Éditorial
Pierre Jean Jouve’s first period is not well known. One reason is that Jouve repudiated all his pre-1925 work, forbidding any new edition, and forcing his close relations to keep silent about it—his friends waited a few years after his death to reveal his early life to us. Another reason is the smal...
保存先:
| 第一著者: | |
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| フォーマット: | Article ou chapitre numérique |
| 言語: | Français |
| 出版事項: |
2017
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| オンライン･アクセス: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| 要約: | Pierre Jean Jouve’s first period is not well known. One reason is that Jouve repudiated all his pre-1925 work, forbidding any new edition, and forcing his close relations
to keep silent about it—his friends waited a few years after his death to reveal his early
life to us. Another reason is the small print runs for his collected poems, his first novel,
his theatre play and the Bandeaux d’ Or, the journal (1906–1914) he had cofounded
and where he used to publish his poems and reviews. Jouve’s first books have only
been partially republished by Jean Starobinski in the two volumes of Œuvre (1987).
One extreme example is Artificiel, his first collection, with only seven copies (or so it
seems) printed by Lucien Linard, the Abbaye’s wonderful typographer. The first issues
of the Bandeaux d’ Or also are hard to find. But young Jouve’s activity as a poet, a novelist and a critic (poetry, music, painting), is an exceptional testimony on the transition
from late Symbolism to Modernity. Fortunately for the reader the BnF (across its various sites) keeps all the publications and some unpublished manuscripts anterior to
1915. This article focuses mainly on Artificiel and the Bandeaux d’ Or. It recalls Jouve’s
companionship with the Symbolist, Neoclassical, and ‘Modern Classical’ poets (the
Abbaye, unanimism), before his conversion to a committed pacifist’s art from 1915
on. In 1925 Jouve entered Modernity for good when he repudiated his early years, but
those had been formative years, and his post-1925 work contains subterranean memories of the many crises (personal and artistic) in his younger years. |
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