The Arcades Project - Operi
The Arcades Project - Operi The Arcades Project - Operi
lllire. -'Bnt your name is BlIudel:lire, I replied "not Baclelllire. -"Badelail·e, Baudelaire by corruption. It's the same thing. '-"Not at all,' I say. "Your name comes from bfl llll (merry) baudiment (merrily), s'ebll lu/ir (to make merry). You are kind and cheerful. -"No, no, I am wicked and sad. " Louis Thomas Curiositcs sur Ballde!,,;r,, (Paris , 1912), PI'. 23-24. [J8a,!] J nles J anin published an article in 1865, in L'Independ1l11Ce beIge, reproaching Heine for his melancholy; Baudelaire drafted a letter in response. "Baudelaire maintains that melancholy is the source of all sincere poetry." Louis Thomas, CUrlosites sur Bfl udel:lire (Paris, 1912), p. 17. [J8a,2] On a visit to an Academician,S!! Baudelaire refers to Les FleHrs du hien that appeared in 1858 and daims the name of the author-Henry (pl'obably Henri) Bordeaux-as his own pseudonym. See L. Thomas, Curiosites sur Bll11delaire (Paris, 1912), p. 43. [J8a,3] "On the Ile Saint-Louis, Baudelaire felt at home everywhere; he was as perfectly at his ease in the street or on the quays as he would have been in his own room, To go out into the island was in no way to quit his domain. Thus, one met him in slippers, hareheaded and dressed in the tunic that served as his work dothes." Louis Thomas, Curiosites sm' Bll lldcl:Jil'e(Paris, 1912), p. 27. [J8a,4] .HWhen I'm utterly [done,' he wrote in 1864" "I'll seek out a religion (Tihetan or Japanese), for I despise the Koran too much, and on my deathhed I'll forswear that last religion to show beyond douht my disgust with universal stupidity. "':i') Louis Thomas, CUrlosites SllI' Baudelaire (Paris, 1912) pp. 57-58. [JSa,S] Baudelaire's production is masterly and assured from the beginning. [J9,!] Dates. 1i'Jelll's du mal: 1857, 1861, 1866. Poe: 1809-J84,9. Baudelaire's cliseovery of Poe: around the end of 1846. [J9,2] Remy de Gourmont has drawn a parallel hetween Athalie's dream and ""Les Metamorphoses tin vampire"; Fontainas has endeavored to do likewise with Hugo's ""Fan tomes" (in Les Orienulles) and ""Les Petites Vieilles." Hugo: '''How lllany maidens fHir alas! I've seen fade and die . ... One form, above all . .. "60 [J9,3] Laforgue on Baudelaire: (."After all the liherties of Romanticism, he was the first to discover these crude comparisons which suddenly, in the midst of a harmonious period, cause him to put his foot in his plate; palpahle, exaggerated comparisons which seem at times downright Ameriean; disconcerting purplish flash and dazzle: "Night was thickening . .. like a part . ition!' (Other examples abound.) a serpent at the end of a stick; her hair is an ocean; her head sways with the gentleness of a young elephant; her hody leans like a frail vessel plunging its yardarms into the water; her saliva mounts to her mouth like a wave swollen by the
melting of rumhling glaciers; her neck is a tower of ivory; her teeth are sheep pCl-ched on the hills ahove Hebron.-This is Americanism superimposed on the metaphorieal language of the 'Song of Songs. m Jules Laforgue, Melanges posthUllIes (Paris, 1903), pp. 113-114. C'Notcs sur Baudelaire").(d Compare J86a,3. [J9,4] 'In the fogs along the Seine, the storm of his youth and the marine suns of his memories have loosened the strings of an incurably plaintive and shrill Byzantine viol." Jules Jaforgue, Melanges postllllmcs (Paris , 1903), p. 114, ("Notes sur Baudelaire"). (,2 [J9,5] When the first edition of Les l?leul's du mal appeared, Baudelait'e was thirty-six years old. [J9,6] Le Vavasseur describes him around 1844: "Byron attired like Beau Brummell." [J9,?] The Petits Poemes en prose were first collected posthumously. [J9,8] "'He was the first to hreak with the public." Laforgue, Melanges posthlllnes (Paris, 1903), l'. 115.":1 [J9,9] "Baudelaire the eat, Hindu, Yankee, episcopal, alchemist.-Cat: his way of saying 'my dear' in that solemn piece that opens with 'Behave, my Sorrow!'-Yankee: the use of 'very' hefore an adjective; his eurt descriptions of landscape, and the line "Mount, my spirit, wander at your case,' which the initiated recite in metallic tones; his hatred of eloquence and of poetic eonfidences; 'Vaporous pleasure will drift out of sight / As . .. ' what then'? Hugo, Gautier, and others before him would have made a Frell(h, oratorical eomparison; he makes a Yankee one and, without settled prejudi(e, remains in the HiI': 'As a sylphid pirouettes into the wings' (you can see t.he iron wires and st.age machinery).-Hindu: his poetry is closer to the Indian t.han that of Lecont.e de Lisle with all his erudition and dazzling intrieaey: 'of sohhing fountains and of birds t.hat sing / endless ohbligatos to my t.rysts.' Neither a great heart nor a great intclleet hut what plaintive nerves! What open senses! What a magieal voiceP' J nIcs Laforgue, ,Mt5itwges postJWl11CS (Paris, 1903), Pl" 118-119 ("Notes sur Baudelaire")."" [J9a,l] One of the few clearly articulated passages of the Az;gwll'I1t du livre SlIT 1" Belgique-in chapter 27, "Promenade a Malines": "Profane airs) adapted to peals of bells. TIrrough the crossing and recrossing melodies, I seemed to hear notes from "La Marseillaise." TI,e hymn of the rabble, as broadcast from the belfries, had lost a little of its harshness. Chopped into small pieces by the hammers, this was not the usual gloomy howling; rather, it had taken on, to my ears, a childish grace. It was as though tlle Revolution had learned to stutter in the language of
- Page 208 and 209: infancy, the Cyclopean period . ...
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- Page 216 and 217: "avenue" illuminated at night by ga
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- Page 224 and 225: of the Holy Sacrament and The Schoo
- Page 226 and 227: forms of argumentation to which the
- Page 228 and 229: How the interior defended itself ag
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- Page 232 and 233: ooms in coffeehouses. Each coffeeho
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- Page 238 and 239: ersP' Victor Fournel, Ce qu'on voit
- Page 240 and 241: you are. The durability of products
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- Page 244 and 245: Charles Baudelaire, 1855. Photo by
- Page 246 and 247: Baudelaire-after his enforced sea v
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- Page 250 and 251: The title originally planned for Sp
- Page 252 and 253: "Madame Bovary, in what is most for
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- Page 260 and 261: heaven;' Baudelaire, OeuvreJ, vo!'
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- Page 268 and 269: Thibaudet juxtaposes Baudelaire's '
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- Page 272 and 273: slowness from its long virtuality:
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- Page 303 and 304: nard." Edmond J aloux, Le Centenair
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lllire. -'Bnt your name is BlIudel:lire, I replied "not Baclelllire. -"Badelail·e,<br />
Baudelaire by corruption. It's the same thing. '-"Not at all,' I say. "Your name<br />
comes from bfl llll (merry) baudiment (merrily), s'ebll lu/ir (to make merry). You<br />
are kind and cheerful. -"No, no, I am wicked and sad. " Louis Thomas Curiositcs<br />
sur Ballde!,,;r,, (Paris , 1912), PI'. 23-24. [J8a,!]<br />
J nles J anin published an article in 1865, in L'Independ1l11Ce beIge, reproaching<br />
Heine for his melancholy; Baudelaire drafted a letter in response. "Baudelaire<br />
maintains that melancholy is the source of all sincere poetry." Louis Thomas,<br />
CUrlosites sur Bfl udel:lire (Paris, 1912), p. 17.<br />
[J8a,2]<br />
On a visit to an Academician,S!! Baudelaire refers to Les FleHrs du hien that appeared<br />
in 1858 and daims the name of the author-Henry (pl'obably Henri) Bordeaux-as<br />
his own pseudonym. See L. Thomas, Curiosites sur Bll11delaire (Paris,<br />
1912), p. 43. [J8a,3]<br />
"On the Ile Saint-Louis, Baudelaire felt at home everywhere; he was as perfectly at<br />
his ease in the street or on the quays as he would have been in his own room, To go<br />
out into the island was in no way to quit his domain. Thus, one met him in slippers,<br />
hareheaded and dressed in the tunic that served as his work dothes." Louis<br />
Thomas, Curiosites sm' Bll lldcl:Jil'e(Paris, 1912), p. 27. [J8a,4]<br />
.HWhen I'm utterly [done,' he wrote in 1864" "I'll seek out a religion (Tihetan or<br />
Japanese), for I despise the Koran too much, and on my deathhed I'll forswear<br />
that last religion to show beyond douht my disgust with universal stupidity. "':i')<br />
Louis Thomas, CUrlosites SllI' Baudelaire (Paris, 1912) pp. 57-58. [JSa,S]<br />
Baudelaire's production is masterly and assured from the beginning. [J9,!]<br />
Dates. 1i'Jelll's du mal: 1857, 1861, 1866. Poe: 1809-J84,9. Baudelaire's cliseovery<br />
of Poe: around the end of 1846.<br />
[J9,2]<br />
Remy de Gourmont has drawn a parallel hetween Athalie's dream and ""Les Metamorphoses<br />
tin vampire"; Fontainas has endeavored to do likewise with Hugo's<br />
""Fan tomes" (in Les Orienulles) and ""Les Petites Vieilles." Hugo: '''How lllany<br />
maidens fHir alas! I've seen fade and die . ... One form, above all . .. "60 [J9,3]<br />
Laforgue on Baudelaire: (."After all the liherties of Romanticism, he was the first to<br />
discover these crude comparisons which suddenly, in the midst of a harmonious<br />
period, cause him to put his foot in his plate; palpahle, exaggerated comparisons<br />
which seem at times downright Ameriean; disconcerting purplish flash and dazzle:<br />
"Night was thickening . .. like a part . ition!' (Other examples abound.) a serpent at the end of a stick; her hair is an ocean; her head sways with the<br />
gentleness of a young elephant; her hody leans like a frail vessel plunging its<br />
yardarms into the water; her saliva mounts to her mouth like a wave swollen by the
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