The Project Gutenberg EBook of La Légende des sexes, by Edmond Haraucourt This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you'll have to check the laws of the country where you are located before using this ebook. Title: La Légende des sexes Poëmes hystériques Author: Edmond Haraucourt Release Date: March 24, 2017 [EBook #54419] Language: French Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK LA LÉGENDE DES SEXES *** Produced by Clarity, Hans Pieterse and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by the Bibliothèque nationale de France (BnF/Gallica) at http://gallica.bnf.fr)
LE SIRE DE CHAMBLEY
(Edmond H...)
Poëmes Hystériques
IMPRIMÉ A BRUXELLES POUR L’AUTEUR
Il a été tiré de cet ouvrage deux cents exemplaires, en deux séries,
et douze exemplaires sur Japon.
Ces volumes, tous numérotés et paraphés par l’auteur,
ne pourront être vendus.
L’hymne des Noyés fait partie de "La Légende des Sexes", mais n’a été achevé qu’après la publication de ce livre, qui a été tiré à un très petit nombre d’exemplaires et dont les originaux sont fort rares. Ils portent tous la signature de l’auteur. De nombreuses contrefaçons ont été faites sans qu’il soit possible de se défendre.
L’HYMNE DES NOYÉS
IL N’A ÉTÉ TIRÉ DE CE POËME
que cinquante Exemplaires numérotés
No 12
LA LÉGENDE DES SEXES
Noctù qui juvenis leget hæc mea carmina solus
Ardentem librum tollat utrâque manu.
Ce livre est l’épopée du bas-ventre.
La Légende des sexes n’est point une parodie, elle est un complément: le complément d’une œuvre gigantesque et lumineuse, mais incomplète à notre sens.
Prenant l’être, Victor Hugo le regarda sous trois faces et crut l’avoir vu tout entier.
Après qu’il eût dressé le grand miroir triangulaire de sa légende, il le fit tourner sur l’axe d’une idée préconçue: la constatation du progrès.
Il l’avoue: il vit l’Homme, il vit le Mal, il vit l’Infini; le progressif, le relatif, l’absolu; 8 et il en fit trois chants: la Légende des Siècles, la Fin de Satan, Dieu.
Entendez bien ceci: il vit l’Homme, le progressif...
Mais l’homme progresse-t-il tout entier? N’est-il pas en lui des Facultés et des Sens, des parties de l’âme, si j’ose dire, qui eurent dès la première heure toute la puissance du plein développement; des perfections innées et instinctives; des modes de faire qui atteignirent d’un bond les hauteurs que les races épurées n’ont pu et ne pourront dépasser?
Certes, il en existe: tels l’Art et la Science du Rut et du Coït.
Qui le nierait? Qu’avons-nous ajouté au passé?
Rien!—Je suis comme Faust: j’ai travaillé beaucoup, beaucoup étudié, et je ne sais rien de plus que mes aïeux.
Si reculée que puisse être l’apparition de 9 l’Épicier sur le globe terrestre; qu’il remonte à Vespuce qui trouva l’Amérique ou à Hérodote qui courut l’Orient, croyez-vous que ce premier préposé aux denrées coloniales créa le simple mode qui aujourd’hui porte modestement son nom?
Point... Pindare en parle, les bas-reliefs en vivent. Adam, s’il exista, en fit peut-être l’invention de la première heure, quand, affolé de désirs inconscients par la contemplation des splendeurs inconnues du corps féminin, il rugit, halluciné, fauve, et se jeta, face contre face, sur cette chair vivante et vibrante qui s’étalait et se déroulait devant lui, dans l’herbe épaisse.
Las, il connut la Paresse, invention de la deuxième heure.
Plus las, il gisait. Pour le subjuguer à sa tyrannique féminie, à sa luxure qui s’émeut lentement et commence à s’éveiller quand la 10 nôtre s’endort, Éva eut l’invention de la troisième heure.—Qu’est-ce que ce nom moderne de «Gamin»?—Une usurpation du parisianisme sur la nature, un vol de nom, une contrefaçon de l’antique!
Avant nous les Latins disaient equus hectoreus; les Grecs avaient dit: péribasiè.
Prétendrez-vous qu’une civilisation altérée d’inconnu nous poussa à la dégradante imitation des bêtes? Erreur et présomption!
La Levrette, cet aristocratique animal du faubourg Saint-Germain, ne nous a rien appris. Louis XVI connut avant nous les charmes qu’elle goûte: et naquit le Dauphin qui ne serait pas né.—Le siècle dernier nommait «le coup royal» ce qu’Ovide et Lucrèce scandaient more ferarum.
Anacréon avait cette délicieuse image: Aphroditès armà, le char de Vénus; et le bon et simple Homère appelait cela philotès.
11 Sennecourt disait peut-être vrai:
Donc, dans le coït, rien; à côté, rien.
Avons-nous essayé les premiers la force contractile du sphincter anal?—Caïn et Abel voulurent ensemble imiter Père et Mère, et attendirent ainsi qu’il leur naquît une sœur.
Avons-nous inventé le travail des langues, et le baiser adultère des taureaux ou des cygnes?
Rien! nous n’avons rien fait, et nous ne ferons rien!
Il ne nous reste qu’un espoir, qu’un rêve irréalisé encore: l’application de l’envahissante électricité au travail voluptueux de nos sens.
Et même doutons-nous, misérables que 12 nous sommes, dans notre espérance dernière: car peut-être l’amour et le désir ne sont-ils que des phénomènes dynamo-électriques; nos sexes, des accumulateurs ou des piles chargés de voltes et d’ampères, et desquels jaillit, par l’approche d’un pôle contraire, la resplendissante électricité de l’amour.
Donc, je nie le vœu du Maître, et je pose cet axiome: à côté du progressible, il est en nous des choses immuables, éternelles, et qui pourtant ont leur histoire.
Elle manquait à la Légende, cette partie de la chronologie universelle.
Je l’essaie.
Et si Victor Hugo, jaloux de voir reprendre et parachever son œuvre, insinue méchamment que je me suis taillé une plume érotique sur l’aile de son aigle, que je titille une Muse nymphomane du frottement de ma pensée: Victor Hugo est injuste, et il est petit.
13 J’insiste, et je cherche les causes.
Pourquoi le poète, faisant une œuvre grande, fit-il une œuvre incomplète?
Pourquoi ce romantique oublia-t-il la parole de Gœthe: «N’écris rien sans y mettre un grain de folie»? Pourquoi négligea-t-il le point le plus puissamment humain de l’histoire humaine?
Il a dit l’Homme; il a dit la Femme. Pourquoi n’a-t-il pas dit l’Homme sur la Femme?
L’oublia-t-il?—Non: on n’oublie pas la Volupté: demandez aux saints. Hugo la connut.
Il eut deux raisons pour la négliger.
Il soutenait une thèse, il voulait un principe: l’Homme progressible et progressant. La volupté, une et constante, le gênait: il supprima la Volupté.
L’autre raison, nous la trouvons dans la vie 14 intime du poète.—Il fut aimé jeune: il se tut. On parle peu de ce qu’on fait beaucoup.
Et ne nous dites pas qu’il se tut par pudeur!
La pudeur est une convention sociale, un préjugé sans consistance, une hérésie à la religion de Nature.—Virginie eut tort d’en mourir, Bernardin de Saint-Pierre a tort devant Zola.
La pudeur est un mot; la Volupté est une force.
La Volupté est sainte et féconde: la chanter, c’est peupler.
C’est échauffer la femme au sein glacé; c’est réveiller la jeunesse dormant dans les testicules du vieillard et du prêtre.—Œuvre d’humanité et de patriotisme!—C’est donner des bras à l’agriculture; des soldats à la défense du sol; des têtes à la pensée et au travail du Progrès.
15 L’Allemagne se double en un siècle; il en faut deux à la France!
Je travaille à la revanche.
Et c’est une tâche auguste, et Satan la bénit.
La finirons-nous?—Le Destin le sait.
N’importe: nous commençons.
Rechercher quels furent les embrassements célèbres ou marquant une époque dans les phases de la grande Légende. Tout voir, dire un type de tout.
Depuis l’accouplement de ces deux corps sans nom que Leibnitz a rêvés, et du baiser desquels naquit la molécule; jusqu’à ce qui se fera dans le monde des âmes, par delà l’heure où le clairon fatal aura sonné, quand l’essence de notre être moral, sans sexe, sans corps, s’abîmera, plein de religieuse lumière, dans une jouissance d’onanisme divin...
16 Tout voir, sous tous les cieux, sous tous les Dieux.
La Genèse: Adam et le premier coït; les Anges amoureux de la Femme; Sodome près de Gomorrhe, et les mâles consolés de la froideur du sexe faible; Onan, fils de Juda, qui frustrait son épouse au profit de sa dextre.
L’Inde et Bouddha; la Chine et Koung-Fou-Tseu, porté cent ans au ventre de sa mère; la petite Kéops, pyramide vénérienne, lente pyramide où l’amour venait chaque matin poser une pierre nouvelle, apportée chaque nuit à la fille du Pharaon par un nouvel amant qui payait son bonheur en granit; et l’Égypte morte, après des siècles et des siècles, dans la dernière nuit de Cléopâtre.
Le Paganisme Grec, avec Pasiphaë se damnant aux bras d’un taureau; Narcisse et ses soliloques; Danaé et ses divines erreurs; et Sapho, l’aïeule des Paule Giraud; et 17 Batyle, pâmé sous Anacréon; et Diogène polluant de spermatozoaires le pallium des Corinthiens.
Le Paganisme à Rome: jours de Saturne, jeux d’Isis, fêtes du Phallus; scènes où la couche nuptiale est sans rideaux; Messaline impératrice de lupanar; Néron empereur amoureux d’une blessure...
Puis le Christianisme et ses premiers adeptes: Philippus le Diacre, et Magdeleine la repentante.
Et ce sera la grande épopée du Moyen Age, les Roland et les Olivier, ces preux sans fatigue.
Et les ans passeront, et les temps nouveaux apporteront les cours d’amour, les congrès, les épreuves du couchier et les droits de jambage.
Rabelais nous prêtera ses moines et son roi.
18 Notre ère de Progrès montrera ses collèges, ses couvents et ses bouges; Chlorose régnant sur la vertu et Syphilis présidant à l’Hymen.
Nous exciterons l’homme grave, nous effrayerons le lycéen, ayant placé le correctif à côté de l’érectif.
Et tout cela jeté pêle-mêle, au hasard de la conception, sans ordre, sans méthode, abandonné au tact et aux connaissances du lecteur qui classera les camées à leur âge.
Peu de pastiches: autant que le caprice nous demandera d’en faire.
Peut-être aussi ne trouvera-t-on rien de ce que nous promettons dans cette manière de table... Qu’importe? C’est d’un droit que nous usons. Les préfaces sont, comme les proclamations politiques, destinées uniquement à annoncer ce qui ne sera pas, ou à grandir une œuvre qui n’est point grande.
19 D’ailleurs, nous affrontons tout: s’ils nous lisent, les poncifs et les pontifes nous couvriront d’ignominie et nous fleurdeliseront du mot de pornographe; les artistes seuls et les femmes comprendront que nous ne sommes qu’un lyrique, jouant au bilboquet avec la boule de son hystérie sur le manche de ses érections.
Et si, malgré le soin porté par nous à quelques pièces, l’œuvre paraît ainsi trop facile et trop lâche en ses formes, nous répéterons encore que notre but fut moral avant tout, puisque nous rentrons dans la sainte Nature: et nous avons fait tâche, moins souvent de Littérateur, que de Philosophe humanitaire et cynique.
Edmond de Chambley.
A Fernand Icres.
SONNET HONTEUX
A Émile Goudeau.
A Florent Scheving.
A Me Etienne D..., magistrat.
A Maistre François Villon, souteneur et poète.
ENVOI
A Victor d’Auriac.
Hic crudelis amor tauri, suppostaque furto
Pasiphaë.
Virgile (Énéide, Liv. VI.)
L’infamia di Creta era distesa
Che fut concetta nella falsa vacca.
Dante (Enfer.)
TRIOLETS
A Léopold Allard.
AUX INTERNES DE LOURCINE,
PRÊTRES DU TEMPLE DE DÉESSE VÉROLE,
JE DÉDIE CES HIDEUX TERCETS, ÉCRITS EN LEUR HONNEUR.
A Paul et Gustave Philippart.
A un compositeur de musique religieuse.
A Jules Lévy.
A Maurice Rollinat.
SONNET
A Charles Buet
A Charles Morice.
A Eugène d’Argence.
Envoi d’une teste de mort à une jeune artiste.
SONNET
A Gaston Béthune.
SONNET
A Edouard d’Otémar.
A très-haulte Princesse Russiane, qui m’avoit convié à venir en son logis.
A Émile Goubert.
SONNET
A Achille Mélandri.
(Cette pièce, étant inconvenante, a été supprimée par l’auteur.)
A toi, Louise.
SONNET
RONDEL
A Léon Bloy, célibataire.
(FRAGMENTS)
A Louis Jullien.
ENVOI
SONNET
SONNET
A Antonio Gandara.
A Léon Cladel.
RONDEL
A Georges Lorin.
A Gaston Béthune
Pages | |
L’Hymne des Noyés | 1 |
Préface. | 7 |
Le Coït des Atomes. | 21 |
Philosophie. | 25 |
L’Éden. | 27 |
Solitude. | 41 |
Ballade des Malséans pucelaiges. | 45 |
Pasiphaë. | 47 |
La Flûte. | 53 |
Sonnet pointu. | 59 |
A une Vierge. | 61 |
Portes d’Enfer. | 63 |
146Ouvre. | 67 |
Sonnet à ma mie. | 69 |
Danaé. | 71 |
L’Éternité. | 77 |
Rondel mélancholique. | 79 |
La Vieille. | 81 |
La Jeune. | 85 |
L’Obsession. | 87 |
Europe. | 91 |
Le Crâne. | 97 |
La Source. | 99 |
Symphonie. | 101 |
Mélancolie blennorhagique. | 103 |
Vœu. | 107 |
Les Gants. | 109 |
Le Bouclier. | 113 |
Parisienne. | 115 |
La Chanson du vieux Moine. | 117 |
Brune. | 119 |
Adultère. | 121 |
Le Cocu. | 123 |
147Le Baptême. | 125 |
Ballade des pucelaiges morts. | 127 |
Madrigal. | 129 |
Impuissance. | 131 |
L’Homme d’État. | 133 |
Rêve. | 135 |
Reine du monde. | 139 |
Envoi. | 141 |
ACHEVÉ D’IMPRIMER
Le quinze avril mil huit cent quatre-vingt-trois.
Au lecteur.
Ce livre électronique reproduit intégralement le texte original, et l’orthographe d’origine a été conservée. Seules quelques erreurs typographiques évidentes ont été corrigées. Ces corrections sont soulignées en pointillés dans le texte. Placez le curseur sur le mot pour voir l'orthographe originale.
La ponctuation a également fait l'objet de quelques corrections mineures.
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