amistad

"Ce que « Le Petit Prince », de Saint-Exupéry, a de spirituel"

"Le deuxième livre le plus traduit au monde après la Bible est un conte pour enfants dépouillé, dont la dernière note n’est pas un « happy end ». Une fin atypique qui voile le sens de ce conte philosophique, auquel le Musée des arts décoratifs (Paris) consacre actuellement une exposition."

"Par Kyrill Nikitine!

(...)« Le Petit Prince », de Saint-Exupéry. LE PETIT PRINCE

« Il y avait, à côté du puits, une ruine de vieux mur de pierre. Lorsque je revins de mon travail, le lendemain soir, j’aperçus de loin mon petit prince assis là-haut, les jambes pendantes. Et je l’entendis qui parlait :

— Tu ne t’en souviens donc pas ? disait-il. Ce n’est pas tout à fait ici !

Une autre voix lui répondit sans doute, puisqu’il répliqua :

— Si ! Si ! C’est bien le jour, mais ce n’est pas ici l’endroit…

Je poursuivis ma marche vers le mur. Je ne voyais ni n’entendais toujours personne. Pourtant le petit prince répliqua de nouveau :

— … Bien sûr. Tu verras où commence ma trace dans le sable. Tu n’as qu’à m’y attendre. J’y serai cette nuit.

J’étais à vingt mètres du mur et je ne voyais toujours rien. Le petit prince dit encore, après un silence :

— Tu as du bon venin ? Tu es sûr de ne pas me faire souffrir longtemps ?

Je fis halte, le cœur serré, mais je ne comprenais toujours pas.

— Maintenant va-t’en, dit-il… Je veux redescendre !

Alors j’abaissai moi-même les yeux vers le pied du mur, et je fis un bond ! Il était là, dressé vers le petit prince, un de ces serpents jaunes qui vous exécutent en trente secondes. Tout en fouillant ma poche pour en tirer mon revolver, je pris le pas de course, mais, au bruit que je fis, le serpent se laissa doucement couler dans le sable, comme un jet d’eau qui meurt, et, sans trop se presser, se faufila entre les pierres avec un léger bruit de métal. Je parvins au mur juste à temps pour y recevoir dans les bras mon petit bonhomme de prince, pâle comme la neige. »

La mystique révélée à la fin du Petit Prince est à l’image des motivations spirituelles de son auteur, Antoine de Saint-Exupéry (1900-1944) : inquiètes, parfois amères, mais toujours sans concession et fidèles à ses interrogations.

Dans les arcanes de cette œuvre, certaines énigmes persistent et voilent le sens final du conte philosophique. Le petit prince est-il retourné auprès de sa rose ? S’est-il volatilisé ? A la question « De quelle façon se termine Le Petit Prince ? », il n’existe pas de réponse limpide et définitive. Saint-Exupéry ne nous dit rien. Aucun indice suffisant ne nous est donné pour suggérer la trame concrète du dernier acte. Et pourtant…

 

Situé dans l’avant-dernier chapitre, l’événement relaté précède la séparation entre le petit prince et le narrateur. Après avoir découvert le puits tant recherché dans lequel l’aviateur et l’enfant peuvent enfin se désaltérer, le petit prince explique qu’il est maintenant sur la Terre depuis un an et qu’il serait grand temps pour lui de retourner sur son astéroïde. Il recommande donc au narrateur de trouver le moyen de réparer son avion afin de quitter, lui aussi, le désert pour de bon. De retour de sa réparation, l’aviateur aperçoit l’enfant discutant avec un serpent.(...)" (Lido em: Le Monde 2022-03-09

“(...) Uma das suas sábias palavras: “A mulher é como um saquinho de chá é, disse a Sra. Roosevelt. “Nunca se sabe quando ela é forte até estar em água quente.” HILLARY RODAM CLINTON (Hillary Rodham Clinton, Vivendo a História, Editora Globo, Sao Paulo, 2008 (2003))

“EPITáFIO”

 

“Aqui jaz o Sol

Que criou a aurora

E deu luz ao dia

E apascentou a tarde

 

O mágico pastor

De mãos luminosas

Que fecundou as rosas

E as despetalou.

 

Aqui jaz o Sol

O andrógino meigo

E violento, que

 

Possuiu a forma

De todas as mulheres

E morreu no mar.”

 

VINICIUS DE MORAES

(Vinicio de Moraes, Livro de Sonetos, Companhia das Letras, São Paulo, 2008)

“É politico falar de discriminação mas o prazer é detectar disparidades. Só anteontem reparei que as casas de banho (já de si mentirosas, não se podendo tomar lá banho) dos homens dizem Homens, mas as das mulheres dizem Senhoras.”           MIGUEL ESTEVES CARDOSO (Miguel Esteves Cardoso, Como é Linda a Puta da Vida, Porto Editora, Porto, 2015 (2013))

“(...) É perdoável que às vezes queiramos fixar, o pintor na sua tela, o viajante no seu diário, a rapidez com que se alternam as cenas no espaço; como se todo o nosso ser se revoltasse contra o fugidio, o instinto do eterno prendesse na retina enlouquecida o momento que passa; para não passar. Revivo-o, na página velha do caderno: ”Raios de sol que parecem os do cimo do Tabor, quando treme no espaço o gládio de ouro. Núvens de violetas. Águas ensanguentadas, coroas brancas, no fundo do céu a placidez do campo azul que vai amarelando, corando-se, desmaiando, nas cambiantes da luz em agonia. Tons negros, de lápis-lazuli, de verde sombrio, no ar... Por fim, o manto húmido da noite que se desenrola, salpicando de gotas cintilantes, na imensidade quieta” (...)” PEDRO CALMAO (Pedro Calmão, Memórias, Editora Nova Fronteira, Rio de Janeiro, 1995)

“Pablo Picasso” (1924). “This portrait, like that of Olga, Paulo's mother, painted in Spanish-style costume in 1917, provides an interesting note of sentimentality in Picasso's career. It is as though a return to naturalism is an interlude in which to recoup and play with the naturalist and figurative techniques of the Old Masters before advancing to the next development.

Here, the boy is dressed as the young pretender, baby harlequin, a literal and metaphorical replica of the artistic master. In fact the work is one of a series of the young boy, sometimes dressed as Pierrot, riding a donkey and even painting, all lovingly capturing the beautiful round face and dramatic eyes inherited from his mother. As he sits demurely poised on the chair, we can wonder if the portrait was completed with the assistance of photographs, as it would have been almost impossible for a child of this age to sit still for so long.

Again Picasso uses the technique of a heavy background against the bright colours of the outfit to throw the boy's form into exaggerated relief. The emphasis is certainly on the harlequin costume. The fine lines of the collar and cuffs, the handkerchief and chair edging also suggest that this picture is unfinished.” LAURA PAYNE               (Laura Payne, Essential Picasso, Parragon Book, Bath, 2001)

“(...) - E amo vocês, murmurei para todos, para ninguém. - Não brinque com o amor – eu ouvi dizer.

.....................

“(...) A paisagem do deserto continuava igual: um longo e extenso pergaminho que um dia eu me divertiria preenchendo. Vou me lembrar de tudo e vou escrever tudo isso. Uma ária a um casaco. Um requiem a uma cafeteira. Era no que eu estava pensando no meu sonho, olhando para minhas mãos.          PATTI SMITH                                                                                                                       (Patti Smith, Linha Companhia das Letras, São Paulo, 2016)

““Portrait of Olga in an armchair” (1917) “ A return to Picasso's Spanish roots is significant with this stunning figurative portrait ot the Ballets Russes ballerina. Olga Koklova, soon to become his first wife. As with his previous lovers, Fernande and Eva, he reinstates traditional realistic, aesthetic methods to contemplate beauty and its relationship to art.

Here Olga serenely sits with a marmoreal, doll-like face looking down wistfully at the viewer. The wonderfully painted backdrop of the chair and the colourful, half-opened fan mitigates the severity of the black clothing and tight black hair. The blue shading around Olga's form, which throws her further into stark relief, almost seems unfinished as with the blue background tha haloes around Eva in The Artist and his Model (1914).

Picasso's involvement with Olga and the Ballets Russes revolutionised his life style as he started to mix with high society, following the troupe around Europe. When Apollinaire finally married in spring 1918, Picasso was inspires and married Olga in July. They honeymooned in Biarritz, feted by this social centre of aristocracy and beautiful people, and returned to Paris late September where they moved into a house in a glamorous district. The sudden death of Apollinaire from flu twoo days before Armistice Day shocked the arts world.”” LAURA PAYNE                                   (Laura Payne, Essential Picasso, Parragon Book, Bath, 2001).

“(...) O pior é que a namorada que nos ouve falar de tal escritora lésbica do século XIX, cuja obra dizemos aborrecer-nos não está a ouvir o que estamos a dizer. Está a ouvir o que não dizemos e o que ficou por dizer. É uma arte divinatória – pronto, bruxaria – que todas as mulheres têm. Traduzem tudo o que lhes interessa.

(...) Deixar pensar as mulheres é um dos grandes segredos do mulharengo. Elas que pensem. Não as insultemos com as nossas tentativas de lhes alterar o pensamento. Elas continuarão a pensar o que pensam. Mas acrescentarão à lista das nossas maleitas uma que é eroticamente desfavorável como poucas: o julgar que elas são parvas. (...)”

MIGUEL ESTEVES CARDOSO (Miguel Esteves Cardoso, Como é Linda a Puta da Vida, Porto Editora, Porto, 2015 (2013))

“Man in a Bowler Hat, Seated in an Armchair (Man with Pipe) (1015)”

“The year 1915 was a somber one, with the impact of World War One being felt in France and most men joining up, including Georges Braque (1882-1963), who was seriously injured, and fellow painter Andre Derain (1880-1954). Picasso was viewed with suspicion by contemporary society as he was young and healthy yet did not go to fight; in fact he demonstrated considerable ambivalence in his attitude to war, especially with his obvious close connectios to his main art dealer, the Paris-based German, Daniel-Henry Kahnweiler.

However, this large canvas, 130 x 90 cm (52x36 in), has quiet humour and feeling of composure. The use of Pointillist-style dots, with their stipped effect and the inclusion of a painted marble-effect herald Picasso's return to colour exploration and his interest in the development of interior design processes. The incorporation of frieze-like techniques, with areas of architectural scolling, creates a sense of movement to oppose the tension of the solid piling up to the angular blocks. These techniques also connote the curling of smoke from the pipe in the bottom right of the picture. The experimental return to Naturalism filters through in this painting, with the halffigurative face, hands and waistcoat fragment, though with comic intent. The artist's sense of humour is apparent in the jigsaw compilations of the face, whose bizarre, textured overlays create the nose, moustache and mouth so that a bird-shape appears. Picasso was moving away from Cubism, as seen in Man with a Guitar (1911), Surrealism was beckoning.”                                                                                                                                            LAURA PAYNE (Laura Payne, Essential Picasso, Parragon Book, Bath, 2001)