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In poem after poem, in one bitter sentimentality after another, Aragon,
"swerving" from the war to the "shadow of her" he loves, bewails the
war's violation of his personal life:
Ah, speak to me of love, waves, little waves
For even the heart in shadow has its cries
Ah, speak to me of love. W e spend the days
Doubting, foreboding, writing to ourselves
Ah, speak of love while letters make their slow
Round trip from Paris to this wilderness.
The phrase "parlez-moi d'amour," sounded insistently throughout this
poem, by evoking the bathos of the popular song, is intended to create
a bitter and pathetic irony, but ends up by merely being bathetic itself,
when Aragon surrenders to the very emotion at whose expense the irony
was intended. And this is so in spite of a tendency, particularly in the
translations of Humphries and Cowley, to disguise the more indulgent
sentimentality of the original French.
There is an unseemliness and lack of proportion in these wild and
extravagant lamentations. The poems manifest, though quite elegantly,
the same paranoiac infantilism that characterized so many of the soldiers
of this war, who conceived of it as a vast conspiracy solely intended to
frustrate their personal lives:
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THE DI A L PRESS
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