Robert Desnos Quotes

I've dreamed of you so much you're losing your reality.
Is there still time to reach that living body and kiss
onto that mouth the birth of the voice so dear to me?
I've dreamed of you so much that my arms, accustomed
to being crossed on my breast while hugging your shadow
would perhaps not bend to the shape of your body.
And, faced with the real appearance of what has haunted
and ruled me for days and years, I would probably
become a shadow.
o sentimental balances.
I've dreamed of you so much it's no longer right
for me to awaken. I sleep standing up, my body exposed
to all signs of life and love, and you
the only one who matters to me now, I'd be less able
to touch your face and your lips than the face and the lips
of the first woman who came along. I've dreamed of you so much, walked so much, spoken
and lain with your phantom that perhaps nothing more is left me
than to be a phantom among phantoms and a hundred times more shadow
than the shadow that walks and will joyfully walk
on the sundial of your life.

One can,' said Ernest 'remain unmoved before a cloud as before an automatic ticket machine. I don't like poetry, I don't like flowers, I don't like machines, I don't like sugar, I don't like pepper, I don't like what you like.' This was addressed to whoever attacked Ernest.

The Landscape"

I dreamt of loving. The dream remains, but love
is no longer those lilacs and roses whose breath
filled the broad woods, where the sail of a flame
lay at the end of each arrow-straight path.

I dreamt of loving. The dream remains, but love
is no longer that storm whose white nerve sparked
the castle towers, or left the mind unrhymed,
or flared an instant, just where the road forked.

It is the star struck under my heel in the night.
It is the vvord no book on earth defines.
It is the foam on the wave, the cloud in the sky.

As they age, all things grow rigid and bright.
The streets fall nameless, and the knots untie.
Now, with this landscape, I fix; I shine.

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The desire to vanquish, the nihilism always implicit in love, varies according to the weapons which are employed.

Two Metro lines, two trains, two carriages, two people walking in parallel streets, two lives, couples criss-crossing without seeing each other, potential encounters, meetings which shall never take place. The imagination rewrites history. It modifies the local directory and the roll-call of those who frequent a town, a street, a house, a woman. It transfixes reflections in the mirror for all eternity. It hangs entire portrait galleries from the wall of our future memory on which magnificent strangers use a sharp knife to engrave their initials and a date.

Oh,' said a very white body as it threw a wrist watch to the ground which broke without attracting anyone's attention, 'Oh, how can anyone not love poetry, natural machines, large white houses, the brilliance of steel, crimes and wild passions?

Lost between segments of a ferocious horizon, the white-helmeted explorer prepares to die and assembles his memories in order to discover how an explorer should end his days: with his arms outstretched and his face in the sand, or should he dig a fugitive tomb because of wind and hyenas, or just curl up in the so-called broken-gun position which causes so much worry to mothers when they discover that this is the position in which their offspring prefer to fall asleep, or will it be a lion or sunstroke or thirst that does the honours for him.