Poèmes en prose (French Edition)

Virtual Issue on Baudelaire

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French poetry -- 20th century -- History and criticism. French poetry 19th century History and criticism French poetry 20th century History and criticism Prose poems, French Prose poems, French History and criticism Notes Includes bibliographical references p. View online Borrow Buy Freely available Show 0 more links Related resource Table of contents at http: Other links Inhaltsverzeichnis at http: Set up My libraries How do I set up "My libraries"? These 4 locations in All: Edith Cowan University Library.

The hardcover Concordance has English explanatory matter relevant to the Concordance itself, which latter is in French and organized as follows: Each individual word, "WORD" has a row like this: Then some 18 pages of the same for the variants. Then about 20 pages of word frequencies in descending numerical order, For example the word "reverie" occurs 6 times and "reveries" 1 time Then about 20 pages of word frequencies in alphabetic order, so you can find the how many times the word that interests you occurs. But of course the prose poems themselves have the accents, diacritic marks and are in the proper case.

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Thus, the poem, according to Baudelaire, is as much an "aesthetic experience" as it is a literary one. Women are both admired and ridiculed in Le Spleen de Paris. Some poems, such as "The Desire to Paint", reflect female power and sexuality in a somewhat positive manner. However, a larger portion of the poems in Baudelaire's work debase women as evil, gaudy, and cold.

Many are represented as prostitutes, and according to scholars, "the courtesan would seem to be a virtual incarnation, for Baudelaire, of all that is artificial and misleading. The speaker is shocked to discover that she did so not to "preserve them as horrible and precious relics", but to sell them for a morbid profit.

Still, women are inherently sexual, and in some regards, Baudelaire admires their sensual beauty connects back to themes of intoxication, pleasure. Many of Baudelaire's prose poems are dominated by the concept of time, usually negatively.

As a result, intoxication, women, pleasure, and writing are all forms of escape from this unavoidable hell. Art, poetry, life, and death are inextricably linked within Baudelaire's poems, and perhaps reflect a personal obsession with mortality. For Baudelaire, the setting of most poems within Le Spleen de Paris is the Parisian metropolis, specifically the poorer areas within the city.

It is also important to note that Baudelaire's Paris is not one of nice shops and beautiful streets. Instead, Baudelaire focuses on dirty, poverty-stricken areas of Paris with social problems rather than the Paris of the upper class. In connection with the theme of the Parisian metropolis, Baudelaire focuses heavily on the theme of poverty and social class within Le Spleen de Paris.

In these poems Baudelaire introduces slightly differing views of the urban poor. In "The Toy of the Poor" Baudelaire heavily stresses the need for equality between social classes in Paris. In comparison, "Counterfeit Money" and "Let's Beat Up the Poor" seem to use a sarcastic tone to instil empathy in the reader for those people in poverty. In Michael Hamburger 's introduction to his translation, Twenty Prose Poems of Baudelaire , the scholar notes a highly sympathetic view of the poor in Le Spleen de Paris ; Baudelaire seems to relate to the poor and becomes an advocate for them in his poetry.

Many poems in Le Spleen de Paris incorporate a central theme of religion or the relationship between good and evil in human nature.

Petits Poemes En Prose Oeuvres Critiques French Edition 1988 by B 2038700109

Along these lines, Baudelaire repeatedly addresses the theme of sin within his poetry as well as questioning how the hierarchy of class could affect the hierarchy of goodness, implying that those of higher social class tend not to be morally superior to those of lower classes. Many critics of Baudelaire address the prominent role of religion in the poet's life and how that might have affected his writing.

Some suspect that since Baudelaire internalized Christian practices, he thought himself capable of accurately portraying God in his writing. Yet by representing God's message within his poetry, Baudelaire placed himself in a position of patriarchal authority, similar to that of the God depicted in Christianity. My dear friend, I send you here a little work of which no one could say that it has neither head nor tail, because, on the contrary, everything in it is both head and tail, alternately and reciprocally. Please consider what fine advantages this combination offers to all of us, to you, to me, and to the reader.

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We can cut whatever we like—me, my reverie, you, the manuscript, and the reader, his reading; for I don't tie the impatient reader up in the endless thread of a superfluous plot. Pull out one of the vertebrae, and the two halves of this tortuous fantasy will rejoin themselves painlessly. Chop it up into numerous fragments, and you'll find that each one can live on its own. In the hopes that some of these stumps will be lively enough to please and amuse you, I dedicate the entire serpent to you.

While writing Le Spleen de Paris , Baudelaire made very conscious decisions regarding his relationship with his readers.

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For Baudelaire, the accessibility of the text and ability for a reader to set down the book and pick it up much later was crucial, especially considering his implied opinions of his readers. Baudelaire's tone throughout the preface, "The Dog and the Vial" as well as other poems throughout Le Spleen de Paris seem to illustrate Baudelaire's opinions of superiority over his readers.

In "The Dog and the Vial", a man offers his dog a vial of fancy perfume to smell and the dog reacts in horror, instead wishing to sniff more seemingly unappealing smells, specifically excrement. The poem concludes with the frustration of the speaker with his dog, expressed as the speaker states: Le Spleen de Paris represents a definitive break from traditional poetic forms.

The text is composed of "prose poems" which span the continuum between "prosaic" and "poetic" works.

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