To see is to forget the name of the thing one sees. - Paul Valéry

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To see is to forget the name of the thing one sees.

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About Paul Valéry

Ambroise-Paul-Toussaint-Jules Valéry (30 October 1871 – 20 July 1945) was a French author and Symbolist poet. His interests were sufficiently broad that he can be classified as a polymath. In addition to his fiction (poetry, drama, and dialogues), he also wrote many essays and aphorisms on art, history, letters, music, and current events.

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Also Known As

Alternative Names: Paul Ambroise Valery Paul-Ambroise Valéry Paul Valery Paul-Ambroise Valery Ambroise Paul Toussaint Jules Valéry Paul Ambroise Valéry Doris
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Additional quotes by Paul Valéry

Pascal lui-même n'a pas manqué de s'y tromper, qui traita de cet art avec superbe, et le réduisait à la vanité de poursuivre laborieusement la ressemblance de choses dont la vue d'elles-mêmes est sans intérêt, ce qui prouve qu'il ne savait pas regarder, c'est-à-dire oublier les noms des choses que l'on voit.

God created man and, finding him not sufficiently alone, gave him a companion to make him feel his solitude more keenly

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For the musician, before he has begun his work, all is in readiness so that the operation of his creative spirit may find, right from the start, the appropriate matter and means, without any possibility of error. He will not have to make this matter and means submit to any modification; he need only assemble elements which are clearly defined and ready-made. But in how different a situation is the poet! Before him is ordinary language, this aggregate of means which are not suited to his purpose, not made for him. There have not been physicians to determine the relationships of these means for him; there have not been constructors of scales; no diapason, no metronome, no certitude of this kind. He has nothing but the coarse instrument of the dictionary and the grammar. Moreover, he must address himself not to a special and unique sense like hearing, which the musician bends to his will, and which is, besides, the organ par excellence of expectation and attention; but rather to a general and diffused expectation, and he does so through a language which is a very odd mixture of incoherent stimuli.

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