The Arcades Project - Operi
The Arcades Project - Operi The Arcades Project - Operi
drawings, in distilling the bitter or heady flavor of the wine of Life.?? Baudelaire, L'A, . t romantique (Paris), p. 114." [J6a,1] The figure of the "modem" and that of "allegory" must he brought into relation with each other: "Woe unto him who seeks in antiquity anything other than pure art, logic, and general method! By plunging too deeply into the past, . . . he renounces the ... privileges provided by circumstances; for almost all our originality comes from the stamp that time imprints upon our feelings :' Baudelaire, L'Art romantique (paris), p. 72 ("Le Peintre de la vie modeme")." But the privilege of which Baudelaire speaks also comes into force, in a mediated way, vis-it-vis antiquity: the stamp of time that imprints itself on antiquity presses out of it the allegorical configuration. [J6a,2] Concerning Spleen et ideal," these reflections from the Guys essay: "Modernity is the transitory, the fugitive, the contingent; it is one half of art, the other half being the eternal and immutable . . . . If any particular modernity is to be worthy of becoming antiquity, one must extract from it the mysterious beauty that human life involuntarily gives it. It is to this task that Monsieur G. particularly addresses himself." Baudelaire, L iirt romantique (Paris), p. 70. In another place (p. 74), he speaks of this legendary translation of external life. ",18 [J6a,3] Motifs of the poems in the theoretical prose. "Le Coucher du solei! romantique" : '"Dandyism is a sunset; like the declining daystar, it is glorious. without heat and full of melancholy. But alas, the rising tide of democracy . .. is daily overwhelming these last representatives of human pride" (L iir-t romantique, p. 95).-"r.Le SoleH" : At a time when others are asleep, Monsieur G. is bending over his tahle, darting onto a sheet of paper the same glance that a moment ago he was directing toward external things , skirmishing with his pencil, his pen, his hrush, splashing his glass of water up to the ceiling, wiping his pen on his shirt, in a ferment of violent activity, as though afraid that the images might escape him, cantankerous though alone, elbowing himself on" (L'Art romantique, p. 67),'19 [J6a,4] Nouveaute: "The child sees everything in a state of newness; he is always drunk. N odling more resembles what we call inspiration than the delight with which a child absorbs form and color . ... It is by this deep and joyful curiosity that we may explain the fixed and animally ecstatic gaze of a child confronted widl something new:' Baudelaire, L'Art romantique (Paris), p. 62 ("Le Peintre de la vie modeme"). Perhaps this explains the dark saying in "l}Oeuvre et la vie d'Eugene Delacroix": "For it is true to say that, generally speaking, the child, in relation to the man, is much closer to original sin" (L'Art romantique, p. 41)."' [J7,1] The sun: '"the boisterous sun heating a tattoo upon his windowpane" (L 'A rt romantique, p. 65); 'the landscapes of the great city . .. huffeted by the sun" (L 'Art , . omantique, pp. 65-66).,;1 [J7,2]
In " L'Oeuvre et la vie d'Eugene Delacroix": "The whole visible universe is but a storehouse of images and signs." Baudelaire, L'Art romantique, p. 13.52 [J7)3] From the Guys essay: " Beauty is made up of an eternal, invariable element ... and of a relative, circumstantial element, which will be . .. the age-its fashions, its morals, its emotions. Without this second element, which might be described as the amusing, enticing, appetizing icing on the divine cake, the first element would be beyond our powers of digestion." Baudelaire, L 'Art r01nantique, pp. 54-55.s: [J7,4J On nouveaute: " Night! you'd please me more without these stars / which speak a language I know all too well." Flew's , ed. Payot, p. 139 ("Obsession"). 5,1 [J7,5J The subsequent appearance of the flower inJugendstil is not without significance for the title Les Fleurs du mal. This work spans the arch that reaches from the taedium vitae of the Romans to Jugendstil. [J7,6J It would be important to determine Poe's relation to Latinity. Baudelaire's interest in the technique of composition could have led him-in the end-as surely to Latin culture as his interest in the artilicial led him to Anglo-Saxon culture. Wo rking through Poe, tlns latter area of culture also conditions-at tlle outset Baudelaire's theory of composition. Hence, it becomes more urgent to ask whether tllls doctrine does not, in the end, bear a Latin stamp. [J7,7J The LesbiunJI-a painting by Com·bet. [J7,8J Nature, according to Baudelaire, knows tllls one luxury: crime. Thus the significance of the artificial. Perhaps we may draw on this thought for the interpretation of the idea that children stand nearest to original sin. Is it because, exuberant by nature, they carmot get out of harm's way? At bottom, Baudelaire is tlllnking of parricide. (Compare DArt romantique [Paris], p. 100.)55 [J7a,lJ The key to the emancipation from antiquity-which (see in the Guys essay, DArt romantique, p. 72)56 can furnish only the canon of composition-is for Baudelaire allegorese. [J7a,2J Baudelaire's manner of reciting. He gathered his friends-Antonio Watdpon, Gabriel Dantrague, Malassis, Delvau-" in a modest cafe on the Rue Dauphine . ... The poet began by ordering punch; then, when he saw us all disposed toward benevolence . .. , he would recite to us in a voice at once mincing, soft, fiuty, oily, and yet mordant, some enormity or other-" Le Yin de l'assassin"
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In " L'Oeuvre et la vie d'Eugene Delacroix": "<strong>The</strong> whole visible universe is but a<br />
storehouse of images and signs." Baudelaire, L'Art romantique, p. 13.52 [J7)3]<br />
From the Guys essay: " Beauty is made up of an eternal, invariable element ...<br />
and of a relative, circumstantial element, which will be . .. the age-its fashions,<br />
its morals, its emotions. Without this second element, which might be described as<br />
the amusing, enticing, appetizing icing on the divine cake, the first element would<br />
be beyond our powers of digestion." Baudelaire, L 'Art r01nantique, pp. 54-55.s:<br />
[J7,4J<br />
On nouveaute: " Night! you'd please me more without these stars / which speak a<br />
language I know all too well." Flew's , ed. Payot, p. 139 ("Obsession"). 5,1<br />
[J7,5J<br />
<strong>The</strong> subsequent appearance of the flower inJugendstil is not without significance<br />
for the title Les Fleurs du mal. This work spans the arch that reaches from the<br />
taedium vitae of the Romans to Jugendstil. [J7,6J<br />
It would be important to determine Poe's relation to Latinity. Baudelaire's interest<br />
in the technique of composition could have led him-in the end-as surely to<br />
Latin culture as his interest in the artilicial led him to Anglo-Saxon culture.<br />
Wo rking through Poe, tlns latter area of culture also conditions-at tlle outset<br />
Baudelaire's theory of composition. Hence, it becomes more urgent to ask<br />
whether tllls doctrine does not, in the end, bear a Latin stamp. [J7,7J<br />
<strong>The</strong> LesbiunJI-a painting by Com·bet. [J7,8J<br />
Nature, according to Baudelaire, knows tllls one luxury: crime. Thus the significance<br />
of the artificial. Perhaps we may draw on this thought for the interpretation<br />
of the idea that children stand nearest to original sin. Is it because, exuberant<br />
by nature, they carmot get out of harm's way? At bottom, Baudelaire is tlllnking<br />
of parricide. (Compare DArt romantique [Paris], p. 100.)55 [J7a,lJ<br />
<strong>The</strong> key to the emancipation from antiquity-which (see in the Guys essay, DArt<br />
romantique, p. 72)56 can furnish only the canon of composition-is for Baudelaire<br />
allegorese. [J7a,2J<br />
Baudelaire's manner of reciting. He gathered his friends-Antonio Watdpon,<br />
Gabriel Dantrague, Malassis, Delvau-" in a modest cafe on the Rue Dauphine<br />
. ... <strong>The</strong> poet began by ordering punch; then, when he saw us all disposed<br />
toward benevolence . .. , he would recite to us in a voice at once mincing, soft,<br />
fiuty, oily, and yet mordant, some enormity or other-" Le Yin de l'assassin"
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