The Etudes Critiques of Edmond Scherer were
collected
in 1863.
Baudelaire - Poems and Prose Poems
" once sang Tennyson, though not
of the Frenchman.
II
As long ago as 1869, and in our "barbarous gas-lit country," as
Baudelaire named the land of Poe, an unsigned review appeared in which
this poet was described as "unique and as interesting as Hamlet. He is
that rare and unknown being, a genuine poet--a poet in the midst of
things that have disordered his spirit--a poet excessively developed in
his taste for and by beauty . . . very responsive to the ideal, very
greedy of sensation. " A better description of Baudelaire does not exist
The Hamlet-motive, particularly, is one that sounded throughout the
disordered symphony of the poet's life.
He was, later, revealed--also reviled--to American readers by Henry
James, who completely missed his significance. This was in 1878, when
appeared the first edition of French Poets and Novelists. Previous to
that there had been some desultory discussion, a few essays in the
magazines, and in 1875 a sympathetic paper by Professor James Albert
Harrison of the University of Virginia. He denounced the Frenchman for
his reprehensible taste, though he did not mention his beautiful verse
nor his originality in the matter of criticism. Baudelaire, in his eyes,
was not only immoral, but he had, with the approbation of Sainte-Beuve,
introduced Poe as a great man to the French nation. (See Baudelaire's
letter to Sainte-Beuve in the newly published Letters, 1841-1866. )
Perhaps "Mr. Dick Minim" and his projected Academy of Criticism might
make clear these devious problems.
The Etudes Critiques of Edmond Scherer were collected in 1863. In them
we find this unhappy, uncritical judgment: "Baudelaire, lui, n'a rien,
ni le coeur, ni l'esprit, ni l'idee, ni le mot, ni la raison, ni la
fantaisie, ni la verve, ni meme la facture . . . son unique titre c'est
d'avoir contribue a creer l'esthetique de la debauche. " It is not our
intention to dilate upon the injustice of this criticism. It is
Baudelaire the critic of aesthetics in whom we are interested. Yet I
cannot forbear saying that if all the negations of Scherer had been
transformed into affirmations, only justice would have been accorded
Baudelaire, who was not alone a poet, the most original of his century,
but also a critic of the first rank, one who welcomed Richard Wagner
when Paris hooted him and his fellow composer, Hector Berlioz, played
the role of the envious; one who fought for Edouard Manet, Leconte de
Lisle, Gustave Flaubert, Eugene Delacroix; fought with pen for the
modern etchers, illustrators, Meryon, Daumier, Felicien Rops, Gavarni,
and Constantin Guys. He literally identified himself with De Quincey and
Poe, translating them so wonderfully well that some unpatriotic persons
like the French better than the originals. So much was Baudelaire
absorbed in Poe that a writer of his times asserted that the translator
would meet the same fate as the American poet. A singular, vigorous
spirit is Baudelaire's, whose poetry with its "icy ecstasy" is profound
and harmonious, whose criticism is penetrated by a catholic quality, who
anticipated modern critics in his abhorrence of schools and
environments, preferring to isolate the man and uniquely study him. He
would have subscribed to Swinburne's generous pronouncement: "I have
never been able to see what should attract man to the profession of
criticism but the noble pleasure of praising. " The Frenchman has said
that it would be impossible for a critic to become a poet; and it is
impossible for a poet not to contain a critic.
Theophile Gautier's study prefixed to the definitive edition of Les
Fleurs du Mal is not only the most sympathetic exposition of Baudelaire
as man and genius, but it is also the high-water mark of Gautier's gifts
as a critical essayist. We learn therein how the young Charles, an
incorrigible dandy, came to visit Hotel Pimodan about 1844. In this
Hotel Pimodan a dilettante, Ferdinand Boissard, held high revel.
of the Frenchman.
II
As long ago as 1869, and in our "barbarous gas-lit country," as
Baudelaire named the land of Poe, an unsigned review appeared in which
this poet was described as "unique and as interesting as Hamlet. He is
that rare and unknown being, a genuine poet--a poet in the midst of
things that have disordered his spirit--a poet excessively developed in
his taste for and by beauty . . . very responsive to the ideal, very
greedy of sensation. " A better description of Baudelaire does not exist
The Hamlet-motive, particularly, is one that sounded throughout the
disordered symphony of the poet's life.
He was, later, revealed--also reviled--to American readers by Henry
James, who completely missed his significance. This was in 1878, when
appeared the first edition of French Poets and Novelists. Previous to
that there had been some desultory discussion, a few essays in the
magazines, and in 1875 a sympathetic paper by Professor James Albert
Harrison of the University of Virginia. He denounced the Frenchman for
his reprehensible taste, though he did not mention his beautiful verse
nor his originality in the matter of criticism. Baudelaire, in his eyes,
was not only immoral, but he had, with the approbation of Sainte-Beuve,
introduced Poe as a great man to the French nation. (See Baudelaire's
letter to Sainte-Beuve in the newly published Letters, 1841-1866. )
Perhaps "Mr. Dick Minim" and his projected Academy of Criticism might
make clear these devious problems.
The Etudes Critiques of Edmond Scherer were collected in 1863. In them
we find this unhappy, uncritical judgment: "Baudelaire, lui, n'a rien,
ni le coeur, ni l'esprit, ni l'idee, ni le mot, ni la raison, ni la
fantaisie, ni la verve, ni meme la facture . . . son unique titre c'est
d'avoir contribue a creer l'esthetique de la debauche. " It is not our
intention to dilate upon the injustice of this criticism. It is
Baudelaire the critic of aesthetics in whom we are interested. Yet I
cannot forbear saying that if all the negations of Scherer had been
transformed into affirmations, only justice would have been accorded
Baudelaire, who was not alone a poet, the most original of his century,
but also a critic of the first rank, one who welcomed Richard Wagner
when Paris hooted him and his fellow composer, Hector Berlioz, played
the role of the envious; one who fought for Edouard Manet, Leconte de
Lisle, Gustave Flaubert, Eugene Delacroix; fought with pen for the
modern etchers, illustrators, Meryon, Daumier, Felicien Rops, Gavarni,
and Constantin Guys. He literally identified himself with De Quincey and
Poe, translating them so wonderfully well that some unpatriotic persons
like the French better than the originals. So much was Baudelaire
absorbed in Poe that a writer of his times asserted that the translator
would meet the same fate as the American poet. A singular, vigorous
spirit is Baudelaire's, whose poetry with its "icy ecstasy" is profound
and harmonious, whose criticism is penetrated by a catholic quality, who
anticipated modern critics in his abhorrence of schools and
environments, preferring to isolate the man and uniquely study him. He
would have subscribed to Swinburne's generous pronouncement: "I have
never been able to see what should attract man to the profession of
criticism but the noble pleasure of praising. " The Frenchman has said
that it would be impossible for a critic to become a poet; and it is
impossible for a poet not to contain a critic.
Theophile Gautier's study prefixed to the definitive edition of Les
Fleurs du Mal is not only the most sympathetic exposition of Baudelaire
as man and genius, but it is also the high-water mark of Gautier's gifts
as a critical essayist. We learn therein how the young Charles, an
incorrigible dandy, came to visit Hotel Pimodan about 1844. In this
Hotel Pimodan a dilettante, Ferdinand Boissard, held high revel.
