The Arcades Project - Operi
The Arcades Project - Operi The Arcades Project - Operi
Leconte de Lisle s opinion that Baudelaire must have composed his poems by versifying a prose draft is taken up by Pierre Louys Oeuvres completes, vol. 12 (Paris 1930), p. llii CSuite a poetique"). Jules Mouquet comments on this view in Charles Baudelaire, Vers latins, introduction and notes by Jules Mouquet (Paris, 1933), p. 131: 'Leconte de Lisle and Pierre Louys, carried away by their antipathy to the Christian poet of Les Fleurs du mal, deny that he had any poetic giftl-Now, according to the testimony of friends of his youth, Baudelaire had started out by writing thousands of lines of fluent verse on any and every subject, which he could hardly have done without 'thinking in verse.' He deliberately reined in this facility when . .. , at about the age of twenty-two, he began to write the poems which he entitled first. Les Lesbiennes, then Les Limbes . ... The Petits Poemes en prose ... , in which the poet. returns to themes he had already treated in verse, were composed at least ten years after Les f?leurs du mal. That Baudelaire had difficulty fashioning verse is a legend which he himself perhaps . . . helped spreml." [119,4] According t.o Raymond Trial, in La Maladie de Baudelaire (Paris, 1926), p. 20, recent research has shown tha.t hereditary syphilis and acquired syphilis are not mutually exclusive. Thus, in Baudelaire's case, acquired syphilis would have joined with the hereditary strain transmitted by the father and manifest through hemiplegia in hoth sons and in his wife. [J19a,1] Baudelaire, 1846: "If ever your fHtneur's curiosity has landed you in a street. hrawl, perhaps you will have felt t . he same delight as I have oft.en felt to see a protector of the public's slumbers-a policeman or a municipal guard (the real army)-thumping a republican. And if so, like me, you will have said in your heart.: Thump on, thump a little harder . ... The man whom thou thumpest is an enemy of roses and of perfumes, and a maniac for utensils. He is the enemy of Watteau, the enemy of Raphael. "
Maire writes (p. 417) that the incomparable sensibility" of Barres was schooled on Baudelaire. [J19a,5] To Ancelle, 1865: One can both possess a unique genius and be a fo ol. Victor Hugo has given us ample proof of that. . The Ocean itself tired of his company. " 100 [J19a,7] Poe: HI would not be able to love,' he will say quite clearly, 'did not death mix its breath with that of Beauty!"IOl Cited in Ernest Seilliere, BUlulelaire (Paris, 1931), p. 229. The author refers to the time when, after the death of Mrs. Jane Stanard, the fifteen-year-old Poe would spend long nights in the graveyard, often in the rain, at the site of her grave. (J19a)8] Baudelaire to his mother, concerning Les Fleurs du mal: "This book . .. possesses ... a beauty that is sinister and cold: it was created with fury and patience. "i02 [J19a,9] Letter from Ange Pechmeja to Baudelaire, February 1866. The writer expresses his admiration, in particular, for the sensuous interfusion in the poet's language. Sec Ernest Seilliere, Bau.delaire (Paris, 1933), pp. 254-255. [J19a,IO] Baudelaire ascribes to Hugo an "interrogative" poetic character. [J20,1] There is probably a connection between Baudelaire's weakness of will and the abundance of power with which certain drugs under certain conditions endow the will. "Architecte de mes feeries I Je faisais, it rna volonte, I Sous un tunnel de pierreries I Passer un ocean dompte."103 [J20,2] Baudelaire's inner experiences: "Commentators have somewhat falsified the situation . .. in insisting overmuch on the theory of universal analogy, as formulated in the sonnet 'Correspondances,' while ignoring the reverie to which Baudelaire was inclined . ... There were moments of depersonalization in his existence, moments of self-forgetting and of communication with 'revealed paradises.' ... At the end of his life . . " he abjured the dream, . .. blaming his moral shipwreck on his penchant for reverie. '" Albert Beguin, L 'Arne romantique et Ie ri1ve (Marseilles, 1937), vol. 2, pp. 401, 405. [J20,3] In his hook Le Parnasse, Therive points to the decisive influence of painting and the graphic arts on a great many of' Baudelaire's poems. He sees in this a characteristic feature of the Parnassian school. Moreover, he sees Baudelaire's poetry as an interpenetration of Parnassian and Symbolist tendencies. [J20,4] ""A propensity to imagine even nature through the vision that others have had of it. "La Geante' comes out of Michelangelo; Reve parisien,' out of Simone Martini; 'A
- Page 228 and 229: How the interior defended itself ag
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Maire writes (p. 417) that the incomparable sensibility" of Barres was schooled<br />
on Baudelaire. [J19a,5]<br />
To Ancelle, 1865: One can both possess a unique genius and be a fo ol. Victor<br />
Hugo has given us ample proof of that. . <strong>The</strong> Ocean itself tired of his company.<br />
" 100 [J19a,7]<br />
Poe: HI would not be able to love,' he will say quite clearly, 'did not death mix its<br />
breath with that of Beauty!"IOl Cited in Ernest Seilliere, BUlulelaire (Paris, 1931),<br />
p. 229. <strong>The</strong> author refers to the time when, after the death of Mrs. Jane Stanard,<br />
the fifteen-year-old Poe would spend long nights in the graveyard, often in the<br />
rain, at the site of her grave. (J19a)8]<br />
Baudelaire to his mother, concerning Les Fleurs du mal: "This book . .. possesses<br />
... a beauty that is sinister and cold: it was created with fury and patience. "i02<br />
[J19a,9]<br />
Letter from Ange Pechmeja to Baudelaire, February 1866. <strong>The</strong> writer expresses<br />
his admiration, in particular, for the sensuous interfusion in the poet's language.<br />
Sec Ernest Seilliere, Bau.delaire (Paris, 1933), pp. 254-255. [J19a,IO]<br />
Baudelaire ascribes to Hugo an "interrogative" poetic character. [J20,1]<br />
<strong>The</strong>re is probably a connection between Baudelaire's weakness of will and the<br />
abundance of power with which certain drugs under certain conditions endow<br />
the will. "Architecte de mes feeries I Je faisais, it rna volonte, I Sous un tunnel de<br />
pierreries I Passer un ocean dompte."103 [J20,2]<br />
Baudelaire's inner experiences: "Commentators have somewhat falsified the situation<br />
. .. in insisting overmuch on the theory of universal analogy, as formulated<br />
in the sonnet 'Correspondances,' while ignoring the reverie to which Baudelaire<br />
was inclined . ... <strong>The</strong>re were moments of depersonalization in his existence, moments<br />
of self-forgetting and of communication with 'revealed paradises.' ... At<br />
the end of his life . . " he abjured the dream, . .. blaming his moral shipwreck on<br />
his penchant for reverie. '" Albert Beguin, L 'Arne romantique et Ie ri1ve (Marseilles,<br />
1937), vol. 2, pp. 401, 405. [J20,3]<br />
In his hook Le Parnasse, <strong>The</strong>rive points to the decisive influence of painting and<br />
the graphic arts on a great many of' Baudelaire's poems. He sees in this a characteristic<br />
feature of the Parnassian school. Moreover, he sees Baudelaire's poetry as<br />
an interpenetration of Parnassian and Symbolist tendencies. [J20,4]<br />
""A propensity to imagine even nature through the vision that others have had of it.<br />
"La Geante' comes out of Michelangelo; Reve parisien,' out of Simone Martini; 'A