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Paul Fort À Montlhéry Antoine Antonakis François Fort Paul Fort à Montlhéry Le poète est dans le pré © 1989 EDITIONS DU SOLEIL NATAL. R.C. Corbeil-Essonnes A 330038 696. La loi du 11 mars 1957 n'autorisant, aux termes des alinéas 2 et 3 de l'article 41 que les copies ou reproductions strictement réservées à l'usage privé du copiste et non destinées à une utilisation collective et que les courtes citations et les analyses dans un but d'exemple et d'illustration, toute représentation ou reproduction intégrale, ou partielle, faite sans le consentement de l'auteur ou de ses ayants droits ou ayants cause est illicite (alinéa premier de l'article 40). Reproduction, représentation, ou contre façon se trouvent sanctionnées par les articles 425 et suivants du Code Pénal. PAUL FORT A MONTLHERY Le poète est dans le pré Avant Montlhéry Pourquoi Montlhéry Antoine Antonakis Avant Montlhéry Paul Fort est né à Reims, tout près de la cathédrale, 1 rue du Clou dans le Fer, le 1er février 1872, sans la moindre douleur pour la mère, dit-on. La France sort alors du Second Empire par la porte étroite de la défaite devant la Prusse, traumatisée aussi par la Commune de Paris. Le poète a raconté lui-même sa prime enfance, pleine de fées et de bonheur, auprès d'une mère adorée qui lui chantait "Le Roy Renaud" et "la violette double double". A six ans, il vient à Paris : son père négociant en champagne est devenu Inspecteur Général d'une Compagnie d'Assurances. La cervelle toute imprégnée de l'Iliade, de Chansons de Geste et d'épopée napoléonienne, il veut devenir soldat : n'oublions pas l'époque, l'esprit de revanche né de la défaite même, l' Alsace-Lorraine arrachée à la mère-patrie. Hélas ! écrit Paul Fort de lui-même, pour se rendre au lycée Louis Le Grand, de la rue Saint-Jacques, il doit traverser le Jardin du Luxembourg, aux pièges si féériques. Parmi ces pièges, on peut compter Pierre Louys qui lui récite quelques-uns des trois mille vers qu'il connaît par coeur : Hugo, Chénier, Racine, Ronsard, Villon... et lui fait connaître André Gide, élève comme lui, de la très célèbre école alsacienne. Rien ne résiste à la poésie : adieu les rêves de gloire militaire. En 1888, Paul Fort vient d'avoir dix-sept ans et, comme ses jeunes amis, il admire, sans les connaître, les poètes symbolistes qui ont noms : Mallarmé, Verlaine, Verhaeren, Henri de Régnier, Moréas, Laforgue, Saint-Pol Roux, Samain, etc. Audacieux, il entraîne ses compagnons au Café Voltaire, derrière l'Odéon. Il est difficile, en nos temps de télévision à outrance, d'imaginer ce qu'était, dans les milieux estudiantins, la célébrité de ces poètes. L'impact, aussi, de la beauté de Madame Rachilde, des moustaches guerrières du Grec Papadiamantopoulos, autrement dit; Jean Moréas, de la cravache de Laurent Tailhade et enfin, surtout, de la calvitie socratique de Verlaine. Dans leur coin, les jeunes lycéens écoutent le vacarme des gloires poétiques symbolistes en lutte contre le Naturalisme. Un soir, Paul Fort entend Alfred Valette, futur fondateur du "Mercure de France", se plaindre de ce qu'un théâtre manque aux symbolistes. Qu'à cela ne tienne, ce théâtre, il va le fonder, lui, le jeune lycéen : rappelons-nous, il a dix-sept ans ! Est-ce vraiment l'aura de Paul Fort qui va permettre le miracle, ou bien l'étonnante époque qui s'y prêtait à ce point ? Le jeune homme, comme un grand, rédige un manifeste et, audace des audaces ou superbe simplicité, le fait contresigner par Moréas, Régnier, Viélé-Griffin, Valette, Charles Morice, Mallarmé et Verlaine. Le Théâtre Symboliste est né. En somme, ne manquent plus que les auteurs, les acteurs, la scène, les décorateurs, les abonnements. Paul Fort part à la recherche de ce qui lui fait défaut : tout. Pour ce faire, il sèche le lycée. Il est renvoyé en tant que directeur d'un théâtre encore imaginaire mais "patronné par des poètes fous". A tête reposée, un grand siècle après, cette création du Théâtre d'Art à partir de rien nous paraît invraisemblable. Pierre Louys écrit : "Il enrôla des acteurs sans gages, il fit brosser des toiles par des peintres révolutionnaires et maintenant illustres : Gauguin, Vuillard, Bonnard, Bernard, Sérusier ; il reçut des pièces dites obscures qu'il fit apprendre et des pièces injouables qu'il fit jouer. Il eut des auteurs de premier ordre et même un public nombreux, bruyant, enthousiaste (chaque soirée du Théâtre d'Art était un soir d'Hernani, multiplié par dix, du moins pour le lyrique tapage qu'y menaient les catéchumènes)..." Les comédiens ? Entre autres, Marguerite Moréno, Suzanne Després, Lugné-Poe, de Max, la mère de Sacha Guitry, lequel courait dans les coulisses. Le théâtre survécut à coups de miracles durant près de quatre ans. Sur ses assises sera fondé le Théâtre de l'Œuvre, on l'oublie quelquefois. A dix-neuf ans, Paul Fort s'était marié avec Suzon, la fille d'une marchande de fleurs de la rue Saint Placide. Les témoins étaient Verlaine et Mallarmé. Son nouvel état ne favorisait guère son activité de directeur de théâtre ni sa santé : il "attrape" une méningite. Il se rend cependant aux obsèques de Paul Verlaine, le 10 janvier 1896, qui laisseront dans son souvenir une cicatrice indélébile. Finalement, n'est-ce pas bientôt le démon de l'écriture qui lui fit abandonner le théâtre ? Il est très étonnant de penser que ce jeune homme, qui a fondé un théâtre poétique et une revue-programme, qui fréquente les plus célèbres poètes de son temps, n'a pas encore écrit. Il se risque à ses premières ballades. Valéry, Klingsor, Louys, Jammes l'encouragent. On persévérerait a moins ! Marchand de fleurs - et de globes de pendules ! - il commence donc a rédiger ses premiers textes. D'un coup, il trouve son style, sa musique, son rythme. Il ne s'en 1 Paul Fort, Mes Mémoires 1872-1944, Flammarion Edit. 1944. écartera jamais. Il écrit aussi un grand drame en vers "Louis XI, curieux homme". Ce curieux homme est et restera le roi préféré de Paul Fort. Nous verrons bientôt pourquoi ce goût a été déterminant pour la suite de la vie du poète. Le Théâtre d'Art, par opposition au Théâtre Naturaliste d'Antoine a donc vécu ; le théâtre, pas l'idée qui va poursuivre sa route jusqu'à nos jours. Il est stupéfiant de constater que Paul Fort, sans expérience, sans études spécifiques, a fait jouer Edgar Poe, Maurice Maeterlink, Rachilde, Verlaine (Les Uns et les Autres), Ch. Marlowe, Shelley, Schuré, Oscar Wilde, Villiers de L'Isle-Adam. Excusez du peu. Il invente le jeu des éclairages et la projection de parfums. La meilleure définition qu'on puisse donner du Théâtre d'Art est, semble-t-il, celle de Pierre Béarn : "Théâtre de poètes". A tel point même que Paul Fort fait jouer nombre de poèmes, point du tout écrits pour la scène, comme le Guignon de Mallarmé ou Le Corbeau d'Edgar Poe. Bientôt, Paul Fort, suivi de son cénacle, émigre du Café de Versailles qui n'existe plus, à la Closerie des Lilas, dans le quartier de Montparnasse. Il a fondé la revue "Vers et Prose". La liste des noms de ceux qui fréquentent ces mardis se passe de commentaire : Laforgue, Verhaeren, Moréas, Régnier, Viélé-Griffin, Stuart Merril, etc. Plus une nuée de jeunes enthousiastes, alors inconnus, mais qui ne le resteront pas : André Salmon, Alfred Jarry, Guillaume Apollinaire, Guy-Charles Gros, Tristan Derême, Alain-Fournier, Tristan Klingsor, Francis Carco, Roland Dorgelès, André Gide, Paul Claudel, Pierre Louys, Francis Jammes, Maurice Barrès, Rémy de Gourmont, Marcel Schwob, Pierre Benoit, André Billy, Jacques Maritain, René Lalou, Paul Souday... encore une fois etc. Quant aux peintres obscurs qui hantent les lieux, ils se nomment Picasso, Modigliani, Derain, Othon Friesz (etc !) 1915 - Paul FORT sur la tour de MONTLHÉRY. La revue accueillait tous les poètes de tous les horizons. Notons avec amusement que Guillaume Apollinaire y était chargé ... de la publicité. Il ne fallut rien de moins que la déclaration de guerre, en septembre 1914, pour que s'interrompît la vie de "Vers et Prose". Est-il utile de noter que le Montparnasse, qui fit rêver les artistes du monde entier, fut entièrement inventé par Paul Fort ? A preuve, ces dix mille lettres qui annoncèrent à la terre entière qu'on y attendait les artistes de tout acabit. Ils vinrent et ce fut Montparnasse, l'un des grands repères — et repaires ! — artistiques de la planète. De quelque côté ét de quelque manière que l'on examine cette époque, on ne saurait minimiser le rôle-phare du poète rémois. Paul Fort timonier, Paul Fort porte- enseigne, avec cette extraordinaire faculté de déceler les talents en sommeil ou en devenir, voire de les révéler. Après avoir "lancé" Montparnasse, Paul Fort fit de même pour Montmartre où l'entraîna un nouvel amour, dit "Margot mon page", jolie poétesse de Passy, qui remporta le Prix de Poésie du Théâtre de l'Odéon. Mille francs de ce temps-là c'était quelque chose : elle les offrit pour l'érection d'une statue de Paul Verlaine dans les jardins du Luxembourg. Le monument fut inauguré le 28 mai 1911. C'est à cette époque, en 1912, après la mort de Léon Dierx, que Paul Fort, élu Prince des Poètes par ses pairs et par l'intermédiaire des journaux tels que Comœdia, Gil Blas, La Phalange, Le Figaro. Frédéric Mistral écrivit à cette occasion un premier article en français. C'est au cours de cette même année que Paul Fort voit, pour la première fois, la toute jeune Germaine que son père, le bon poète Léo D'Orfer, symboliste estimable, a emmenée à la Closerie des Lilas.
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