Charles-Pierre Baudelaire 1821 - 1867

Analysis Of Writing Early Writings Maturity And Decline The Last Years Les Fleurs du mal Prose Poems Influence and Assessment Resources

Early Writings:

Baudelaire had returned from the South Seas in 1842 determined as never before to become a poet. From then until 1846 he probably composed the bulk of the poems that make up the first edition (1857) of Les Fleurs du mal .He refrained from publishing them as separate texts, however, which suggests that from the outset he had in mind a coherent collection governed by a tight thematic architecture rather than a simple sequence of self-contained poems. In October 1845 he announced the imminent appearance of a collection entitled Les Lesbiennes ("The Lesbians"), followed, at intervals after 1848, by Les Limbes ("Limbo"), the stated goal of which was to "represent the agitations and melancholies of modern youth." Neither collection ever appeared in book form, however, and Baudelaire first established himself in the Parisian cultural milieu not as a poet but as an art critic with his reviews of the Salons of 1845 and 1846. Inspired by the example of the Romantic painter Eugène Delacroix, he elaborated in his Salons a wide-ranging theory of modern painting, with painters being urged to celebrate and express the "heroism of modern life." In January 1847 Baudelaire published a novella entitled La Fanfarlo whose hero, or antihero, Samuel Cramer, is widely, if simplistically, seen as a self-portrait of the author as he agonizedly oscillates between desire for the maternal and respectable Madame de Cosmelly and the erotic actress-dancer of the title.

Thereafter little is heard of Baudelaire until February 1848, when he is widely reported to have participated in the riots that overthrew King Louis-Philippe and installed the Second Republic; one uncorroborated account has him brandishing a gun and urging the insurgents to shoot General Aupick, who was then director of the Ècole Polytechnique. Such stories have led some to dismiss Baudelaire's involvement in the revolutionary events of 1848-51 as mere rebelliousness on the part of a disaffected (and still unpublished) bourgeois poet. More recent studies suggest he had a serious commitment to a radical political viewpoint that probably resembled that of the socialist-anarchist Pierre-Joseph Proudhon. Baudelaire is reliably reported to have taken part both in the working-class uprising of June 1848 and in the resistance to the Bonapartist military coup of December 1851; the latter, he claimed shortly afterwards, ended his active interest in politics. Henceforth his focus would be exclusively on his writing.

Maturity And Decline:

In 1847 Baudelaire had discovered the work of Edgar Allan Poe. Overwhelmed by what he saw as the almost preternatural similarities between the American writer's thought and temperament and his own, he embarked upon the task of translation that was to provide him with his most regular occupation and income for the rest of his life. His translation of Poe's Mesmeric Revelation appeared as early as July 1848, and thereafter translations appeared regularly in reviews before being collected in book form in Histoires extraordinaires (1856; "Extraordinary Tales") and Nouvelles Histoires extraordinaires (1857; "New Extraordinary Tales"), each preceded by an important critical introduction by Baudelaire. These were followed by Les Aventures d'Arthur Gordon Pym (1857), Eurèka (1864), and Histoires grotesques et sèrieuses (1865; "Grotesque and Serious Tales"). As translations these works are, at their best, classics of French prose, and Poe's example gave Baudelaire greater confidence in his own aesthetic theories and ideals of poetry. Baudelaire also began studying the work of the conservative theorist Joseph de Maistre, who, together with Poe, impelled his thought in an increasingly antinaturalist and antihumanist direction. From the mid-1850s Baudelaire would regard himself as a Roman Catholic, though his obsession with original sin and the Devil emained unaccompanied by faith in God's forgiveness and love, and his Christology was impoverished to the point of nonexistence.

Between 1852 and 1854 Baudelaire addressed a number of poems to Apollonie Sabatier, celebrating her, despite her reputation as a high-class courtesan, as his madonna and muse, and in 1854 he had a brief liaison with the actress Marie Daubrun. In the meantime Baudelaire's growing reputation as Poe's translator and as an art critic at last enabled him to publish some of his poems. In June 1855 the Revue des deux mondes published a sequence of 18 of his poems under the general title of Les Fleurs du mal. The poems, which Baudelaire had chosen for their original style and startling themes, brought him notoriety. The following year Baudelaire signed a contract with the publisher Poulet-Malassis for a full-length poetry collection to appear with that title.

When the first edition of Les Fleurs du mal was published in June 1857, 13 of its 100 poems were immediately arraigned for offences to religion or public morality. After a one-day trial on August 20, 1857, six of the poems were ordered to be removed from the book on the grounds of obscenity, with Baudelaire incurring a fine of 300 (later reduced to 50) francs. The six poems were first republished in Belgium in 1866 in the collection Les Èpaves ("Wreckage"), and the official ban on them would not be revoked until 1949. Owing largely to these circumstances, Les Fleurs du mal became a byword for depravity, morbidity, and obscenity, and the legend of
Baudelaire as the doomed dissident and pornographic poet was born.

The Last Years:

The failure of Les Fleurs du mal, from which he had expected so much, was a bitter blow to Baudelaire, and the remaining years of his life were darkened by a growing sense of failure, disillusionment, and despair. Shortly after his book's condemnation, he had a brief and apparently botched physical liaison with Apollonie Sabatier, followed, in late 1859, by an equally brief and unhappy reunion with Marie Daubrun. Although Baudelaire wrote some of his finest works in these years, few were published in book form. After publishing his earliest experiments in prose poetry, he set about preparing a second edition of Les Fleurs du mal.

In 1859, while living with his mother at Honfleur on the Seine River estuary, where she had retired after Aupick's death in 1857, Baudelaire produced in rapid succession a series of poetic masterpieces beginning with "Le Voyage" in January and culminating in what is widely regarded as his greatest single poem, "Le Cygne" ("The Swan"), in December. At the same time, he composed two of his most provocative essays in art criticism, the Salon de 1859 and Le Peintre de la vie moderne ("The Painter of Modern Life"). The latter essay, inspired by the draftsman Constantin Guys, is widely viewed as a prophetic statement of the main elements of the Impressionist vision and style a decade before the actual emergence of that school. The year
1860 saw the publication of Les Paradis artificiels, Baudelaire's translation of sections of the English essayist Thomas De Quincey's Confessions of an English Opium-Eater accompanied by his own searching analysis and condemnation of drugs. In February 1861 a second, and greatly enlarged and improved, edition of Les Fleurs du mal was published by Poulet Malassis.

Concurrently Baudelaire published important critical essays on Theophile Gautier (1859), Richard Wagner (1861), Victor Hugo and other contemporary poets (1862), and Delacroix (1863), all of which would be collected after his death in L'Art romantique (1869). The tantalizing autobiographical fragments entitled Fusèes ("Rockets") and Mon coeur mis à nu ("My Heart Laid Bare") also date from the 1850s and early '60s.

In 1861 Baudelaire made an ill-advised and unsuccessful attempt to gain election to the French Academy. In 1862 Poulet-Malassis was declared bankrupt; Baudelaire was involved in his publisher's failure, and his financial difficulties became desperate. By this time he was in a critical state both physically and psychologically, and feeling what he chillingly called "the wind of the wing of imbecility" pass over him. Abandoning verse poetry as his medium, Baudelaire now concentrated on writing prose poems, a sequence of 20 of which was published in La Presse in 1862. In April 1864 he left Paris for Brussels in the hope of persuading a Belgian publisher to publish his complete works. He would remain in Belgium, increasingly embittered and impoverished, until the summer of 1866, when, following a collapse in the Church of Saint-Loup at Namur, he was stricken with paralysis and aphasia from which he would never recover. Baudelaire died at age 46 in the Paris nursing home in which he had been confined for the last year of his life.

Baudelaire died unrecognized, with many of his writings still unpublished and most of those that had been published were out of print. Among poets, however, opinion soon began to change: the future leaders of the Symbolist movement who were at his funeral were already describing themselves as his followers. By the 20th century he had become widely recognized as one of the great French poets of the 19th century. His admirers even claimed that he revolutionized the sensibility and way of thinking and writing throughout western Europe, and that the formulation of his aesthetic theory marks a turning point in the history of poetry and, indeed, in the history of art. For it was in this theory that the Symbolist movement found its source.

Les Fleurs du mal:

Baudelaire's poetic masterpiece, the 1861 edition of Les Fleurs du mal, consists of 126 poems arranged in six sections of varying length. Baudelaire always insisted that the collection was not a "simple album" but had "a beginning and an end," each poem revealing its full meaning only when read in relation to the others within the "singular framework" in which it is placed. A prefatory poem makes it clear that Baudelaire's concern is with the general human predicament of which his own is representative. The collection may best be read in the light of the concluding poem, "Le Voyage," as a journey through self and society in search of some impossible satisfaction that forever eludes the traveler.

The first section, entitled "Spleen et idèal," opens with a series of poems that dramatize contrasting views of art, beauty, and the artist, who is depicted alternately as martyr, visionary, performer, pariah, and fool. The focus then shifts to sexual and romantic love, with the first-person narrator of the poems oscillating between extremes of ecstasy ("idèal") and anguish ("spleen") as he attempts to find fulfillment through a succession of women whom it is possible, if simplistic, to identify with Jeanne Duval, Apollonie Sabatier, and Marie Daubrun. Each set of love poems describes an erotic cycle that leads from intoxication through conflict and revulsion to an eventual ambivalent tranquillity born of memory and the transmutation of suffering into art. Yet the attempt to find plenitude through love comes in the end to nothing, and "Spleen et idèal" ends with a sequence of anguished poems, several of them entitled "Spleen," in which the self is shown imprisoned within itself, with only the certainty of suffering and death before it.

The second section, "Tableaux parisiens," was added to the 1861 edition and describes a 24-hour cycle in the life of the city through which the Baudelairean traveler, now metamorphosed into a flaneur (man-about-town), moves in quest of deliverance from the miseries of self, only to find at every turn images of suffering and isolation that remind him all too pertinently of his own. The section includes some of Baudelaire's greatest poems, most notably "Le Cygne," where the memory of a swan stranded in total dereliction near the Louvre becomes a symbol of an
existential condition of loss and exile transcending time and space. Having gone through
the city forever meeting himself, the traveler turns, in the much shorter sections that follow, successively to drink ("Le Vin"), sexual depravity ("Fleurs du mal"), and satanism ("Rèvolte") in quest of the elusive ideal. His quest is predictably to no avail for, as the final section, entitled "La Mort," reveals, his journey is an everlasting, open-ended odyssey that, continuing beyond death, will take him into the depths of the unknown, always in pursuit of the new, which, by definition, must forever elude him.

Prose Poems:

'Baudelaire's Petite Poèmes en prose' was published posthumously in 1869 and was later, as intended by the author, entitled Le Spleen de Paris. He did not live long enough to bring these poems together in a single volume, but it is clear from his correspondence that the work he envisaged was both a continuation of, and a radical departure from, Les Fleurs du mal.
Some of the texts may be regarded as authentic poems in prose, while others are closer to miniature prose narratives. Again the setting is primarily urban, with the focus on crowds and
the suffering lives they contain: a broken-down street acrobat ("Le Vieux Saltimbanque"), a hapless street trader ("Le Mauvais Vitrier"), the poor staring at the wealthy in their opulent cafès ("Le Yeux des pauvres"), the deranged ("Mademoiselle Bistouri") and the derelict ("Assommons les pauvres!"), and, in the final text ("Les Bons Chiens"), the pariah dogs that scurry and scavenge through the streets of Brussels. Not only is the subject matter of the prose poems essentially urban, but the form itself, "musical but without rhythm and rhyme, both supple and staccato," is said to derive from "frequent contact with enormous cities, from the junction of their innumerable connections." In its deliberate fragmentation and its merging of the lyrical with the sardonic, 'Le Spleen de Paris' may be regarded as one of the earliest and most successful examples of a specifically urban writing, the textual equivalent of the city scenes of the Impressionists, embodying in its poetics of sudden and disorienting encounter that ambiguous "heroism of modern life" that Baudelaire celebrated in his art criticism.

Influence and Assessment:

As both poet and critic, Baudelaire stands in relation to French and European poetry as Gustave Flaubert and Èdouard Manet do to fiction and painting, respectively: as a crucial link between Romanticism and modernism and as a supreme example, in both his life and his work, of what it means to be a modern artist. His catalytic influence was recognized in the 19th century by Rimbaud, Verlaine, Mallarmè, and Swinburne and, in the 20th century, by Valèry, Rilke, and T.S. Eliot. In his pursuit of an "evocative magic" of images and sounds, his blending of intellect and feeling, irony and lyricism, and his deliberate eschewal of rhetorical utterance,
Baudelaire moved decisively away from the Romantic poetry of statement and emotion to the modern poetry of symbol and suggestion. He was, said his disciple Jules Laforgue, the first poet to write of Paris as one condemned to live day to day in the city, his greatest originality being, as Verlaine wrote as early as 1865, to "represent powerfully and essentially modern man" in all his physical, psychological, and moral complexity. He is a pivotal figure in European literature and thought, and his influence on modern poetry has been immense.

Resources

Most of Baudelaire's work has been translated into English. The best complete translation in verse of Les Fleurs du mal is The Flowers of Evil, trans. by James McGowan (1993); the edition by Richard Howard (trans.), Les Fleurs du mal (1982), won an American Book Award in 1984. Charles Baudelaire: Selected Poems, trans. by Carol Clark (1995), contains serviceable prose renderings of the major poems. The Prose Poems and La Fanfarlo, trans. by Rosemary Lloyd (1991), is also recommended. The essential critical writings can be found in Selected Writings on Art and Artists,trans. by P.E. Charvet (1972, reissued as Selected Writings on Art and Literature, 1992).

One of the best biographies is said to be Claude Pichois and Jean Ziegler's, Baudelaire (1989; originally published in French, 1987). An older work by Enid Starkie, Baudelaire (1933, reissued1988), is still worth consulting.

Alison Fairlie, Baudelaire: Les Fleurs du Mal (1960, reissued 1972); and F.W. Leakey, Baudelaire: Les Fleurs du Mal (1992), are valuable short introductions to the poet's major work. Stimulating and controversial studies of Baudelaire's personality and thought are to be found in Jean-Paul Sartre, Baudelaire (1949, reissued 1967; originally published in French, 1947); and Michel Butor, Histoire Extraordinaire: Essay on a Dream of Baudelaire's (1969; originally published in French, 1961). Walter Benjamin, Charles Baudelaire: Lyric Poet in the Era of High Capitalism (1973, reissued 1983; originally published in German, 1969), is the starting point for any discussion of Baudelaire and modernity. Leo Bersani, Baudelaire and Freud (1977), perceptively discusses the love poetry. F.W. Leakey, Baudelaire and Nature (1969), offers an important chronological study of the evolution of his thought. Richard D.E. Burton, Baudelaire in 1859 (1988), discusses Baudelaire's most creative year, and Baudelaire and the Second Republic (1991), examines his shifting political positions. The most stimulating short discussion of the prose poems is contained in Christopher Prendergast, Paris and the Nineteenth Century (1992)