The Arcades Project - Operi

Thibaudet juxtaposes Baudelaire's 'Une Charogne" with Gautier's '''La
Comedie de la mort" and Hugo's " L'Epopee du vel''' . [J14,3]
Tbibaudet adverts very apdy to the connection between confession and mys·
tification in Baudelaire. Through the latter, Baudelaire's pride compensates itself
for the fonner. "Ever since Rousseau's Corifessions) it seems that all our literature
of the personal has taken its departure from the broken·dowu furniture of relig­
ion, from a debunked confessional:' Tbibaudet, Inlfrieurs (paris), p. 47 ("Baudelaire").
Mystification a figure of original sin. [J14,4]
Thibaudet (InU?rieurs, p. 34) cites a remark from 1887, in which Brunetiere calls
Baudelah'e "a species of oriental idol, monstrous and misshapen, whose natural
deformity is heightened by strange colors." [J14,5J
In 1859 Mistral's Mireille appeared. Baudelaire was incensed at the book's success.
[J14,6]
Baudelaire to Vigny: "'The only praise I ask for this book is that readers recognize
it's not a mere album, but has a beginning and an end."77 Cited in Thibaudet,
Interieu.rs (Paris), 1'. 5. [J14,7]
Thibaudet concludes his essay on Baudelaire with the allegory of the sick muse,
who, on Rastignac Hill on the Right Bank of the Seine, forms a pendant to the
Montagne Sainte-Genevieve on the Left Bank (Pl'. 60-61). [J14,8]
Baudelaire: "of all our great poets, the one who writes worst-if Alfred de Vigny
be excepted." Thibaudet, Interieurs (Paris), p. 58 (" Baudelaire" ). [J14,9]
Poulet-Malassis had his "'shop" in the Passage des Princes, called in those days the
Passage Mires. [J14a,1]
'''Violet boa on which curled his long graying locks, carefully maintained, which
gave him a somewhat clerical appearance." Champfleury, Souvenirs
et portraits de jeunesse (Paris, 1872), p. 144 e'Rencontre de Baudelaire").
[J14a,2]
"He worked, not always consciously, at that misunderstanding which isolated him
in his own time; he worked at it all the more as this misunderstanding was already
taking shape in himself. His private notes, published posthumously, are painfully
revealing in this respect. . .. As soon as this artist of incomparable subtlety speaks
of himself, he is astonishingly awkward. Irreparably he lacks pride-to the point
where he reckons incessantly with fools, either to astotmd them, to shock them, or
after all to inform them that he absolutely does not reckon with fools." Andre