La poésie claudélienne est un instrument de connaissance et de compréhension des choses, comprise comme la perception de leurs rapports réciproques au sein de l'univers. Le monde lui paraît obéir, comme le poème, aux lois d'un « art poétique » ordonnant le réel en un ensemble unique et cohérent dont le poète a pour mission de déchiffrer la structure et la signification. Ainsi Claudel chantera-t-il dans les Grandes Odes « le grand poème de l'homme soustrait au hasard » et la richesse infinie d'un univers « catholique » – au sens étymologique et premier d'« universel » – où chaque chose a son rôle et son sens au sein du tout. Sur le plan prosodique, Claudel a substitué à la prosodie classique, qu'il jugeait artificielle et monotone, une versification plus variée, plus libre et plus souple, adaptée aux modulations de la phrase et à la mélodie des mots. C'est ce « vers sans rime ni mètre », essentiellement fondé sur le rapport des sonorités, le choix des coupes et la succession des accents, que Claudel a utilisé dans sa poésie comme dans son théâtre et que l'on a nommé, par analogie avec la Bible et la liturgie dont il s'est inspiré, le « verset » claudélien.
Claudel est également un fécond prosateur, adaptant son écriture à l'art de l'essai, du tableau, du dialogue ou de la critique. Après s'être essayé à une prose descriptive et poétique, dans Connaissance de l'Est, il aborde une écriture abstraite, analytique et parfois lyrique avec l'Art poétique. C'est plus tard qu'il découvre dans le dialogue un instrument approprié à l'expression spontanée d'une pensée mouvante et souvent contradictoire (Conversions dans le Loir-et-Cher, Richard Wagner, Aegri Somnia, Conversation sur Jean Racine).
Claudien, en lat. Claudius Claudianus
Poète latin (Alexandrie v. 370 – Rome v. 404).
Dernier poète païen, il composa des épigrammes, deux épopées mythologiques (Enlèvement de Proserpine et Gigantomachie) et des poèmes d'actualité (Guerre des Goths, Consulat de Stilicon), qui tiennent à la fois de l'épopée et du panégyrique, et exaltent dans un style virgilien l'héroïsme du général Stilicon, l'un des derniers à avoir tenu tête aux Barbares.
En marge de l'époque classique de la littérature, opposant à l'esprit de l'Aufklärung, il a pourtant laissé un souvenir ineffaçable dans la mémoire collective allemande. De son journal populaire, le Messager de Wandsbeck (1771-1775), et de ses œuvres éditées sous le titre Asmus omnia sua secum portans ou les Œuvres complètes du Messager de Wandsbeck (1775-1812) émergent quelques poèmes qui n'ont rien à envier aux plus célèbres de Goethe (la Lune s'est levée, la Jeune Fille et la Mort). Ce dernier a inspiré le lied et le quatuor à cordes de Schubert.
Peintre, cinéaste, rédacteur à la revue expérimentale Tijd en Mens (1949-1953), il participe au mouvement Cobra. Sa poésie commence par explorer l'inconscient à travers des thèmes lourds d'érotisme (Tancredo Infrasonic, 1952 ; Poèmes d'Oostakker, 1955). Cette première période, également riche en romans rudes et faulknériens (la Chasse aux canards, 1950 ; Jours de canicule, 1952 ; l'Homme aux mains vides, 1956), et en pièces de théâtre expressionnistes (Andréa ou la Fiancée du matin, 1956 ; Sucre, 1958), est coupée par une période de réflexion sur le rôle de l'écriture et le sens de l'engagement. Il donne alors deux romans baroques (l'Étonnement, 1962 ; À propos de Dédé, 1963). La fin des années 60 le voit occupé à traduire et à adapter des auteurs dramatiques classiques et étrangers (Sénèque, G. Büchner, Lorca) et à donner à ses thèmes personnels une forme dramatique, soit au cinéma, où il écrit le scénario de The Knife (1961), soit au théâtre (Vendredi, 1970 ; Dent pour dent, 1970). Son œuvre, qu'elle soit poétique (Cavalier peint, 1961 ; Monsieur Sanglier, 1971), romanesque (la Honte, 1972 ; l'Année du cancer, 1972 ; le Chagrin des Belges, 1983 ; l'Espadon, 1989) ou théâtrale (le Désir, 1978), remet en question à travers un burlesque amer toutes les conventions esthétiques et sociales.
Dès le recueil Enfants de la nature (1887), il unit deux tendances : des opinions populistes, une poétique amoureuse venue d'Aarestrup. Un séjour à Paris en 1892 lui fit connaître Verlaine, l'œuvre de Baudelaire et de Mallarmé. Il publia alors les proses de Jeunes Liens (1894) et, surtout, les recueils Flûtes de saule (1899) et Diableries (1904), qui font de lui le principal poète symboliste danois.
Clavel (Bernard)
Écrivain français (Lons-le-Saulnier 1923-près de Dole 2010).
Les Fruits de l'hiver, quatrième tome de son cycle la Grande Patience, inspiré par la vieillesse de ses parents, lui vaut le prix Goncourt en 1968. La vie ouvrière et rurale, la Franche-Comté du XVIIe siècle (les Colonnes du ciel, 1976-1981), la batellerie d'autrefois (le Seigneur du fleuve, 1972), le Grand Nord (Harricana, 1983 ; l'Or de la terre, 1984 ; Miserere, 1985 ; Amarok, 1987), les migrations qui emmenèrent, au premier siècle, des hommes de l'Est dans la vallée du Rhône (le Cavalier du Baïkal, 2000) forment le cadre de romans de facture traditionnelle, imprégnés de sympathie pour la nature et pour les humbles et de communion humaine (Célébration du bois, 1962 ; l'Arbre qui chante, 1967 ; Arbres, 1981).
Clavel (Maurice)
Journaliste et écrivain français (Frontignan 1920 – Vézelay 1979).
Témoin de son temps, Maurice Clavel l'a pleinement été. Résistant, il se fait connaître par deux pièces, les Incendiaires (1946) et la Terrasse de midi, créée par Jean Vilar à Avignon en 1947. Animé d'une foi profonde, il est présent dans presque tous les débats politiques : gaulliste, partisan de l'Algérie indépendante, il s'engage lors de l'affaire Ben Barka et il soutient la tentative d'autogestion de l'usine Lip ; dénonciateur du marxisme et du goulag, il accompagne la démarche des « nouveaux philosophes » qui en font un de leurs maîtres. Parallèlement à ses romans (la Pourpre de Judée, 1966 ; le Tiers des étoiles, 1972), qui finissent en reportages (la Perte et le Fracas, 1971 ; les Paroissiens de Palente, 1974), ses essais mettent en œuvre son profond souci de la liberté (Qui est aliéné ?, 1975 ; Ce que je crois, 1975 ; Dieu est Dieu, nom de Dieu !, 1976 ; Nous l'avons tous tué ou « Ce Juif de Socrate », 1977).
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