Populism and Romantic Agony: A Russian Terrorist's Discovery of Baudelaire

Slavic Review ◽  
1993 ◽  
Vol 52 (2) ◽  
pp. 298-317 ◽  
Author(s):  
Adrian Wanner
Keyword(s):  
Nineteenth Century ◽  
Charles Baudelaire ◽  
Modern Poetry ◽  
Social Democrat ◽  
Valerii Briusov ◽  
Fleurs Du Mal

Charles Baudelaire (1821-1867) has been hailed by followers in many countries as a forerunner of symbolism, if not as the father of modern poetry tout court. In Russia, Andrei Belyi celebrated him together with Nietzsche in 1909 as a "Patriarkh Simvolizma"; and Valerii Briusov wrote in the same year: "Is it possible to question the importance of Baudelaire's Fleurs du mal for the formation of the whole worldview of modernity?" Ellis (L.L. Kobylinskii), the most zealous of all Russian symbolist "Baudelaireans," even tried to convince the menshevik social democrat, N. Valentinov, that Baudelaire was "the greatest revolutionary of the nineteenth century, in comparison with whom all Marxes, Engelses, Bakunins, and the rest of the brotherhood which they created, are simply nothing."

Decanting the Rabelaisian Casks: Accessing Neoplatonic Poetic Fury in Baudelaire's ‘L'Âme du vin’

2016 ◽  
Vol 55 (3) ◽  
pp. 263-279
Author(s):  
Robert J. Hudson ◽  
Kristen Foote
Keyword(s):  
Nineteenth Century ◽  
Old Regime ◽  
Robust Version ◽  
Poetic Inspiration ◽  
Fleurs Du Mal

In one of the lesser-studied sections of Baudelaire's Les Fleurs du Mal, ‘Le Vin’, the poet offers a key to understanding the transcendence necessary for common post-Revolution Parisians to attain the proper poetic inspiration to create elevated verse. Divine or poetic Fury, a theoretically more robust version of other nineteenth-century ideas of intoxication, is at the heart of the section's threshold poem, ‘L'Âme du vin’, and establishes a bridge in Les Fleurs du mal linking the modern terrestrial wanderings of the ‘Tableaux parisiens’ to the celestial flights of the ‘Fleurs du mal’. Developed from Plato's Ion and Gallically codified by Rabelais, these theories filter to the aesthete Baudelaire, who decants this aged wine into a nineteenth-century vessel that lays old regime vertical hierarchies on their side and offers poetic intoxication to all who are willing to labour to become vessels of inspiration themselves.

The Origin and Form of Aeolic Verse

1909 ◽  
Vol 3 (4) ◽  
pp. 291-309
Author(s):  
John Williams White
Keyword(s):  
Nineteenth Century ◽  
Modern Poetry ◽  
Poetic Form ◽  
Musical Expression ◽  
Modern Music ◽  
Greek Poetry

The Aeolic dimeter and trimeter constitute so considerable a part of Greek lyric and dramatic poetry that the correct apprehension of their form is a matter of great moment. The Greek metricians comprehended this rightly, in the main, but in the first half of the nineteenth century the doctrine of these learned men was supplanted by a new theory that attempted to apply the principles that underlie modern poetry to the explanation of the undoubtedly complex rhythm of these clauses. Many scholars persistently maintain this theory. It is not difficult to discover why it was invented (it is absolutely new) and why it remains attractive. That the quantitative rhythms and metres of Greek poetry should seem complicated to men whose language is accentual is inevitable, whereas modern metres and rhythms are notoriously simple. The limitations imposed upon poetic form by accentual speech are extreme. No modern poet, for example, has attempted Ionic or Cretic measures. Again Greek music was simple, and both music and dance were under the control of the singers, but modern music is a complex art, and casts language in an iron mould. Nevertheless musical expression must be the basis of comparison, so far as we allow ourselves to institute it, between ancient and modern rhythms. The attempt to conform Greek lyrics to the elementary—and uncertain—rhythms of modern poetry that is merely read or recited implies a fundamental misconception of relations. Greek lyrics were melic. Agathon, in the Thesmophoriazusae, sings as he composes. These Greek songs were never intended to be read by anybody, Greek or barbarian.

‘Ordre et beauté’

2021 ◽  
Vol 21 (3) ◽  
pp. 419-436
Author(s):  
Michael Downe
Keyword(s):  
Charles Baudelaire ◽  
Literary Canon ◽  
Sacred Texts ◽  
Musical Time ◽  
Instrumental Works ◽  
Fleurs Du Mal

The British composer Jonathan Harvey is generally associated with Eastern sacred texts rather than the secular Western literary canon. However, evidence from works composed over several decades suggests that Charles Baudelaire was a significant if subterranean influence upon his music. This article considers these works in detail. ‘L’Horloge’ [‘The Clock’] (1963) is a remarkable interpretation of Baudelaire’s text which reveals in it parallels with Harvey’s own contemporary preoccupations with the nature of musical time. Correspondances (1975) is a sequence of settings from Les Fleurs du mal and interludes and ‘fragments’ for piano which may be arranged in numerous orders at the discretion of the performers. Finally, the instrumental works Hidden Voice (1996) and Hidden Voice II (1999) demonstrate that the poet’s ideas remained an inspiration to Harvey well into his compositional maturity. Particularly striking is the variety and originality of these musical responses. Baudelaire’s real significance for Harvey was perhaps as an exemplar of aesthetic ideals - of ‘order and beauty’ - rather than merely as a source of musically suggestive images and phrases.

Introduction

2018 ◽  
pp. 1-12 ◽  
Author(s):  
David Weir
Keyword(s):  
Nineteenth Century ◽  
Urban Geography ◽  
Oscar Wilde ◽  
Charles Baudelaire ◽  
Fin De Siecle ◽  
Period 1880 ◽  
Fin De Siècle ◽  
Nineteenth Century France ◽  
The Aesthetic ◽  
Aesthetic Expression

The Introduction first considers the etymological and historical meanings of decadence. Different interpretations of the word “decadence” point to historical decline, social decay, and aesthetic inferiority. Decadence today may be best understood as the aesthetic expression of a conflicted attitude toward modernity, which first arose in nineteenth-century France and is best expressed by the author Charles Baudelaire (1821–1867). Decadence then “travelled” to London, where Oscar Wilde (1854–1900) became the preeminent decadent writer. Other metropolitan centers that made up part of the urban geography of decadence during the fifty-year period (1880–1930) of decadence’s peak were fin-de-siècle Vienna and Weimar Berlin.

scholarly journals Fiction as a Medium of Social Communication in 19th Century France

2014 ◽  
Vol 2 (1) ◽  
pp. 123-144
Author(s):  
Sabina Pstrocki-Sehovic ◽  
Sabina Pstrocki-Sehovic
Keyword(s):  
19Th Century ◽  
Social Communication ◽  
Gustave Flaubert ◽  
Emile Zola ◽  
Charles Baudelaire ◽  
Madame Bovary ◽  
Comedie Humaine ◽  
19Th Century France ◽  
The 19Th Century ◽  
Fleurs Du Mal

This article will present the extent to which literature could be viewed as means of social communication – i.e. informing and influencing society – in 19thcentury France, by analysing the appearance of three authors at different points:  the beginning, the middle and the end of the century. The first is the case of Balzac at the beginning of the 19th Century who becomes the most successful novelist of the century in France and who, in his prolific expression and rich vocabulary, portrays society from various angles in a huge opus of almost 100 works, 93 of them making his Comédie humaine. The second is the case of Gustave Flaubert whose famous novel Madame Bovary, which depicts a female character in a realist but also in a psychologically conscious manner, around the mid-19th century reaches French courts together with Les Fleurs du Mal by Charles Baudelaire and is exposed as being socially judged for its alleged immorality. The last is the political affair of Dreyfus and its defender Emile Zola, the father of naturalism. This case confirms the establishment of more intense relations between writer and politics and builds a solid way for a more conscious and everyday political engagement in the literary world from the end of the 19th century onwards. These three are the most important cases which illustrate how fiction functioned in relation to society, state and readership in 19th century France.

scholarly journals Baudelaire en vers català: «Don Juan aux Enfers»

2021 ◽  
Vol 28 ◽  
pp. 33-43
Author(s):  
Joaquim Sala-Sanahuja
Keyword(s):  
Charles Baudelaire ◽  
Don Juan ◽  
Cas A ◽  
Fleurs Du Mal

A partir del poema «Don Juan aux enfers», de caràcter narratiu, inclòs a Les Fleurs du Mal, de Charles Baudelaire, el text presenta una anàlisi de les qüestions traductives lligades al mite de Don Juan i als mitologemes que en deriven. El corpus de referència són tres versions catalanes, totes prosòdiques. La finalitat és, doncs, de trobar un mètode ràpid i eficaç d’anàlisi estilística comparada, prèvia en tot cas a la recerca crítica més fina. Alhora s’ofereix informació sobre els autors de les tres versions comparades: Emili Guanyabéns (1860-1941), Rossend Llates (1899-1973) i Xavier Benguerel (1905-1990), amb observacions sobre l’estil traductiu de cadascun.

scholarly journals Les traductions de Baudelaire en Amérique Latine : rhétoriques et moules d’écriture

AmeriQuests ◽  
2015 ◽  
Vol 12 (1) ◽  
Author(s):  
Ana María Gentile
Keyword(s):  
Walter Benjamin ◽  
Charles Baudelaire ◽  
Simple Operation ◽  
Amérique Latine ◽  
Fleurs Du Mal ◽  
Amerique Latine

L’étude des influences et des dialogues littéraires, qui fait l’objet de la littérature comparée, acquiert une nouvelle dimension si nous ajoutons à l’analyse la perspective traductologique, discipline de plus en plus autonome dont les approches enrichissent les points de vue sur les traductions et leur rôle dans un système littéraire et culturel d’accueil. Loin d’une conception de la traduction comme une simple opération de passage opéré entre deux langues, les dernières réflexions, dont une source incontournable est la célèbre préface de Walter Benjamin intitulée « La tâche du traducteur » aux Tableaux Parisiens baudelairiens, remarquent l’aspect créatif et non ancillaire de cette sorte de réécriture productive. C’est dans ce cadre théorique que le présent travail se propose de retracer les traductions de l’oeuvre de Charles Baudelaire en Amérique Latine et de réfléchir sur les rhétoriques et les moules d’écriture qui opèrent dans les versions en espagnol. Plus particulièrement, nous nous demandons sur quelle rhétorique poétique le traducteur crée son poème en espagnol et en même temps quel est le moule d’écriture suggéré par la traduction dans l’invention d’une langue dont l’esthétique oscille entre la sublimation et la cruauté propres au style baudelairien. Pour ce faire, nous prenons le cas de quelques poèmes des Fleurs du Mal et des Tableaux Parisiens.

scholarly journals Amantes da beleza imperfeita

2018 ◽  
Vol 38 (3) ◽  
pp. 98-112
Author(s):  
Marcelo Tápia
Keyword(s):  
Charles Baudelaire ◽  
Fleurs Du Mal

No panorama da recepção e da recriação, no Brasil, de Les fleurs du mal (1857), de Charles Baudelaire, a antologia organizada e traduzida por Guilherme de Almeida (1944) permanece como fonte de reflexões sobre a tradução poética e suas relações com a afinidade e a identificação entre tradutor e autor, bem como entre suas concepções acerca de poesia. O presente artigo procura demonstrar, por meio da releitura dos apontamentos do tradutor dos poemas, seu persistente potencial iluminador sobre características da célebre obra original e a tarefa do traduzir como um diálogo convergente entre poéticas e idiomas distintos.

scholarly journals UMA POÉTICA DE ESCOMBROS: O MOTIVO DA RUÍNA E A MODERNA POESIA AUTOCONSCIENTE

2019 ◽  
Vol 11 (1) ◽  
Author(s):  
Fabiano Rodrigo da Silva Santos
Keyword(s):  
Charles Baudelaire ◽  
Carlos Drummond De Andrade ◽  
Fleurs Du Mal

Estas considerações propõem uma leitura da relação entre melancolia, performance poética autoconsciente e plasmação do discurso sobre a história, sob perspectiva da permanência do motivo das ruínas na poesia lírica moderna, entrevista em “Ozymandias” (1818), de Percy Shelley; “Le Cygne” (Les fleurs du mal, 1857), de Charles Baudelaire e “Morte das casas de ouro preto” (Claro Enigma, 1951), de Carlos Drummond de Andrade. Tais obras demonstram que o sistema imagético da ruína encerra uma cosmovisão e uma concepção de poesia típicas da modernidade. Como cosmovisão, a ruína reconhece que a história é fenômeno refratário à pretensão à totalidade do discurso, como poética, postula que elipses e fragmentos podem triunfar sobre o veto que a insuficiência emite contra o poema.

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