{"product_id":"french-poetry-isbn-9781101907832","title":"French Poetry","description":"\u003cb\u003eA beautifully jacketed hardcover collection of verse by French-speaking poets from cultures across the globe, spanning the ages from medieval to modern. EVERYMAN'S LIBRARY POCKET POETS.\u003c\/b\u003e \u003cbr\u003e\u003cbr\u003eFrom the troubadours of the Middle Ages to the titans of modern poetry, from Rabelais and Ronsard to Aimé Césaire and Yves Bonnefoy, \u003ci\u003eFrench Poetry\u003c\/i\u003e offers English-speaking readers a one-volume introduction to a rich and varied tradition. Here are today’s rising stars mingling with the great writers of past centuries: La Fontaine, François Villon, Christine de Pizan, Marguerite de Navarre, Louise Labé, Baudelaire, Rimbaud, Verlaine, Mallarmé, Apollinaire, and many more. Here, too, are representatives of the modern francophone world, encompassing Lebanese, Tunisian, Senegalese, and Belgian poets, including such notable writers as Léopold Senghor, Vénus Khoury-Ghata, and Hédi Kaddour. Finally, this anthology showcases a wide range of the English language’s finest translators—including such renowned poet-translators as Ezra Pound, Marianne Moore, John Ashbery, and Derek Mahon—in a dazzling tribute to the splendors of French poetry.CONTENTS\u003cbr\u003e \u003cbr\u003e\u003ci\u003ePreface\u003c\/i\u003e\u003cbr\u003e \u003cbr\u003e\u003cb\u003eMarie de France\u003c\/b\u003e (\u003ci\u003efl\u003c\/i\u003e. 1160–1215)\u003cbr\u003eThe Man and the Measuring Rod \u003cbr\u003e\u003cb\u003eChristine de Pisan\u003c\/b\u003e (\u003ci\u003ec\u003c\/i\u003e. 1364–\u003ci\u003ec\u003c\/i\u003e. 1431)\u003cbr\u003eRondeau \u003cbr\u003e\u003cb\u003eLouise Labe\u003c\/b\u003e (1420\/22–66)\u003cbr\u003e‘What good is it now, that you so perfectly’ \u003cbr\u003e‘As long as my eyes still have tears to cry’ \u003cbr\u003e‘I live, I die: I flare up \u0026amp; I drown’ \u003cbr\u003e\u003cb\u003eFrancois Villon\u003c\/b\u003e (\u003ci\u003ec\u003c\/i\u003e. 1431–after 1463)\u003cbr\u003eBallad for the Dead Ladies \u003cbr\u003e\u003cb\u003eMarguerite de Navarre\u003c\/b\u003e (1492–1549)\u003cbr\u003e‘My time grows short’ \u003cbr\u003e\u003cb\u003eFrancois Rabelais\u003c\/b\u003e (\u003ci\u003ec\u003c\/i\u003e. 1494–1553)\u003cbr\u003eTo the Reader\u003cbr\u003e\u003cb\u003eClement Marot\u003c\/b\u003e (1496–1544)\u003cbr\u003eRondeau of Antique Love\u003cbr\u003eSong \u003cbr\u003e\u003cb\u003eMaurice Sceve\u003c\/b\u003e (\u003ci\u003ec\u003c\/i\u003e. 1501–\u003ci\u003ec\u003c\/i\u003e. 1564)\u003cbr\u003eFrom \u003ci\u003eDelie\u003c\/i\u003e:\u003cbr\u003e‘The Eye, too afire with my youthful errors’\u003cbr\u003e‘Rhone, \u0026amp; Saone shall sooner be disjoined’ \u003cbr\u003e‘Some delight in tales well told’ \u003cbr\u003e‘The less I see her, the more I hate her’ \u003cbr\u003e‘Alone with myself, she with her husband’ \u003cbr\u003e‘If you wonder why two elements’ \u003cbr\u003e\u003cb\u003ePernette du Guillet\u003c\/b\u003e (\u003ci\u003ec\u003c\/i\u003e. 1520–45)\u003cbr\u003eFrom \u003ci\u003eEpigrammes\u003c\/i\u003e:\u003cbr\u003e‘If you wish not to prize so much this\u003cbr\u003ering’\u003cbr\u003e‘No remedy I seek, in my defense’\u003cbr\u003e\u003cb\u003eJoachim du Bellay\u003c\/b\u003e (\u003ci\u003ec\u003c\/i\u003e. 1522–60)\u003cbr\u003eFrom \u003ci\u003eThe Regrets \u003c\/i\u003e\u003cbr\u003e‘O thou newcomer who seek’st Rome\u003cbr\u003ein Rome’ \u003cbr\u003e‘Happy, who like Ulysses’\u003cbr\u003e\u003cb\u003ePierre de Ronsard\u003c\/b\u003e (1524–85)\u003cbr\u003eFrom \u003ci\u003eCassandra\u003c\/i\u003e:\u003cbr\u003e‘Whoever wants to see how Love can tame’ \u003cbr\u003e‘To think one thought hundreds, hundreds of times’\u003cbr\u003e‘Set free from reason and enslaved to passion’ \u003cbr\u003e‘He who made this world, fashioned faithfully’ \u003cbr\u003e‘Sweet Sleep, that brings to everything its peace’ \u003cbr\u003e\u003cb\u003eCatherine des Roches\u003c\/b\u003e (1542–87)\u003cbr\u003e\u003ci\u003eQuenouille, mon soucy, je vous promets et jure \u003c\/i\u003e\u003cbr\u003e\u003cb\u003eMadeleine de l’Aubespine\u003c\/b\u003e (1546–96)\u003cbr\u003e‘Let the earth cease its turning, suddenly’ \u003cbr\u003e\u003cb\u003eMarie de Cleves\u003c\/b\u003e (1553–74)\u003cbr\u003eRondeau \u003cbr\u003e\u003cb\u003eJean de Sponde\u003c\/b\u003e (1557–95)\u003cbr\u003e‘Imagine yourself in the heavens,floating high’ \u003cbr\u003e\u003cb\u003eJean-Baptiste Chassignet\u003c\/b\u003e (1571–1635)\u003cbr\u003e‘Seat yourself on the edge of a wavy river’ \u003cbr\u003e\u003cb\u003eMadeleine de Scudery\u003c\/b\u003e (1607–1701)\u003cbr\u003e‘To tell the truth, Job’s destiny’ \u003cbr\u003e\u003cb\u003eJean de la Fontaine\u003c\/b\u003e (1621–95)\u003cbr\u003eThe Hen That Laid the Golden Eggs \u003cbr\u003e\u003cb\u003eAntoinette des Houlieres\u003c\/b\u003e (1638–94)\u003cbr\u003eReflections\u003cbr\u003e\u003cb\u003eAndre Chenier\u003c\/b\u003e (1762–94)\u003cbr\u003eFrom \u003ci\u003eHymne, a la France \u003c\/i\u003e\u003cbr\u003eVersailles \u003cbr\u003e\u003ci\u003e‘Comme un dernier rayon’ \u003c\/i\u003e\u003cbr\u003e\u003cb\u003eMarceline Desbordes-Valmore\u003c\/b\u003e (1786–1859)\u003cbr\u003eMemory \u003cbr\u003eThe Roses of Saadi \u003cbr\u003eApart \u003cbr\u003eThe Lost Secret \u003cbr\u003e\u003cb\u003eVictor Hugo\u003c\/b\u003e (1802–85)\u003cbr\u003eMoonlight\u003cbr\u003eNight on the Ocean \u003cbr\u003e‘At dawn tomorrow, when the plains grow bright’ \u003cbr\u003e\u003cb\u003eLouise Colet\u003c\/b\u003e (1810–76)\u003cbr\u003eFor My Daughter\u003cbr\u003e\u003cb\u003eTheophile Gautier\u003c\/b\u003e (1811–72)\u003cbr\u003eFarewell to Poetry \u003cbr\u003eArt\u003cbr\u003e\u003cb\u003eCharles Baudelaire\u003c\/b\u003e (1821–67)\u003cbr\u003eTo Each His Chimæra \u003cbr\u003eThe Swan \u003cbr\u003e‘More memories than the fossils of the ages’\u003cbr\u003eYou’d Sleep with Anything \u003cbr\u003e\u003ci\u003eLa Beaute\u003c\/i\u003e\u003cbr\u003eAnywhere out of the World \u003cbr\u003eIntoxicate Yourself \u003cbr\u003eEpilogue \u003cbr\u003eTo the Reader\u003cbr\u003eCorrespondences \u003cbr\u003eThe Mercenary Muse\u003cbr\u003e\u003cb\u003eLouise Michel\u003c\/b\u003e (1830–1905)\u003cbr\u003eOath \u003cbr\u003e\u003cb\u003eStephane Mallarme\u003c\/b\u003e (1842–98)\u003cbr\u003e‘To insert myself into your plot’ \u003cbr\u003eThe Tomb of Edgar Poe \u003cbr\u003eThe Tomb of Charles Baudelaire\u003cbr\u003eA Sigh\u003cbr\u003eSea-Wind \u003cbr\u003e\u003cb\u003eJose-Maria De Heredia\u003c\/b\u003e (1842–1905)\u003cbr\u003eThe Nemean Lion\u003cbr\u003e\u003cb\u003ePaul Verlaine\u003c\/b\u003e (1844–96)\u003cbr\u003eTo Arthur Rimbaud \u003cbr\u003eNevermore\u003cbr\u003eMy Recurring Dream\u003cbr\u003eAnguish \u003cbr\u003eGreen \u003cbr\u003e\u003ci\u003eColloque sentimentale \u003c\/i\u003e\u003cbr\u003eSpleen \u003cbr\u003e\u003cb\u003eTristan Corbiere\u003c\/b\u003e (1845–75)\u003cbr\u003eThe Toad \u003cbr\u003eEpitaph \u003cbr\u003e\u003cb\u003eArthur Rimbaud\u003c\/b\u003e (1854–91)\u003cbr\u003eThe Drunken Boat \u003cbr\u003eEvening Prayer \u003cbr\u003eSonnet to an Asshole \u003cbr\u003eFrom \u003ci\u003eUne Saison en Enfer\u003c\/i\u003e\u003cbr\u003eAfter the Deluge \u003cbr\u003eDeparture\u003cbr\u003eCity \u003cbr\u003eCharleville\u003cbr\u003e\u003ci\u003eVoyelles\u003c\/i\u003e\u003cbr\u003eOn the Road \u003cbr\u003e\u003cb\u003eJules LaForgue\u003c\/b\u003e (1860–87)\u003cbr\u003eThe Dirge of the Poet’s Fetus \u003cbr\u003e\u003ci\u003eLegende \u003c\/i\u003e\u003cbr\u003e\u003cb\u003ePaul Valery\u003c\/b\u003e (1871–1945)\u003cbr\u003eIn the Sun\u003cbr\u003eThe Marine Cemetery \u003cbr\u003ePoetry\u003cbr\u003eThe Steps \u003cbr\u003e\u003cb\u003eGerard D’Houville\u003c\/b\u003e (1875–1963)\u003cbr\u003eAshes \u003cbr\u003e\u003cb\u003eLeon-Paul Fargue\u003c\/b\u003e (1876–1947)\u003cbr\u003eA Fragrance of Night . . . \u003cbr\u003e\u003cb\u003eAnna de Noailles\u003c\/b\u003e (1876–1933)\u003cbr\u003eOffering to Pan \u003cbr\u003e\u003cb\u003eGuillaume Apollinaire\u003c\/b\u003e (1880–1918)\u003cbr\u003e‘Here’s the coffin’ \u003cbr\u003e‘I dreamt I was going’\u003cbr\u003eThe Mirabeau Bridge\u003cbr\u003eZone \u003cbr\u003ePhotograph  \u003cbr\u003eThe Night of April 1915 \u003cbr\u003eCalligram, 15 May 1915 \u003cbr\u003e\u003cb\u003eValery Larbaud\u003c\/b\u003e (1881–1957)\u003cbr\u003eThe Old Station at Cahors \u003cbr\u003e\u003cb\u003eCatherine Pozzi\u003c\/b\u003e (1882–1934)\u003cbr\u003eNyx \u003cbr\u003e\u003cb\u003eJules Supervielle\u003c\/b\u003e (1884–1960)\u003cbr\u003eRain \u0026amp; the Tyrants \u003cbr\u003e\u003cb\u003eBlaise Cendrars\u003c\/b\u003e (1887–1961)\u003cbr\u003eThe Prose of the Trans-Siberian and of Little Jeanne of France \u003cbr\u003e\u003cb\u003ePierre-Jean Jouve\u003c\/b\u003e (1887–1976)\u003cbr\u003eLament for the Stag \u003cbr\u003e\u003cb\u003ePaul Eluard\u003c\/b\u003e (1895–1952)\u003cbr\u003eLady Love\u003cbr\u003eGiorgio de Chirico \u003cbr\u003e\u003cb\u003eAndre Breton\u003c\/b\u003e (1896–1966)\u003cbr\u003eAlways for the First \u003cbr\u003e\u003cb\u003ePierre Reverdy\u003c\/b\u003e (1889–1966)\u003cbr\u003eHeavier \u003cbr\u003eThat \u003cbr\u003e. . . Is Ajar \u003cbr\u003eLive Flesh\u003cbr\u003e\u003cb\u003eTristan Tzara\u003c\/b\u003e (1896–1963)\u003cbr\u003eProclamation without Pretension \u003cbr\u003e\u003cb\u003eAntonin Artaud\u003c\/b\u003e (1896–1948)\u003cbr\u003ePost-Scriptum\u003cbr\u003e\u003cb\u003eLouis Aragon\u003c\/b\u003e (1897–1982)\u003cbr\u003eThe Unoccupied Zone \u003cbr\u003eThe Lilacs and the Roses\u003cbr\u003e\u003cb\u003eFrancis Ponge\u003c\/b\u003e (1899–1988)\u003cbr\u003eThe End of Autumn \u003cbr\u003eThe Mollusc \u003cbr\u003e\u003cb\u003eHenri Michaux\u003c\/b\u003e (1899–1984)\u003cbr\u003eSlices of Knowledge \u003cbr\u003e\u003cb\u003eBenjamin Peret\u003c\/b\u003e (1899–1959)\u003cbr\u003eLittle Song of the Maimed \u003cbr\u003e\u003cb\u003eJacques Prevert\u003c\/b\u003e (1900–77)\u003cbr\u003ePater Noster \u003cbr\u003e\u003cb\u003eRobert Denos\u003c\/b\u003e (1900–45)\u003cbr\u003eEpitaph \u003cbr\u003e‘I have dreamed of you so long’ \u003cbr\u003eLast Poem\u003cbr\u003e\u003cb\u003eMarguerite Yourcenar\u003c\/b\u003e (1903–87)\u003cbr\u003ePoem for a Doll Bought in a Russian Bazaar\u003cbr\u003e\u003cb\u003eJean Follain\u003c\/b\u003e (1903–71)\u003cbr\u003eMetaphysics \u003cbr\u003eAbsence \u003cbr\u003e\u003cb\u003eEugene Guillevic\u003c\/b\u003e (1907–97)\u003cbr\u003eFrom \u003ci\u003eCarnac \u003c\/i\u003e\u003cbr\u003e\u003cb\u003eLeopold Sedar Senghor\u003c\/b\u003e (1906–2001)\u003cbr\u003eThe Young Sun’s Greeting \u003cbr\u003e\u003cb\u003ePatrice de la Tour du Pin\u003c\/b\u003e (1911–75)\u003cbr\u003eFirst Concert on Earth (Borlonge) \u003cbr\u003e\u003cb\u003eAime Cesaire\u003c\/b\u003e (1913–2008)\u003cbr\u003esong of the sea horse \u003cbr\u003elink of the chain gang\u003cbr\u003e\u003cb\u003eAnne Hebert\u003c\/b\u003e (1916–2000)\u003cbr\u003eRain \u003cbr\u003e\u003cb\u003eYves Bonnefoy\u003c\/b\u003e (1923–2016)\u003cbr\u003eImperfection Is the Summit \u003cbr\u003e‘O flame’ \u003cbr\u003e\u003cb\u003eHeather Dohollau\u003c\/b\u003e (1925–2013)\u003cbr\u003eSuite \u003cbr\u003e\u003cb\u003ePhilippe Jaccottet\u003c\/b\u003e (1925–)\u003cbr\u003eThe Voice \u003cbr\u003eInterior \u003cbr\u003e\u003cb\u003eVenus Khoury-Ghata\u003c\/b\u003e (1935–)\u003cbr\u003eShe Used to Throw Her Old Crockery \u003cbr\u003e\u003cb\u003eHenri Thomas\u003c\/b\u003e (1913–93)\u003cbr\u003eEnd of His Tether\u003cbr\u003e\u003cb\u003ePaul de Roux\u003c\/b\u003e (1937–)\u003cbr\u003eDay by Day \u003cbr\u003eThe Deep Street \u003cbr\u003e\u003cb\u003eJacques Reda\u003c\/b\u003e (1929–)\u003cbr\u003ePrayer of a Passer-By\u003cbr\u003eVertigo\u003cbr\u003e\u003cb\u003eMichel Deguy\u003c\/b\u003e (1930–)\u003cbr\u003e‘Someone has been and is no longer’\u003cbr\u003e\u003cb\u003eMarie-Claire Bancquart\u003c\/b\u003e (1932–)\u003cbr\u003eReturn of Ulysses\u003cbr\u003e\u003cb\u003eHedi Kaddour\u003c\/b\u003e (1946–)\u003cbr\u003eVerlaine \u003cbr\u003e\u003cb\u003eGuy Goffette\u003c\/b\u003e (1947–)\u003cbr\u003e\u003ci\u003eFrom \u003c\/i\u003eA Speck of Gold in the Mud \u003cbr\u003eFalse Lelian \u003cbr\u003eLetter to the Unknown Woman across\u003cbr\u003ethe Street \u003cbr\u003e\u003cb\u003eGilles Ortlieb\u003c\/b\u003e (1953–)\u003cbr\u003e‘Through the window, a small man in a tan scarf’ \u003cbr\u003e‘Snow in Thionville’ \u003cbr\u003e\u003cb\u003eValerie Rouzeau\u003c\/b\u003e (1967–)\u003cbr\u003e18 Lines towards What \u003cbr\u003eFrom \u003ci\u003eCold Spring in Winter \u003c\/i\u003e\u003cb\u003ePATRICK MCGUINNESS\u003c\/b\u003e is a British academic, critic, novelist, and poet. He is Professor of French and Comparative Literature at the University of Oxford, where he is Fellow and Tutor at St. Anne's College. He was born in Tunisia to an Irish father and Belgian mother, and grew up in Belgium.PREFACE \u003cbr\u003e \u003cbr\u003e‘For the best part of a thousand years English poets have gone to school to the French’, wrote Ezra Pound: ‘The history of English poetic glory is a history of successful steals from the French.’ \u003cbr\u003e \u003cbr\u003ePound spoke many languages, and exaggeration was one of them, but his typically bold statement tells us something of the relationship between French- and English-language poetry from the age of Chaucer to the age of Pound and Eliot and beyond. Languages are not nations, and thanks to translation they have no borders. From the earliest days, when Chaucer was looking across the Channel for his motifs and his techniques, to the French Romantics and Symbolists of the nineteenth century and the Surrealists of the twentieth, France has given the world an anthology of models and inspirations. Louise Labe, du Bellay, Ronsard, Hugo, Verlaine, Rimbaud, Mallarme, Laforgue, Aragon, Eluard, and countless other French poets have changed not just their own national traditions but those of other cultures.\u003cbr\u003e \u003cbr\u003eThis anthology presents a selection of French poems over nine centuries, starting with Marie de France and finishing with Valerie Rouzeau. Along the way it introduces the reader to a range of forms, from the ballad and sonnet, by way of the prose poem and free verse, to the experimental techniques of the twentieth and twenty-first centuries. It gives due prominence, too, to women poets and to writers from what is known as ‘francophonie’: French-language cultures which, whether through colonization or more benign forms of cultural affiliation, express themselves in the language of Racine and Baudelaire. But they also change that language, extending and enriching it, as we see in the work, notably, of Aime Cesaire and Leopold Sedar Senghor, poets who were also politicians and who played important roles in their countries’ post-colonial history. \u003cbr\u003e \u003cbr\u003eWhile the poets tell their own story, the translators too are representative of their art. There are many kinds of translation: the faithful translation (but faithful to what? faithful to whom?), the free translation (free from what? according to what rules?), the version, the adaptation, and the translation so removed from its original that we think it may as well declare itself a poem and have done with it.\u003cbr\u003e \u003cbr\u003eI have included translations by poets such as Marianne Moore, John Ashbery, Marilyn Hacker, Beverley Bie Brahic and Pound himself, but also translators, such as Richard Sieburth, Martin Sorrell, Mary Ann Caws and Norman Shapiro, whose work over the years has done much to keep open the lines of communication between today’s English-language reader and the poets of the past. There are occasional surprising meetings, such as F. Scott Fitzgerald’s version of Rimbaud’s ‘\u003ci\u003eVoyelles\u003c\/i\u003e’, Wallace Stevens’s Le´on-Paul Fargue, or G. K. Chesterton’s du Bellay, which remind us that, for some, translation is a lifetime’s travel, and for others a unique, one-off foray into a foreign land.\u003cbr\u003e \u003cbr\u003eTo say there are love poems, both requited and unrequited, poems about life and death, war, triumph and defeat, is not to make a statement either about French poetry or about its French\u003ci\u003eness\u003c\/i\u003e. But French poetry is among the most influential in the Western world because it has been so responsive and so curious about the literatures of others. Since the medieval period, French poets have been great cosmopolitans, and the import-export of translation has ensured that they themselves ‘borrowed’ as much as they lent to others. French renaissance poets read the classics, but also looked to far-off countries for their inspiration, while the nineteenth-century Romantics looked across to England or to Germany and Spain. America and American literature (not just Britain and British) have always been part of this exchange, and the French have always had a special affinity with America and its literature. After all, Baudelaire claimed to have learned English to translate Poe, while the Symbolists of the 1880s and 1890s read and translated Whitman, using him to justify their own experiments with ‘free verse’.\u003cbr\u003e \u003cbr\u003ePoetry is an international language, but we rely on translation to make it so.\u003cbr\u003e \u003cbr\u003e--Patrick McGuinness","brand":"Everyman's Library","offers":[{"title":"Default Title","offer_id":46304974700773,"sku":"NP9781101907832","price":18.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781101907832.jpg?v=1767727689","url":"https:\/\/k12savings.com\/es\/products\/french-poetry-isbn-9781101907832","provider":"K12savings","version":"1.0","type":"link"}