Proust ou Waugh ?

« A Handful of Dust » (1934), du romancier britannique Evelyn Waugh, approximativement traduit par « Une Poignée de Cendres » (dust = poussière) est un chef-d’oeuvre du genre comique… c’est-à-dire d’un genre difficile à composer. Flaubert sua sang et eau sur « Bouvard & Pécuchet », qu’il ne parvint pas à terminer tout à fait avant de mourir - en comparaison « Salammbô » lui fut une récréation.

Big Soul/No Art

I do agree with English novelist Evelyn Waugh that sole original USA Art or Poetry is animation movies made with drawings, such as Walt Disney's stories, Looney Tunes a.s.o. (kind of Poetry which is already dead in my opinion). This Poetry is of course far more inspirated than today boring US novelists or stupid photographer David Hockney whose art is entirely made with bad Rethoric and Ignorance of History.

- Notice that these animation pictures movies are related with US devotion for Time that one can see in its 'Science', a devotion that one can find in Asian or Arabian civilizations too (which is for regular Catholic people not less than praising the devil); Italian Dante for instance mainly thought that Muslim people were Satanic because of their Same devotion for Time; same for Egyptians too, whose Dictatorship under Apollo inspired partly Ancient Greeks (notabily Minoan but religious church of Pythagorea too) before Greek Priests were defeated by Greek Scientists against Time ;

- Therefore this is typically one Children's Art, which is revealing the women's Power in the USA that slowly drove US men to become paederastic, probably more than German nazis who were depicted by US Novelist Johnatan Littell as Gays (without shocking French opinion, though talking against Gay is as much politically uncorrect in France nowadays than in USA, probably because Littell is of Jewish origin that protected him in the French press of violent attacks anybody else would have had to fight against for that if not Jewish).

How women get more power than men in this kind of civilization is explained by Marx Economy. Gay people are the best Citizen of whom a State or a Dictatorship can dream about. Their light sado-masochism is precious in case of War for instance, because you cannot become sadistic suddenly, but must be prepared. Suffering you inflict to someone is always after suffering you admitted for your own body, and mad people often complain about the State (not only about their parents or mother), as the Nation betrayed them (which is true, in fact, except the fact that 'USA', 'France' is nothing but a Ghost, corresponding to Roman or Egyptian Gods, just Power drawings.)

Sparta's Warriors were Gay and this is a good thing until a certain Paradox. Problem of Gay Nazis and Gay Warriors of Sparta is the same: their devotion for Politics was too big, too frank, a blind link with the State as a Matrix: they cannot imagine She will betray them. 'Titanic' is made of brass, isn't it? A Paradox which is in Politics as much as it is in humour.

*Regular catholic people are those whose religion is not based on Faith/Ratio, like famous French Philosopher Jean-Paul Sartre, explaining he was believing in God and the day after believing in Nothing, a.s.o. or French Jean Guitton, advisor of former Pope Paulus VIth, explaining that Faith is Doubt or Doubt is Faith, the kind of Idea that can let people think that Monkeys were our Ancestors.

Who is the Joker?

 

 

 

My Friend Henri from Sacramento (a Town where you can feel the Devil's Attendance like in most of US-Cities) was surprised when he met me for the first Time by my lack of Humour and Irony; as a Yankee he was translating Humour as a Proof of Spirit, though for lots of French people it is first of all proof of Stupidity or Journalism.

Women mostly hate the Truth and love contrarily the Society which is based on lies (those that Sociologist are carefully keeping up). Female Irony is thus in this regard worse than Socrates' use of Irony to put Ignorance in light: just the Veil of hypocrisy.

Modern Poetry is not far away from humour: this is probably the reason why French Prince of Poets Baudelaire (a little bit too smart may be to be said just a poet), why Baudelaire noticed that 'Gospels do not laugh'.

If you do not admit or understand the link between Irony and Socialism, just watch Adolf Hitler's speeches: he is a great Master of Orchestra and know very well how to make the German female-soldiers not only vibrate as pipes but laugh too. Hitler's art is very close to Chaplin's. I do not doubt that 'in another life' -as Buddhists say-, Hitler would have been a very convincing Hollywood movie-maker.

*

Now, is there Humour or Irony in French Art or Literature? It is probably in French Moralists of XVIIth Century that one can find more easily some Humour. But French Spirit is not summarized in this Flight of Ancient Crows. Therefore concerning great Moliere, it is a mistake to believe he is a Moralist. Humour is just a trick for Moliere to protect himself: there is behind which can be taken just as comedies, one of the most violent fights against Society in French Art.

Same mistake with English Shakespeare: those who do think Shakespeare is writing comedies did not even read Shakespeare. Use of Irony by Hamlet for instance is very specific: it makes his enemies who want to kill him believe that he is mad, and so less dangerous, but the Reader is understanding although that Hamlet is above his ennemies' irony.

Example of Thomas More is conclusive too: More was praising Politics, which is rather strange for a Christian but does correspond to the Christian Free-masonic tradition (preceeding the Atheist one in Europa) ; and More was therefore famous for his Irony. Shakespeare's Play shows us Thomas More as a liar (promising life and giving death), and a Cuckold of his own opinion about Politics, making More 'the Saint of Cuckolds'.

*

Master of Irony and Humour in XXth Century is English Evelyn Waugh, probably without any serious concurrence but Winston Churchill himself. Almost perfect circle. It is true that Waugh is partly of female gender: his obsession of marriage, melancholy, interest for religious rites do reveal a female identity. But the use of Irony by Waugh is not gratuitous at all and curiously mostly against Female Systems like USA ('The Beloved One') or English Army ('Put out more Flags').

Waugh books are proving that best Irony is asking to beware of irony. Humour requires as every kind of system, mathematics, colors, religion, a.s.o., to have distrust; if you do not you are just turning around like a stupid car-race made by Waugh the symbol of modern thinking making old new and new old and old new and new old...

Divided Kingdom of Satan

 

 

 

There is probably just one Point where a French guy can make peace with one US guy (I am not talking about French Suckers who are dreaming about US-Dollars of course but about those who know the true History of the bombing of Normandy by the US-Air Force; or the intolerable weakness of US-Girls that makes the coupling between a French guy and an US-girl impossible -except if this French guy is Gay.)

Point of peace is the common hate of Great-Britain. Good point in Christianity when it is not ruled by almost female is that the hate of every nation is encouraged! Gospels should be prohibited as much as Marxism in the US Nation if common US-people would be able to read.

Hate of Great-Britain, ruled by Shylock, that betrayed Shakespeare. Always the same (the sole?) example of Ezra Pound who came to England, thinking that Englishmen would be interested in... Art! Man, Englishmen are only interested in motherfucking. Between smart Evelyn Waugh and Ezra Pound, both praising Mussolini as an honest capitalist (an example for Barack Obama, even if it is difficult to imagine Pound or Mussolini in Harvard), I am choosing Pound. There is no excuse when you are from the Country of Bacon and Shakespeare.

La grande diversion

Il est significatif qu'en s'efforçant de tuer le temps par toutes sortes de divertissements, on ne fait qu'entrer dans son jeu, baiser la mort sur la bouche. Voilà à quoi la religion laïque ou démocrate-chrétienne, vautrée dans le cinéma, fait penser : un ballet macabre de femelles prédisposées à la branlée.

L'ennui, l'acédie, la mélancolie... autant de vocables pour dire la dépossession de soi au profit de Satan. Il est à peu près sûr que Baudelaire ou le romancier anglais E. Waugh, qui souffraient d'ennui, aient su la cause profonde de leur tourment ; dans le cas de Baudelaire, ça ne fait même aucun doute.

S'il est hâtif de la part de Verlaine de faire de Watteau un peintre "mélancolique", c'est que la pure mélancolie se traduit par l'absence d'érotisme. Par principe l'art n'est pas mélancolique, c'est la musique qui l'est, qui oscille entre guerre et existentialisme, cruauté et masochisme. Même s'il a peint beaucoup la soldatesque, ne pas confondre Watteau avec Blaise Pascal, génie malfaisant ! Le romantisme, c'est l'assassinat d'Eros, étouffé dans une capote anglaise ; la mort du Sexe et par conséquent celle de la Science : on en est là.

L'existentialisme est un onanisme

Evelyn Waugh a écrit un seul roman existentialiste, L’épreuve de Gilbert Pinfold. Lorsqu’on le lit il se passe exactement la même chose que lorsqu’on lit les œuvres politiques de Rousseau (ou de J. de Maistre) : on étouffe un bâillement.

Deux bulldozers

Marx est un peu aride pour certains ; et Aristote et Platon ? Il faut dire que les exégètes du Parti communiste français, tel Althusser, n’ont pas aidé à rendre Marx plus vivant.

Outre Shakespeare, Dickens, Balzac, dont la parenté spirituelle avec Marx est évidente et revendiquée par lui, difficile de ne pas faire entrer Evelyn Waugh (1903-1966) dans ce cercle. Plusieurs aspects de son roman-culte Vile Bodies (Ces Corps vils), notamment, évoquent fortement le "style" de Marx, son mode de raisonnement moderne.

Ce n’est pas vraiment une surprise dans la mesure où Waugh est Anglais et que Marx est très influencé par la pensée anglo-saxonne, plus encore que les philosophes français des Lumières qui admiraient la politique anglaise sans vraiment chercher à la comprendre.

*
Au centre de Vile Bodies, la description d’une course automobile sur un circuit, est comme une métaphore du système capitaliste. Waugh insiste sur la bassesse morale des pilotes, la concurrence à mort qu’ils se livrent, l’absurdité de ce spectacle ennuyeux - à la limite de l’indécence.
Un autre aspect : l’importance cruciale des classes sociales ; Waugh pose un regard lucide sur l’aristocratie anglaise ; bien qu’elle l’attire, il raconte sa déchéance.
Mais Waugh, qui a tout fait pour épouser une aristocrate comme Marx, n’est pas communiste : il ne croit pas que la civilisation puisse se passer de l’aristocratie.

Le plus caractéristique peut-être : Waugh s’abstient le plus possible d’entrer à l’intérieur des personnages de sa comédie humaine moderne. Ils sont déterminés par leurs faits et gestes, leur appartenance sociale.
Nous sommes remplis d’illusions et de mensonges sur les autres et sur nous-mêmes.
À partir de deux ou trois indices on a vite fait de déduire l’évolution de l’humanité du singe au métrosexuel ou à la femme libérée, i-pod dans l’oreille et sudoku sur les genoux.
À partir de deux ou trois indices on a vite fait de s’attribuer un subconscient et un inconscient pour pallier son manque d’épaisseur.
À partir de deux ou trois indices on a vite fait de se fabriquer une panoplie de super-héros et de rivaliser avec les dieux de l’Olympe. Etc.

Ce qui intéresse Waugh comme Marx, c’est la vérité. Les idéologies personnelles, les petites chapelles privées que la démocratie stimule et entretient ne résistent pas à ces deux bulldozers.