Abstract
Aragon, more than any other French poet, has been interpreted in song some two hundred times. Why is music so important in his poetry? During the war (1939-1945), he himself encouraged the resistance fight with his poems, written as an inspiration to restore morale, and the memory of the nation’s voice; in the communist party as well, singing was a way to come together and maintain hope. Music, generally speaking, stands beyond truth and lies, the real and the imaginary. But this oral style, cultivated by the poet-novelist, mingles with orality in a darker sense, illustrated in psychoanalysis by the sufferings of primal love, including jealousy and self-destruction, which provides the framework for the novel La mise à mort (1965).
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