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Paul Valery

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You have neither the patience that weaves long lines nor a feeling for the irregular, nor a sense of the fittest place for a thing ... For you intelligence is not one thing among many. You ... worship it as if it were an omnipotent beast ... a man intoxicated on it believes his own thoughts are legal decision, or facts themselves born of the crowd and time. He confuses his quick changes of heart with the imperceptible variation of real forms and enduring Beings .... You are in love with intelligence, until it frightens you. For your ideas are terrifying and your hearts are faint. Your acts of pity and cruelty are absurd, committed with no calm, as if they were irresitible. Finally, you fear blood more and more. Blood and time.
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Writing at the Yalu River (1895) quoted in Of Time, Passion, and Knowledge: Reflections on the Strategy of Existence (1990) by Julius Thomas Fraser, Part 2, Images in Heaven and on the Earth, Ch. IV, The Roots of Time in the Physical World. Sect. 3 The Living Symmetries of Physics

 
Paul Valery

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It is usually thought to be very clever to say that Faust finally becomes a Don Juan, but this means very little, since the real question is in what sense he becomes one. Faust is a daemonic figure like a Don Juan, but higher. The sensuous first becomes significant in him only after he has lost the entire preceding world, but the consciousness of this loss is not erased, it is constantly present, and he seeks therefore in the sensuous not so much enjoyment as a diversion of mind. His doubting soul finds nothing in which it can rest, and now he reaches after love, not because he believes in it, but because it has a present element in which there is rest for a moment, and a striving which distracts and diverts his attention from the nothingness of doubt. Hence his enjoyment does not have the cheerful serenity which distinguishes a Don Juan. His countenance is not wreathed in smiles, his brow is not unclouded, and happiness is not his companion; the young women do not dance into his embrace, but he frightens them to him. What he seeks is not merely the pleasure of the sensuous, but what he desires is the immediacy of the spirit. As the shades of the underworld, when they got hold of a living being, sucked his blood, and lived as long as this blood warmed and nourished them, so Faust seeks an immediate life by which he can be renewed and strengthened. And where can this be found better than in a young woman, and how can he absorb it more perfectly than in the embrace of love? As the Middle Ages tell of sorcerers who understood how to prepare an elixir for the renewal of youth, and used the heart of an innocent child for that purpose, so is this the strengthening potion his starved soul needs, the only thing which is able to satisfy him for a moment. His sick soul needs what I might call a young heart’s first green shoots; and with what else shall I compare an innocent feminine soul’s first youth? If I were to call it a blossom, I should say too little, for it is more, it is a flowering: the soundness of hope and faith and trust shoots forth and blossoms in rich variety, and soft impulses move the delicate shoots, and dreams shade their fruitfulness. Thus it affects a Faust, it beckons to his restless soul like a peaceful isle in the quiet sea. That it is transient no one knows better than Faust; he does not believe in it any more than he believes in anything else; but that it exists, of that he convinces himself in the embrace of love. Only the fullness of innocence and childlikeness can for a moment refresh him. 204-205

 
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