By Stanislas Rodanski
Repéré par Julien Gracq et André Breton, Stanislas Rodanski (1927-1981) fait partie des marges du surréalisme, de ces figures extrêmes qui en posent naturellement les jalons. Ce recueil est constitué de poèmes écrits entre 1946 et 1952, presque tous inédits, qui offrent l. a. découverte du poète après celle du Rodanski écrivain 'surréaliste'. Ici, il arpente en veilleur un territoire froid et nocturne. Dans son paysage intérieur sont dressées des phrases-lanternes auprès desquelles il revient pour relancer son discours et réchauffer sa flamme. Rodanski swimsuit les mots tout en disant 'je suis les mots', utilise les paradoxes et les antithèses pour forcer le langage, pour trouver los angeles voie de l’être et le 'cours de los angeles liberté'. Chez lui los angeles folie est devenue une 'vertu morale' et Rodanski se réclame du 'fanal de Maldoror' tout en marchant dans les pas de Nerval. Son univers poétique s'étend du romantisme allemand de Novalis et de Hölderlin au panthéon surréaliste avec lequel il discussion (allusions à Breton, Sade, Vaché, Jarry, ou Rimbaud) dans un variety special, cristallin, où pointe un humour noir et désespéré.
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Chaucer, though he was more indebted to Dante than he would acknowledge, departed from Dante precisely in this, a departure that constitutes the largest Chaucerian influence upon Shakespeare. The Pardoner listens to himself speaking, is moved by his own sermon and his own tale, and is made more doom-eager through just that listening. This mode of representation expands in Shakespeare to a perfection that no writer since has attained so consistently. Hamlet may be the most bewilderingly metamorphic ofShakespeare's people, but as such he helps establish what becomes 44 FROM HOMER TO DANTE the general mode.
Auerbach knew that Dante was not Tertullian, while Singleton escaped his own temptation of confounding Aquinas with Dante, and Freccero does not confuse Dante and Augustine. Unfortunately, the readers of all three critics sometimes seem to have learned to read Dante precisely as they would read theology. A distorted emphasis upon doctrine is the unhappy result, and soon readers forget the insight ofCurtius, which is that Dante's Beatrice is the central figure in a purely personal gnosis. Dante was a ruthless visionary, passionately ambitious and desperately willful, whose poem triumphantly expresses his own unique personality.
Lucia, a rather obscure martyr from Syracuse, is exalted by Dante as the particular enemy of 40 FROM HOMER TO DANTE all cruelty. She sends Beatrice to Dante, and she herself is sent by an even higher heavenly lady, whom we have no reason to believe is the Virgin Mary. Curtius reminds us how sublimely arbitrary this is. It does not stem from Paul or from Augustine. Manifestly it is an allegory, but if it is an allegory ofthe theologians and not of the poets, then we do not know who these inventive theologians are.