07.04.2013 Views

The Arcades Project - Operi

The Arcades Project - Operi

The Arcades Project - Operi

SHOW MORE
SHOW LESS

Create successful ePaper yourself

Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.

novelist his own." Paulin Limayrac, "Du Roman actuel et de nos romanciers," <br />

Revue des deux mondes, 11, no. 3 (Paris, 1845), pp. 955-956. [dl,5]<br />

"Citizen Hugo made his debut at the tdbune of the National Assembly. He was<br />

what we expected: a phrasemaker and a gesticulator, full of empty, high-flown<br />

oratory. Continuing along the perfidious and slanderous path of his recent broadside,<br />

he spoke of the unemployed, of the indigent, of the idlers and do-nothings,<br />

the scoundrels who are the praetorians of the uprising, the condottieri. In a word,<br />

he ran the metaphor ragged to arrive at an attack on the national workshops." Les<br />

Boulets rouges: Feuille du club pacifuJlte des droits de l'homme, ed. Pelin, 1st<br />

year, June 22-25 [1848] ("Faits divers"). [dla,!]<br />

"It is as though l ... amartine had made it his mission to implement Plato's teaching<br />

on the necessity of banishing poets from the republic, and one cannot help smiling<br />

as one reads this author's account of the worker who was part of the large demonstration<br />

in front of the Hotel de Ville, and who shouted at the speaker: 'You're<br />

nothing but a lyre! Go singP" Friedrich Szarvady, Paris, 1848-1852, vol. 1 (Ber­<br />

lin, 1852), p. 333. [dla,2]<br />

Chateauhriand: 'He hrings into fashion that vague sadness, . .. 'Ie mal du sieele'<br />

. A. Malet and P. Grillet, XIX" Siecle (Paris, 1919),<br />

p. 145. [d!a,3]<br />

""If we could have our wish . ..<br />

' This desire, this regret-Baudelaire was the first<br />

to interpret it, twice giving voice, in L 'Art romantique, to unexpected praise for a<br />

poet of his day, the author of a "Chant des ouvriers," that Pierre Dupont who, he<br />

tells us, "after 1848 ... attained great glory.' <strong>The</strong> specification of this revolutionary<br />

date is very important here. Without tlus indication, we might have trouhle<br />

understanding the defense of popular poetry, and of an art 'inseparahle from<br />

utility,' I on the part of a writer who could pass for the chief architect of the<br />

rupture of poetry and art with the masses . ... 1848: that is the hour when the<br />

street beneath Baudelaire's window begins in very truth to tremhle, when the<br />

theater of the interior must yield him up in all magnificence, to the theater of the<br />

exterior, as someone who incarnates, at the highest level, the concern for human<br />

emancipation in all its forms, as well as the consciousness, alas, of everything that<br />

is ridiculously ineffectual in this aspiration alone, wherehy the gift of the artist<br />

and of the man becomes total-Baudelaire's anonymous collaboration on Le Salut<br />

public of Fehruary 27 and 28 effectively proving the point. . .. This communion of<br />

the poet, of the authentic artist, with a vast class of people impelled hy their ardent<br />

hunger for freedom, even partial freedom, has every chance of emerging spontHneously<br />

at times of great social ferment, when reservations can be laid aside. Rimhaud,<br />

in whom the claims of the human tend, nonetheless, . .. to follow an infinite<br />

course, places, from the outset, all his confidence and elan vital in the Commune.<br />

Mayakovsky goes to great lengths to silence in himself-hottling it up to the point<br />

of explosion-everything horn of individual feeling that might not conduce to the

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!