind," interview with Valéry published in 1927, and Pierre Feline's "Memories of Paul Valéry."
Originally released in 1975.
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A range of writings that painting the interior lifetime of the artist. integrated are a number of brief autobiographical items during which Valéry talks approximately his early early life, his formative years, his army adventure, his travels, his poetry, and his friends. the quantity comprises choices from the Valéry-Gide and Valéry-Fourment correspondence and extra items, "The Avenues of the Mind," interview with Valéry revealed in 1927, and Pierre Feline's "Memories of Paul Valéry.
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Extra resources for Collected Works of Paul Valery, Volume 15: Moi
I retained an exquisite and fairylikc impression of it, with slim and charming women, whom even now I can see in my mind, dancing. A shower of snowflakes was falling all over them. Sixteen years elapsed before I again came to London. " In those days, Frcnch artists used to form a peculiarly gentle and sweet idea of London. They looked upon it as a kind of Babel made up of an infinity of voluptuous and comfortable MOI homes with which they associated, in their flights of fancy, Turner's gigantic painting and the familiar visions they had met with when reading Dickens.
Sometimes I wrote poems which I showed to them, but the idea of publishing, and even more, the aim of choosing this diversion as a career was infinitely remote from my thought. It did not enter my head that anyone could IMPRESSIONS AND RECOLLECTIONS deliberately become a poet, or even that purely intellectual things and all die exceptional fruits of our rarest moments might serve us as objects of a profession. This feeling has only grown stronger in me. I did not know where I was going; I was waiting, for what, I did not know.
Numerous writers occasion ally met at the house of Mrs. Pennell, the wife of the wellknown engraver, who used to live in Buckingham Street close to the Savoy. I remember having had there a long conversation on Toulouse-Lautrec with Aubrey Beardsley, whose art was so different from that of Toulouse. Beardsley highly appreciated the work of the French painter, of whom he spoke with great interest and wonderful intelligence. I very clearly remember Beardsley's extremely delicate, sad, and distinguished features.