The Arcades Project - Operi
The Arcades Project - Operi The Arcades Project - Operi
slowness from its long virtuality: 'How sweet the greenish light of your elongated eyes: ... Every one of Baudelaire's poems is a movement . ... Each constitutes some particular phrase, question, reminder, invocation, or dedication, which has a specific direction:' Jacques Riviere, Etudes (Paris), pp. 14-18."' [J16,2] Frontispiece (by Rops) to the collection of Baudelaire's poems entitled Les Epaves . It presents a multifaceted allegory.-Plan to use an etching by Bracquemond as the frontispiece to the Les Flew's du mal. Baudelaire describes it: A skeleton turning into a tree, with legs and ribs forming the trunk, the arms stretched out to make a cross and bursting into leaves and buds, sheltering several rows of poisonous plants in little pots, lined up as if in a gardener '8 hothouse. "117 [J16,3] Curious notion of Soupault's: 'Almost all of the poems are more or less directly inspired by a print or a painting . ... Can it be said that he sacrificed to fashion? He dreaded being alone . ... His weakness ohliged him to look for things to lean on." Philippe Soupault, BUlulelaire (Paris
According to Champfleury, Baudelaire would have hought up all the unsold items from the Salon of 1845. [J16a,8] ""Baudelaire knew the art of transforming his features as well as any escaped convict."
- Page 222 and 223: nate for the previous century has c
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- 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
- Page 254 and 255: drawings, in distilling the bitter
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- Page 258 and 259: lllire. -'Bnt your name is BlIudel
- Page 260 and 261: heaven;' Baudelaire, OeuvreJ, vo!'
- Page 262 and 263: "He is always polite to what is ugl
- Page 264 and 265: horrible funk" writes the latter Ba
- Page 266 and 267: makers as they are useless for form
- Page 268 and 269: Thibaudet juxtaposes Baudelaire's '
- Page 270 and 271: eing studiously contemplated, the e
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- Page 278 and 279: Leconte de Lisle s opinion that Ba
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- Page 285 and 286: Apropos of "The greathearted servan
- Page 287 and 288: Explore the question whether a conn
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- Page 291 and 292: v . 1 .. The definitive title for t
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- Page 295 and 296: According to Le Dantec, the second
- Page 297 and 298: concentration has caused him to red
- Page 299 and 300: am convinced that, if the syllables
- Page 301 and 302: The following passage shows the cro
- Page 303 and 304: nard." Edmond J aloux, Le Centenair
- Page 305 and 306: past, to think of things which are
- Page 307 and 308: In the Dernieres Lettres (p. 145),
- Page 309 and 310: In his commemorative address, Banvi
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- Page 313 and 314: Note the rigor and elegance of the
- Page 315 and 316: o o eo The importance of theory for
- Page 317 and 318: Underneath that dark and fatal claw
- Page 319 and 320: only if one took out a subscription
- Page 321 and 322: ""Baudelaire does not give us a lif
slowness from its long virtuality: 'How sweet the greenish light of your elongated<br />
eyes: ... Every one of Baudelaire's poems is a movement . ... Each constitutes<br />
some particular phrase, question, reminder, invocation, or dedication, which has<br />
a specific direction:' Jacques Riviere, Etudes (Paris), pp. 14-18."' [J16,2]<br />
Frontispiece (by Rops) to the collection of Baudelaire's poems entitled Les Epaves<br />
. It presents a multifaceted allegory.-Plan to use an etching by Bracquemond<br />
as the frontispiece to the Les Flew's du mal. Baudelaire<br />
describes it: A skeleton turning into a tree, with legs and ribs forming the<br />
trunk, the arms stretched out to make a cross and bursting into leaves and buds,<br />
sheltering several rows of poisonous plants in little pots, lined up as if in a gardener<br />
'8 hothouse. "117 [J16,3]<br />
Curious notion of Soupault's: 'Almost all of the poems are more or less directly<br />
inspired by a print or a painting . ... Can it be said that he sacrificed to fashion?<br />
He dreaded being alone . ... His weakness ohliged him to look for things to lean<br />
on." Philippe Soupault, BUlulelaire (Paris
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