PAM1052 – Vita Nuova

La Petite Année de la Marchandise se donne pour neuvième souci la dramatisation des affects, sur le modèle de Vita Nuova (1295, il y a 720 ans, ce qui fait 7+2 = 9).

Vita Nuova (2015) est une version délayée de l’authopathographie dantesque. Elle s’inspire des sentiments, des vertus et des vices disposés par Dante en canon, dans leur déclinaison superlative. En puissance. En canon. L’affect en majesté.

Du canon des affects en puissance, vertueux ou vicieux mais majestueusement, Vita Nuova (2015) retient la joie et la peine, symètres au gradient, sans paliers d’intensité et ainsi sans décompression.

L’intensification adjective, en allemand Steigerung, qui ouvre aux joies et aux peines des comparatifs et superlatifs, est l’objet d’une blague en allemand qui propose une intensification fantaisiste pour l’adjectif “imposant” : im Po Sand [prononcé comme “imposant”, donc], im Hintern Steine, im Arsch Geröll ! (“dans le popotin du sable, dans le derrière de la caillasse, dans le cul de l’éboulis.”)

La Steigerung est, dans Vita Nuova (1295), inexistante en tant que progression : l’affectation précoce et définitive des superlatifs à Amour, Bice, Mort, en fait des figures épiques comme chacune patronnée par son antonomase (“nobilissimo colore / colore bianchissimo”, “la secretissima camera de lo cuore”, “giovanissima / gentilissima / cortesissima” etc.)

Vita Nuova (2015) est un travail honnête où on ne se ment pas (hier wird sich nichts vorgemacht), ne se laisse pas se mentir, demeure honnête avec soi-même, selfsame mais pris dans un monde fusible sans problèmes d’I/O :

Ici, dans ce monde doublé de bourre porté à même le grand petit moyen corps échangeur par défaut, malgré sa face et ses abats, son connecteur intermittent de moins en moins animal, et tout le bordel de cycles subis (hormones, cheveux), commence, cycles choisis / cycles subis, moyennant ses moyens, NOUVELLE VIE.

 

PROFILE 1 : il vilanissimo (le grand vilain / the great villain / das böseste Kind)

when my affectivity went off / for example / these, at first / my expressions were separated / and therefore vital / which are none of my lines / & I began to say / samples / to a trumpet / only of refusal / except for a few / c’était une cabrure / SAGOUIN ! / LYRICS!

 

THE ANIMAL

the animal spirit
in my least pulses
Jesus Christ
of the 12 parts
a lady who shall be
passing through a road
dwells in the chamber
the colour of fire
& becoming people
nine times since my birth
something which burned
in its proper gyration
in a blood red cloth
the art of saying words
I did not understand
it is my purpose to copy
the pleasure of the lord
no enemy remained
little could be read
my imagination disappeared
in the vulgar speech
of this painful city
clothed in the purest white
come from distant parts
sight said these words
the glory of him
requited in the other world

 

PASSING THROUGH A ROAD

Passing through a road
in the last of these days
where I was
my eyes first appeared
in that part where I was
nine times since my birth

& began to weep
& weeping
the pleasure of the lord
in my chamber a cloud
in the vulgar speech
it is my purpose to copy

I did not understand
something which burned
that which I had said to myself
the words which it is my purpose to copy
in my least pulses

Jesus Christ

these having passed out
my eyes first appeared
in the middle
one intoxicated
salute arrived at me

the animal spirit
in a blood-red cloth
clothed in the purest white
& becoming purple
a signor of aspect fearful
to the beholder
sighs
dwells in the chamber
of this painful city
and becoming people
in its proper gyration
began to weep & weeping
the pleasure of the lord
had thus destroyed me

he made her eat
all the limits of happiness
in the vulgar speech
of this painful city
in its proper gyration
& becoming people
the colour of fire
come from distant parts
of the 12 parts

my imagination disappeared
in a blood-red cloth
my dream was broken
in my least pulses

Jesus Christ
little could be read
of the 12 parts

except a few
at least their sense
clothed in the purest white
the colour of fire

I should signify
where I was
in the vulgar speech

I would speak words
taken from the book
of this painful city
with power to make others weep
in its proper gyration

all the limits of happiness
of this painful city
in my least pulses

their distant friends
passed by a road
in a blood-red cloth
come from distant parts
more piteous
in the middle
except a few

& becoming purple

had thus destroyed me

a signor of aspect fearful
in the middle
of maturer age

when we do not know
their distant friends

after this tribulation
passed by another road
where I was
a lady who shall be
the colour of fire
to the beholder

one intoxicated
in its proper gyration
in the middle
of that gentle one
of maturer age

to the beholder
of the 12 parts
where I was
more piteous
things which are not here present
deigned to salute me
come from distant parts
of this painful city
in the vulgar speech

I am thy lord
the lady of peace
in my least pulses
come from distant parts
& becoming purple
time that many people came
except a few

the glory of him
requited in the other world
come from distant parts
Jesus Christ
he made her eat
the animal spirit

little could be read
more piteous
joy in himself

a signor of aspect fearful

in its proper gyration
my eyes first appeared
clothed in the purest white
that part where I was
passing through a road
the colour of fire
I did not understand
Jesus Christ
that which I had said to myself
considering their nobility
the pleasure of the lord

& becoming purple
at least their sense
dwells in the chamber
deigned to salute me
had thus destroyed me
where I was

I did not understand
I will leave them all

the pleasure of the lord

in the vulgar speech

 

PROFILE 2 : pietade aux vergognosi

E partitomi da lui, mi ritornai ne la camera de le lagrime; ne la quale, piangendo e vergognandomi, fra me stesso dicea: « Se questa donna sapesse la mia condizione, io non credo che così gabbasse la mia persona, anzi credo che molta pietade le ne verrebbe.

that I lose sight of the original emotion, & the original object the hills of home. Rather I go off and write a poem about an old lover. Which landscape contains no real objects or actions but all heightened, glamourized, even at the, abstracted.
So what starts off as potentially a simple lyric with possibly
a
new
form
winds up as a trashy romantic unreal self exploration.
(John Wieners)

però che grande vergogna sarebbe a colui che rimasse cose sotto vesta di figura o di colore rettorico, e poscia, domandato, non sapesse denudare le sue parole da cotale vesta, in guisa che avessero verace intendimento.

*Sorge: the distance/ the inadequate closeness ; the question of ornamental dressing
*Method: Dante + Wieners + 27 / 3 + physical effects + technological anxiety = 9
*Goal: to make people pity the inadequate.

to create something of virtue
for something virtuous
that overcame me
through sight
to undress that thing
of beauty and to find
still beauty standing
to arrive at a new life naked
with only words to praise
the virtue that jumped at me
and made me accept a master
who fed someone my heart
to be distant of that virtue
as I see it barely
and see it naked

the line living in a face
whose landscape contains no image
breathlessness and moist hands
are text and inadequate
grove of memory, overgrown
whenever we’re around
I go off and write a poem
speaking especially of the spirit of sight
heightened, glamorized
in form of
most gentle Beatrice
ignite/
into a new place as there is a hint of it
takes of the garments
and says nothing new about death
I recovered the sight of this
that Nothing is sacred
or the original object of the hills of home
to halt at this
text
bice the bicest of the virt
the brain
that which has never been said
in the book of memories
is it night or the inverse flesh
to halt at this
is it a new life on your shirt?
chasing off the spirits
from the flatter page dopamine
the weight of death
what is it
and I must die
language
it is second rate and trashy
to be distant of that virtue
heightened, glamorized
grove of memory, overgrown
and to arrive at a new life naked
an agony that swells and increases
still beauty standing
where no landscape contains an image
I say nothing new about death
take of the garments
text’s dolorous sobs
most gentle Beatrice
pulses in the faults of the poem
virtuous that overcame me

the end of my love is truly to salute
consume the livers through sight
There is no sense of a breakthrough
all my thoughts speak of love
even at the moment
that settles in the heart
it is not it
the brain releases my lady
text that is inadequate
even at the moment
heightened, glamorized,
as I see it barely
the flame of affection
agony that swells and increases
what dwells in the sentence’s chamber
it is a new life on your shirt
but to see it naked
chasing off the spirits
to undress that thing
to arrive at it naked
and feed it my heart
language most gentle lady
your landscape contains no image

to be distant of that virtue
in form of
to be distant of that virtue

 

PROFIL 3 > un pargoletto battuto

“Partito me da la genti, in soligna parte andai a bagnare la terra d’amarissime lagrime. E poi che alquanto mi fue sollenato questo lagrimare, misimi ne la mia camera, là ov’io potea lamentarmi sanza essere udito; (…) e dicendo “Amore, aiuta lo tuo fedele”, m’addormentai come un pargoletto battuto lagrimando.”
(Vita nuova, XII)

*Souci : la désappropriation
*Méthode : dite des “écarts affectuels” (tous les affects sont tassés entre rire et larmes, ramassés, pris en sandwich entre une joie et une peine absolues sans souvenir de leur Steigerung).
*Objectif : Un ordre canin de l’affectivité, tel que décrit par Barthes dans la digression ouvrant le cours 9 de la Préparation du Roman:

Les animaux, certains animaux dont je veux parler, donnent le spectacle fascinant de l’affect pur, de l’affect sans mélange. Et c’est pour cette raison que, personnellement, les chiens, notamment, m’intéressent, et que les chiens me passionnent. Observez la queue d’un chien : son agitation suit les sollicitations de l’affect avec une rapidité de nuance dont aucun visage humain, si mobile soit-il, ne peut approcher la subtilité. On pourrait imaginer un homme qui aurait la puissance d’expression d’affects d’un chien ; un nouvel homme au fond, dont l’affect serait, à la lettre, immédiat, non médiat, sans médiation. Et cela à chaque seconde. Vous imaginez quel délire. Quel délire sur les visages. Quel délire dans la communication, si tous les affects étaient immédiats à mesure qu’ils se produisaient, comme c’est le cas finalement pour les chiens.

À Barthes s’ajoute un autre dramatiseur d’affects, un autre stagieur d’affects inspiré:

“Mitt fyraåriga hjärta förtärdes av hundlik kärlek.”
(Ingmar Bergman, Laterna Magica)

 

BOUH

Dans cette chanson, je suis comme un petit chien, tiré subitement hors de sa sieste. Ce chien devient la persona de ma vie nouvelle, attentive, avec la constance du dormeur, aux cauchemars extrinsèques.

le petit feu des bises
le clapot des familles
des bandes organisées
encore un peu d’émeute au creux des petites cuillères
et tjrs x 2
le grand jeu de la mâchoire inférieure (bis)

c’est tout mon soul qui pleure,
comme un petit chien sage
qui serait de quatre ans, d’amour
et tout péri dans le garage

la pigne des relations consenties
le ronchon des conciergeries
des liaisons médicalisées
les contaminations par galoche
et tjrs x2
le grand jeu de la mâchoire inférieure (bis)

c’est tout mon soul qui pleure,
comme un petit chien sage
qui serait de quatre ans, d’amour
et tout péri dans le garage

 

CHIENS D’APPROPRIATION

des écarts affectuels
se tassent
chiens d’appropriation
ce rire
(un délirio sulle facce)
ne se laisserait recouvrir
questo délirio nella comes
a la coda sempre
se masse
le repenti étête
chien d’appropriation
chien d’appropriation
se tasse
baissant des chefs
fermant des bouches
ne se laisserait recouvrir
a la coda sempre
un délirio sulle facce
ne se laisserait recouvrir
un délirio sulle facce
fermant des bouches
fermant des bouches
chin down, kopf hoch
des affects se lassent
chiens d’appropriation
chiens d’appropriation
(bis)





15 mars 2015