Pierre Jean Jouve is a writer, poet, novelist and critical French, born with Arras in 1887, died with Paris in 1976.

The biography of Pierre Jean Jouve, delicate problems and complex

Disavowal

• Pierre Jean Jouve disavowed all his work published before 1925, year when it makes begin his " vita nuova". It is traditional to be allusive on its former life and to comment on only its posterior work on this date where it publishes the poems of Mystérieuses Weddings and the novel Paulina 1880 (four votes at the Goncourt price). It is what it did itself in Out of Mirror , its " Newspaper without date" from 1954 when it detects its life only certain broad outlines carefully selected. It is also what was made in reference books, often written by friends of the poet, like the Pierre Jean Jouve of Rene Micha (1956) or the book of Herne Pierre Jean Jouve , directed by Robert Kopp and Dominique Russet-red (1972). However the biography of Jouve before Jouve of Daniel Leuwers (1984) and the edition by Jean Starobinski, his executor, of the two volumes of sound Work (1987), revealed ignored sides of its life and the importance of its first work for its formation and its evolution. The recent biography of Beatrice Bonhomme ( Pierre Jean Jouve or the search of the interior Helene , October 2007) brought a new lighting on the " crise" of Jouve between 1921 and 1927. This crisis deeply marked its life and directed its writing. As Jouve put much of its life in its novels and its poems, while transforming deeply the biographical data, the knowledge of its course is a key of reading undoubtedly more necessary for this writer than for good of others.
• One can as consider as the republication of its novels and its poems, with few modifications but much cuts, that Jouve carried out of 1959 to 1968, is a new rewriting of its life and its work.

Several lives

• Pierre Jean Jouve had several lives. Jouve could be regarded as one of the writers of the Unanimisme, this movement created by Jules Romains, or of the Abbaye of Creteil (Groupe of the Abbey). Or like an active member of the pacifist movement animated by Romain Roland during the First World War.
• Thanks to his second wife, the White psychoanalyst Reverchon, translator of Freud (1923) and friend of Jacques Lacan, it was one of the first writers to face the Psychanalyse and to show the importance of the Inconscient in artistic creation, and that as of the middle of the years 1920, with its poems of Noces (1925-1931), of Sueur of Blood (1933-1935) and celestial Matière (1937), or with novels, Hécate (1928), Vagadu (1931) and the capital Scene (1935). It showed as enrichment as the reading of the large mystics, Therese d' Avila, Catherine of His, Jean of the Cross, François d' Assise, can bring to the poetic writing. With these mystics it closely associated precursory poets, Nerval, Baudelaire, Mallarmé.
• It was also, since 1938 and during its exile in Switzerland, an important actor of intellectual resistance against the Nazism, with its apocalyptic poems of Gloire and the Virgin of Paris .
• Its tests on art and the music were illustrated during the war by important a Don Juan of Mozart (1942, with the assistance of the musician Fernand Drogoul) and then by a test on Wozzeck of Alban Berg (written with the type-setter Michel Fano, 1953).
• After war, its art met those of Saint-John Perse and Victor Segalen, and he emigrated towards his " China intérieure" (according to the formula of Beatrice Bonhomme).

Artists and writers

• Jouve was also the fellow traveller of artists, writers, philosophers. Artists: the painter cubist Albert Gleizes (who illustrated Artificiel ); the engraver Belgian expressionnist Frans Masereel, with which it made many books before 1925; the large surrealist artist Andre Masson (which illustrated the 1st edition of Sueur of Blood , 1933); the Czech painter Joseph Sima which did with him some of the most important prewar illustrated books ( Beau Glance , 1927 and the 2nd edition of Paradis lost , 1938); the editor typographer Guy Lévis Mano (" GLM") who carried out some of his more beautiful books; and finally the great painter Balthus, whom he had known adolescent and on which he wrote important texts (see the catalog of the exposure Balthus of the Pompidou center, 1983).
• It accompanied, by collaborations, correspondences and translations, friendly writers like Pierre Klossowski (translation of Hölderlin, 1930), Romain Roland, Stefan Zweig, Jean Paulhan (important correspondence published in 2006), Joe Bousquet (which published on him many currently republished tests, Lumière, insuperable rot , 1987), Bernard Groethuysen, Gabriel Bounoure (another important correspondence, published in 1989: Pierre Jean Jouve between abyss and tops ), Jean Wahl (which initiated it with Kierkegaard), Eugenio Montale and Giuseppe Ungaretti (which it translated), Catherine Pozzi. This writer often perceived like marginal haughty, refusing the enrollments of the " mouvements" knew to touch many writers and artists, of which some can be regarded as its disciples (but Jouve absolutely the turn of mind of a schoolmaster did not have), Pierre Emmanuel (which paid homage in to him Who is this man , 1947), Yves Bonnefoy, Salah Stétié, Henry Bauchau, Jules Roy, David Gascoyne, Heather Dohollau, Gerard Engelbach.

Female myths

• Especially, Pierre Jean Jouve created powerful female myths which renewed the figures of the love in the literature: Paulina, Baladine (of the deserted World , 1927), Catherine Crachat (the heroin of Hécate , 1928 and of Vagadu , 1931), and particularly Lisbé and Helene ( the capital Scene and celestial Matter ), finally Yanick, the pure prostitute ( Out of Mirror ).

Ruptures

• Lastly, Pierre Jean Jouve is the man of the ruptures, of with his/her father (then of with his/her son); of with its first wife Andree, large militant of feminist and pacifist movements; of with his/her pacifist friends (Romain Roland, Georges Duhamel, Charles Vildrac, Frans Masereel) who at the instant of the failure created the review Europe (1923), always alive; of with his/her friends artists (even Joseph Sima in 1954); of with its editors, Jean Paulhan and Gaston Gallimard (in 1945). And thus of with its first work.

Life and the work of Pierre Jean Jouve: several lives, several works

From 1905 to 1921: First life of Pierre Jean Jouve: symbolism, unanimism, pacifism

(to be supplemented)

From 1921 to 1927 (the crisis of): " Vita nuova" and ruptures. The White meeting with Reverchon, the psychoanalysis, mystics and Baudelaire.

(to be supplemented)

From 1925 to 1937: An extraordinary literary creation

• the literary production of Jouve between 1925 and 1937 is exceptional, and a sign does not mislead: almost all the books of this period were republished in collections of pocket (Folio, the Imaginary one, Poésie/Gallimard).

• Its " vita nuova" begin in 1925 with a plate from poems, Mystérieuses Weddings and a novel which finds a general public quickly, Paulina 1880 . Until 1937, year of the celestial publication of Matter , Jouve publishes in parallel of the novels and the poems.

Novels, of Paulina 1880 with the capital scene

• One can present the novels of Jouve in three diptychs. The first includes/understands Paulina 1880 (1925) and Le Monde desert (1927). One can summarize schematically Paulina 1880 like a " chronicle italienne" who mixes carnal love and mystic love, pleasure and death instinct: beautiful and impassioned Paulina knows successively the detestation of its family, fascination for the bloody religious images, an impassioned carnal love, and adultery, for the count Michele, then a great mystical experiment in a convent where it ends up making scandal. Returned with the laic life, it finds the count Michele widower, therefore free. Its passion in love refuses a marriage. She kills Michele during her sleep and tries to commit suicide. Its suicide fails. Paulina knows the prison and she discovers finally serenity by poorly carrying out the life of a country-woman. This summary does not give the tone of the book: sharp and impassioned, ironic and tortured, mixing with happiness human love and divine love. Paulina 1880 was adapted to the cinema in 1972 by Jean-Louis Bertucelli. The memory of Paulina reappears in Le Monde desert of 1927 which treats difficult relations between the love life and artistic creation among three characters: Jacques de Todi, homosexual who perhaps has a vocation of painter (his model, wire of Genevese Pasteur, is really committed suicide), Luc Pascal, the cursed poet, and mysterious Baladine which helps the men that it likes to appear, but which does not protect them from physical death or symbolic system. The novel is read on two levels: the visible life of its characters is distinguished from their interior life to which the novelist returns to us very sensitive. Le Monde desert was adapted in telefilm by Pierre Beuchot and Jean-Pierre Kremer in 1985.
• the second diptych constitutes a transition: he begin with Hécate (1928) which tells the history of a film star, Catherine Crachat, which seeks its destiny between various men and various women. One retains especially the figure of Pierre Indemini, mathematician, painter and poet, and that of the baroness Fanny Felicitas Hohenstein, the " woman fatale". As the lunar goddess with which it is compared, Catherine led to dead those and those which it loves. The novel can also be read like a percussion chronicle of the life in the mediums intellectual, society men, artistic and feminists of the Twenties in Europe. The second shutter of what became Aventure of Catherine Crachat (this collective title is posterior with the war) is Vagadu (1931): less than one novel, it is an extraordinary succession of oneiric scenes dreamed by Catherine during the transfer which she saw with her psychiatrist, the " Doctor Leuven" (where one can recognize Rudolph Loewenstein, celebrates it psychiatrist of Blanche Reverchon and Jacques Lacan and friend of Marie Bonaparte): this novel exploits the " explicitly; matter psychanalytique" as no novel had done it before. In 1990 Hécate and Vagadu were adapted to the cinema by Pierre Beuchot under the title Aventure of Catherine C , with Fanny Ardant, Hanna Schygulla and Robin Renucci.
• makes Vagadu of It inaugurates a new type of romantic writing which one will find in the last diptych: Jouve exploits there its psychoanalytical knowledge arrival of his wife Blanche Reverchon by fertilizing it with its own inventiveness come from its interior, spiritual and oneiric life. One finds initially this inspiration putting in scene characters at the catches with their neuroses and their impulses in the news of the bloody Histoires of 1932. The collection begin with a variation on the topic from Wozzeck that Jouve had known through the continuation drawn from the opera of Alban Berg. One can also in the same way read the two long accounts which compose the capital Scene of 1935: the victim , account dedicated to Balthus which made a table of it, and In the major years . This short novel mixes an oneiric rich person matter with an initiatory account on the search with artistic creation through an episode in love which closely associates the discovery of the sensual life with that of death. In the major years profits from a sumptuous language which unrolls rich person images and he is often regarded as one of the most beautiful romantic texts of the twentieth century. After the war, Jouve will gather bloody Histoires and the capital Scene in only one volume, initially under the title bloody Histoires then under the title the capital Scene . The account In the major years mark official end of the novel in prose of Pierre Jean Jouve.

• the text Beautiful Glance of 1927, new variation on poems of 1922 ( sentimental Voyage ) and richly illustrated by his/her friend, the Czech artist Joseph Sima, was then disavowed: Jouve put in it in scene too explicitly its history of love with Blanche Reverchon during its stay in Salzburg at Stefan Zweig in 1921.

Poems, of Mysterious weddings with celestial Matter

The poems published by Jouve during time 1925-1937 represent one of the more high summits of the French poetry of the twentieth century. Their publication is complex, because these poems are often published in review and in a partial way, i.e. in plates or mean volumes, then gathered in collective volumes. Some of these collections contain theoretical texts historically very important (the postface of the Noces , the Foreword of Sueur of Blood , the foreword of the second edition of the Paradis lost ), all republished in 1950 in Commentaires:

• the Weddings , 1925-1931. The " Vita nuova" started with the publication of the plate Mystérieuses Weddings in 1925 (at Stock) which was followed by Nouvelles Weddings in 1926 (at Gallimard). The first collection Weddings in 1928 (with Without Similar), takes again the two preceding plates and announces in important Postface its rupture with its work former to 1925: " (...) especially for the principle of poetry, the poet is obliged to disavow its first work. Paris, February 1928. " In 1930 Symphonie appears with God with an engraving of Joseph Sima. In 1931 Jouve gathers all these publications in a collective volume at Gallimard, the Weddings .
• the Paradise lost , 1929-1938. Simultaneously with the Weddings , written Jouve and publishes the Paradise lost in 1929 (at Grasset). Poet wished that this book is illustrated by engravings of Joseph Sima, which will be made in 1938 only, at GLM. This 2nd edition is increased by a foreword-proclamation, the Fault .
• Sweat of Blood , 1933-1935. With Unconscious foreword the “, Spirituality and Catastrophe”, this collection knew three successive editions, strongly increased each time (1933 and 1934 in the free Books, and 1935 at Gallimard).
• celestial Matter , 1936-1937. In 1936, Jouve publishes two partial plates at GLM, Helene and Urne (with a drawing of Balthus) which will be taken again and supplemented by three other sections ( Nada , celestial Matière and Récitatif ) in celestial Matière in 1937 at Gallimard.

From 1963 to 1967 Jouve will republish all its poetic works (Mercure de France). It will modify them (sometimes important cuts in the Weddings , Sueur of blood and celestial Matière ). These are these versions that one finds today in paperbacks (Poetry/Gallimard). In its edition of Work in 1987 (Mercure de France), Jean Starobinski gives in notes the " texts retranchés".

From 1938 to 1946: Advertisement of the Catastrophe, apocalyptic resistant poetry against the Nazism, Baudelaire, Music

• As of beginning of the year 30, Pierre Jean Jouve felt the rise of the dangers in Europe, undoubtedly because he knew Italy and Salzburg well: he was the friend of Bruno Walter and Arturo Toscanini, and he saw the arrival of the Nazis in the city of Mozart. If the new edition of the Paradis lost with engravings of Joseph Sima is the result of a 10 years work, its new foreword the Fault takes again the set of themes of the Foreword of Sueur of Blood: the Death instinct, that Jouve discovered at the individuals thanks to his reading of Freud (see the role of its wife Blanche Reverchon in this adventure), is extended to the destiny tragedies of the people. This set of themes which mixes existential and sprirituelle adventure with an apocalyptic vision with the history of Europe finds in the fourth large collection of poems, Kyrie (Gallimard, 1938). Introspective poems of the section " Kyrie" there are neighborly with the poems visionaries of the " Four cavaliers".

• Its political standpoint is found as well in its musical chronicles - to see in the article the last concert of Peace (NRF, December 1939) the confrontation of Arturo Toscanini against Wilhelm Furtwaengler shown to make career while directing Beethoven in front of a " public spécial" - that in poems openly anti-hitlériens: " The Ode in Peuple" (at GLM, March 1939) will be integrated in the triptych " In France 1939" published by Jean Paulhan in opening of N.R.F. of February 1st, 1940.
• In 1940, Jouve flees Paris (it is the exodus). He hears the Appel of June 18th Général De Gaulle, saw a few months in the south of France (Dieulefit), then it is the exile in Switzerland where there will remain all the war. He will take part in it actively in the publications (Books of the Rhone, the Cry of France of the LUF) which defend the French culture resisting the oppression of the mode of Vichy (" Defense and Illustration" revolutionary artists, of Delacroix with Courbet) and with the German occupation. A collection of poems as Gloire is engaged on a spiritual way and a political field.
• Glory (Except trade, Dijon, 1940 and Fountain, Algiers, 1942): the great poems of Gloire are at the origin of the consideration of Jouve by its contemporaries like " témoin" and " prophète" announcing the war. In 1947, Jean Paulhan and Dominique Aury wrote: " Its poems Kyrie , Resurrection of Dead the and In France let have a presentiment of the catastrophe". Its sections, Tancrède , Resurrection of Dead the , the Fall of the Sky and Catacombs , were written right before or right at the beginning of the second world war.
• the Virgin of Paris (LUF, Paris, 1946): the Virgin of Paris of 1946 is a cathedral whose vaults (sections) take again the preceding collections published a little before the war, like certain parts of Gloire , then during the war: Porch at the Night of the Saints (1941), major Worms (1942) and the Virgin of Paris , plate of 1944 whose volume of 1946 shows the title. The collection associates poems on the mystical reflection of Jouve (topic of the " Nada"), on its relationships to the female figures and on the death instinct. This one is with work in the collective disaster which is the war engaged by the Nazism: " These poems conceived and writings during the time of apocalypse, to release the heart, are also signs of French resistance to one overpowering ennemi" (please insert volume of 1946).
• the war also was for Jouve the write time of large compilations of critical texts: on the literature, to see its Tomb of Baudelaire , but also on painting and the music, as in the Don Juan of Mozart (LUF, Freiburg, 1942). The large collection Defense and Illustration watch extent of its fields of reflection.

From 1946 to 1965: Art, music and interior poetry

(to be supplemented)

• Diadem (Midnight, 1949)

• Comments (Baconnière, 1950)

This collection gathers the principal theoretical texts published by Jouve, in accompaniment of its novels or its poems, or in reviews, and become often untraceable. Some are historically very important, like the Avant-propos of Sueur of Blood (1933-1934) which marks a theorization of the arrival of the psychoanalysis in highest poetry. Other texts, in connection with the music in particular, recall us that Jouve was a writer taking part precociously in intellectual Resistance against the Nazism.

• Ode (Midnight, 1950)

• Language (ED. arch, with three lithographies of Balthus, Andre Masson, Joseph Sima (1952); rééd. Mercure de France, 1954)
• Wozzeck or the new Opera , with Michel Fano (Plon, 1953)
• Out of Mirror , (Mercure de France, 1954)

Out of Mirror is subtitled Journal without date : Jouve presents its artistic and spiritual trajectory to it by binding it to a small number of biographical facts carefully selected. Jouve chose to break with its first work of before 1925, and it often broke with its close relations: this " newspaper without date" , written in a sumptuous and percussion language, thus its very acute choices illustrate.

• Rene Micha, Pierre Jean Jouve : publication in 1956 of the first reference book on the writer in the collection " Poets of aujourd'hui" editions Pierre Seghers.

• Lyric (Mercure de France, 1956)
• Melodrama (Mercure de France, 1957)
• Tomb of Baudelaire (the Threshold, 1958)

This volume entitled like one little book of 1942, is in fact a new edition of Défense and Illustration . It contains the Tombeau of Baudelaire , its test on the Master that Jouve was chosen, in a version entirely rewritten and three texts on loved artists of Jouve: Delacroix, Meryon, Billhook.

• Invention (Mercure de France, 1959)
• Proses (Mercure de France, 1960)

At 73 years, Jouve takes up the challenge to succeed Baudelaire by publishing a collection of prose poems to which some are close to the tales the made-to-order of Poe. It revisits the whole of its sets of themes there and in its style sumptuously picturesque and subtly dissonant, it offers new portraits of its female myths to us ( Coffre of iron , the Captain , the soft visitor ).

• Moires (Mercure de France, 1962)
• Ténèbre (Mercure de France, 1965)

From 1959 to 1976: The return on the past, the republications

(to be supplemented)

As from 1958, Jouve republishes its work , initially the novels, then poetry, mainly with the Mercure de France, and also certain critical texts. It hardly rewrites them (except the Tombeau of Baudelaire), but it cuts much from there. The most obvious case relates to its poetries of the time of the war (the Virgin of Paris). One can thus consider that it acts for Jouve of a new rupture and mark of its desire of control on its work and the image which it wants to give.

Jouve preface writer

(to be supplemented)

• Pierre Emmanuel, the Dove , Freiburg, LUF, 1943, Foreword of Pierre Jean Jouve.

Jouve translator

Before 1925 (to be supplemented)

From 1925 (to be supplemented)

Author, with Georges Pitoëff, of one of the translations of reference in French of Romeo and Juliette of William Shakespeare.

Orthography

The name of Pierre Jean Jouve must be spelled without hyphen between the first names. " Pierre" is its first first name, and its first name of use by its close relations. " Jean" is its third first name, the second being " Charles". At his beginnings, the writer signed " P.J. Jouve" , then it signed with its complete name. Jouve was always very attentive so that one does not put a hyphen between the two first names, rather frequent error.

Bibliography: Works of Pierre Jean Jouve

Before 1925

• Artificial , Frontispiece of Albert Gleizes, printed by L. Linard (1909)

• Roman Muses and florentines , Paris, Leon Basket maker (1910)
• the Orders which change , Paris, Eugene Figuière (1911)
• the Meeting in the crossroads , Paris, Eugene Figuière (1911)
• the airplanes , Paris, Eugene Figuière (1911)
• Présences , Paris, Georges Crès (1912)
• the two forces , play in four acts, Paris, Editions of the free Effort (1913)
• To speak , Paris, Georges Crès (1913)
• You are Men , Paris, Editions of the New French Review (1915)
• Poème against the great crime , Geneva, Editions of the Review Tomorrow (1916)
• Danse of Dead the , Geneva, Edition of the Shelves (1917) and La Chaux-de-Fonds, Social action (1918)
• With the Russian Revolution , collective, Geneva, Editions of the Review Tomorrow (1918)
• Hospital, accounts of Hospital in 1915 , with 25 wood engraved by Frans Masereel, Geneva, by the authors (1918), and Paris, Ollendorf Bookstore, (1919).
• the defeatism against the free man , La Chaux-de-Fonds, Social action (1918)
• Hours, Delivers Night , Geneva, Éditions of the Sand glass, (1919)
• Heures, Livre Grace , Geneva, Librairie Kundig (1920)
• the Poets against the War, collective (Romain Roland, Georges Duhamel, Charles Vildrac, engraved wood of Frans Masereel, etc), Geneva, Éditions of the Sand glass, (1920).
• Romain Roland alive, 1914-1919 , Paris, Bookstore Ollendorf (1920)
• Tuscan , Geneva, Bookstore Kundig (1921)
• Tragic follow-up of sentimental Voyage , Paris, Stock, (1922)
• Prayer , portrait engraved by Frans Masereel, Paris, Stock (1924)

Translations

• Swan of Rabindranath Tagore, translation of the Bengali by Kâlidâs Nâg and Pierre Jean Jouve, portrait engraved by Frans Masereel, coll Poetry of time, Bookstore Stock, 1923.
• the seven seas of Rudyard Kipling, translation of English by Maud Kendall and Daniel Rosé, portrait engraved by Joseph Sima, coll Poetry of time, Bookstore Stock, 1924. " Daniel Rosé" is the pseudonym of Pierre Jean Jouve.

From 1925 at the Sixties

• Paulina 1880 , Paris, Editions of the New French Review (1925)

• Mysterious Weddings , Stock (1925)
• New Weddings , Paris, Editions of the New French Review (1926), with a portrait by Joseph Sima
• Le Monde desert , Paris, Editions of the New French Review (1927)
• Beautiful Glance , with engravings of Joseph Sima, Paris, With Without Similar (1927)
• Weddings , Paris, With Without Similar, (1928), " begins again; Mysterious Noces" and " Noces" news;
• Hécate , Paris, Editions of the New French Review (1928)
• Paradise lost , Paris, Grasset, (1929)
• Symphony with God , with a frontispiece of Joseph Sima, Paris, Editions of the New French Review (1930)
• Vagadu , Paris, Editions of the New French Review (1931)
• poetic Works , the Weddings , collective, (takes again " Noces" and " Symphony with Dieu"), Editions of the New French Review (1931)
• bloody Stories , Paris, Editions of the New French Review (1932)
• free Sweat of Blood , Paris, Books, with an engraving of Andre Masson (1933) and the foreword " Unconscious, Spirituality and Catastrophe"
• Sweat of Blood , very supplemented republication, Paris, Books Free (1934)
• poetic Works , Sweat of Blood , new edition, Paris, Editions of the New French Review (1935)
• the capital Scene , Paris, Editions of the New French Review (1935)
• Helene , Paris, GLM (1936)
• Ballot box , Paris, GLM, (1936) with a drawing of Balthus
• poetic Works , celestial Matter , Paris, Editions of the New French Review (1937), contains Helene and Urne
• Paradis lost , republication, Paris GLM, in (1938) with the foreword " Faute" and 12 engravings of Joseph Sima
• Kyrie , plate with reference letters of Joseph Sima, GLM (1938)
• poetic Works , Kyrie , collective collection, Paris, Editions of the New French Review (1938)
• Ode with the People - 1939 , Paris, GLM (1939)
• Resurrection of Dead the , Paris, GLM (1939)
• In France - 1939 , Poem, French Re-examined News, February 1st (1940)
• Glory , Dijon, Edition except trade, (1940)
• Porch at the Night of the Saints , Neuchâtel, Ides and Calendes (1941)
• the Don Juan of Mozart , University Bookstore of Freiburg, LUF, Egloff (1942)
• major Worms , University Bookstore of Freiburg, LUF, Egloff (1942)
• Tomb of Baudelaire , Neuchâtel, Baconnière (1942)
• Glory , Algiers, Collection " Fontaine" directed by Max-pol. Fouchet, Edmond Charlot editor, (1942)
• Defense and Illustration , Neuchâtel, Ides and Calendes (1943), include/understand Tombeau of Baudelaire
• the Witnesses - selected Poems of 1930 to 1942 , Neuchâtel, the Books of the Rhone, Baconnière (1943)
• the Wood of the Poor , Librairie University of Freiburg, LUF, Egloff (1943)
• the Virgin of Paris , Librairie University of Freiburg, LUF, Egloff (1944)
• Glory 1940 , University Bookstore of Freiburg, LUF, Egloff (1944) (" begins again; Gloire" and " Porch at the Night of Saints")
• Processional of the English Force , Bookstore University of Freiburg, LUF, Egloff (1944)
• the Man of June 18th , Bookstore University of Freiburg, LUF, Egloff (1945)
• has a Silk , Librairie University of Freiburg, LUF, Egloff (1945)
• the Praise , Librairie University of Freiburg, LUF, Egloff (1945)
• the Virgin of Paris Paris, Librairie Universal of France, LUF, Egloff (1946), takes again " Glory 1940" , " Towards majeurs" and " the Virgin of Paris". Begun again under a new cover in Mercure de France, 1957.
• Defense and Illustration , Algiers, Edmond Charlot, new edition (1946)
• the District of Meryon (1946)
• Anthem , Paris, Universal Bookstore of France, LUF, Egloff (1947), takes again Louange
• Aventure of Catherine Crachat , Paris, Universal Librairie of France, LUF, Egloff (1947), rééd. in a volume of " Hécate" and " Vagadu"
• bloody Stories , Paris, Universal Bookstore of France, LUF, Egloff (1948), rééd. in a volume of the " Stories sanglantes" and of " The Scene capitale")
• Genius , GLM, Paris, 1948.
• Diadem , Paris, Editions of Midnight (1949)
• Comments , Neuchâtel, Baconnière (1950)
• Ode , Paris, Editions of Midnight (1950)
• Language , Editions of the Arch, with three lithographies of Balthus, Andre Masson, Joseph Sima (1952); republication Paris, Mercure de France (1954)
• Wozzeck or the new Opera , Bookstore Plon (1953), with Michel Fano
• Out of Mirror , Paris, Mercure de France (1954)
• Lyric , Paris, Mercure de France (1956)
• Melodrama , Paris, Mercure de France (1957)
• Invention , Paris, Mercure de France (1959)
• Proses , Paris, Mercure de France (1960)
• Moires , Paris, Mercure de France (1962)
• Ténèbre , Paris, Mercure de France (1965)

Translations

• Poems of the Madness of Hölderlin , translation of Pierre Jean Jouve with the collaboration of Pierre Klossowski; foreword of Bernard Groethuysen, Fourcade, 1930; Gallimard, 1963.
• the Tragedy of Romeo and Juliette of Shakespeare, translation of Pierre Jean Jouve and Georges Pitoëff, Gallimard, 1937, re-examined in 1955.
• Macbeth of Shakespeare, French Club of the book.
• Sonnets of Shakespeare, French version by Pierre Jean Jouve, Sagittarius; French Club of the book, 1955.
• Excentric , of Frank Wedekind, French version and adaptation by Pierre Jean Jouve, the Age of Man, 1969.

From 1958, republication of the novels and collections of poems

• Tomb of Baudelaire , Paris, the Threshold (1958), new edition of Defense and Illustration , the text of the Tombeau of Baudelaire is entirely rewritten.

• Paulina 1880 , Mercure de France, (1959)
• Le Monde desert , Mercure de France, (1960)
• Adventure of Catherine Crachat I, Hécate , Mercure de France, (1961)
• the capital Scene , Mercure de France, (1961), includes/understands bloody Histoires and the capital Scene .
• Adventure of Catherine Crachat II, Vagadu , Mercure de France, (1963)
• Poésie*, 1925-1938 , I the Weddings , II Sweat of Blood , III celestial Matter , IV Kyrie , Mercure de France, (1964)
• Poetry **, 1939-1947 , V the Virgin of Paris , VI Anthem , Mercure de France, (1965)
• the Paradise lost , Grasset, (1966)
• Poetry ***, 1939-1947 , VII Diadem , VIII Ode , IX Language , Mercure de France, (1966)
• Poetry ****, 1939-1967 , X Melodrama , XI Moires , Mercure de France, (1967)
• the Don Juan of Mozart , Plon (1968), with a before-to say P.J. Jouve.

Posthumous editions

(to be supplemented)

• Work I , Paris, Mercure de France, 1987. Text established and presented by Jean Starobinski, with a note of Yves Bonnefoy and for the new texts the collaboration of Catherine Jouve and Rene Micha.

• Works II , Paris, Mercure de France, 1987. Text established and presented by Jean Starobinski, with a note of Yves Bonnefoy and for the new texts the collaboration of Catherine Jouve and Rene Micha.
• Paradise lost , Pandora, 1978, Fata Morgana, 1985.
• Genius , Fata Morgana, 1983.
• Madness and genius , introduction by Daniel Leuwers, Fata Morgana, 1983.
• Sacrifices , Fata Morgana, 1986.
• Apology for the poet, follow-up of Six readings , Fata Morgana/Le Time that it makes, 1987.
• Beau Glance , Fata Morgana, 1987, with the illustrations of Joseph Sima.
• the Don Juan from Mozart , Christian Bourgois, 1993,2004.
• Wozzeck d' Alban Berg , with Michel Fano, Christian Bourgois, 1999.
• Letters in Jean Paulhan - 1925-1961 , Edition established, prefaced and annotated by Muriel Peak, Paris, Editions Claire Paulhan, 2006
• Tomb of Baudelaire , Fata Morgana, 2006.

Translations

• Holy François d' Assise, Canticle of the Sun ; Holy Therese d' Avila, Glose on the Lord's Prayer , translations of Pierre Jean Jouve, Fata Morgana, 1987.

Books of Pierre Jean Jouve published in collections of pocket

(to be supplemented)

• Paulina 1880 , delivers pocket, 1964; Folio, 1974.

• Wozzeck d' Alban Berg , with Michel Fano, 10/18, 1964.
• the Weddings, follow-up of Sweat of Blood , Foreword of Jean Starobinski, poetry/Gallimard, 1966.
• Le Monde desert , delivers pocket, 1968; The Imaginary one, Gallimard, 1992.
• Out of mirror , 10/18, 1972.
• Adventure of Catherine Crachat I, Hécate , Folio, 1972.
• Adventure of Catherine Crachat II, Vagadu , Folio, 1989.
• the capital Scene , the Imaginary one, Gallimard, 1982.
• Diadem, follow-up of Melodrama , Poetry/Gallimard, 1970; new ED. 2006.
• In the major Years - celestial Matter - Proses , Presentation of Jerome Thélot, Poetry/Gallimard, 1995.

Translations

• Shakespeare, Romeo and Juliette , with Georges Pitoëff, GF-Flammarion, 1992.
• Shakespeare, Macbeth , GF-Flammarion, 1993.
• Shakespeare, Sonnets , Poetry/Gallimard, 1975.

Bibliography: Studies on Pierre Jean Jouve

Pierre Jean Jouve is not known enough of the general public, but its importance was always recognized by the best writers, poets and critics, of various generations. In order to distinguish the approaches, the critical bibliography on Jouve distinguishes the books written by " Témoins" (i.e. by authors which knew Jouve and which was often his/her friends) of with the books written by authors who did not know it personally. Certain collective books are difficult to classify, because distanciées studies and personal testimonys mingle with it.

Books written by Witnesses

• Henry Bauchau, the Tear , Paris, Gallimard, 1966: Brussels, Labor, 1986 and 1998.

• Henry Bauchau, the great wall, Newspaper of the Tear (1960-1965) , Arles, Actes Sud, 2005.
• Albert Béguin, Four of our poets , Algiers, re-examined Fountain, June 1942, rééd. in Creation and intended II - the Reality of the dream , published by Pierre Grotzer, foreword of Marcel Raymond, Paris, Threshold, 1974.
• Gabriel Bounoure, Pierre Jean Jouve between abyss and tops , Fata Morgana, 1989, with the correspondence between Pierre Jean Jouve and Gabriel Bounoure.
• Joe Bousquet, Light, insuperable rot and other tests over Jouve , Fata Morgana, 1987.
• Martine Embroidered, Jouve , Lausanne, the Old one of Man, 1981.
• Georges-Emmanuel Clancier, critical Panorama of Rimbaud to Surrealism , Paris, Seghers, 1953.
• André Delons, With the Crossroads of the big game and Surrealism , polemical and artistic texts joined together and presented by Odette and Alain Virmaux, Rougerie, 1988.
• Pierre Emmanuel, Which is this Man , Paris, Universal Librairie of France, LUF, 1947.
• Max-pol. Fouchet, Poets of the Review Fountain , Paris, Poetry 1, N° 55-61, September-November 1978.
• Sigmund Freud, Three tests on the theory of sexuality , editions of the New French Review, Documents blue N° 1,1923, translation by B. Reverchon-Jouve, work made with Bernard Groethuysen; rééd. Gallimard, 1962; Collection Ideas, 1971.
• Large Leon-Gabriel, contemporary Poets , Books of the South, 1944.
• Pierre Klossowski, alive Tables , Paris, the Walker, 2001.
• Daniel Leuwers, Jouve before Jouve or birth of a poet , Paris, Klincksieck, 1984.
• Daniel Leuwers, Pierre Jean Jouve , re-examined Europe N° 543-544, Poetry and Resistance, July-August 1974.
• Rene Micha, the Work of Pierre Jean Jouve , Brussels, the Books of the Newspaper of the poets, 1940.
• Rene Micha, Pierre Jean Jouve , Paris, Poets of Today, Seghers, 1956.
• Louis Parrot, the Intelligence in War , Paris, the young person Parks, 1945; rééd. Paris, the astral Beaver, 1990.
• Jean Paulhan and Dominique Aury, the Fatherland is done the every Day, texts French 1939-1945, Paris, Éditions of Midnight, 1947.
• Marcel Raymond, De Baudelaire with Surrealism - Test on the contemporary poetic Movement , Paris, Editions Corréa, 1933; rééd. Paris, Jose Corti, 1940.
• Pierre Seghers, Resistance and its poets , Paris, Seghers, 1974, rééd. 2004.
• Jean Starobinski, Paul Alexandre, Marc Eigeldinger: Pierre Jean Jouve poet and novelist , Neuchâtel, With Baconnière, 1946.
• Jean Starobinski, the Soft Visitor. Found pages and new texts of Pierre Jean Jouve , the New French Review N° 417, Paris, October 1st, 1987.
• Jean Starobinski, Poetry and the War - Chronicles 1942-1944 , Carouge-Geneva, Mini Zoe, 1999.

Collective

• Pierre Jean Jouve , Books of the South N° 182, Marseilles, April 1936, with articles of Joe Bousquet, Robert Guiette and Roger Country house.
• Of poetry like spiritual exercise , Re-examined Fountain N° 19-20, Algiers, March-April 1942, rééd. Paris, Seeks It midday, 1978 with a foreword of Max-pol. Fouchet.
• Pierre Jean Jouve , the New French Review, Paris, March 1st, 1968, with texts of Giuseppe Ungaretti, Jean Starobinski, Jean Cassou, Henry Bitter, Rene Micha, Andre Marissel, Dominique Noguez.

Books written by Writers, Critics and Historians

• Christiane Blot-Labarrère, Relation of the fault of the Eros and of died in the novel of Pierre Jean Jouve , Aix in Provence, the university Thought, 1961.
• Beatrice Bonhomme, Plays of the psychoanalysis - initiation, images of the woman in the writing jouvienne , Paris, files of the modern letters, 1994.
• Beatrice Bonhomme, Pierre Jean Jouve or the search of the interior Helene , Paris, Aden Editions, 2007.
• Benoit Conort, Pierre Jean Jouve - To die in poetry , Villeneuve d' Ascq, university Presses of North, 2002
• Jean Decottignies, Pierre Jean Jouve novelist or the experiment of the abyss , Paris, Jose Corti, 1994.
• Alain Paire, Chronic of the Books of the South 1914-1966 , Paris, IMEC editions, 1993.
• Muriel Peak, Pierre Jean Jouve. The desire monster , Paris, the Cat-like one, 2006.
• Pierre Sylvain, Passage of the dead one - Pierre Jean Jouve , Escampette Editions - Test, 2007.
• Elisabeth Roudinesco, History of the psychoanalysis in France.2. , Paris, Threshold, 1986.
• Franck Venaille , Jouve the Man engraves , Paris, jeanmichelplace/poetry, 2004.

Collective works

• Pierre Jean Jouve , Book of Herne, Paris, 1972, directed by Robert Kopp and Dominique the Russet-red one.

• Bousquet Jouve Reverdy , Conference Poetry-Cerisy, direction Charles Bachat, Daniel Leuwers, Etienne-Alain Hubert, Southern review, Marseilles, 1981.
• Series Pierre Jean Jouve the Review of the modern Letters, Paris-Caen, published of 1981 to 1987 per Daniel Leuwers, and since 1987, per Christiane Blot-Labarrère. Esthetic Jouve 3, Jouve and its curiosities 1 , 1998. Jouve 4, Jouve and its esthetic curiosities 2 , 1992. Jouve 5, Jouve and plays of Écriture1 , 1994. Jouve 6, Jouve and dummy entries 2 , 2001. Jouve 8, Modernity of Jouve , 2006.
• Pierre Jean Jouve , re-examined nord' N° 16, Lille, December 1990.
• Jouve , re-examined the Other, Paris, 1992, directed by François Xavier Jaujard with the collaboration of Robert Bensimon.
• Pierre Jean Jouve , under the direction of Christiane Blot-Labarrère and Béatrice Bonhomme, Acts of the international symposium Pierre Jean Jouve, University of Nice, 24 November 26th, 1994, Romance Arras, Éditions 20/50, 1996.
• Jouve poet, novelist, criticizes , Colloque of the Hugot Foundation of the Collège de France joined together by Yves Bonnefoy. Acts gathered by Odile Bombards, Lachenal and Ritter, 1995.
• the Unanimisme and the Abbaye , re-examined in' today, Bruxelles-Paris, 1996, the Cry and Jacques Darras.
• Second reading of Pierre Jean Jouve , Nice, review NAKED (E), coordinated by Beatrice Bonhomme, Herve Bosio, Giovanni Dotoli, François Lallier. (1) N° 28,2003, with a discussion with Yves Bonnefoy. (2) N° 30,2005, with a discussion with Salah Stétié.
• Pierre Jean Jouve , re-examined Europe N° 907-908, November 2004.
• Pierre Jean Jouve and Henry Bauchau: voices of the otherness , under the direction of Myriam Watthee-Delmotte and Jacques Pear tree, University Editions of Dijon, 2006.

Films and Documentary

• Paulina 1880 (1972), adaptation for the cinema by Jean-Louis Bertucelli, with Romolo Valli, Michel Bouquet, Maximilian Schell, Olga Karlatos, Eliana De Santis, Sami Frey.
• Le Monde desert (1985), adaptation for television by Pierre Beuchot and Jean-Pierre Kremer.
• Pierre Jean Jouve , documentary short-measuring (1989) carried out by Pierre Beuchot for the collection " Préfaces" , production Sept/DLL/Archipel 33 (26 min.).
• Hécate , adaptation of the novel for television by Pierre Beuchot (1989).
• Adventure of Catherine C , 1990, adaptation for the cinema of Hécate and Vagadu by Pierre Beuchot, with Fanny Ardant, Hanna Schygulla and Robin Renucci.
• Robert Kopp and Olivier Thousand, Pierre Jean Jouve , film for the series One century of writers of Bernard Rapp diffused on France 3, 1996. To see a comment by Magali Jauffret on the site of Humanity

Judgments

(to be supplemented)

Quotations

(to be supplemented) " A character is never but one piece of us even, and any work, whatever it is a confession which undergoes a métamorphose."

External bonds

• the site '' Pierre Jean Jouve '' of the University of Nice, with a biography of Jouve and a very complete bibliography
• Conference '' Relectures of Pierre Jean Jouve '' From August 13rd, 2007 to August 20th, 2007, International Arts center of Cerisy-The-Room
• '' Pierre Jean Jouve revisited '' by Daniel Leuwers on the site of the review '' Europe ''
• a biographical chronology on the site of the review '' Europe ''
• '' Relectures of Pierre Jean Jouve '', re-examined NAKED (E) N° 28 and 30, with an extract of the maintenance with François Lallier with Yves Bonnefoy
• On a republication of '' Diadème '' by François Lallier on the site '' Bleu of straw ''
• '' Pierre Jean Jouve and the interior experiment of the words '' by Lea Coscioli on the site of the review '' Loxias '' of the University of Nice
• '' Paulina 1880 '' per Angele Paoli on the site of the literary review '' Terres of women ''

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