C'est plutôt le sabbat du second Faust que l'autre. Un rhythmique sabbat, rhythmique, extrêmement Rhythmique. — Imaginez un jardin de Lenôtre, Correct, ridicule et charmant. Des ronds-points ; au milieu, des jets d'eau ; des allées Toutes droites ; sylvains de marbre ; dieux marins De bronze ; çà et là, des Vénus étalées ; Des quinconces, des boulingrins ; Des châtaigniers ; des plants de fleurs formant la dune ; Ici, des rosiers nains qu'un goût docte effila ; Plus loin, des ifs taillés en triangles. La lune D'un soir d'été sur tout cela. Minuit sonne, et réveille au fond du parc aulique Un air mélancolique, un sourd, lent et doux air De chasse : tel, doux, lent, sourd et mélancolique, L'air de chasse de Tannhäuser.1 Des chants voilés de cors lointains où la tendresse Des sens étreint l'effroi de l'âme en des accords Harmonieusement dissonants dans l'ivresse ; Et voici qu'à l'appel des cors S'entrelacent soudain des formes toutes blanches, Diaphanes, et que le clair de lune fait Opalines parmi l'ombre verte des branches, — Un Watteau rêvé par Raffet ! — S'entrelacent parmi l'ombre verte des arbres D'un geste alangui, plein d'un désespoir profond, Puis, autour des massifs, des bronzes et des marbres Très-lentement dansent en rond. — Ces spectres agités, sont-ce donc la pensée Du poète ivre, ou son regret, ou son remords, Ces spectres agités en tourbe cadencée, Ou bien tout simplement des morts ? Sont-ce donc ton remords, ô rêvasseur qu'invite L'horreur, ou ton regret, ou ta pensée, — hein ? — tous Ces spectres qu'un vertige irrésistible agite, Ou bien des morts qui seraient fous ? — N'importe ! ils vont toujours, les fébriles fantômes, Menant leur ronde vaste et morne et tressautant Comme dans un rayon de soleil des atomes, Et s'évaporent à l'instant Humide et blême où l'aube éteint l'un après l'autre Les cors, en sorte qu'il ne reste absolument Plus rien — absolument — qu'un jardin de Lenôtre, Correct, ridicule et charmant.
Confirmed with Paul Verlaine, Poëmes saturniens, Paris: Alphonse Lemerre, 1866, in Paysages tristes, pages 53-56.
The spelling variant "poëte" as appears in the 1866 edition has been changed to "poète". "cadencée" is mispelled in the 1866 edition as "cadensée".
1 Likely an allusion to the opera, Tannhäuser. Verlaine does not include the dieresis.Text Authorship:
- by Paul Verlaine (1844 - 1896), "Nuit du Walpurgis classique", appears in Poèmes saturniens, in 3. Paysages tristes, no. 4, Paris, Alphonse Lemerre, first published 1866 [author's text checked 2 times against a primary source]
Musical settings (art songs, Lieder, mélodies, (etc.), choral pieces, and other vocal works set to this text), listed by composer (not necessarily exhaustive):
- by Thomas Alexandrovitch de Hartmann (1885 - 1956), "Nuit du Walpurgis classique", op. 69 no. 4, published 1941 [ voice and piano ], from Paysages tristes, no. 4, Paris, Hawkes [sung text not yet checked]
- by Émile Tournand , "Nuit du Walpurgis classique", 1948 [ voice and piano ] [sung text not yet checked]
Available translations, adaptations or excerpts, and transliterations (if applicable):
- ENG English (Bergen Weeks Applegate) , "Valpurgis Night, Classic", appears in Poems Saturnine, in 3. Somber Landscapes, no. 4
Research team for this page: Emily Ezust [Administrator] , Poom Andrew Pipatjarasgit [Guest Editor]
This text was added to the website: 2012-01-17
Line count: 44
Word count: 315
This is rather the sabbat of the second Faust, than the other; A rhythmic sabbat — rhythmic as a lay Is rhythmic. Imagine a garden by Lenotre — Correct, ridiculous and gay. Flower beds in circle — in their midst, the fountains; walks Arrow straight and sylvan gods in marble; gods marine In bronze; with here and there a Venus coyly draped; The trees aligned; a bowling green; Chestnut trees; and flowering plants forming a leafy dune; Some dwarfed rose bushes set about with loving care; Beyond, the yews well placed in triangle. The moon Of summer shining softly there. Midnight sounds, and wakens in the depth of this old park A melancholy air — a heavy, slow and sadly listless air — A huntsman's lay, sweet, low and melancholy as The hunting song in Tannhauser. Then comes a veiled and distant chant of horns, whose tenderness Of sense quite overcomes the soul's distress with sweet accords, Harmoniously discordant in their wild excess; And to this call of horns There comes a band of white-robed, slowly moving forms Diaphanous, on which the moon beams seem to play With opal tints among the shadows of the branches green — A Watteau dreamed of by Raffet. And mingling with the soft green shadows of the trees, With gestures languishing and full of grief profound, These forms amid the bronzes begin a mystic dance — A dance wherein they circle slowly round. These swaying spectres — are they nothing but the thought Of some poor drunken bard — or the remorse in his bewildered head — These spectres that with rhythmic tread dance on the turf? Or are they simply spirits of the dead? Are they then thy regrets, O dreamer who invites this hell, — Thy thoughts, or thy remorse — say? — these creatures spurned? These spectres that some maddening impulse sways; Or have the dead to madmen turned? No matter! they are always here, these phantoms of the brain, Making their mournful round and winding ever on; Whirling like atoms in the clear rays of the sun, That in a moment suddenly are gone. Pallid and damp, the dawn o'ercomes them one by one — The horns and all — they pass with coming day — Till nothing more remains — nothing — but a garden by Lenotre, Correct, ridiculous and gay.
Confirmed with Bergen Applegate, Paul Verlaine: His Absinthe-Tinted Song, Chicago, Ralph Fletcher Seymour, The Alderbrink Press, 1916, page 55-57.
Text Authorship:
- by Bergen Weeks Applegate (b. 1865), "Valpurgis Night, Classic", appears in Poems Saturnine, in 3. Somber Landscapes, no. 4 [author's text checked 1 time against a primary source]
Based on:
- a text in French (Français) by Paul Verlaine (1844 - 1896), "Nuit du Walpurgis classique", appears in Poèmes saturniens, in 3. Paysages tristes, no. 4, Paris, Alphonse Lemerre, first published 1866
Musical settings (art songs, Lieder, mélodies, (etc.), choral pieces, and other vocal works set to this text), listed by composer (not necessarily exhaustive):
- [ None yet in the database ]
Researcher for this page: Poom Andrew Pipatjarasgit [Guest Editor]
This text was added to the website: 2022-02-27
Line count: 44
Word count: 392