Georges HUGNET (1906-1974). Autograph manuscript, L'Arbre des voyageurs, [1930] ; 4 pages in4 numbered, with some erasures. Beautiful text of literary criticism on Tristan TZARA's book The Traveller's Tree (1930), the first book illustrated by Miró. "How, without vanity and deception, can one speak of certain works that deny dishonourable criticism and tie any paraphrase to the bottom of her silo where she marvels at the forbidden splendours? ...] L'arbre des voyageurs is a pure, certain work, as certain as glass. The approximate man writes from 1925 to 1930 continues a manner of Tzara, an inescapable tone, turned into a hurricane, to which nothing can be opposed. The Traveller's Tree contains old poems, but those of 1929 and 1930 [...] bring a new tone, a tenderness without gentleness, a quiet, self-confident strength, a dull lyricism and a conciseness that baffles the analysis. It is difficult to tell the story of a book that tells its story without a word too much, without a single fault, always with equal power without boasting, simply solid, not to say indestructible. There is in these poems of Tzara a perfection of tone, a modesty of expression, close to that of Eluard " . He quotes and analyzes several poems from the volume, decomposing and "telling" his work...
Estimate
€700 - €800
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€832
Buyer's premium
28%
Georges HUGNET (1906-1974). Autograph manuscript, L'Arbre des voyageurs, [1930] ; 4 pages in4 numbered, with some erasures.
Beautiful text of literary criticism on Tristan TZARA's book The Traveller's Tree (1930), the first book illustrated by Miró.
"How, without vanity and deception, can one speak of certain works that deny dishonourable criticism and tie any paraphrase to the bottom of her silo where she marvels at the forbidden splendours? ...] L'arbre des voyageurs is a pure, certain work, as certain as glass. The approximate man writes from 1925 to 1930 continues a manner of Tzara, an inescapable tone, turned into a hurricane, to which nothing can be opposed. The Traveller's Tree contains old poems, but those of 1929 and 1930 [...] bring a new tone, a tenderness without gentleness, a quiet, self-confident strength, a dull lyricism and a conciseness that baffles the analysis. It is difficult to tell the story of a book that tells its story without a word too much, without a single fault, always with equal power without boasting, simply solid, not to say indestructible. There is in these poems of Tzara a perfection of tone, a modesty of expression, close to that of Eluard " . He quotes and analyzes several poems from the volume, decomposing and "telling" his work...
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