By Nathalie Quintane
L. a. littérature pas plus que los angeles philosophie ne sont déprofessionnalisées, pas plus que l. a. connaissance sexuelle : si l. a. connaissance sexuelle étaient enfin totalement déprofessionnalisée, Brigitte ne s'acharnerait pas deux heures par jour tous les jours sauf le week-end. Oui mais l. a. littérature peut être lue par tous et non par un, et tous écoutent l'émission et comprennent. Crâne chaud parle d'amour, non au sens de j'aime les vacances ou j'aime mon chat, mais au sens plus précis de sentiment sexuel. Comme le style n'est jamais uncomplicated à dire, on pourrait avancer que ce livre est une fantaisie, ou plutôt une fantaisie réaliste, ou encore une fantaisie réaliste critique.
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Extra info for Crâne chaud
On 21 June 1814 he wrote: So Haﬁz, may your charming song, Your holy example, Lead us, as the glasses clink, To our creator’s temple. But when he left Weimar with his servant Stadelmann on 25 July 1814, the journey was not to “our creator’s temple,” nor even “to savor the air of patriarchs in the pure Orient”; it was an escape from the conﬁnement of Weimar, from a marriage that was becoming more difﬁcult by the day, from burdens that fell to his lot in his work as a minister of state (he had to decide, for example, whether deserters from the ducal army should be subject to the death penalty).
But tell him gently, That his love is now my life, That his presence will afford me A joyous feeling of them both. These are two wonderful poems, in the spirit both of Goethe’s verse and of Haﬁz’s (in which Marianne, wonder of wonders, Chapter Two 52 had so quickly and deeply immersed herself ). They are poems equal to Goethe’s in merit and, in this case, perhaps even exceed Goethe’s in their warmth and devotion. ” In these coded poems by Marianne, there are individual lines and verses from poems by Haﬁz and Goethe that are so artfully composed that, beyond the declaration of love and beyond a poetic game fraught with meaning, beautiful lyrics are born.
Goethe, consciously and playfully, cloaks the origin of this poetic work in secrecy. At the outset, he still does not know where the poetry will lead him. To the people around him, everything remains secret: the contemporary background, determined by the last days of the Napoleonic Wars, the strong autobiographical nature, and, as the center of thought and feeling, the “little one,” the “little woman,” Marianne Willemer as muse and initiator, indeed as coauthor. Chapter Two 20 J. J. deLose, portrait of Marianne Willemer (née Jung), ca.