The Arcades Project - Operi

On a sheet with the sketch of a female figure and two portraits of a male head, an
inscription177 dating back to the nineteenth century: "Portrait of Blanqui
(Auguste), a good likeness drawn from memory by Baudelaire in 1850, perhaps
1849?" Reproduction in Feli Gautier. Charles Baudelaire (Brussels, 1904), p. Iii.
[J37,1]
"He would churn his brains in order to produce astonishment:' This conunent by
Leconte de Lisle occurs in the untitled article by Jules Claretie that appears in Le
Yombeau and that reprints substantial portions of Claretie's obituary notice. Le
Yombeau de CharieJ Baudelaire (Paris, 1896), p. 91. Effect of the endings of poems!
[J37,2]
O Poet, you who turned the work of Dante upside down, I Exalting Satan to the
heights and descending to God." Closing lines of Verhaeren's "A Charles Baudelaire,"
in Le Tombeau de Charles Baudelaire (Paris, 1896), p. 84. [J37,3]
In Le Tombeau de Charles Baudelaire (Paris, 1896). there is a text by Alexandre
Ourousof, "L'Architecture secrete des Fleurs du mal." It represents an oftrepeated
attempt to establish distinct cycles in the book, and consists essentially in
the selection of the poems inspired by Jeanne Duval. It makes reference to the
article published by d'Aurevil!y in Le Pays on July 24, 1857, in which it
was maintained for the first time that there is a "secret architecture" in the book.
[J37,4]
"The echoes of the unconscious are so strong in him-literary creation being, with
him, so close to physical effort-the currents of passion are so strong, so drawn
out, so slow and painful, that all his psychic being resides there with his physical
being." Gustave Kahn, preface to Charles Baudelaire, "Man Coeur mis it nu" et
"Fusees" (Paris, 1909), p. 5. [J37,5]
"If Poe had been a real influence on him, we would find some trace of this in
Baudelaire's way of imagining . .. scenes of action. In fact, the greater his immersion
in the work of the American writer, the more he avoids fantasies of action . ...
His projected works, his titles for novels . .. all had to do with various . .. psychic
crises. Not one suggests an adventure of any kind." Gustave Kahn, preface to
Charles Baudelaire, "Man Coeur mis it nu" et "Fusees" (Paris, 1909), pp. 12-13.
[J37,6]
Kahn discerns in Baudelaire a "refusal to take the opportunity offered by the
nature of the lyric pretext." Gustave Kahn, preface to Ch. B., "Man Coeur mis i
1tU " et "Fusees" (Paris, 1909), p. 15. [J37,7]
Of the Flew's du mal illustrated by Rodin for Paul Gallimard, Mauclair writes:
"'You feel that Rodin has handled the book, taken it up and put it down a hundred
times, that he has read it while out on walks, and at the end of a long evening has