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Alma Mater Studiorum - Università Di Bologna Aristoteleion Panepistimion Thessaloniki Université De Strasbourg ALMA MATER STUDIORUM - UNIVERSITÀ DI BOLOGNA ARISTOTELEION PANEPISTIMION THESSALONIKI UNIVERSITÉ DE STRASBOURG Master Erasmus Mundus en Cultures Littéraires Européennes - CLE INTITULÉ DU MÉMOIRE Entre poésie et politique : Le cas de Paul Éluard et Manolis Anagnostakis Présenté par Theano Karafoulidou Directeur Tesi di laurea in Prof. Georges Fréris Letteratura comparata Co-directeurs Prof. Patrick Werly Prof. Ruggero Campagnoli Letteratura francese 2011/2012 Je voudrais remercier mon directeur de recherche, M. Georges Fréris, pour ses conseils, ma mère pour son soutien moral et Francisco, sans lequel ce travail n’aurait jamais fini. A la mémoire de ma tante Maria, qui a su résister « Que croyez-vous que soit un artiste? Un imbécile qui n’a que des yeux s’il est peintre, des oreilles s’il est musicien, ou une lyre à tous les étages du cœur s’il est poète, ou même, s’il est boxeur, seulement des muscles ? Bien au contraire, il est en même temps un être politique, constamment en éveil devant les déchirants, ardents ou doux événements du monde, se façonnant de toute pièce à leur image. Comment serait-il possible de se désintéresser des hommes et, en vertu de quelle nonchalance ivoirine, de se détacher d’une vie qu’ils vous apportent si copieusement ? Non, la peinture n’est pas faite pour décorer les appartements. C’est un instrument de guerre offensive et défensive contre l’ennemi. »1 1 Paul Éluard, Anthologie des écrits sur l’art, Éditions Cercle d’Art, 1987, p. 21. PABLO PICASSO Sommaire Introduction.................................................................................................p.6 I. Deux poètes, deux arrière-plans.......................................................p.8 i. Leurs œuvres poétiques ..............................................................p.15 ii. Leurs idéologies politiques.........................................................p.17 II. L’attrait pour l’espérance................................................................p.21 i. La nature et l’importance du temps ............................................p.25 ii. La mort et la vie : concepts étudiés à travers les deux œuvres..p.35 Conclusion..................................................................................................p.65 Bibliographie..............................................................................................p.70 Annexes.......................................................................................................p.90 Introduction Qu’en pensais-tu alors La poésie au fond, C’est un cœur humain Charg5 VAGENASé de tout Nasos, le monde2Pour Anagnostakis, Textes critiques [en grec], Éditions Égée, 1996 : Nicosie, p. 45. L’humanisme et la sensibilité sont deux éléments que nous ont touché et ont attiré notre attention en lisant les poèmes de Paul Éluard3 et Manolis Anagnostakis4. L’objet de ce mémoire consiste à l’analyse des œuvres de deux poètes susmentionnés, deux œuvres qui à nos yeux sont ce « cœur humain chargé de tout le monde » grâce à leur simplicité et leur sincérité. Cependant, notre but n’est pas de démontrer que les schémas que les deux poètes ont parcourus sont parfaitement identiques. On était bien conscient dès le début que ces poètes ont un soubassement tout à fait différent, opposé même : avec un décalage de trente ans entre leurs dates de naissance, issus de deux pays culturellement divers et historiquement inégaux, les deux poètes appartiennent dans de courants littéraires différents : Éluard est surréaliste et Anagnostakis – influencé par le symbolisme français – est un poète de l’après guerre. Cependant, notre champ d’investigation s’éloigne de cette partie de l’œuvre éluardienne qui est purement influencée par le mouvement surréaliste. Nous avons ainsi évité, dans la mesure du possible, les poèmes composés entre 1922 et 1938, année qui marque la rupture d’Éluard avec Breton. Nous avons voulu nous concentrer exclusivement à la période pendant laquelle des circonstances très particulières, politiques et sociales, affectaient les vies de ces deux poètes et nous avons contraint le corpus à ces recueils de poèmes, publiés avant le déclenchement, pendant ou juste après la guerre. De plus, nous n’avons pas pris en compte tout ce qui était publié sous un autre nom, car il s’agit à nos yeux d’une masque que le poète peut porter afin d’emberlificoter, de dévier et tromper le lecteur. Anagnostakis avoue d’ailleurs que « la poésie n’est pas un moyen pour parler mais le meilleur murage pour cacher notre visage.5» Il ne faut pas en outre négliger les diverses « facettes » de ces deux poètes. Anagnostakis en tant que poète, critique littéraire, mais aussi en tant que Manousos 2 Nikiforos Vréttacos, « Le monde et la poésie » 3 Poète surréaliste français (14 décembre 1895 – 18 novembre 1952) 4 Poète grec de la première génération de l’après-guerre (10 mars 1925 – 23 juin 2005) Fasis.6 Nous apercevons la période pendant laquelle Anagnostakis écrit sous le nom de plume de Manousos Fasis comme un chapitre autonome de sa personnalité qui devrait être traité séparément du reste de son œuvre. Manousos Fasis utilise par exemple le vers traditionnel, tandis qu’Anagnostakis le vers libre. Éluard aussi a de divers visages. Nous avons la figure du jeune Eugène Émile Paul Grindel7 ainsi que Didier Desroches et de Brun. 6 Sa première apparition date de 1980 : derrière ce masque, Anagnostakis publie « Manousos Fasis, Muse Enfantine ». « Les complémentaires. Notes de critique » apparaissent cinq ans plus tard et en 1986 la ballade « Le poursuivant», toujours sous le nom de Manousos Fasis et publié par une maison d’éditions imaginaire, nommé AIDS. 7 Le poète français change son nom de famille très tôt, en 1917, pour celui hérité de sa grand-mère : Éluard. Afin d’avoir une approche la plus vraisemblable possible aux deux œuvres, nous nous sommes premièrement intéressé à leurs créateurs ainsi qu’au contexte historique, sociopolitique et culturel qui les entourent – ce qu’Hippolyte Taine a appelé « Race – Milieu – Moment ». C’est ainsi que nous aurons dans une première partie un aperçu des arrière-plans de deux poètes, de leurs œuvres poétiques et leurs idéologies politiques. Dans la deuxième partie, nous nous pencherons sur l’analyse littéraire de leurs poèmes à travers les notions de l’espérance, du temps, de la mort et de la vie, ce qui nous aidera à mieux cerner leurs profils. La problématique de ce mémoire tourne autour de la question de l’accomplissement de la révolution à laquelle tous deux poètes ont cru. La question qui nous intéresse particulièrement est comment Éluard et Anagnostakis affrontent premièrement la guerre et ensuite la défaite, après avoir lutté physiquement et moralement pour des idéaux inaccomplis. Un autre point qu’on examinera est l’espoir ou le désespoir de deux poètes face à la force destructive de la guerre et les coups successifs de la vie. Cette dernière, ainsi que son contraste avec la mort, nous occupera dans une grande partie de ce mémoire. Enfin, à cause du titre généralisant de ce mémoire, il convient à dire que nôtre objectif n’est pas d’examiner minutieusement ou bien de justifier les idéologies politiques de deux poètes. Bien au contraire : l’axe principal du mémoire – vu sa nature littéraire – reste leur poésie, qui était indubitablement militante, combattante et à travers laquelle on entrevoit l’élément politique. Le titre vise ainsi à fortifier cet élément commun chez les deux poètes : tous deux ils se trouvent lors de leurs parcours entre l’engagement politique et la poésie. I. Deux poètes, deux arrière-plans «11 NousEngag ésommes dans le mouvement nés les uns communiste aux autres, fran çnousais, É luardmaintenons vient en Grnotreèce en nom, 1946, notre à l’âge ambition, de 51 ans, notredans le histoire.but d’apporter Les son lumi soutienères morallointaines au peuple qui grecnous souhaitant atteignent de combattre ont la m auême côt éforce des forces que cellesdites que nous démocratiques et dénoncer l’intervention impérialiste britannique dans une Grèce qui était au seuil de la guerrevoulons civile. projeter Son sé jour,sur l’avenirson discours »8 qu’il y fait, et les poèmes fruits de ce voyage représentent le seul lien qu’il ait avec les poètes grecs qui l’ont reçu à Thessalonique et à Athènes (Varvitsiotis, Kazantzakis, Sikélianos et autres). Anagnostakis ne fait pas partie de ceux poètes. Pendant la même année de l’arrivé d’Éluard à Thessalonique, Anagnostakis se fait expulser du parti communiste grec. C’est ainsi que Paul Éluard se réfère aux poètes qui l’avaient précédé. Il les considère des frères, des amis exigeants, dont l’espoir de lutter et l’amour d’aimer les unit. La présente étude vise à examiner comment les œuvres de deux poètes qui justement ont maintenu leurs noms, ambitions et histoires, tellement diverses, se sont rencontrées. Comment ont-ils autrement dit Éluard et Anagnostakis, abordé la question de la résistance, de l’espérance. Avant d’entamer toute lecture et au nom de la légitimité d’une étude en littérature comparée9, nous nous sommes dans un premier temps intéressé aux liens éventuellement existants entre ces deux poètes, issus de traditions et d’époques différentes10. On est arrivé à constater que les chemins de Manolis Anagnostakis et de Paul Éluard, poètes sensibles, sociaux et engagés, ne se sont jamais croisés autant que nous sachions. Aucun écrit de leurs contemporains ne témoigne un éventuel contact humain11 – conscient ou pas – ou bien une preuve de correspondance entre les deux ; eux-mêmes ne se référant pas l’un à
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