Roland Barthes

Critic

1915-11-12

Books by Roland Barthes

Mythologies
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Système de la mode
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Fragments d'un discours amoureux
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Quotes by Roland Barthes

I experience reality as a system of power. Coluche, the restaurant, the painter, Rome on a holiday, everything imposes on me its system of being; everyone is *badly behaved*. Isn't their impoliteness merely a *plenitude*? The world is full, plenitude is its system, and as a final offense this system is presented as a nature with which I must sustain good relations: in order to be normal (exempt from love)...— from_A Lover's Discourse: Fragments_
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So long as I perceive the world as hostile, I remain linked to it: *I am not crazy*. But sometimes, once my bad temper is exhausted, I have no language left at all: the world is not unreal (I could then utter it: there are arts of the unreal, among them the greatest arts of all), but disreal: reality has fled from it, is nowhere, so that I no longer have any meaning (any paradigm) available to me; *I do not manage* to define my relations with Coluche, the restaurant, the painter, the Piazza del Popolo. What relation can I have with a system of power if I am neither its slave nor its accomplice nor its witness. — from_A Lover's Discourse: Fragments_
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We don't forget, but something vacant settles in us.
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...what I enjoy in a narrative is not directly its content or even its structure, but rather the abrasions I impose upon the fine surface: I read on, I skip, I look up, I dip in again. Which has nothing to do with the deep laceration the text of bliss inflicts upon language itself, and not upon the simple temporality of its reading.
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Boredom is not far from bliss: it is bliss seen from the shores of pleasure.
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For me the noise of Time is not sad: I love bells, clocks, watches — and I recall that at first photographic implements were related to techniques of cabinetmaking and the machinery of precision: cameras, in short, were clocks for seeing, and perhaps in me someone very old still hears in the photographic mechanism the living sound of the wood.
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You see the first thing we love is a scene. For love at first sight requires the very sign of its suddenness; and of all things, it is the scene which seems to be seen best for the first time: a curtain parts and what had not yet ever been seen is devoured by the eyes: the scene consecrates the object I am going to love. The context is the constellation of elements, harmoniously arranged that encompass the experience of the amorous subject...Love at first sight is always spoken in the past tense. The scene is perfectly adapted to this temporal phenomenon: distinct, abrupt, framed, it is already a memory (the nature of a photograph is not to represent but to memorialize)... this scene has all the magnificence of an accident: I cannot get over having had this good fortune: to meet what matches my d
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[Photography] allows me to accede to an infra-knowledge; it supplies me with a collection of partial objects and can flatter a certain fetishism of mine: for this 'me' which like knowledge, which nourishes a kind of amorous preference for it. In the same way, I like certain biographical features which, in a writer's life, delight me as much as certain photographs; I have called these features 'biographemes'; Photography has the same relation to History that the biographeme has to biography.
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To know that one does not write for the other, to know that these things I am going to write will never cause me to be loved by the one I love (the other), to know that writing compensates for nothing, sublimates nothing, that it is precisely there where you are not--this is the beginning of writing.
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The text you write must prove to me that it desires me. This proof exists: it is writing. Writing is: the science of the various blisses of language, its Kama Sutra (this science has but one treatise: writing itself).
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As soon as someone dies, frenzied construction of the future (shifting furniture, etc.): futuromania.
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Each of us has his own rhythm of suffering.
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Gossip reduces the other to he/she, and this reduction is intolerable to me. For me the other is neither he nor she; the other has only a name of his own, or her own name. The third-person pronoun is a wicked pronoun: it is the pronoun of the non-person, it absents, it annuls. When I realize that common discourse takes possession of my other and restores that other to me in the bloodless form of a universal substitute, applied to all the things which are not here, it is as if I saw my other dead, reduced, shelved in an urn upon the wall of the great mausoleum of language. For me, the other cannot be a referent: you are never anything but you, I do not want the Other to speak of you.
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(Love's atopia, characteristic which causes it to escape all dissertations, would be that *ultimately* it is possible to talk about love only *according to a strict allocutive determination*; whether philosophical, gnomic, lyric, or novelistic, there is always, in the discourse upon love, a person whom one addresses, though this person may have shifted to the condition of a phantom or a creature still to come. No one wants to speak of love unless it is *for* someone.).
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To whom could I put this question (with any hope of an answer)? Does being able to live without someone you loved mean you loved her less than you thought...?
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You see the first thing we love is a scene. For love at first sight requires the very sign of its suddenness; and of all things, it is the scene which seems to be seen best for the first time: a curtain parts and what had not yet ever been seen is devoured by the eyes: the scene consecrates the object I am going to love. The context is the constellation of elements, harmoniously arranged that encompass the experience of the amorous subject...Love at first sight is always spoken in the past tense. The scene is perfectly adapted to this temporal phenomenon: distinct, abrupt, framed, it is already a memory (the nature of a photograph is not to represent but to memorialize)... this scene has all the magnificence of an accident: I cannot get over having had this good fortune: to meet what matches my desire. interval, something has been successful: I have been fulfilled (all my desires abolished by the plenitude of their satisfaction).
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The text you write must prove to me that it desires me. This proof exists: it is writing. Writing is: the science of the various blisses of language, its Kama Sutra (this science has but one treatise: writing itself).
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You see the first thing we love is a scene. For love at first sight requires the very sign of its suddenness; and of all things, it is the scene which seems to be seen best for the first time: a curtain parts and what had not yet ever been seen is devoured by the eyes: the scene consecrates the object I am going to love. The context is the constellation of elements, harmoniously arranged that encompass the experience of the amorous subject...Love at first sight is always spoken in the past tense. The scene is perfectly adapted to this temporal phenomenon: distinct, abrupt, framed, it is already a memory (the nature of a photograph is not to represent but to memorialize)... this scene has all the magnificence of an accident: I cannot get over having had this good fortune: to meet what matches my desire. interval, something has been successful: I have been fulfilled (all my desires abolished by the plenitude of their satisfaction).
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As soon as someone dies, frenzied construction of the future (shifting furniture, etc.): futuromania.
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To know that one does not write for the other, to know that these things I am going to write will never cause me to be loved by the one I love (the other), to know that writing compensates for nothing, sublimates nothing, that it is precisely there where you are not--this is the beginning of writing.
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