1960-07-13, English, Article, Journal or magazine article edition: Andre Gide (13 July 1960)

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Andre Gide (13 July 1960)
 
Bookmark: https://trove.nla.gov.au/version/258382580
Physical Description
  • 483 words
  • article
  • Journals
  • Magazines
Published
  • xna, John Haynes and J.F. Archibald, 1960-07-13
Language
  • English

Edition details

Title
  • Andre Gide (13 July 1960)
Appears In
  • The bulletin., v.81, no.4196, 1960-07-13 (ISSN: 0007-4039)
Published
  • xna, John Haynes and J.F. Archibald, 1960-07-13
Physical Description
  • 483 words
  • article
  • Journals
  • Magazines
Series
Part Of
  • The bulletin.
  • Vol. 81 No. 4196 (13 July 1960)
  • John Ryan Comic Collection (Specific issues).
Subjects
Summary
  • Andre Gide “Pay attention only to form,” Andii Gide once wrote; “emotion will con spontaneously to inhabit it. A perfec dwelling always finds an inhabit® The artist’s business is to build I dwelling; as for the inhabitant, iti up to the reader to provide him.” If this precept accounts for Gide shortcomings as an artist, it als explains his special strength as a critic for he followed it faithfully at bo! ends. As novelist he created somei the emptiest architecture of his tins as critic he supplied the houses of otk writers with inhabitants that seldoi failed to belong and to stimulate. S Albert Camus could write: “Wta Gide criticises, he creates.” (Gide opponents might add that when i creates he criticises, for many of l novels are really criticisms of one kin or another, sometimes even of the no« itself as a form.) As a critic—using the word ini broadest sense, as he used it himsel to embrace life as well as art— Gi was, as has often been said, i conscience of a generation.” Such mi appear in France more often than els; where (although E. M. Forster an George Orwell spring to mind as p« sible English counterparts); and the are valued less for their creations tta for their unshakeable integrity. One might say of Gide what Sarti said of Camus (another “conscience that had he lived in the seventeen century he might have written a boo or two of aphorisms or “character (La Bruyere was one of his favorite in the beautifully spare prose of f time. Or, more likely, had he even earlier he might, like Montaign have conducted a lengthy self-expb !i tion in essays. At any rate, his tern{* comes from somewhere between tbj two periods, and the best way to enf it is through his journals or in a W like Pretexts (Seeker and Warbuf- Lw edited by Justin O'Brien and transited ited by various hands, most of them American and all of them capable. Here in lectures, essays, prefaces, imaginary interviews,” open-letters fnd notes, we see his immensely fluid ind open mind at work over a period \ about forty years on many aspects !,f and morality, which for jL W ere most often bound together. The book would be worth having just iL or the essay on the death of Mallarme, Written in a tributary copy of the poet’s Vose style which even in translation ff s strangely moving; the almost scientific tific outline of Paul Valery's personality, sonality, full of the feeling of his Soetiy; the open-letter to Cocteau, a healthy exercise of Gide’s principle, “I rave always sought to encourage each n his own path, and should not like to attract anyone to me”; and above all for the preface to Stendahl’s littlecnown cnown novel “Armance” (an antecedent cedent of Hemingway’s “The Sun Also ibises”), which is creative criticism at ( ts finest.
Terms of Use
  • In Copyright
Language
  • English
Identifier
  • AP7 (LC)

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