By Clarice Lispector
A magical discussion among a male writer (a thinly disguised Clarice Lispector) and his/her construction, a lady named Angela, this posthumous paintings hasn't ever ahead of been translated. Lispector didn't even reside to work out it published.
At her demise, a mountain of fragments remained to be “structured” by way of Olga Borelli. those fragments shape a discussion among a god-like writer who infuses the breath of existence into his production: the talking, respiring, loss of life construction herself, Angela Pralini. The work’s nearly occult charm arises from the belief that if Angela dies, Clarice should die to boot. and she or he did.
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Extra info for A Breath of Life
Sunt et eo quoque vicini quod eorum quae poeta accipit, causas phylosophus perquirit. (It is also most convenient that the philosopher would be absorbed in the same interests as the poets, because he desires what is beautiful and great, as we have said. And what can be more beautiful and greater than nature itself? ) Composed in the 1470s; 1st edition in Pontano 1505. On this, see Panofsky 1968. ‘Poeta vero non hoc [= rem nudam id est singularem], sed simplicem ideam pulchrituninibus suis vestitam, quod universale Aristoteles vocat’, Naugerius, in Fracastoro 1555: 158v°, see also 160–162.
It is true that Ronsard repeatedly expresses the desire to leave in the main clause, not in the subordinate if-clauses in his poems; but this does not make such desires statements of intent. But as in the ‘aucunefois’, so in the if-clauses: it is the modulation of the desire that matters. For these conditional dreams are heuristic fictions, not blueprints for action. And Ronsard himself underlines the point, later in the poem, with a second ‘aucunefois’, through which he first restates the desire for escape from the here and now – ‘Je veux aucunefois abandonner ce monde’ (‘I want sometimes to leave this world’) – and then reprimands, severely, those who have translated this fictional wish into recent, imperial action.
The echo of if-clauses between Ronsard and Montaigne opens up, then, the space of alternative co-ordinates to identity; it gives rise, too, to alternative forms of experiment, or essai, or prayer, taking place and shape under other conditions, in other climes, and times. All of which confirms that if-clauses can tell us more both about Ronsard’s poems, and about the fictional conditions of possibility under ‘Si Faut-il Voir Si Cette Belle Philosophie…’ 39 which that experiment of self-understanding which is the Essais is conducted.
A Breath of Life by Clarice Lispector