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Quote by Anatole France

Work

Le Lys rouge suivi de Le Jardin d'Épicure

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Author

Anatole France
Anatole France

Anatole France, a renowned French poet, was born on April 16, 1844, and passed away on October 12, 1924. His poetry has been highly regarded in the French literary world, known for its unique style and profound connotations. more

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“I Dwelt alone In a world of moan, And my soul was a stagnant tide, Till the fair and gentle Eulalie became my blushing bride- Till the yellow-haired young Eulalie became my smiling bride Ah, less-less bright The stars of night Than the eyes of the radiant girl! And never a flake That the vapor can make With the moon-tints of purple and pearl, Can vie with the modest Eulalie's most unregarded curl- Can vie compare with the bright-eyed Eulalie's most humble and careless curl Now Doubt-now Pain Come never again, For her soul gives me sigh for sigh, And all day long Shine, bright and strong, Astarte within the sky, While ever to her dear Eulalie upturns her matron eye- While ever to her young Eulalie upturns her violet eye.”

“To learn how people describe their understanding of their lives is very illuminating, for ‘ideas are the conscious expression – real or illusory – of (our) actual relations and activities’, because ‘social existence determines consciousness’ [Marx]. Given that our existence is shaped by the capitalist mode of production, experience, to be fully understood in its broader social and political implications, has to be situated in the context of the capitalist forces and relations that produce it. Experience in itself, however, is suspect because, dialectically, it is a unity of opposites; it is unique, personal, insightful and revealing, and, at the same time, thoroughly social, partial, mystifying, itself the product of historical forces about which individuals may know little or nothing about. Given the emancipatory goals of the RGC [race-gender-class] perspective, it is through the analytical tools of Marxist theory that it can move forward, beyond the impasse revealed by the constant reiteration of variations on the ‘interlocking’ metaphor.”