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One of the founding texts of literary modernism.
Set in a modern, urban Paris, the prose pieces in this volume constitute a further exploration of the terrain Baudelaire had covered in his verse masterpiece, The Flowers of Evil: the city and its squalor and inequalities, the pressures of time and mortality, and the liberation provided by the sensual delights of intoxication, art, and women. Published posthumously in 1869, Paris Spleen was a landmark publication in the development of the genre of prose poetry―a format which Baudelaire saw as particularly suited for expressing the feelings of uncertainty, flux, and freedom of his age―and one of the founding texts of literary modernism.- Sales Rank: #77114 in Books
- Published on: 1970-01-17
- Ingredients: Example Ingredients
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x .40" w x 5.20" l, .30 pounds
- Binding: Paperback
- 118 pages
Review
“The cadenced prose beats in perfect time with the pulse of the slumbering city, where only the strange is awake. The atmosphere is old, dirty, often sordid, and yet, somehow, glorious.... The translation is almost perfect.” (John Randolph - Chicago Tribune)
“He possessed, as it were, a profound intuition of the obstinate, amorphous contingency which is life...” (Jean-Paul Sartre)
About the Author
Charles Baudelaire (1821-1867) is most famous for his groundbreaking collection of verse The Flowers of Evil, but his essays, translations, and prose poems have been equally influential.
Louise Var�se was an American biographer and translator of French. She is known for her translations of Stendhal, Proust, Georges Simenon, Julien Gracq, St.-John Perse and Arthur Rimbaud.
Most helpful customer reviews
0 of 0 people found the following review helpful.
Paris Spleen: Inspiring Prose Poem
By felicehow
Baudelaire and Poe are two of the most intriguing literary personalities of the nineteenth century -- and to think Baudelaire was Poe's French translator!
13 of 13 people found the following review helpful.
The classic translation.
By Uncle Willie
An elegant, accurate, and readable translation of this wonderful little book that can revolutionize your way of seeing and thinking. Some newer, and in some ways, better translations have appeared since this one became the "standard," but it's still a good buy and a sure bet for reading pleasure.
5 of 5 people found the following review helpful.
"In Autumn All Things Think Through Us Or We Through Them"
By The Wingchair Critic
Charles Baudelaire's 'Paris Spleen' (1869) is a wonderfully original work, one happily outside the framework of American literature and its broad range of sensibilities.
Most notably, these 51 short prose poems illustrate how truth, and the most accurate perceptions of life possible, can be reached by honing the senses and then melding them with the more passive facilities of the mind; logic and rational thinking, as demonstrated here, are for the vulgar, those in denial, those simply unable to accept the very rich, self-evident smorgasbord of life.
Baudelaire, both a tragic and a comedic clown, also effortlessly illustrates how melancholy and joy are by no means mutually exclusive categories of human experience.
Set largely against autumnal landscapes, the wandering poet indulges in "the mysterious and aristocratic pleasure of watching" whenever he is not a direct participant in the events these visionary pieces describe. Solitary, "fluent in outrage," cranky, lovelorn, misanthropic, and pedagogical by turns, these pieces find the poet stalking bereaved widows, peering unseen through the candle-lit windows of neighbor's homes, asking philosophical questions of "enigmatical" strangers, shunning crowds, greeting the twilight with a bow, reading the time of day in a cat's eyes, "beating the poor," and listening, eavesdropping, and relentlessly observing wherever he goes.
Not surprisingly, the poet's vision of urban Paris lies somewhere between the canvases of Degas and Toulouse-Lautrec: garishly colored, grotesque, heavily populated with heaving women and friable grande dames, Baudelaire's city is a stage for life's pantomime, open to and allowing for all combinations and possibilities. By contrast, his autumnal countryside is a place of relative purity, where the poet wanders alone under stark blue skies and roaming, shadow-casting clouds.
In one of the more hallucinatory episodes, the poet, "under a vast gray sky, on a vast and dusty plain" comes upon a procession of men with "worn and serious faces," each of whom carries a very large, monstrous "chimera" on his back, the muscles, tendons and limbs of the beasts wrapped tightly around them. None the wiser after asking these men his litany of inevitable questions, the poet observes that "under the depressing dome of the sky" the men moved past and beyond him, each "with the resigned look of men who are condemned to hope forever."
'Paris Spleen' is a wise, serious and dour work. But if its only occasionally tragic underpinnings and conclusions can be embraced by its audience, then its vibrant, bawdy and transcendent aspect reveals itself shamelessly in turn. Baudelaire is so confident, unselfconscious, and plain-spoken that his perceptions are remarkably easy to visualize, his emotions as expressed surprisingly easy to relate to. Few books are as multi-prismed as this.
The poet implies that if man could accept mortality, reasonably subdue his ego, and curb his more flagrant dreams, life would begin to resemble the far from perfect, but certainly tolerable and potentially enjoyable, miracle that it actually is.
Baudelaire seems to have reached the same conclusion that Isak Dinsen did at the end of her memoir, 'Out Of Africa' (1937): man must accept, without exclusion, every facet, aspect, element, and component of existence before existence--before life--will give anything back to him.
Perfectly translated by Louise Varese, this edition allows the non-poet to see, however briefly, as a poet sees.
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