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This book of linked essays contains the first critical study of Baudelaire's development as a poet, from his youth onward. It also includes studies of the development of Baudelaire's aesthetic, detailed commentaries on a number of his finest poems, and accounts of three intriguing and crucial "encounters" with notable contemporaries. Three of the essays are previously unpublished and four very recent; the other eleven have been thoroughly updated, revised, and, in some cases, substantially expanded. Together, they constitute a new and important contribution to the understanding and appreciation of Baudelaire's work.
Charles Baudelaire's place among the great poets of the Western world is undisputed, and his influence on the development of poetry since his lifetime has been enormous. In this Companion, essays by outstanding scholars illuminate Baudelaire's writing both for the lay reader and for specialists. In addition to a survey of his life and a study of his social context, the volume includes essays on his verse and prose, analyzing the extraordinary power and effectiveness of his language and style, his exploration of intoxicants like wine and opium, and his art and literary criticism. The volume also discusses the difficulties, successes and failures of translating his poetry and his continuing power to move his readers. Featuring a guide to further reading and a chronology, this Companion provides students and scholars of Baudelaire and of nineteenth-century French and European literature with a comprehensive and stimulating overview of this extraordinary poet.
The aim of this book is to offer a new reading of Baudelaire's Petits Poemes en prose which demonstrates the significance of ironic otherness for the theory and functioning of the work and for the genre of the prose poem itself. The book considers Baudelaire's choice of this genre and the wayin which he seeks to define it, both paratextually and textually. It examines the ways in which the prose poem depends on dualities and deboublements as forms of lyrical and narrative difference which, in their turn, reveal ideological otherness and declare the oppositionality of the prose poem.Finally, the book demonstrates a relationship between these forms of otherness and Baudelaire's theory of the popular comic arts and, in doing so, proposes that the prose poems should be read as literary caricature.
Maria Scott's study of the operation of irony in Baudelaire's Le Spleen de Paris contends that the principal target of the collection's spleen is its own readership. Baudelaire, as one of the most perceptive cultural commentators of the nineteenth century, was naturally very keenly aware of the growing dominance of the bourgeoisie in France, not least as a market for art and literature. Despite being dependent on this market for his own writing, the poet was highly critical of bourgeois values and attitudes. Scott builds on existing criticism of the collection to argue that these are indirectly mocked in Le Spleen de Paris, often in the person of the poet's supposed textual alter ego. The contention is that the prose poems betray the trust of readers by way of an apparent transparency of meaning that functions to blind us to their embedded irony. Though focused on Le Spleen de Paris, Scott's study engages with the full range of Baudelaire's writings, including his art and literary criticism. Her book will be of interest not only to Baudelaire scholars but also to those engaged more generally with nineteenth-century French culture.
In his poetry and critical writings, Baudelaire performs a vast fusion of experiential and literary sources, explores in a more resolute manner the domain of correspondences, and, thereby, marks a radical departure from the accepted norms. He challenges, humbles, and then reaffirms and recenters Western tradition. That is his finest achievement.
Alchemy and Amalgam explores a relatively un-researched area of the Baudelairean corpus (his translations from English) and relates them to the rest of his works. It seeks to establish a link between translational and creative writing, arguing for a reassessment of the place of translation in Baudelaire's writing method. Rather than a sideline in Baudelaire's creative activities, translation is thus shown to be a central form of dual writing at the core of his works. Baudelaire's translations from English, his constant rewriting of pre-existing material (including his own), the doublets, the transpositions d'art, and the art criticism are all based on an approach to writing which is essentially derivative but also transformative. Thus the Baudelairean experiment illustrates the limits of romantic notions of originality, creativity and genius, reminding us that all writing is intrinsically intertextual. It also shows the complexity of translation as a form of creation at the core of modern writing. The book is one of the first of its kind to link the study the translational activity of a major writer to his 'creative' writings. It is also one of the first to provide an integrated presentation of French 19th-century translation approaches and to link them to questions of copyright and authorship in the context of the rise of capitalism and romantic views of creation and genius. It offers, therefore, a new perspective both on translation history and on literary history. Alchemy and Amalgam will be of interest to students of translation, comparative literature and French studies.
A substantial study of the works of Charles Baudelaire (1821-1867) that provides fresh and detailed readings of his poetry in verse and prose.
Baudelaire ascribed exceptional importance to the arrangement of Les Fleurs du mal. His book, he said, constituted "a perfect whole," which he had arranged according to a preconceived plan. One of his earliest readers, the novelist and critic Barbey d'Aurevilly, spoke of a "secret architecture" and "a plan calculated by the solitary meditative poet," though he did not go into details; and ever since, scholars have pursued the question of structure. This new study offers an exciting reading of the 127 poems of the second edition (1861), which shows that, beyond the meanings of its individual poems, the collection has a sense that we ignore at substantial cost. The author presents a precise dialectical method, a "somber and limpid tete-a-tete" of the poet with himself. The argument is pursued between the poems, which ask to be read with and against each other.