Yanette Delétang-Tardif (18 June 1902 – 4 November 1976) was a French poet,[2]translator into French of Spanish[3] and German works,[4][5] painter and illustrator.[6] She was a very productive and reputed author of poetry,[7] however she appeared sometimes as a restricted poet.[8]
Yanette Delétang-Tardif was born Anne Marie Paule Delétang on 18 June 1902 inRoubaix. She was the daughter of Marie Troupeau and Maurice Delétang, anindustrialist. In 1927 she married Raymond Tardif,[note 1] with whom she lived until his death in 1963 and by whom she had one son named Jean-Loup in 1928.[1][12]
After her marriage, she took her pen name: Yanette Delétang-Tardif. Then she had been succeeding to establish herself as a fully-fledged writer with the publishing of her first collections of poems:Éclats in 1929,Générer, a poetic work about her motherhood experience,[13] in 1930 andVol d'oiseaux in 1931.[14] Those early works testify to the sway ofPaul Valéry's rhythmic pattern.[13][15] In her bookConfidences des îles written in 1934, she adopted a style revealing the adding influence of Guy Lavaud.[note 2][13] Meantime, she published in several periodicals, ranked as a recognized poet.[16] In 1935, the monthlyL'Année poétique brought out a special issue devoted entirely to her, in which she had her portrait drawn byJean de Bosschère.[17] Inquisitive aboutsurrealism as a cultural movement, she was little inclined to its ideological side.[18]
As a poet, she had joined theÉcole de Rochefort,[note 3] inside which she was the only woman, since the poet Jean Bouhier created thispoetic movement in 1941.[20] Even though she had so become a founding member of that talented group of poets, she remained free and defended personal conceptions of poetry, such as the benevolent welcome ofStéphane Mallarmé's poems, very dissimilar from the Rochefort group's poetic ideal. In 1942 she won theMallarmé prize to honour her work and bring out her bookTenter de vivre.[6][21] At that time she also metJean Cocteau with whom she became well acquainted.[2][22] At her particular request then, Jean Cocteau drew her portrait, once reproduced in his warjournal and made a second time in 1943.[23] Like the accomplished artist she admired, she formed a passion forcircus about which she wrote articles.[24][25]
Some surrealists distributed a leaflet at the end of 1942–1943 wintertime in which they mocked her poetical works through her interest for circus arts and aimed to condemn who they considered as collaborationist artists.[note 4] Thus, among several authors, they put a stress on the single contribution toLa Nouvelle Revue Française made by Yanette Delétang-Tardif[note 5] regarding the period when the quarterly magazine was caught up in the collaboration movement.[29][30] Despite the vigorous libel actions of those surrealists,[11][27] she was not banned as an undesirable writer by theComité National des Ecrivains[note 6] after theLiberation and,[32] therefore, never prosecuted forcollaborationism.
She kept up a correspondence withMax Jacob,[33] who was a well-known figure among the most representative fellows of the Rochefort poetic movement.[34] Then, following his death in 1944, she was the first one to transcribe the most extensive story from witness statements of the martyrdom of the Jewish poet,[35][36] and proved to be an investigative writer.[37][38]
At that time,Gérard de Nerval's sonnetsThe Chimeras andGerman poets of the romantic era belonged to her beloved literatures, which had played a part in the development of her works. She was especially interested inJohann Wolfgang von Goethe, of whom she gave a renowned French translation of the poems — together with Maurice Betz —[39] in 1946. In 1949 she collaborated with Paul Arnold on the French translation ofFriedrich Nietzsche's complete poetical works.[4] Although never published in her lifetime, she also created a really fine translation ofNachtwachen von Bonaventura,[en 4] reflecting her interest in romanticism through a masterpiece of German literature.[40]
Delétang-Tardif's writing was not confined to poetry nor translated works and, following her taste, she wrote novels and completed critical works.[41] She was the faithful friend of the French novelist and criticEdmond Jaloux, of whom she published abiography in 1947. She was elected as a member of the jury for theGuillaume Apollinaire prize in the same year.[1]
From the outset of her career, her nom de plume referred to her husband's family name, which she attached to her father's name. When he died she was plunged into despair. In the aftermath of her husband's death, she cut off from the literary world of Paris and left her position as a member of the jury for the Guillaume Apollinaire prize.[4][1]
She died in relative obscurity in 1976 in Paris.[1][10]
^Alfred Marie Raymond Tardif, called Raymond Tardif, was born the 29th of july 1902 in Tours. He married Anne Marie Paule Delétang on the 5th of February 1927 and died on the 7th of July in 1963.[9][10] Among other jobs, he worked as Minister's chief of staff forPierre-Étienne Flandin.[11]
^Guy Lavaud (1883 - 1958) was a French symbolist poet whose style was characterized by conciseness and clarity.
^TheÉcole de Rochefort[en 1] is a poetic movement that rose up against the national framework of the French literature advocated by the Vichy Government,[19] during the World War II German occupation of France, in order to defend humanism and freedom of expression.
^The only contribution which dealt with Delétang-Tardif's collaboration on the involved magazine was the textScène de l'ange.[28]
^TheComité National des Ecrivains[en 3] is a literary organization of theFrench Resistance created in 1941 which gathered around fifty writers to define collaboration, after World War II.[31]
^abcdeLafitte, Jacques; Taylor, Stephen (1977).Qui est qui en France 1977–1978 [Who's who in France 1977–1978] (in French). Levallois-Perret, F: Editions Jacques Lafitte. p. 539.ISBN2-85784-013-6. Retrieved14 October 2015.DELÉTANG TARDIF Yanette (Anne, Marie, Paule dite). Femme de lettres. Née le 18 juin 1902 à Roubaix (Nord). Fille de Maurice Delétang, Industriel, et de Mme, née Marie Troupeau. Veuve de Raymond Tardif (1 enf. : Jean-Loup).
^abde Ayala, Roselyne; Guéno, Jean-Pierre (1 November 1999).Illustrated letters: artists and writers correspond. Translated by Goodman, John. New York (New York), USA: Harry N. Abrams, Inc. (HNA).ISBN978-0-8109-0653-2. Retrieved14 October 2015.The figure of Orphens accompanied Cocteau throughout the course of his life and work. thus it was only natural that he should charge this mythological hero. his double. with conveying news to his friend. the poet Yanette Deletang-Tardif.
^Christ, Yvan (February 1962)."Enrique LAFUENTE FERRARI: Goya — l'Art roman en France" [Enrique Lafuente Ferrari: Goya — Romanesque Art in France].La Table Ronde (in French) (169). Paris, F: Société d'éditions et de publications artistiques et littéraires - S.E.P.A.L.: 135.ISSN0980-4501.OCLC320230615. Retrieved10 February 2016.Le texte espagnol de la longue et érudite introduction a été traduit par Mme Yanette Delétang-Tardif.
^abcSabatier, Robert (10 February 1982).La Poésie du Vingtième Siècle [French Poetry of the Twentieth Century]. Histoire de la poésie française (in French). Vol. 1. Tradition et Évolution. Paris, F: Albin Michel. p. 165.ISBN978-2-226-01395-8. Retrieved10 February 2016.
^Douglas, Kenneth, ed. (1957).Contemporary art. Yale French studies. New Haven (Connecticut), USA: Yale University Press. p. 127.OCLC5189961. Retrieved17 October 2015.…and Yanette Deletang-Tardif, one of the better known and more prolific women-poets.
^Covarrubias, Miguel (1997).Papelería en Trámite [Papers in Process] (in Spanish). México, MX: Ediciones Castillo, S.A. de C.V.ISBN978-968-7415-56-7. Retrieved17 October 2015.Yanette Delétang-Tardif me intrigó desde su casi total ocultamiento, aunque figura como la única excepción femenina en el recuento de laPoesía francesa contemporánea de Manuel Álvarez Ortega.
^abBlanchard, Maurice (17 October 1994). Peuchmaurd, Pierre (ed.).Danser sur la corde [Dance on a rope] (in French). Journal 1942 – 1946. Toulouse, F: L'Éther Vague. pp. 83–84.ISBN2-904-620-52-4. Retrieved21 October 2015.
^"TARDIF Jean-Loup".Moteur de recherche des personnes décédées (matchID) (in French). 2023. Retrieved23 November 2023.
^abcBurnham Cooper, Clarissa (1943).Women poets of the twentieth century in France: a critical bibliography. New York (New York), USA: King's Crown Press. p. 52.OCLC3308699. Retrieved17 October 2015.HerConfidences des îles (1934), besides revealing the influence of Valéry, shows that of Guy Lavaud […] She even attempts to interpret her experience of maternity in the detached, cerebral style invented by Valery […] in the book Generer…
^Benkov, Edith Joyce (28 February 1991). "Yanette Deletang-Tardif". In Wilson, Katharina M. (ed.).An Encyclopedia of Continental Women Writers. Garland reference library of the humanities. Vol. one A–K. London, UK: Taylor & Francis. p. 300.ISBN978-0-8240-8547-6. Retrieved15 October 2015.
^Winckler, Lutz, ed. (1995).Unter der "Coupole": Die Paris-Feuilletons Hermann Wendels 1933–1936 [Under the "Coupole": Wendel, Hermann Paris-Feuilleton 1933–1936]. Studien und Texte zur Sozialgeschichte der Literatur (in German). Vol. 47. Berlin, D: Verlag Walter de Gruyter. p. 236.ISBN978-3-484-35047-2. Retrieved17 October 2015.Ihre vier Gedichtbände, "Eclats", "Generer", "Vol des Oiseaux" und "Confidences des Iles", von denen die drei ersten bei Aristide Quillet, Paris, erschienen sind, sichern Yanette Deletang-Tardif einen hervorragenden Platz in den Reihen der modersten Frauendichtung, nein, der modersten Dichtung überhaupt.
^Bataillard, Aloys, ed. (July 1935). "Yanette Deletang-Tardif".L'Année poétique (in French) (12). Paris, F: Librairie des Trois Magots:1–16.
^de La Rochefoucauld, Edmée (1969). "LES POÈTES : de Renée Vivien à Marie Noël".Femmes d'hier et d'aujourd'hui [Women of yesterday and today] (in French). Paris, F: Éditions Bernard Grasset. p. 3.ISBN978-2-246-80054-5.OCLC5878552. Retrieved25 February 2016.Si Anna de Noailles relevait du naturisme, si Cécile Périn, moins connue, était unanimiste, si Yanette Delétang Tardif ou Céline Arnault sont surréalistes, aucune n'a fait de théorie, écrit de manifestes, proclamé de principes.
^Chabod, France (18 March 2010)."Quand les poètes de Rochefort étaient des femmes" [When poets of Rochefort were women].BUA (in French). Service Commun de la Documentation de l'Université d'Angers. Retrieved15 October 2015.Fondé en 1941 par Jean Bouhier et le peintre Pierre Penon, ce groupe rallia […] Yanette Delétang-Tardif […] et une soixantaine d'autres par la suite.
^Cocteau, Jean (26 September 1989). Chanel, Pierre (ed.).Le Passé défini: Journal [Past Tense: The Cocteau Diaries] (in French). Vol. Tome III. Paris, F:Gallimard. p. 89.ISBN978-2-0707-1575-6. Retrieved14 October 2015.Et revenant l'autre jour rue de Montpensier, avec madame Delétang-Tardif, je retrouvais là l'histoire de mes souffrances…
^Jando, Dominique (2008)."Rose Gold".Circopedia. Brooklyn (New York), USA: Big Apple Circus. Retrieved13 February 2016.In September 1945, in Minerve, Yanette Delétang-Tardif had commented thus Rose's debut with her solo trapeze act at Cirque Medrano: "What is so moving about the debut of this trapezist is that, right away, she has reached perfection."
^Thétard, Henry (15 December 1952). Chaumeix, André (ed.)."Le Cirque: Son public - Ses spectacles - Ses acteurs" [Circus: Public - Shows - Actors].Revue des deux Mondes (in French) (24). Paris, F: Société de la Revue des deux Mondes: 687.ISSN0035-1962.OCLC476419311. Retrieved13 February 2016.Dans un « plaidoyer pour le cirque » qu'elle publia voici cinq ou six ans, Mme Yanette Delétang-Tardif écrivait : « Il y a, dans la vie d'un homme, un trésor que nul pouvoir, nulle force au monde ne peuvent lui arracher : ses souvenirs d'enfance. […]
^Pierre, José; Schuster, Jean (1982). Losfeld, Eric (ed.).Tracts surréalistes et déclarations collectives [Leaflets and collective statements of the surrealist movement] (in French). Vol. Tome II (1940-1968). Paris, F: Le Terrain Vague.OCLC496048346.
^abBéhar, Sophie (12 December 2009). Béhar, Henri (ed.)."TRACTS SURREALISTES Tome II (de février 1940 à avril 1960)" [SURREALIST LEAFLETS Tome II (February 1940 to April 1960)].Mélusine (in French). Paris, F: Association pour la Recherche et l'Étude du surréalisme (APRES). Retrieved21 February 2016.Yanette Delétang Tardif dont le Pégase est un cheval de cirque, discute poésie mais aussi ravitaillement.
^Mansour Desvaux, Marie-Francine (5 April 2014).Le surréalisme à travers Joyce Mansour: peinture et poésie, le miroir du désir [Surrealism as seen through Joyce Mansour's work: painting, poetry and the mirror of desire](PDF) (in French). NNT: 2014PA010520 - Id: tel-01124337. Paris, F: Université Panthéon-Sorbonne - Paris I. p. 139. Retrieved21 February 2016.[…] le groupe lance un tract intitulé « Vos Gueules » adressé aux poètes collaborationnistes […]
^Hoctan, Caroline (5 October 2006).Panorama des revues à la libération: août 1944–octobre 1946 [Panorama of magazines after liberation: August 1944–October 1946] (in French). Saint-Germain la Blanche-Herbe, F: IMEC : Institut Mémoires de l'édition contemporaine. p. 1036.ISBN978-2-908295-81-8. Retrieved21 February 2016.Nous pouvons ainsi trouver entre décembre 1940 et juin 1943 les contributions de Paul Eluard, Alain, Henri Thomas, Claude Roy, Eugène Guillevic, Joë Bousquet, Louis Guilloux, Charles Autrand, Yanette Delétang-Tardif, André Gide, etc.
^Assouline, Pierre (1996).L'Épuration des intellectuels [The Culling of intellectuals]. Historiques (in French). Vol. 105. Annexe 5. Brussel, B: Editions Complexe. pp. 161–162.ISBN978-2-87027-667-9. Retrieved24 February 2016.
^Van Rogger Andréucci, Christine (2007). Sustrac, Patricia (ed.)."Max Jacob et l'école de Rochefort: poétique et pédagogie" [Max Jacob and the school of Rochefort: poetic and pedagogy].AMJ – Association des Amis de Max Jacob. Saint-Benoît-sur-Loire, F: Association des Amis de Max Jacob. Retrieved2 March 2016.Max Jacob, revenu de Paris pour s'installer définitivement à Saint-Benoît-sur-Loire en juin 1936, devient une figure centrale dans les liens qui uniront les fondateurs de l'école de Rochefort.
^Sustrac, Patricia (2009)."La mort de Max Jacob: réalité et représentations" [The death of Max Jacob: reality and portrayals].Les Cahiers Max Jacob (in French).9 (9). Saint-Benoît-sur-Loire, F: Association des Amis de Max Jacob:103–127.doi:10.3406/maxja.2009.962.ISSN0526-8400. Retrieved2 March 2016.Yanette Delétang-Tardif, la première, a publié le récit le plus étoffé de la mort de Max Jacob à Drancy.
^Delétang-Tardif, Yanette (July–October 1944).Seghers, Pierre (ed.). "La mort d'un poète" [The death of a poet].Poésie (in French) (20). Paris, F:14–16.
^Oxenhandler, Neal (1 May 1997).Looking for heroes in postwar France: Albert Camus, Max Jacob, Simone Weil. Lebanon (New Hampshire), USA: University Press of New England. p. 102.ISBN978-0-87451-828-3. Retrieved1 March 2016.In the same affectless style a journal entry for November 28, 1944, records the poet's death as reported by Mme Yanette Deletang-Tardif, who interviewed the attending physician at Drancy.
^Schneider, Marcel (July 1950)."Les Lettres Allemandes: Thomas Mann et Hermann Hesse" [German letters: Thomas Mann and Hermann Hesse].La Table Ronde (in French) (31). Paris, F: Société d'éditions et de publications artistiques et littéraires - S.E.P.A.L.: 153.ISSN0980-4501.OCLC320230615. Retrieved10 February 2016.Rien n'est plus dévotement pur que les brefs dictons en vers, si heureusement traduits par Maurice Betz et Yanette Delétang-Tardif
^Brion, Marcel (2000).Suite fantastique [Fantastic suite]. Cahiers Marcel Brion (in French). Vol. 2–3. Paris, F: Klincksieck. p. 222.ISBN978-2-252-03272-5. Retrieved11 February 2016.[…] l'énigmatique Bonaventura dont les Veillées - ce chef-d'oeuvre du Romantisme ! - n'ont pas encore trouvé d'éditeur en France pour l'excellente traduction qu'en a faite Yanette Delétang-Tardif […]
^Achard, Marcel (1960)."Le métier d'auteur" [The job of author].Les Annales, Conferencia (in French) (111). Paris, F: Revue Mensuelle des Lettres Françaises: 32.ISSN1766-3601.OCLC472051127. Retrieved25 February 2016.Elle aime son métier littéraire qui n'est pas seulement celui du poète mais du critique.
^Billy, André (1951). Horay, Pierre (ed.)."Prix décernés en 1950" [Prizes awarded in 1950].Almanach des lettres. 1951 (in French). La Gazette des Lettres. Paris, F: Editions de Flore. p. 225.ISSN1156-0010. Retrieved10 April 2016.Prix Renée Vivien : Yanette Delétang-Tardif, pour Sept chants royaux
^Grindea, Miron, ed. (1962)."Combat with the Amazon of letters".ADAM International Review.29 (299). London, UK:5–24. Retrieved17 October 2015.As to the moving tributes by Yanette Deletang-Tardif, Anne-Marie Kegels and Lucienne Desnoues they represent the admiration of three of the more interesting laureates of the Prix Renee Vivien which, since 1949, the Amazon has awarded to women poets writing in French.
^Álvarez Ortega, Manuel (1967).Poesía francesa contemporánea, 1915-1965: antología bilingüe [Contemporary French poetry (1915-1965). Bilingual anthology]. Sillar. Estudios Literarios. Segunda serie (in Spanish). Vol. 4. Madrid, ES: Taurus. p. 568.OCLC332806. Retrieved5 March 2016.También ha recibido el Premio Mallarmé en 1942, el Premio Renée Vivien en 1950 […]
^Causse, Michèle; Cleyrergue, Berthe (1980).Berthe, ou, un démi-siècle auprés de l'Amazone [Berthe or half a century with the Amazon] (in French). Paris, F: Éditions Tierce. p. 117.ISBN978-2-903144-11-1.OCLC8588563. Retrieved26 February 2016.La poètesse Yanette Delétang-Tardif, enchanteresse, qui reçut le prix Renée Vivien, aimait venir chez miss Barney quand il n'y avait personne.
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