The Arcades Project - Operi
The Arcades Project - Operi The Arcades Project - Operi
On "the metaphysics of the agent provocateur" : ""Without being too prejudiced in the matter, one may still feel a little uneasy in reading Les Mysteres galans [Les Mysteres galans des theatres de Paris ]471 to think that Baudelaire had a hand in this. If he himself has disowned this piece of youthful extravagance, there are nonetheless good reasons for believing, with M. Crepet, that he is in fact one of the authors. Here then is a Baudelaire on the brink of blackmail, spiteful toward all success? This would suggest that throughout his career, from these Mysteres to the Amoenitates Belgicae, the great poet had need, from time to time, of voiding a sac of venom." Jean Prevost, review of the work mentioned, La Nouvelle Revue fraltaise, 27 , no. 308 (May 1, 1939), p. 888. [J85a,3] Apropos of Baudelaire's ""Au Lecteul"" "'The first six books of the Confessions have . . , a certain advantage built into their very subject: each reader, insofar as he is not the slave of literary or mundane prejudices, becomes an accomplice." Andre Monglond, Le Preromantismefraru;a,is, vol. 2, Le JIIlai'tre des ames sensibles (Grenoble, 1930), p. 295. [J86,1] In an important passage by de Maistre, we not only encounter allegory in its satanic provenance, and in the very perspective that would later be that of Baudelaire; we also discover-here invested with the mysticism of Saint-Martin or Swedenborg-the correspondances. And these latter constitute, revealingly, the antidote to allegory. The passage is found in the eighth of Les Soirees de Saint Pi tersbourg, and reads: "One can form a perfectly adequate idea of the universe by considering it under the aspect of a vast museum of natural history exposed to the shock of an earthquake. The door to the collection rooms is open and broken; there are no more windows. Whole drawers have fallen out, while others hang by their hinges, ready to drop. Some shells have rolled out into the hall of minerals, and a hummingbird's nest is resting on the head of a crocodile. What madman, though, could have any doubt of the original intention, or believe that the edifice was built to look this way? ... The order is as visible as the disorder; and the eye that ranges over this mighty temple of nature reestablishes without difficulty all that a fatal agency has shattered, warped, soiled, and displaced. And there is more: look closely and you can recognize already the effects of a restoring hand. Some beams have been shored up, some paths cut through the rubble; and, in the general confusion, a multitude of analogues have already taken their place once again and come into contactC'0!72 [J86,2] On Baudelaire's prosody. A phrase has been applied to it that originally referred to Racine: "graze the prose, but with wings;' [J86,3] Concerning Baudelaire's "Voyage it Cythere": Cythera is there, depIcted and lugubrious, Absurd £leath's head of the dream of love, And gleaming skull of pleasure , . .
No more hees sipping dewdrop and thyme, But always the hlue sky above. Victor Hugo, Les Contemplations C'Cerigo"). [J86a,l] The theory of poetry as faculty of expression-"Where other men must suffer grief in silence, / A god gave me the power to speak my pain"473-is formulated with particular decisiveness by Lamartine in the "first" (it is actually the second) preface to his Miditations of 1849. The "striving for originality at all costs;' to say nothing of an authentic reflection on original possibilities, preserves the poet Baudelaire above all-frOlll a poetics of mere expression. Lamartine writes: "1 imitated no one; I expressed myself for myself. There was no art in this, but only an easing of my own heart. . . . I took no thought of anyone in putting down these lines here and there, unless it was of a ghost and of God:' Les Grands Ecrivains de fa France, vol. 2, "Lamartine" (paris, 1915), p. 365. [J86a,2] Apropos of Lafargue's remark about the "crude comparisons" in Baudelaire (J9,4), Ruff observes: "The originality of these comparisons is not so much in their 'crudity' as in the artificial character-which is to say, human character-of dle iroages: wall, lid, the wings of a stage. The 'correspondence' is understood in a sense opposite to that customarily proposed by the poets, who lead us back to nature. Baudelaire, by an invincible propensity, recalls us to the idea of the human. Even on the human plane, if he wishes to magnify his description by an image, he will often look for some oilier manifestation of humanity railier than having recourse to nature: 'the chimney-pots and steeples, the city's masts. "'474 Marcel A. Ruff, "Sur l'Architecture des Neurs du mal," Revue d 'his to ire litteraire de fa France, 37, no. 3 (July-September 1930), p. 398. Compare the phrase "whose fingers point to heaven;' in ilie paragraph on Meryon 2,l>.-The same motif, rendered innocuous and put into psychological terms, in Rattier's conversion of ilie fliineur to industrial activity. [J86a,3] In Barbier's poem " Les Mineurs de Newcastle," the eighth stanza concludes this way: '''And many a one who dreams, within his secret soul, / Of domestic comforts, and his wife's hlue eyes, I Discovers in the pies emhrace an everlasting tomb." Auguste Barhier, Iambes et poemes (Paris, 184,1), pp. 24.0-241; from the collection Lazare, which is dated 1837, and which records his impressions of England. Compare these lines to the last two lines of " Le Crepuscule du soir." [J87,1] Professional conspirator and dandy meet in ilie concept of ilie modern hero. This hero represents for himself, in his own person, a whole secret society. [J87,2] On the generation of Valles: " It is that generation which, under the starless sky of the Second Empire, grew up in the face of a . .. future -w-ithoutf'aith or greatness."
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On "the metaphysics of the agent provocateur" : ""Without being too prejudiced in<br />
the matter, one may still feel a little uneasy in reading Les Mysteres galans [Les<br />
Mysteres galans des theatres de Paris ]471 to think that Baudelaire had a hand in<br />
this. If he himself has disowned this piece of youthful extravagance, there are<br />
nonetheless good reasons for believing, with M. Crepet, that he is in fact one of the<br />
authors. Here then is a Baudelaire on the brink of blackmail, spiteful toward all<br />
success? This would suggest that throughout his career, from these Mysteres to the<br />
Amoenitates Belgicae, the great poet had need, from time to time, of voiding a sac<br />
of venom." Jean Prevost, review of the work mentioned, La Nouvelle Revue<br />
fraltaise, 27 , no. 308 (May 1, 1939), p. 888. [J85a,3]<br />
Apropos of Baudelaire's ""Au Lecteul"" "'<strong>The</strong> first six books of the Confessions<br />
have . . , a certain advantage built into their very subject: each reader, insofar as<br />
he is not the slave of literary or mundane prejudices, becomes an accomplice."<br />
Andre Monglond, Le Preromantismefraru;a,is, vol. 2, Le JIIlai'tre des ames sensibles<br />
(Grenoble, 1930), p. 295. [J86,1]<br />
In an important passage by de Maistre, we not only encounter allegory in its<br />
satanic provenance, and in the very perspective that would later be that of Baudelaire;<br />
we also discover-here invested with the mysticism of Saint-Martin or<br />
Swedenborg-the correspondances. And these latter constitute, revealingly, the<br />
antidote to allegory. <strong>The</strong> passage is found in the eighth of Les Soirees de Saint<br />
Pi tersbourg, and reads: "One can form a perfectly adequate idea of the universe<br />
by considering it under the aspect of a vast museum of natural history exposed to<br />
the shock of an earthquake. <strong>The</strong> door to the collection rooms is open and<br />
broken; there are no more windows. Whole drawers have fallen out, while others<br />
hang by their hinges, ready to drop. Some shells have rolled out into the hall of<br />
minerals, and a hummingbird's nest is resting on the head of a crocodile. What<br />
madman, though, could have any doubt of the original intention, or believe that<br />
the edifice was built to look this way? ... <strong>The</strong> order is as visible as the disorder;<br />
and the eye that ranges over this mighty temple of nature reestablishes without<br />
difficulty all that a fatal agency has shattered, warped, soiled, and displaced. And<br />
there is more: look closely and you can recognize already the effects of a restoring<br />
hand. Some beams have been shored up, some paths cut through the rubble;<br />
and, in the general confusion, a multitude of analogues have already taken their<br />
place once again and come into contactC'0!72 [J86,2]<br />
On Baudelaire's prosody. A phrase has been applied to it that originally referred<br />
to Racine: "graze the prose, but with wings;' [J86,3]<br />
Concerning Baudelaire's "Voyage it Cythere":<br />
Cythera is there, depIcted and lugubrious,<br />
Absurd £leath's head of the dream of love,<br />
And gleaming skull of pleasure , . .