By James Joyce
Version interactive bilingue Français/Anglais.
"Avec l. a. découverte récente de quelques pages de brouillons égarées, c’est le chaînon manquant entre Ulysse et Finnegans Wake qui a été mis au jour.
Pour se relancer alors qu’il traversait une période d'incertitude, Joyce s’est mis à écrire de curieuses vignettes sur des thèmes irlandais. Ces petits textes, apparemment simplistes, sont les germes de ce qui deviendra le plus complexe des chefs-d’œuvre du vingtième siècle.
Nous publions ici pour los angeles première fois, dans l. a. langue originale et en traduction française, le cœur de cet ensemble qui s’organise autour de l. a. légende de Tristan et Iseult et notamment du preferable baiser des deux amants. Joyce s’efforce de décrire, dans une veine tantôt ugly, tantôt lyrique, ce baiser, présenté aussi bien comme un événement cosmique que comme un flirt sordide. L’étreinte se déroule sous le regard libidineux de quatre voyeurs séniles, dont les divagations donneront le ton et fixeront le variety de Finnegans Wake.
Ces textes nous révèlent un point inattendu de l. a. démarche créative de Joyce et offrent une voie d’accès à qui voudrait commencer à s’aventurer dans l’univers si intimidant de sa dernière œuvre."
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Additional resources for Brouillons d'un baiser: Premiers pas vers Finnegans Wake
Something must have happened a long time ago. ” “It is not sad,” she said. “Only some things happen and are there for always even though you forget why or when. ” (Rhys, 82) Next morning there would be very little sign of these showers. If some of the flowers were battered, the others smelt sweeter, the air was bluer and sparkling fresh. Only the clay path outside my window was muddy. Little shallow pools of water glinted in the hot sun, red earth does not dry quickly. ” “No road,” he said. “But I saw it.
It was praying for help in its agony and weakness, and they took their whips again. The creature bellowed out aloud. If there is a God, it was calling to its Maker for help. ” (narrated in dialogue)27 In this sequence, black Africans are represented by the black ox, and the most brutal and unwarranted violence against them is exposed for the first and last time in the novel. The violently abused colonial body does need to figure into the story of Africa, Schreiner seems to be saying, but it can do so only through the figure of representative suffering.
25 Even if we scale back from the sublimity of horror that is Des Pres’s subject, his argument is resonant: when the body is under tremendous assault or when the task of literature is, in part, to exfoliate an intimate experience of felt violence, representation moves inexorably toward such structures as archetype, which most closely seem to incarnate their content, and away from allegory, where categories must remain intact. ”26 The stakes for literature spike in this configuration, as if its very INTRODUCTION 17 definition and sustaining concepts were at issue (as, in some of the writing we will consider, they are).
Brouillons d'un baiser: Premiers pas vers Finnegans Wake by James Joyce