La difficulté d'être by Jean Cocteau

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By Jean Cocteau

The Contextual lifestyles evaluation quote:

Jean Cocteau, who died on the age of seventy four in 1963, used to be a guy of many talents—a poet, a novelist, a filmmaker, and an artist. He wrote the libretto for Stravinsky’s Oedipus Rex and used to be top identified for his 1929 novel Les Enfants Terribles and the 1946 movie edition attractiveness and the Beast. After his dying, in 1965, he used to be named the Honorary President of the Cannes movie Festival.

I as soon as learn that if you’re in a rut, inventive or differently, you'll want to learn a biography of somebody who did good stuff. Benjamin Franklin involves brain, as does any social move chief, but if I observed the trouble of Being, Cocteau’s number of biographical essays—written in 1947— i used to be curious to grasp what this polymath had thought of lifestyles. As I thumbed throughout the replica within the bookstall, i realized that the bankruptcy headings learn like Montaigne: “On conversation,” “On my style,” “On friendship,” “On death,” and “On beauty” are only a few.

In his creation to Melville House’s Neversink Library version, Geoffrey O’Brien, a critic and the Editor-in-Chief of the Library of the USA, notes that the publication is written in “a temper of indifferent self-examination” and that Cocteau “makes himself his personal portraitist … decided to determine a few simple definitions.” He is going directly to say, “It is such a lot essentially a piece of feedback, during which through paying shut awareness to his personal writing technique he creates a distinct form of writing, opaque and deliberate.”

From my very own examining, i discovered a poignancy in lots of of the questions Cocteau seeks to respond to and the observations he places at the web page. here's a very small number of what's a good read—whether you opt to head from disguise to hide or open at will.

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Extra info for La difficulté d'être

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Je suis libre. C’est vite dit. L’idée revient à toute vitesse et me jette au travail. C’est cette rage de lutter contre des crampes qui me vaut d’être un homme recouvert de légendes plus absurdes les unes que les autres. Invisible à force de fables et monstrueusement visible de ce fait. Une démarche qui le déroute ne tarde pas à lasser le monde. Il se fatigue à nous suivre. Il nous en invente une et si nous ne nous conformons pas à cette démarche, LA DIFFICULTÉ D’ÊTRE il nous en veut. Il est trop tard pour nous plaindre.

Il parlait peu. Voulait-il inspecter une toile ou un texte, il sortait de sa poche des lunettes cassées qu’il employait à la ma­ nière d’un monocle. D E RAYMOND RADIGUET Non seulement il inventa et nous ensei­ gna cette attitude, d’une nouveauté éton­ nante, qui consistait à ne pas avoir l’air original (ce qu’il appelait porter un cos­ tume neuf) ; non seulement il nous con­ seilla d’écrire « comme tout le monde» parce que c’est justement par où c’est impossible que s’exprime l’originalité, mais encore il nous donnait l’exemple du tra­ vail.

Lorsque je donnai La Voix Humaine à la Comédie-Française, et plus tard Re­ naud et Armide, je m’étonnai que mes col­ lègues considérassent ce théâtre comme un autre et qu’ils y fissent jouer des pièces écrites pour n’importe où. La ComédieFrançaise restait à mes yeux la maison de marbre et de velours, hantée par les grandes ombres de ma jeunesse. Hier, Marais m’a téléphoné de Paris qu’on lui propose d’y revenir, mais cette fois dans des conditions de premier ordre. Il me demandait conseil, et sans doute afin que je l’en dissuadasse.

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