By Hubert Lucot
Frasques est une déformation de Fresques, qui implique une idée de fraîcheur. Pénétrant dans los angeles partie finale de sa vie alors qu’un siècle s’achève, l’auteur se livre à une méditation romancée sur ce qui fut et «souvent» demeure. Il n’égrène pas des souvenirs, ne raconte pas des anecdotes, mais peint notre flair à percevoir, à nous memento, à aimer (haïr), notre flair à concevoir le grand mystère dont les deux faces ont pour nom l’être et le temps. Il se livre à une enquête sur des réalités concrètes, afin d’accéder à l. a. vérité ou, du moins, à un surcroît de judgment of right and wrong. Multipliant les issues de vue sur le présent, sur les passés, il plante son spectroscope dans les rues de Paris, de Papeete, de ny, au Japon, au Chili, dans les montagnes, au bord de l’Océan, accomplissant des expériences qui ne sont pas sans rapport avec los angeles génétique et l’astrophysique.
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Additional info for Frasques
May be spoken to freely, familiarly, friendly, without adoration” (CPW 7:425). This recurrent theme of The Readie and Easie Way is expanded upon in the second edition (quoted here), which further deplores the debasement of the people by monarchy. Soon after, in the poetry, Milton will attempt to illustrate how natural hierarchies can exist without elevation or adoration. One of the most disturbing things about a king, or perhaps about Charles II, is the pageantry which surrounds him, stripping both him and his people of dignity: the king “who for any thing wherin the public really needs him, will have little els to do, but to bestow the eating and drinking of excessive dainties .
I get no help in judging life; I scarcely feel that Milton lived or knew men & women; except for the peevish personalities about marriage & the woman’s duties. He was the first of the masculinists: but his disparagement rises from his own ill luck & seems even a spiteful last word in his domestic quarrels. But how smooth, strong & elaborate it all is! What poetry! . The inexpressible fineness of the style, in which shade after shade is perceptible, would alone keep one gazing in to it, long after the surface business in progress has been despatched.
15. For Dryden’s translation of Juvenal’s Sixth Satire in “The Learned Wife,” see The Broadview Anthology of Seventeenth-Century Verse and Prose, ed. Alan Rudrum, Joseph Black, and Holly Faith Nelson (Petersborough, Canada: Broadview Press, 2000), 1003. Given that Dryden’s marriage was far less happy than any of Milton’s, there seems little doubt that his translation choice clearly reflects his own view of women. 1, 92. 16. Rachel Speght, A Muzzle for Melastomus, the Cynical Baiter of, and foul mouthed Barker against Eve’s Sex (1617), rpt.