CLAUDEL (Paul). Correspondence of approximately 50 letters a - Lot 155

CLAUDEL (Paul). Correspondence of approximately 50 letters and cards, as well as 3 telegrams, addressed to the actress Ève Francis. 1917-1951. Magnificent correspondence, first in love, then in friendship, evoking their collaboration on stage. ONE OF CLAUDEL'S GREATEST INTERPRETERS, ÈVE FRANCIS (1886-1980), born Éva-Louise François in Brussels, was discovered in 1913 at the Théâtre Antoine by Lugné-Poe, who introduced her to Paul Claudel. In 1914, she was chosen to create the character of Sygne de Coûfontaine in L'Otage. Claudel fell in love with Ève Francis, but in January 1918 she married writer and filmmaker Louis Delluc (1890-1924), from whom she soon separated, but with whom she became a film star, appearing in La Fête espagnole, La Femme de nulle part, L'Inondation. Famous - Van Dongen painted her portrait in 1919 - she didn't abandon the theater, however, and remained one of Paul Claudel's favorite performers: she notably created the role of Doña Prouhèze in Le Soulier de satin, when it was broadcast on radio in 1942. A critic, teacher and theater director, she published her memoirs of Paul Claudel in 1973, Un Autre Claudel. "En face de S. Vincent (îles du Cap-Vert)", January 22, 1917: "Here I am in the middle of my voyage and the Atlantic, in sight of islands as barren and as hard as molten iron. Opposite, a line of peaks like splinters. This is where we're going to stop for a few hours, just long enough for me to send you my faithful souvenir: the 13th day since I left you...". - Brazil], June 18, 1918: "... I was a little sad not to have heard from you since your wedding, which was only natural. As for me, I was very unhappy when I thought of you. If the heart could know anything like a toothache, this would be my case. When I was young and in my heroic period, women were completely indifferent to me. Then I experienced a few years of passion and possession too violent not to be both blind and painful. It's only later, and even now, in this great solitude where I am, with no other way out than prayer, that I understand how much delicacy, depth, vivacity, sacrifice, of suavity and respect in the relations that two human beings can have towards each other, what we call with the beautiful word of love, what alone is worth living for, and what is so beautiful that it deserves to be the reflection of another love which, this one, will not be disappointed. It's cruel to think that the only two women I've ever truly loved, and who I believe have loved me too, have been separated from me by fate and are in the possession of others... Perhaps deep down, happiness is unworthy of a man and prevents work... I don't know if I'll have the courage to see you again when I return to Paris, it would be too painful, and what's the point of exposing oneself to new tortures? [He goes on to talk about his professional troubles and his sadness at the thought of France being ravaged by war]. I see you haven't expanded the repertoire of poems of mine that you recite. Why don't you learn some new ones? For example, "Le Cantique de la vigne", which I'm quite sure you'd recite wonderfully? -- Paul Claudel recalls his unsuccessful attempts to have his plays performed in 1919-1920, notably by Jacques Copeau. -- Paris, August 31, 1921: "I delegate to Madame Ève Francis the artistic control over the performance of my works... in the provinces and in Paris. It is understood that no performance of these works in France will take place without her consent...". -- Tokyo, December 15, 1921: "... I left Paris in one of those fits of savagery that sometimes overtake me, with the passionate desire to disappear and forget everything. How I pity you for being obliged to live in this Paris, whose atmosphere suffocates me like that of a stinking attic! I have abandoned with delight all my ideas of theater, academy, social life, etc., and I have only one ambition left, which is to work alone and as I please, and not to publish anything for a long time to come...". -- Tokyo, January 6, 1922: "... I'm very upset about this, because L'Œuvre in its unprepared form is difficult to defend. I had intended to write for you, as soon as Le Soulier de satin is finished, a new version that would have pleased you more..." -- Etc. -- Etc. ATTACHED: CLAUDEL (Paul). 3 autograph letters signed to his friend, the writer Louis Piérard. Brangues, Isère, 1940-1942. Concerning in part Eve Francis. -- CLAUDEL (