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Three Moments in Paris

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Miriam Mejías

on 3 December 2015

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Transcript of Three Moments in Paris

Brief Introduction
Three Moments in Paris
Three Moments in Paris
Three Moments in Paris
by Mina Loy
Three Moments in Paris
Miriam Mejías Gil Jessica Carballo Wain
Paula Acosta Ribot

Course 2015-16
Mina Loy (1882 - 1966)
Painter and writer

Associated with most of the literary and artistic movements of the early 20th century: dadaism, surrealism, futurism, feminism, modernism and post-modernism

Known for her frank embrace of female sexuality and feminist politics
1. "One O'Clock at Night"
2. "Café du Néant"
1. "One O'Clock at Night"
Three Moments in Paris
Three Moments in Paris
3. "Magasins du Louvre"
Three Moments in Paris
2. "Café du Néant"
3. "Magasins du Louvre"

Beautiful halfhour of being a mere woman
The
animal woman
Understanding nothing of man
But mastery and the security of imparted physical heat
Indifferent to cerebral gymnastics
Or regarding them as the self-indulgent play of children
Or the thunder of alien gods
But you wake me up
Anyhow who am I that I should criticize your theories of "Plastic Velocity"
"Let us go home she is tired and wants to go to bed."

Introduction
First published poem of Mina Loy.
"International: A Review of the Two Worlds"
Later it appears as the second part of "Three Moments in Paris"

Structure/
Literary features
36 lines poem
Futurist techniques
Irony, comparisons, juxtaposition
Written in 3rd person
Absence of a proper beginning/ middle/ end
Lack of punctuation, unusual spacing within the lines
Description of scenes as if they were paintings


Setting
"Coffee of nothing"
No time, no space
Everything is discomposing
Empty entities
Coffee society (social and sexual connections between artists)
Concepts of
the poem
LIFE AND DEATH: we are born with the fate of death. Related with Existentialism: "
Man is full of anxiety and despair with no meaning in his life
"

WOMAN VALUE: beauty and youth as important aspects

NOSTALGIA: nostalgic tone


Little tapers leaning lighted diagonally
Stuck in coffin tables of the Café du Néant
Leaning to the breath of baited bodies
Like young poplars fringing the Loire
Nostalgic youth
Holding your mistress’s pricked finger
In the indifferent flame of the taper
Synthetic symbol of LIFE
In this factitious chamber of DEATH
The woman's usualIy smiling as bravely
As it is given to her to be brave

The young lovers hermetically buttoned up in black
To black cravat
To the blue powder edge dusting the yellow throat
What color could have been your bodies
When last you put them away
Eyes that are full of love
And eyes that are full of kohl
Projecting light across the fulsome ambiente
Trailing the rest of the animal behind them
Telling of tales without words
And lies of no consequence
One way or another
Having the concentric lighting focused precisely upon her
Prophetically blossoms in perfect putrefaction
Yet there are cabs outside the door.
While the brandy cherries
In winking glasses
Are decomposing
Harmoniously
With the flesh of spectators

Introduction
Setting
Structure
Third poem of the sequence
Typical scene of Paris with a strictly feminine approach that suffers male dependance
19th century parisian department store
Space to attract consumer's desire
Currently known "Louvre des Antiquaries"
36 lines
First person voice
Futurist techniques
Comparisson and juxtapositions
Lack of punctuation
Unusual spacing with the lines
Same beggining and ending
All the virgin eyes in the world are made of glass

Long lines of boxes
Of dolls
Propped against banisters
Walls and pillars
Huddled on shelves
And composite babies with arms extended
Hang from the ceiling
Beckoning
Smiling
In a profound silence
Which the shop walker left trailing behind him
When he ambled to the further end of the gallery
To annoy the shop girl

All the virgin eyes in the world are made of glass
They alone have the effrontery to
Stare through the human soul
seeing nothing
Between parted fringes
One cocotte wears a bowler hat and a sham camellia
And one an iridescent boa
For there are two of them
Passing
And the solicitous mouth of one is straight
The other curved to a static smile
They see the dolls
And for a moment their eyes relax
To a flicker of elements unconditionally primeval
And now averted
Seek each other's surreptitiously
To know if the other has seen
While mine are inextricably entangled with the pattern on the carpet
As eyes are apt to be
In their shame
Having surprised a gesture that is ultimately intimate

All the virgin eyes in the world are made of glass.
Though you have never possessed me
I have belonged to you since the beginning of time
And sleepily I sit on your chair beside you
Leaning against your shoulder
And your careless arm across my back gesticulates
As your

indisputable male voice

roars
Through my brain and my body
Arguing "Dynamic Decomposition"
Of which I understand nothing
Sleepily
And the only less male voice of your brother pugilist of the intellect
Booms
as it seems to me so sleepy
Across an interval of a thousand miles
An interim of a thousand years
But you who make more noise than any man in the world when you clear your throat
Deafening
wake me
And I catch the thread of the argument
Immediately assuming my personal mental attitude
And
cease to be a woman
Characterization
Poetic voice
Opening lines
Dualisms
The man (rational and intellectual)
His brother ("pugilist of the intellect")
The woman (tired, falling asleep)
First person
Female (the women)
Irony, sarcasm
Futurist aesthetics ("plastic velocity" and "dynamic composition")
Reason - passion
Intellect - emotion
Man - woman
Imbalance between possession of the one you love when there is love, and the material property from one to another one (marriage)
Three Moments in Paris (1915)
Three-poem sequence in free verse

Total number of lines: 105

Variety of points of view (third and first person poetic voice)

Modern look and sound
Full transcript