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Le mouvement des Catholic Workers fondé par Dorothy Day et Peter Maurin à New York en 1933 s'inspire de Charles Péguy. La lecture de La Pensée de Charles Péguy de Mounier par Maurin les influence considérablement. Jacques Maritain rend visite aux Catholic Workers en 1934, et dit avoir trouvé « un peu de l'atmosphère de la boutique de Péguy ». Day a entendu parler de Péguy par Maurin et Maritain, devient elle-même lectrice de son œuvre traduite en anglais, laissant sa voix parfois influencer et insuffler la sienne.

A conference held at the University of Saint Francis, Fort Wayne, Indiana, in May 2015.; International audience

Le rapprochement entre la critique du monde moderne de Péguy et celle des années 1920 et 1930 a été bien mise en évidence. Cette filiation a souvent été ébauchée par les intellectuels catholiques. À la fin du siècle, le groupe des écrivains catholiques n'existe plus. Pourtant, des écrivains qui s'intéressent à la spiritualité chrétienne déclarent encore admirer ce grand aîné. Cet article analyse quels échos de Péguy sont présents dans leurs textes et quelle communauté de sensibilités se dégage dans ces résonances.

International audience

International audience

International audience; Special issue of L'Amitié Charles Péguy in English.; numéro spéciale en anglais de L'amitié Charles Péguy.

International audience; numéro spéciale en anglais de la revue L'amité Charles Péguy

Building on various interpretations of the words "faith" and "fable," this essay presents Hill's poetry as inseparable from a quest for historical truth and linked to theological preoccupations. "Religion and literature" is a staid phrase that cannot avoid "the cost of discipleship" (as Bonhoeffer would say). The epic genre and certain theological myths are exposed as fables in Hill's poetry. Yet, personal religious testimony seems perceptible, with a strong attachment to the Anglican Church and Coventry Cathedral. Charles Peguy, whose poetry can be read as prayer, provides an example of one who loves the church while looking in from the outside. Like William Cookson he gives off a light that shines in darkness. ********** One task of all Christians is to strive toward holiness. The Catholic Church names saints, but many of the great religious figures in the twentieth century have received no such title. The Anglican church has acknowledged some of these, such as the statues unveiled over the west entrance of Westminster Abbey in July 1998 for ten martyrs of the twentieth century, including a Hill favorite, Dietrich Bonhoeffer (see "Poetry and Value" in CCW 479-80 and Chandler 2). (The other statues are of the Grand Duchess Elizabeth of Russia, Manche Masemola, Maximilian Kolbe, Lucian Tapiedi, Esther John, Martin Luther King, Wang Zhiming, Janani Luwum, and Oscar Romero.) While the Abbey presents itself (on its website) as "a must-see living pageant of British history," these contemporary additions transcend any purely Anglican or nationalistic leanings, as does the Hill poetry corpus. Consider his early interactions with the fable of Britain in "Merlin": "Arthur, Elaine, Mordred; they are all gone," (SP 7) (1)--but of course they live on through the poetry about them, fact or fable, much as do Hill's figures of grace and martyrdom. In Hill's poetry, these figures are not only British or European: "Moltke, the two Bonhoeffers, von Haeften," (TL CXLII, SP 195), Tommaso Campanella (SP 40), Osip Mandelstam (SP 43), and Nigerian "Colonel Fajuyi, dead" (SS 49, SP 208), among others. But some readers find that the fables of this poetry are not all graceful. While Hill's style would not be confused with the poems of Tony Harrison, his poetry also combines high and low culture with "me / Tarzan, you diva of multiple choice" (SS 53, 27), "Great singer Elton John though" (SS 94, SP 215), or the poem "Improvisations for Jimi Hendrix" (WT 29-31). Hill the poet is not afraid of getting his poetic hands dirty (read Speech! Speech!). If this poetry may be labeled as Anglican, it is a poetry of both high and low church: "The strange church smelled a bit 'high', of censers and / polish." (MH IX, SP 69) and "When all else fails CORINTHIANS will be read / by a man in too-tight shoes" (SS 114, SP 219), combined with poems addressed to Vergine bella (TL LV, SP 187), all present within "the Church of Wesley, Newman, and George Bell" (TL 55). In such contexts, while writing words that give discharges "in the world, but not of it" (as the gospel of John 15:19, is often rephrased), Hill's poetry seems set to challenge the epic genre as well as the theological myth of a triumphant all-powerful kind of God. This strain can be situated at least as early as Tenebrae's "Lachrimae Antiquae Novae": "Triumphalism feasts on empty dread" (T, SP 103). The last line of the poem lends itself to a double reading that plays with both faith and fable: "Dominion is swallowed with your blood:' Taking Holy Communion may empower Christians to live like Christ, but surely the rite is not intended to give them power to dominate. Rather, if God-incarnate could accept being powerless, such "dominion," for those who wish to imitate Christ, is converted into humility that includes "nakedness:' The poem is a significant choice to precede poems from "An Apology for the Revival of Christian Architecture in England" in the Selected Poems. …

An instruction from the Holy Office on 3 May 1927 to the Ordinaries warned them about mystico-sensual literature, without quoting the names of the authors concerned. This procedure, which began in 1917 with a denunciation of Raymond Hubert, stems from an examination of mostly French witers : Baudelaire, Barbey d’Aurevilly, Verlaine, Rimbaud, Bloy, Claudel, Mauriac, Jammes, Psichari, Baumann, Montier, etc. From 1919 to 1922, three sessions of the Holy Office, relying on the analyses of six vota (Maignen, Janssens, Lehu, Le Floch, Rouver and Janvier), eventually decided to issue a general instruction to the bishops, rather than condemning people by name in public. The text was ready in 1923 but not published until 1927, on the occasion of an examination of Le´on Daudet. This article summarises the views of the six censors on the strange concept of the mysticosensual genre and describes the principal stages of events from 1917 to 1927., Une instruction du Saint-Office du 3 mai 1927 aux Ordinaires les mettait en garde contre la littérature mystico-sensuelle, sans citer les noms d’auteurs concernés. Ouverte en 1917 par une dénonciation de Raymond Hubert, cette procédure repose sur un examen d’écrivains pour la plupart français : Baudelaire, Barbey d’Aurevilly, Verlaine, Rimbaud, Bloy, Claudel, Mauriac, Jammes, Psichari, Baumann, Montier, etc. De 1919 à 1922, trois sessions du Saint-Office, s’appuyant sur les analyses de six vota (Maignen, Janssens, Lehu, Le Floch, Rouvier et Janvier), aboutissent à l’idée d’une instruction générale aux évêques, de préférence à des condamnations nominatives publiques. Le texte, prêt en 1923, n’est publié qu’en 1927, à l’occasion d’un examen de Léon Daudet. L’article résume les vues des six censeurs sur l’étrange concept de genre mystico-sensuel et présente les grandes étapes de l’affaire de 1917 à 1927.

What translations into English of works by Charles Péguy exist?, Quelles traductions existes en anglais des œuvres de Charles Péguy?

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