François Villon Oeuvres complètes Title: Oeuvres complètes Author: François Villon Format: Language: Pages: 296 Publisher: , 0 ISBN: 2869596871 Format: PDF / Kindle / ePub Size: 9.7 MB Download: allowed Description This bilingual edition of the 15th-century poet's work incorporates recent scholarship. Insightful reviews Helmut: Treulosigkeit und Egoismus Zu Villon bin ich über Klaus Kinskis Interpretation von Villon-Pastiche-Gedichten gekommen. Man mag über Kinski als Person denken was man will, seine Deklamationen sind atemberaubend. Leider hat sich nach der Lektüre des Originalwerks Villons für mich der Funke leider nicht übertragen lassen. Im Gegensatz zu den blutschweren, erotischen und lebensnahen Zech-Nachdichtungen, die Kinski spricht, ist Villon ein etwas müder Gegenpart, dessen Gedichte starken Aufzählungscharakter haben und die sich sehr stark auf seine Umgebung und Zeitgeschichte beziehen. Seine Legate und Testament lesen sich tatsächlich wie notarielle Dokumente, denn der Seitenhieb, der vielleicht in ihnen versteckt ist, erschließt sich dem modernen Leser, oder zumindest aber mir, nicht. Seine Hauptthemen sind die Ungerechtigkeit, Treulosigkeit und Rücksichtslosigkeit der damaligen Gesellschaft, und die persönlichen Kränkungen und Demütigungen, die ihm widerfahren sind, denen er mit seinem Werk ein andauerndes Denkmal setzen will. Ich bewerte diese Ausgabe trotzdem recht hoch, auch wenn mir das Werk Villons nicht übermäßig zusagt, denn die editoriale Aufbereitung ist hervorragend gelungen. Jede Doppelseite ist links mit französischem Original und rechts mit einer deutschen Übersetzung ausgestattet, dazu ein Umfangreiches Nachwort und ein Personen- und Ortsindex, der über die vielen angesprochenen Personen Auskunft gibt. Vorbildlich, und auch die Papierqualität und der Druck überzeugen: Ein sehr schön anzusehendes Taschenbuch. Die deutsche Übersetzung ist für mich ein bisschen zwiespältig, und zwar aus dem einfachen Grund, dass sie mir besser gefällt als das französische Original. Im Original ist vieles sehr elliptisch gehalten, manchmal erschließt sich mir das Metrum nicht (wahrscheinlich aufgrund der unterschiedlichen Aussprache zum heutigen Französisch?) - im Gegensatz dazu eine sprachgewaltige, mitreißende deutsche Fassung, sehr flüssig und rund, und, wenn man textuell vergleicht, doch sehr nah am Original. Das Schicksal eines Übersetzers: entweder man wird kritisiert für schlechte Übersetzung, oder für (zu?) gute... Immerhin hat Villon mir ein Gedicht geschenkt, das ich ungemein beeindruckend finde, und besonders in der letzten Strophe sprachlich wie emotional dicht ist wie kaum ein anderes Poem. Und sie, der einst ich treu ergeben mit Herz und Sinn in Einfalt war, bis dann hinfort mein ganzes Leben zu Kummer ward und Schmerz sogar, hätt sie zu Anfang gleich gesagt, wie sie gesonnen, leider nein! so hätte ich nicht lang gefragt, aus ihrem Netz mich zu befrein. Wovon auch mocht die Rede sein, sie war zu lauschen stets bereit und sagte weder ja noch nein, sie litt es auch von Zeit zu Zeit, dass ich ein wenig näher rückte, und trieb so ihren Scherz mit mir, und was ich sagte, sie entzückte, sie machte mich zum Narren schier. (...) Die Liebe hat mich lang genarrt, ich hab vor ihrer Tür getanzt. Kein Mann ist je so schlau und hart, wär er wie Silber fein gestanzt, selbst Hemd und Wams gäb er noch her. Doch keiner ward wie ich geprellt, verspottet bin ich um so mehr: ein abgeblitzter Liebesheld! Drum schwör ich ab und fluch der Liebe, in Glut und Blut verzehr sie sich. Wenn sie auch in den Tod mich triebe, sie schert sich keinen Deut um mich. Die Fiedel leg ich auf die Bank, ihr Buhlen, ich tanz aus der Reih, wenn ich auch ehdem mit euch sang, erklär ich jetzt: das ist vorbei. (S. 85f) Antonomasia: translation by Galway Kinnell There's a game I've always loved to play when looking at portraits: imagining people in other costumes and other eras. The aristocratic lady who in all her Watteau finery looks as if she'd be happiest manning a stall at the church bring-and-buy sale in a nice sensible jumper. Or how about a Roman toga instead of a suit for him? The gormless looking young noble who would suit casting as a mailroom boy; peasants with an air of confidence and leadership who look like they should be in charge and probably would be now. Reading François Villon, then, is a real version of Portrait of the Bedsit Poet as a Fifteenth Century Man. From 'The Legacy': Near Christmas, the dead time When wolves live on the wind And men stick to their houses Against the frost, close by the blaze A desire came to me to break out Of the prison of great love That was breaking my heart... [several pages later] As soon as my mind was at rest And my understanding had cleared I tried to finish my task But my ink was frozen And I saw my candle had blown out I couldn't have found any fire So I fell asleep all muffled up Unable to give it another ending … He has neither tent nor pavilion That hasn't been left to a friend All he has now is a bit of change Which will soon be gone I liked it from the first bits I read on Google Books, and - having previously contemplated reading Villon a few weeks ago on hearing he was the first of Verlaine's poètes maudits - I read all I could on there one day, after other things nudged me in this direction: posts about Osamu Dazai and then Rabelais. And then I ordered this edition. I've looked at several translations; this and Anthony Bonner's are my favourites, then David Georgi, and then Peter Dale's (the last I really didn't like; some of the rhymes made me cringe). Villon's two major works are 'The Legacy' (1456) and 'The Testament' (1461) which use a popular late medieval verse form of making a satirical will. (A while ago there was an issue of McSweeney's in which modern poets wrote in archaic forms; I don't think this was among them but I would rather like to see a contemporary one done - though it obviously has far less traction in a century and hemisphere when the vast majority of people are healthy and long-lived than it did in the wake of the Black Death and the Hundred Years' War.) The poems do lose out a bit by having references to people Villon knew, records of whom have not survived in all cases, but the mocking tone still becomes evident from what is known and there is a real sense of wit and personality here. I think it probably does help to already know some medieval history, however. (And if you do, the sense of an artist projecting their own identity is absolutely stunning and quite unlike anything else before Montaigne.) The maturing of voice in the five years between these two long poems is incredibly striking: 'The Legacy' is simply by a clever, angry young man; 'The Testament' is far more wide-ranging and one feels the weight of the world on his shoulders. Sadly among the reasons for this were experiences of being imprisoned and tortured (for common crimes such as robbery rather than any elevated political or religious dissent). 'The Testament' is still in a way the same witty personality but with greater complexity and seriousness of thought, and blackly bitter where once he was more playful. Though in one section there is an imaginative, vituperative disgustingness which made me a little queasy and reminded me of some of Will Self's fiction. To a reader who was not an aficionado of late medieval European history, I think it's possible this long poem may pall at times; in the verses full of names - which I did not want to interrupt to constantly check notes - and some others, what kept it going for me was the atmosphere of time and place. His shorter poems include a few semi-devotional verses probably written for patrons, but in most of the short works a grumpy, yet puckish insolence is still present. The final poems here are about execution and torture and give an insight I'd never seen before into how at least one medieval criminal viewed these. They are also very moving - though because of the distance in time I did not find them so upsetting as modern accounts. I must say that older foreign texts, by dint of a good choice of translations, are are more accessible than native ones. I don't (though I'd like to be able to truthfully say I still did) sit down and casually read a bit of Chaucer or Langland for an hour when I really should be doing something else. But neither could I stoop to reading modernised versions. It's easy to get out of practice with stuff like Middle English and even when I was a student it required a lot of focus. This, by contrast, was very enjoyable to read. Two other poems from this translation are here Tony Gualtieri: A fine translation which seems to capture the spirit, if not the music, of Villon. Geoff: cannot think i have not rated this one yet... Villon is Rimbaud and Baudelaire and Poe and Genet a half-millennium sooner than these liked brethren in sin. Villon is the bloodied phrases of God writ at the Satanic chasuble. Villon is the banished poet-murderer-thief haunting the interstices of a dead-lily hued heart Ages. Villon is unique sin. Villon wrote "Mais où sont les neiges d'antan?", some of the most recognized strains of poetry ever penned. Villon is the snows of yesteryear- Villon is the shadow of existence- François des Loges, François de Montcorbier, Michel Mouton, fleeing Paris with gold stolen from the damaged chapel, Villon's responsible tears stained the parchment with everlasting sour blood-testaments. Villon wanders the darkest areas of the vanished dream of the fifteenth century, unearths his method into Rabelais, and vaults over into the land of dying with no sound, a real ghost, in simple terms present endlessly among the traces scrawled on time-harried pages, decayed and distributed to develop into the fertile undersoil of all succeeding French literature. Melissa Whitney: i have learn this number of poems time and again and every time i locate anything new to appreciate in it. Villon used to be a dark, dissatisfied soul and his poetry displays that. there's an aching realism to his verse. anything so fantastically morbid in regards to the approach he lays phrases one by one with seeming casualness. you are feeling part of what he is telling you, even supposing the events and hardships are from a very diversified era. Villon permits us to work out the humanness of life, now not in spite of, yet as a result of how we nonetheless locate ourselves within the overflowing innovations of a long-dead poet. Justin: i've got approximately 12 various translations of Villon relationship from the mid nineteenth century throughout the overdue 20th. This model via Kinnell is the best. He captures either the spirit and kind of the grasp so good it is nearly spooky.For sheer enjoyable though, my favourite is the loose verse translation performed through Anthony Bonner and released in 1960 via Bantam. Them reinstates also to you to pay I and have in you. 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