The Arcades Project - Operi
The Arcades Project - Operi The Arcades Project - Operi
L'Etemifif par ieJ astreJ. Compare "Le Gouffre" : "my windows open on Infinity."'" [J70,3] If we bring together "L:Irremediable" with the poem Mouquet attributed to Baudelaire, "Un Jour de pluie" , then it becomes quite clear that what inspires Baudelaire is the state of surrender to the abyss, and we see also just where this abyss actually opens. The Seine localizes "UnJour de pluie" in Paris. Of this locale we read: "In a fog heavy with poisonous vapors, / men are buried like sneaking reptiles; / though proud of their strength, they stumble blindly along / more painfully with each step" (vol. 1, p. 212). In "L:Irremediable;' this image of the Parisian streets has become one of the allegorical visions of the abyss which the conclusion of the poen1 describes as " apt emblems": "A soul in t0f111ent descending / . .. into an echoing cavern / . . . of vigilant slimy monsters / whose luminous eyes enforce / the gloom" (vol. 1, pp. 92-93) .373 [J70,4] Apropos of the catalogue of emblems presented by the poem 'L?Irremediable:\ Crepet cites a passage from de Maistre's Soirees de Saint-Pitersbourg: " That river which one crosses hut once; that pitcher of the Danaicles, always full and always empty; that liver of Tityus, alwa.ys regenerated uncleI' the beak of the vulture that always devours it anew, . . . -these are so many speaking hieroglyphs, about which it is impossible to he mistaken. " 374 [J70,5] The gesture of benediction, with outstretched arms, in Fidus (also in ZarathuJa-a.l')-the gesture of someone carrying something. [J70,6] From the draft of an epilogue to the second edition of Les Fleltrs du mal: '''your magic cobbles piled for harricadcs / your cheap orators' baroque rhetoric ? / ranting of love while your sewers run with blood, I swirling to hell like mighty rivers" (vol. 1, p. 229).:l75 [J70a,!] ('Benediction" presents the poet's path in life as Passion: ('he sings the very stations of his cross;' In places, the poem distantly recalls the fantasy in which Apollinaire, in Le Poete assasJine (ch. 16), has imagined the extermination of poets by unbridled philistines: "and blinding flashes of his intellect I keep him from noticing the angry mob;'''' [J70a,2] A Blanquist look at humanity (and, at the same time, one of the few verses by Baudelaire that unveils a cosmic aspect) : "tl,e Sky! black lid of that enormous pot I in which immmerable generations boil" ("Le Couvercle") .a,, [J70a,3] It is, above all, the ('recollections" to which the "familiar eye"378 appertains. (This gaze, which is none other than the gaze of certain portraits, brings Poe to mind.) [J70a,4]
"On solemn eves of Heavenly harvesting" ("lJlmprevu")379-an autumnal Ascen SlOn. [J70a,5] "\CybCle, qui les aime, augrnente ses verdures"3HO-in Brecht's beautiful transla tion: "Cybele, die sie liebt, legt mehr Crun vor" ("Cybele, who loves them, shows more green"). A mutation of the organic is implicit here. [J70a,6] "Le Gouffre" is the Baudelairean equivalent of Blanqui's "vision;' [J70a,7] "0 worms, black cronies without eyes or ears"381-here is something like sympa thy for parasites. [J70a,8] Comparison of eyes to illuminated shopwindows: 'Your eyes, lit up like shops to lure their trade / or fireworks in the park on holidays, / insolently make use of borrowed power" ("'Tu mettrais l'univers"). 38 2 [J70a,9J Concerning "La Servante au grand coeur": the words, "of whom you were so jealous, "383 in the first line, do not bear precisely the accent one would expect. The voice, as it were, draws back from ja/ouse. Ths ebbing of the voice is something extremely characteristic. (Remark of Pierre Leyris.) [.J70a,!O] The sadistic imagination tends toward mechanical constmctions. It may be that, when he speaks of the "nameless elegance of the human armature;' Baudelaire sees in the skeleton a kind of machinery. The point is made more clearly in "Le Yin de I'assassin": "That bunch! They feel about as much / as plowshares break ing ground- / plow or harrow! Which of them / has ever known Tm e Love:' And, unequivocally: "Blind and deaf machine, fertile in cmelties" ("Tu mettrais l'univers").38' [J71,!] "Old-fashioned" and "immemorial" are still united in Baudelaire. The that have gone out of fashion have beCOlne inexhaustible containers of memo lies. It is thus the old women appear in Baudelaire's poetry ("Les Petites Vieilles"); thus the departed years ("Recueillement"); it is thus the poet compares himself to a "stale boudoir where old-fashioned clothes / lie scattered among wilted fern and rose" ("Spleen II").'8' [J71,2] Sadism and fetishism intertwine in those imaginations that seek to atmex all organic life to the sphere of the inorganic. "0 living matter, henceforth you're no more / Than a cold stone encompassed by vague fear / And by the desert, and the mist and sun" ("Spleen II")."86 The assimilation of the living to dead matter was likewise a preoccupation of F1aubert's. The visions of his Saint Anthony are a triumph of fetishism, and worthy of those celebrated by Bosch on the Lisbon al_ [.J71,3]
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L'Etemifif par ieJ astreJ. Compare "Le Gouffre" : "my windows open<br />
on Infinity."'" [J70,3]<br />
If we bring together "L:Irremediable" with the poem Mouquet attributed to<br />
Baudelaire, "Un Jour de pluie" , then it becomes quite clear that<br />
what inspires Baudelaire is the state of surrender to the abyss, and we see also just<br />
where this abyss actually opens. <strong>The</strong> Seine localizes "UnJour de pluie" in Paris.<br />
Of this locale we read: "In a fog heavy with poisonous vapors, / men are buried<br />
like sneaking reptiles; / though proud of their strength, they stumble blindly<br />
along / more painfully with each step" (vol. 1, p. 212). In "L:Irremediable;' this<br />
image of the Parisian streets has become one of the allegorical visions of the abyss<br />
which the conclusion of the poen1 describes as " apt emblems": "A soul in t0f111ent<br />
descending / . .. into an echoing cavern / . . . of vigilant slimy monsters / whose<br />
luminous eyes enforce / the gloom" (vol. 1, pp. 92-93) .373 [J70,4]<br />
Apropos of the catalogue of emblems presented by the poem 'L?Irremediable:\<br />
Crepet cites a passage from de Maistre's Soirees de Saint-Pitersbourg: " That river<br />
which one crosses hut once; that pitcher of the Danaicles, always full and always<br />
empty; that liver of Tityus, alwa.ys regenerated uncleI' the beak of the vulture that<br />
always devours it anew, . . . -these are so many speaking hieroglyphs, about<br />
which it is impossible to he mistaken. " 374 [J70,5]<br />
<strong>The</strong> gesture of benediction, with outstretched arms, in Fidus (also in ZarathuJa-a.l')-the<br />
gesture of someone carrying something. [J70,6]<br />
From the draft of an epilogue to the second edition of Les Fleltrs du mal: '''your<br />
magic cobbles piled for harricadcs / your cheap orators' baroque rhetoric ? /<br />
ranting of love while your sewers run with blood, I swirling to hell like mighty<br />
rivers" (vol. 1, p. 229).:l75 [J70a,!]<br />
('Benediction" presents the poet's path in life as Passion: ('he sings the very<br />
stations of his cross;' In places, the poem distantly recalls the fantasy in which<br />
Apollinaire, in Le Poete assasJine (ch. 16), has imagined the extermination of poets<br />
by unbridled philistines: "and blinding flashes of his intellect I keep him from<br />
noticing the angry mob;'''' [J70a,2]<br />
A Blanquist look at humanity (and, at the same time, one of the few verses by<br />
Baudelaire that unveils a cosmic aspect) : "tl,e Sky! black lid of that enormous pot<br />
I in which immmerable generations boil" ("Le Couvercle") .a,, [J70a,3]<br />
It is, above all, the ('recollections" to which the "familiar eye"378 appertains. (This<br />
gaze, which is none other than the gaze of certain portraits, brings Poe to mind.)<br />
[J70a,4]
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