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.
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.
Baudelaire - Poems and Prose Poems
" Hugo might have said that he turned Art into an Inferno.
Baudelaire is the evil archangel of poetry. In his heaven of fire, glass
and ebony he is the blazing Lucifer. "A glorious devil, large in heart
and brain, that did love beauty only. . . " 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.
Baudelaire is the evil archangel of poetry. In his heaven of fire, glass
and ebony he is the blazing Lucifer. "A glorious devil, large in heart
and brain, that did love beauty only. . . " 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.
