Runyon Intratextual

Intratextual Baudelaire
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T HE OHI O S TAT E UNI VE R S I T Y P RE S S
COL UMB US
Intratextual Baudelaire
i
The Sequential Fabric of the Fleurs du mal
and Spleen de Paris
RANDOLPH PAUL RUNYON
Copyright 2010 by The Ohio State University.
All rights reserved.
Library of Congress Cataloging-in-Publication Data
Runyon, Randolph, 1947
Intratextual Baudelaire : the sequential fabric of the Fleurs du mal and Spleen de Paris /
Randolph Paul Runyon.
p. cm.
Includes bibliographical references and index.
ISBN-13: 978-0-8142-1118-2 (cloth : alk. paper)
ISBN-10: 0-8142-1118-6 (cloth : alk. paper)
ISBN-13: 978-0-8142-9216-7 (cd-rom)
1. Baudelaire, Charles, 18211867. Fleurs du malCriticism, Textual. 2. Baudelaire,
Charles, 18211867. Spleen de ParisCriticism, Textual. I. Title.
PQ2191.Z5R86 2010
841'.8dc22
2009029578
This book is available in the following editions:
Cloth (ISBN 978-0-8142-1118-2)
CD-ROM (ISBN 978-0-8142-9216-7)
Cover design by Becky Kulka and Jeff Smith.
Type set in Adobe Galliard.
Printed by Thomson-Shore, Inc.
The paper used in this publication meets the minimum requirements of the American
National Standard for Information SciencesPermanence of Paper for Printed Library
Materials. ANSI Z39.48-1992.
9 8 7 6 5 4 3 2 1
CONTENTS
i
Introduction 1
CHAPTER 1 The Fabric of the First Edition: The Fleurs of 1857 17
CHAPTER 2 The Sequence Rebuilt: The Fleurs of 1861 120
CHAPTER 3 The serpent tout entier: Le Spleen de Paris 189
Appendix A The Order of the Poems in the 1857 and 1861 Editions 263
Appendix B The Order of the Poems in Le Spleen de Paris 269
Works Cited 271
Index to Baudelaire's Works 277
General Index 281
1
BAUDELAIRE ASSERTED more than once that the order in which he
arranged his poems was meaningful. Even before the Fleurs du mal first
appeared in 1857, at a time when he was negotiating for the publication of
some poems in the Revue des deux mondes, he wrote to the editor: je tiens
vivement, quels que soient les morceaux que vous choisirez, les mettre
en ordre avec vous,
1
de manire quils se fassent, pour ainsi dire, suite [I
am very anxious, whatever pieces you choose, to put them in order with
you, so that they form, so to speak, a sequence].
2
He was at the editors
mercy as to which poems would appear, yet he hoped to play a role in
determining the order of those that did. That order did not exist before
the editors selection but would depend on the poems he chose. Baudelaire
would then engage in some bricolage in the Lvi-Straussian sense, to cre-
ate somethingin this case, a meaningful sequenceout of the materials
on hand. The bricoleur, Lvi-Strauss writes, is adept at performing a
large number of diverse tasks; but, unlike the engineer, he does not sub-
ordinate each of them to obtaining the raw materials and tools conceived
and procured for the purpose of the project. His universe of instruments is
closed and the rules of his game are always to make do with whatever is
at hand.
3
Commenting on this letter, F. W. Leakey writes, the principle
1. Regarding italics in this book, I have used two different approaches. In quotations
from Baudelaires poetic works, italics have been added for emphasis unless indicated to be
present in Baudelaires original. For all other sources, italics can be presumed to be original
unless otherwise noted.
2. In a letter to Victor de Mars on April 7, 1855. Charles Baudelaire, Correspondance,
2 vols., ed. Claude Pichois and Jean Ziegler (Paris: Gallimard/Pliade, 1973), I: 312 (here-
after cited in text as Corr. I or II; translations are my own unless otherwise noted). Eventu-
ally eighteen poems were published in the Revue des deux mondes on June 1, 1855.
3. Claude Lvi-Strauss, The Savage Mind, trans. John Weightman and Doreen Weight-
INTRODUCTI ON
i
I NTRODUCTI ON
2
Baudelaire sought to adopt in the arrangement of these poemsthat of
sequence, with one poem leading smoothly into the next . . . is one that he
was able eventually to follow in his own distribution of his poems in the
complete editions of 1857 and 1861.
4
Baudelaire displayed the same concern for arrangement in the months
preceding the publication of the Fleurs du mal, telling his publisher he
hoped that together Nous pourrons disposer ensemble lordre des
matires des Fleurs du mal,ensemble, entendez-vous, car la question est
importante [We will be able to arrange together the order of the material
of the Fleurs du maltogether, you understand, for the question is impor-
tant] (Corr. I: 364).
When Baudelaire was subjected to prosecution in 1857, when the
Fleurs du mal were deemed an offense to public morals, he prepared notes
for his lawyer in which he called his book ce parfait ensemble [this per-
fect whole].
5
The prosecutor was threatening to have some of the poems
removedand eventually six were. Baudelaire wanted his lawyer to argue
that the collection was itself a work of art that would be destroyed if any
part of it were taken away.
On Baudelaires invitation, and to some undetermined extent with his
collusion, his friend Jules Barbey dAurevilly wrote a defense of the book:
If quoted, a poem would have only its individual value, and make no mis-
take, in Baudelaires book each poem has, in addition to the success of
its details or the glory of its thought, a very important value with respect
to the whole and to its location there [une valeur trs importante densemble
et de situation] that must not be lost by detaching it. Artists who can see
the lines beneath the luxurious eforescence of color will clearly see that
there is a secret architecture [une architecture secrte] here, a plan calculated
by the poet, premeditated and intentional. Les Fleurs du mal are not lined
up one after the other like just so many lyrical pieces, produced by inspi-
ration, and gathered into a collection for no other reason than to bring
them together. They are not so much poems as a poetic work of the stron-
gest unity. From the standpoint of Art and aesthetic perception they would
therefore lose a great deal by not being read in the order in which the poet,
man (Chicago: University of Chicago Press, 1966), 17; corresponds to p. 27 of La Pense
sauvage (Paris: Plon, 1962). Margery Evans, in Baudelaire and Intertextuality: Poetry at
the Crossroads (Cambridge: Cambridge University Press, 1993), suggests the relevance of
the concept of bricolage to the structure of Le Spleen de Paris (p. 3); I will argue that it is
equally pertinent to that of Les Fleurs du mal.
4. F. W. Leakey, Baudelaire: Les Fleurs du Mal (Cambridge: Cambridge University
Press, 1992), 5, hereafter cited in text as FM Leakey.
5. Charles Baudelaire, uvres compltes, 2 vols., ed. Claude Pichois (Paris: Gallimard/
Pliade, 197576), I: 194; hereafter cited in text as OC I or II.
I NTRODUCTI ON
3
who well knows what he is doing, has arranged them. But they would lose
even more from the point of view of the moral effect of which we earlier
spoke. (OC I: 1196)
How much of Barbeys statement reflected Baudelaires own thoughts can-
not be determined. But we know that the poet approved of it enough
to include it among the Articles justitatifs of which he had two hundred
copies printed before his trial. The italics, Marcel Franon suggests, may
be Baudelaires own.
6
And even though Barbeys remarks, and Baudelaires
approval of them, were motivated by the need to deflect the prosecutions
attack, what Barbey wrote about the value the poems have by virtue of their
situation, about what they would lose by not being read in the order
Baudelaire gave them, and his assertion that the Fleurs are not so much
poems in the plural as a single poetic work are consonant with Baudelaires
concern, before and long after the prosecution, for the order in which his
poems appear.
Four years later, when the second edition appeared, minus the six
offending poems but containing thirty-five new poems and a significant
rearrangement of those retained, Baudelaire sent a copy to Alfred de Vigny
and wrote, Le seul loge que je sollicite pour ce livre est quon recon-
naisse quil nest pas un pur album et quil a un commencement et une fin.
Tous les pomes nouveaux ont t faits pour tre adapts au cadre singulier
que javais choisi [The only praise I solicit for this book is that one rec-
ognize that it is not a mere album, and that it has a beginning and an end.
All the new poems were written to be adapted to the distinctive framework
I had chosen] (Corr. II: 196). Leakey explains:
Not a mere album because, as in 1857, the poems had been carefully
grouped, and their presentation meticulously planned in their relation one
to another; a beginning and an end, because the book opens, in Bndic-
tion, with the narration of a generic poets birth, and closes, in Le Voyage,
with the vision of a death . . . which yet promises rebirth into the new. And
when Baudelaire goes on, in his second sentence, to say that the new poems
have been written expressly to be adapted to the distinctive framework
he has chosen, what he here has in mind, of course, is not some overall,
collective message supposedly conveyed by the book as a whole (this is
the architectural fallacy rst propounded in 1857 by Barbey dAurevilly,
though never by Baudelaire himself), but rather the careful groupings and
sequences he is here modifying from the rst edition. (FM Leakey, 13)
6. Marcel Franon, [L]unit des Fleurs du mal, PMLA 60, no. 4 (December 1945):
1130n1.
I NTRODUCTI ON
4
Leakey somehow understood Barbeys saying the book had a secret archi-
tecture to mean that it conveyed a moral message. Barbey speaks else-
where in the article of such a message: punishment after the crime, illness
after overindulgence, remorse, sadness, ennui, all the shames and pains that
degrade and devour us for having transgressed against the laws of divine
Providence (OC I, 1192). The connection Leakey saw between architecture
and message may lie in the way in which Barbey understood Baudelaires
assertion (expressed in his notes for his lawyer and that he doubtless com-
municated to Barbey) that une blasphme, jopposerai des lancements
vers le Ciel, une obscnit, des fleurs platoniques [To a blasphemy I
will oppose aspirations to heaven, to an obscenity platonic flowers] (OC
I: 195). Perhaps the architecture Leakey thought Barbey had in mind
consisted of such opposing forces, as a flying buttress counterbalances the
Gothic cathedrals vault. But Leakey also believed that Barbey wrongly
conflated two independent statements of the poets in his assertion that
the book could only properly be understood in terms of its secret archi-
tecturethat is, from the supposed total message that emerges from a
consecutive reading. . . . But this whole moral defence of Baudelaires was
in any case soon to be discarded; we hear no more of it after 1857, though
what does remain with him is his abiding concern for the presentation of
his poemsfor their careful grouping by themes and their sequential rela-
tion one with another (FM Leakey, 11). It seems that Leakey may be the
one conflating, if the two independent statements Baudelaire made were
that aspirations to heaven will counterbalance blasphemies and that the
book has a secret architectureconflating Barbeys saying there is a secret
architecture with his saying, elsewhere in the article, that punishments
counterbalance crimes. But it should be clear from the last sentence of the
paragraph where Barbey speaks of a secret architectureBut they would
lose even more from the point of view of the moral effect of which we spoke
at the beginning of this articlethat the moral effect is a consideration
quite other than that of the order in which the poems appear.
This is not the only passage in the article where Barbey speaks of archi-
tecture. A few pages earlier, noting that in his dedication to the Fleurs
du mal Baudelaire salutes Gautier as a disciple saluting his master, Barbey
places him in the latters Parnassian school, as one of those refined and
ambitious materialists who can conceive of only one kind of perfection
material perfection (OC I: 1194). The language of the Fleurs is more
plastic even than poetic, crafted and chiseled like bronze and stone, and
where the sentence has volutes and groovesimagine something out of
flowered Gothic or Moorish architecture [quelque chose du gothique fleuri
I NTRODUCTI ON
5
ou de larchitecture moresque] (OC I: 119495; italics added). No over-
all plan here (and no flying buttresses of the Moorish variety), just a focus
on detail. And even when Barbey goes on to speak of the lines beneath
the luxurious efflorescence and of a secret architecture, a plan calculated
by the poet, premeditated and intentional, that plan may not necessarily
be the supposed total message that emerges from a consecutive read-
ing, as Leakey thought, but something else that becomes apparent from
a careful consecutive reading: the plan behind the presentation of his
poems . . . their careful grouping by themes and their sequential relation
one with another, as LeakeyI think correctlysaw.
Like Leakey, Claude Pichois rejected the notion of an explanatory
secret architecture (he said it would be like trying to explain Nerval by
tarot cards), yet he seconded Barbeys assertion that the Fleurs du mal
was a highly unified work: How can one not recognize with Barbey that
the Fleurs are not so much poems as a poetic work of the strongest unity;
a book and not a collection? A book . . . whose framework was as much
secreted by the poems already composed as it was the source from which
others arose. A book whose poems sometimes combine into cycles, while
others take on a situational valueune valeur de situation, echoing Bar-
beys phrasedue to association or contrast, as well as to mere juxtapo-
sition (OC I: 799). The juxtapositions, mere as they may seem, are not
haphazard but planned by the poet whom Barbey called an artist of will,
of reflection, and above all of combination [et de combinaison avant tout]
(OC I: 1193; italics added). It is how Baudelaire combines his poems that
will be the focus of this study.
Baudelaire gives us a precious insight into what he valued in a poetic
work in an essay on what might at first seem a wholly other topic, the
operas of Richard Wagner. After quoting Franz Liszt saying even if the
music of this opera were deprived of its beautiful words, it would still be a
production of the first rank, he comments:
En effet, sans posie, la musique de Wagner serait encore une uvre po-
tique, tant doue de toutes les qualits qui constituent une posie bien
faite; explicative par elle-mme, tant toutes choses y sont bien unies, con-
jointes, rciproquement adaptes, et, sil est permis de faire un barbarisme
pour exprimer le superlatif dune qualit, prudemment concatnes.
[Indeed, without poetry, Wagners music would still be a poetic work, since
it is endowed with all the qualities that constitute well-made poetry: self-
explanatory, for all things there are so well united, conjoined, recipro-
I NTRODUCTI ON
6
cally adapted, andif it is permissible to create a barbarism to express the
superlative of a qualityprudently concatenated.] (Richard Wagner et
Tannhuser Paris, OC II: 803)
Bescherelles Dictionnaire universel, published in 1856 and thus contempo-
rary with Baudelaire, defines concatnation (from the Latin cum [with]
and catena [chain]) as Enchanement, liaison [Chain, link] and as a rhe-
torical figure that consists in picking up some words from the first part to
begin the second, and thus tie in succession all the parts together, up until
the last.
7
Baudelaire is alluding to Wagners leitmotif compositional tech-
nique; elsewhere in the essay he alludes to certaines phrases mlodiques
dont le retour assidu, dans diffrents morceaux tirs de la mme uvre,
avait vivement intrigu mon oreille [certain melodic phrases whose per-
sistent return, in different parts of the same work, had acutely intrigued
my ear] (OC II: 801). Baudelaire quotes Liszt as saying that traditional
opera is like a collection of poems in which there is no particular con-
nection between one poem and the next: une srie de chants rarement
apparents entre eux [a series of songs rarely related to each other] (OC
II: 802), but Wagner makes greater demands on the listeners ability to
concentrate and remember: forant notre mditation et notre mmoire
un si constant exercice, [il] arrache, par cela seul, laction de la musique au
domaine des vagues attendrissements et ajoute ses charmes quelques-uns
des plaisirs de lesprit [compelling our meditation and memory to such
constant exercise, by that alone he tears musics effect away from the realm
of vague sentiments and to its charms adds some of the pleasures of the
mind] (Liszt, quoted in ibid.).
I intend to show in this study of Baudelaires poetic collections, the
Fleurs du mal and the Spleen de Paris, that he makes the same demands
on his readers and offers them equivalent rewards. It is not the leitmotif
technique itself, however, that distinguishes Baudelaire from other poets,
for that finds a ready equivalent in the network of associations that are
part of any poets personal language (such as the association between the
sun and the father that Michel Quesnel finds in Baudelaire).
8
Rather, it is
something Baudelaire hints at in making a place for concatenation in his
definition of a well-made poetic work. The poems in the Fleurs du mal and
the Spleen de Paris are, as I intend to show, concatenated in the sense that
7. Louis-Nicolas Bescherelle, Dictionnaire universel de la langue franaise (Paris: Gar-
nier frres, 1856). All denitions from Bescherelle given in this book come from this edi-
tion and will hereafter not be cited.
8. Michel Quesnel, Baudelaire solaire et clandestin (Paris: PUF, 1987), hereafter cited
in text.
I NTRODUCTI ON
7
they are connected as links in a chain. As Leakey insisted, one telling aspect
of their presentation is their sequential relation one with another. That
sequential relation is their concatenation.
Baudelaire applies the term to Poe as well: Dans les livres dEdgar Poe,
le style est serr, concatn; la mauvaise volont du lecteur ou sa paresse ne
pourront pas passer travers les mailles de ce rseau tress par la logique.
Toutes les ides, comme des flches obissantes, volent au mme but [In
the books of Edgar Poe, the style is closely woven, concatenated; neither
the readers recalcitrant will nor his laziness can pass through the meshes of
this net woven by logic. All the ideas, like obedient arrows, fly to the same
target] (OC II: 283). Poes concatenation creates a net, but it also works by
enchanement, as Baudelaire points out in describing how Auguste Dupin
solved the mystery of The Murders in the Rue Morgue:
Entre une parole et une autre, entre deux ides tout fait trangres en
apparence, il peut rtablir la lacune des ides non exprimes et presque
inconscientes. Il a tudi profondment tous les possibles et tous les
enchanements probables des faits. Il remonte dinduction en induction, et
arrive dmontrer premptoirement que cest un singe qui a fait le crime.
[Between one word and another, between two ideas that appear to have
nothing in common, he can restore the lacuna of unexpressed and nearly
unconscious ideas. He made a deep study of every possible and every likely
chain of events deducible from the facts. He moves from induction to
induction, and succeeds in irrefutably proving that it was an ape that com-
mitted the crime.] (OC II: 276; italics added)
Baudelaire invites the reader of the Fleurs du mal and the Spleen de Paris to
do the same: to find connections between words, between two ideas that
at first seem total strangers to each other, between one poem and the next
in the chain he has prepared.
So it is not the secret architecturea term of which we have no proof
that it was Baudelaires way of describing his workbut the hidden fab-
ric we will see uncovered here. It has remained hidden simply because
few have thought it worth pursuing. The hunt for a secret architecture,
whether based on a hidden message or on Baudelaires having divided the
Fleurs into chapters (Spleen et Idal, Tableaux parisiens, Le Vin,
Fleurs du mal, Rvolte, La Mort) or into subgroups according to
mistress, or because it roughly moves from birth to death, has proved more
alluring. The term fabric is appropriate whether we focus on the text as
textileas does, for example, Barbara Wright: the work was conceived
I NTRODUCTI ON
8
as an integral whole, with interconnecting strands
9
or the text as edi-
fice, as Baudelaire hints at having done in the poem that completes his
last organized sequence, where he writes la maonnerie est acheve [the
masonry is finished] (Les Bons Chiens, in Le Spleen de Paris, OC I: 362).
We will be focusing on the masonry of what Baudelaire built, how the
stones are put together, each to each. Lvi-Strausss distinction between
bricolage and engineering is relevant here: Baudelaire did not design the
Fleurs du mal from scratch, as would an engineer, but in many instances
made use of poems he had written years before. In the second edition, he
certainly worked for the most part with the material already at hand, the
poems from 1857, rearranging and altering what was left after the six were
removed and he added new ones. We will study those changes in detail,
as well as those made to the texts that would go into the Spleen de Paris.
What we will examine is Baudelaire as mason, not as architect; as bricoleur,
not engineer.
Baudelaire built three such structures, the Fleurs du mal of 1857, the
Fleurs du mal of 1861, and the Spleen de Paris, published posthumously
in 1869 on the basis of a table of contents he drew up shortly before his
death. The 1861 version of Fleurs has received the lions share of attention
over the years, partly because of the memorable new poems it contains and
partly because of a respect for the poets last complete expression. But the
1857 volume is a magnificent creation in its own right, and of the two it
is the only one unsullied by external considerations, since Baudelaire was
not able to reintegrate into the 1861 sequence the six poems the cen-
sor removed. I will bypass the long-standing controversy of whether one
sequence is more worth our attention than the other by paying thorough
attention to both. I will try to show why Baudelaire arranged the first edi-
tion as he did, and I will consider every change he made in 1861, changes
that go far beyond the deletion of old poems and the addition of new ones.
Baudelaire made a myriad of textual changes in the poems carried over
from 1857, altering them so that they would fit into the new sequence. I
will examine those changes in detail.
In his study of the 1861 Fleurs du mal James Lawler finds that the
order is important, but instead of seeing each poem as an element in the
sequence, he believes that Baudelaire arranged them in alternating groups
of fives and threes, each group expressing a particular theme. Thus LAube
spirituelle, Harmonie du soir, and Le Flacon (poems 4648) form a
group devoted to memory; Lawler states, in response to the presence-
in-absence of memory in these three we find the absence-in-presence
9. Barbara Wright, Baudelaires Poetic Journey in Les Fleurs du Mal, in The Cam-
bridge Companion to Baudelaire, ed. Rosemary Lloyd (Cambridge: Cambridge University
Press, 2005), 31.
I NTRODUCTI ON
9
of imagination in Le Poison, Ciel brouill, Le Chat, Le Beau
Navire, and LInvitation au voyage (poems 4953).
10
But to place Le
Flacon in one group and Le Poison in another is to miss seeing that
the poison so prominent in the latter is related to the poison in the last
two lines of the former, the Cher poison . . . / Qui me ronge, la vie et
la mort de mon cur! [Dear poison . . . / That eats at me, O life and
death of my heart!] (ll. 2728). As Antoine Adam remarks, If we want
to know why he calls [his love for Madame Sabatier] a poison at the end
of Le Flacon, we only have to read the poem that immediately follows
this one. For the connection between the two is evident, and the second
comments on the last lines of the first.
11
J. A. Hiddleston suggests that in
Lawlers approach there are moments when one feels that the patterning
could have gone in a different direction, moments where there is more
than a hint of procrustianism that can lead to reductionism, since Le
Serpent qui danse is not about coldness (though of course everyone knows
that snakes are cold-blooded), but about light, sensuality, movement and
much more.
12
Lawler does not explain why he thinks Baudelaire arranged
the collection by fives and threes. Why not sixes and sevensor why not,
more simply, see each single poem as capable of interacting, as he argues
that his groups interact, with the poem before and the poem after?
Mario Richters lecture intgrale of the 1861 Fleurs du mal comes
closer than Lawlers to anticipating my own. He reads the collection poem
by poem, noting many of the connections linking each to each. What
interests me above all, he writes, is to follow the discourse that develops
in the Fleurs du mal, the reason for which the poems have been arranged
in the order that is theirs and not in another.
13
But it never seems to have
occurred to Richter to consider why the poems were arranged in the order
they were in the first place, which is to say, in the 1857 edition. For him it
is as if the first edition never existed, and this leads him to the astounding
error of asserting that the other person implied in the Notre [Our] in the
line Notre blanche maison, petite mais tranquille [Our white house, small
but tranquil] of the poem Je nai pas oubli, voisine de la ville . . . must
be the woman who figures in the immediately preceding poem LAmour
du mensonge (Richter, 1149). But that poem precedes it only in 1861;
LAmour du mensonge does not appear in the 1857 sequence, though
10. James Lawler, Poetry and Moral Dialectic: Baudelaires Secret Architecture (Madi-
son, NJ: Fairleigh Dickinson University Press, 1997), 82, 84; hereafter cited in text as
Lawler 1997.
11. Charles Baudelaire, Les Fleurs du mal, ed. Antoine Adam (Paris: Garnier, 1961),
333 (hereafter cited in text as FM Adam).
12. See Hiddlestons review of Lawlers book, in French Studies 54, no. 1 (2000): 99.
13. Mario Richter, Baudelaire: Les Fleurs du mal: Lecture intgrale (Geneva: Slatkine,
2001), 1314, hereafter cited in text.
I NTRODUCTI ON
10
Je nai pas oubli . . . does. How could the meaning of Notre change
in the interim?
I agree with Richter that the poems can best be understood with ref-
erence to poems immediately before and after them, but if we adopt that
approach we must consider what they first meant when the poems on
either side may have been different ones. I do not share his assumption,
however, that a character in one poem must be identical to a similar or
related character in the next. The poems are not continuous in the man-
ner of succeeding paragraphs or chapters in a novel. Rather, each poem
repeats elements of the poem before in what is almost always a completely
different context. The poems play off each other in pairs by virtue of the
resulting discrepancy, indeed quite often an ensuing opposition, between
how the repeated element functions in one context and how it functions
in the other. It is like the irony of a punor of the clever rhyming of two
words with an interesting relation to each other. One interesting excep-
tion, however, to the rule that no character (apart from the same mistress
to which two neighboring poems may allude) is identical in one poem and
the next occurs in the conjunction of Les Deux Bonnes Surs (1857:
83; 1861: 112
14
) and La Fontaine de sang (1857: 84; 1861: 113): in the
latter, ces cruelles filles, as both Adam and Pichois remark, can only be
understood by imagining that the narrator is referring to the two sisters of
the preceding poem.
Lawler does not quite neglect the 1857 order. He devotes three pages
to it in an appendix, again finding fives and threes throughout, except for
a stretch of threes only from La Destruction to Les Litanies de Satan.
The two poems, however, that Baudelaire singled out in a letter to his
mother as belonging together because both allude to their life together
after the death of his father and before her remarriageLa servante au
grand cur . . . (1857: 69; 1861: 100) and Je nai pas oubli, voisine
de la ville . . . (1857: 70; 1861: 99), which he kept together in the sec-
ond edition even while reversing their orderfall in the same group of
three in Lawlers reading of the second edition (1997, 132) but not in his
version of the first, in which La servante au grand cur . . . falls into the
group characterized by compassionate identification with figures of the
city and Je nai pas oubli, voisine de la ville . . . into the group whose
unifying theme is regret (183). This despite the nonurban setting of La
servante au grand cur . . . , the same little white house outside of the
city (voisine de la ville) where Je nai pas oubli takes place, and the
regret that permeates both. Lawler admits, It is not that any one of the
pieces cannot be displacedBaudelaire will move a good number of them
14. These numbers indicate the poems place in the order of the indicated edition.
I NTRODUCTI ON
11
in the second editionsince clearly they can have more than one meaning
and more than one context, while the wording will on occasion, especially
in the tercets of the sonnets, be modified to fit the argument. However,
by the positions they come to occupy, they receive individual colorings,
particular emphases, dialectical functions (ibid.) But doesnt this come
close to admitting that the meanings he (Lawler) assigns them come from
the groups to which he also assigns them? In any event, Lawlers system is
based on common themes within his groups, while my approach is inde-
pendent of themes. I do not focus on common themes between neigh-
boring poems, and to the extent that they exist, I find them too weak to
be of interest. I am interested in what is paradoxically the same between
neighboring poems despite their having no common theme worth talking
about.
I will show that the fifty prose poems in the Spleen de Paris are organ-
ized the same waythat as Baudelaire on many occasions said, they form
a pendant to the Fleurs du mal. I think he meant this in the sense in
which Littr gives the word: Il se dit de deux objets dart peu prs
pareils, et destins figurer ensemble en se correspondant [It is said of
two objects approximately alike, destined to appear together in a corre-
sponding relation].
15
Two circumstances have deterred most readers from
seeing how true this is: (1) the absence of section headings like those in the
Fleurs (Spleen et Idal, Tableaux parisiens) and (2) the letter Baude-
laire wrote Arsne Houssaye, who published the first twenty of the prose
poems, in which he appears to give him carte blanche to cut the sequence
at any point. I will address the letter, which was never intended by Baude-
laire to serve as a preface to the book,
16
in my chapter on the Spleen; as for
the absence of section headings, while they may be relevant to an approach
to the Fleurs based on claims of a secret architecture that involves clas-
sifying the poems by theme, those headings are irrelevant to the sequential
structure I uncover there, which continues without a break from the last
poem of every section to the first poem of the next, and which is exactly
the same kind of structure uniting the poems in prose.
Max Milner writes, It would be futile . . . to seek in Le Spleen de Paris
the type of architecture that characterizes Les Fleurs du mal. . . . Is that to
15. mile Littr, Dictionnaire de la langue franaise (Paris: Hachette, 1877). Available
at http://franois.gannez.free.fr./Littre.
16. Max Milner reminds us that Baudelaire left, with a view to their publication in a
volume, a table of contents whose order . . . was scrupulously followed by Charles Asselin-
eau and Thodore de Banville when they edited the prose poems rst collective publica-
tion in 1869, two years after the poets death, except for the letter to Arsne Houssaye
and an pilogue, which they appear to have added on their own initiative. Max Milner,
Introduction to Baudelaire, Le Spleen de Paris (Paris: Imprimerie Nationale, 1979), 22,
hereafter cited in text.
I NTRODUCTI ON
12
say that it is forbidden to look there for some other type of unity? (24).
A. W. Raitt suggests that the absence of the headings found in the Fleurs
does not preclude the presence of other connections, less visible no doubt
and, to use Baudelaires own term, more tortuous, but still with some pos-
sible structural signicance. One may even wonder whether the Ddicace
to Houssaye does not itself contain an enigmatic hint at what these con-
nections may be. Tout . . . y est la fois tte et queue, alternativement et
rciproquement [Everything . . . there is at the same time head and tail,
alternatively and reciprocally]: what does that mean if not that each poem is
a tail to the one that precedes it and a head to the one that follows it?
17
Raitt goes on to point out that Fritz Nies put forward that argument in
1964 in a detailed study of Le Spleen de Paris to which few scholars have
paid any attention.
18
According to Nies, there is some element always
linking each poem with the one before it and the one after it (Raitt, 160).
Raitt cites four instances from Nies, common elements linking poems 12
(Les Foules) with 13 (Les Veuves) (in 13, the narrator explicitly refers
to what he was just saying in 12: comme je linsinuais tout lheure
[as I was insinuating a moment ago], 14 (Le Vieux Saltimbanque)
with 15 (Le Gteau) (poverty), 24 (Les Projets) with 25 (La Belle
Dorothe) (a cabin by a tropical sea), and 34 (Dj!) with 35 (Les
Fentres) (the echoing phrases qui ont vcu, qui vivent et qui vivront
[who have lived, who live, and who will live] and vit la vie, rve la vie,
souffre la vie [life lives, life dreams, life suffers]). In a reply to Raitt, J. A.
Hiddleston objects, But if Baudelaire had intended such patterning, it is
very unlikely that he would have encouraged Houssaye to upset it.
19
Well,
that is precisely the point. Such linkages as Nies brings to light put the lie
to the notion that Baudelaire seriously meant that the reader (as distin-
guished from Houssaye, the editor he hoped would publish at least some of
his poems) could cut up the collection and read its pieces in any order he
pleased. As it happens, poems 34 and 35, one of the examples Hiddleston
cites from Raitt, were not even among the poems Baudelaire sent Hous-
saye. It is somewhat surprising that Hiddleston dismisses Niess approach
on the basis alone of Raitts four examples without giving us an account
what Nies himself wrote. But Nies succeeds in finding some expression or
17. A. W. Raitt, On Le Spleen de Paris, Nineteenth-Century French Studies 18, nos.
12 (198990): 159, hereafter cited in text.
18. Fritz Nies, Poesie in prosaischer Welt. Untersuchungen zum Prosagedicht bei Aloysius
Bertrand und Baudelaire (Heidelberg: Winter, 1964), hereafter cited in text.
19. J. A. Hiddleston, Chacun son Spleen: Some Observations on Baudelaires Prose
Poems, Modern Language Review 86, no. 1 (January 1991): 68.
I NTRODUCTI ON
13
motif at virtually every point in the sequence, for example, the perfumes
that figure in both poems 7 (Le Fou et la Vnus) and 8 (Le Chien et
le flacon), the lac immobile in 15 (Le Gteau) and the heure immo-
bile in 16 (LHorloge), and the woman bien vente, fumant [well
fanned, smoking] in 24 (Les Projets) and the woman who takes pleasure
fumer, se faire venter [in smoking, in being fanned] in 25 (La Belle
Dorothe) (Nies, 27980). Recalling that Baudelaire once described the
Spleen de Paris to Sainte-Beuve as a flnerie [stroll] (Corr. II: 583), Nies
says of his list of connections that they do not point to some overarch-
ing architecture with subdivisions, for they come about through the free
movement of the poetic imagination, which will unexpectedly take up in
its flnerie some word or sentence, some motif or subject that it met on its
way in the preceding poem, around which it will begin a new intellectual
flnerie, composing another poem (Nies, 283). This is precisely what I
intend to show, that each successive poem borrows some word, phrase, or
motif from its immediate predecessor and gives it a new context, as if the
second poem were composed around this borrowed element.
Edward K. Kaplan argues that the Spleen de Paris is not a random
assemblage of melodic rhapsodies, but a coherent ensemble, and that it
engages in a textual exegesis based on a sequential reading.
20
While he
does take up each poem in the order Baudelaire gave them, he does not
always find connections between them. Yet he does find quite a few, and
I often enter into conversation and debate with him in my chapter on the
prose poems, as I do with Lawler and Richter in reading Les Fleurs du mal.
In the conclusion to Poetry and Moral Dialectic Lawler analyzes the first
ten of the prose poems, and in The Prose Poem as Art of Anticlimax
21

he takes up the rest. I would suggest, he writes, that the prose poems
are not fortuitously placed but obey the simplest of patterns . . . abrupt
twos in which one text plays directly off the other by a sudden turn of the
screw or a twist of the kaleidoscope (the two images are Baudelaires). Tail
answers head, head answers tail (Lawler 1997, 17677). But he does not
read them as do Nies, Kaplan, or myself, seeing each as having something
in common with its predecessor2 with 1, 3 with 2, 4 with 3. Instead, he
reads them in discrete pairs: 2 with 1, 4 with 3, 6 with 5, and so forth
seeing twenty-five pairs instead of forty-nine, and not noticing the remark-
able ways in which every poem from the second to the forty-ninth is in a
Janus-like double relation, looking both behind to the poem before and
20. Edward K. Kaplan, Baudelaires Prose Poems: The Esthetic, the Ethical, and the Reli-
gious in The Parisian Prowler (Athens: University of Georgia Press, 1990), ix, xi (hereafter
cited in text as Kaplan 1990).
21. James Lawler, The Prose Poem as Art of Anticlimax: Baudelaires Kalidoscope.
Australian Journal of French Studies 36, no. 3 (1999): 32738.
I NTRODUCTI ON
14
ahead to the one to follow. Each poem is thus both head and tail.
My aim in this study is to demonstrate to a degree not yet seen the
artfulness with which Baudelaire assembled his poems. I believe this aspect
of his work is part of what he meant by the rhtorique profonde that he
imagined some would already know or guess and that others would never
understand:
Mon diteur prtend quil y aurait quelque utilit . . . expliquer pourquoi
et comment jai fait ce livre, quels ont t mon but et mes moyens, mon
dessein et ma mthode. Un tel travail de critique aurait sans doute quelques
chances damuser les esprits amoureux de la rhtorique profonde. . . . Mais,
un meilleur examen, ne parat-il pas vident que ce serait l une besogne
tout fait superue, pour les uns comme pour les autres, puisque les uns
savent ou devinent, et que les autres ne comprendront jamais?. . . . Mne-
t-on la foule dans les ateliers de lhabilleuse et du dcorateur, dans la loge
de la comdienne? Montre-t-on au public affol aujourdhui, indiffrent
demain, le mcanisme des trucs? Lui explique-t-on les retouches et les
variantes . . . ? Lui rvle-t-on toutes les loques, les fards, les poulies, les
chanes, les repentirs, les preuves barbouilles, bref toutes les horreurs qui
composent le sanctuaire de lart?
[My editor claims that there might be some utility . . . in explaining why
and how I made this book, what were my end and my means, my plan and
my method. Such a critical endeavor would no doubt have some chance of
amusing minds in love with deep rhetoric. . . . But, on closer examination,
does it not appear evident that this would be a completely superuous task,
for some as well as others, since some will know or guess and the others
will never understand? . . . Does one bring the crowd into the costumers
and designers workshops, into the actresss dressing room? Does one show
the mechanics of illusion to the public thrilled today, indifferent tomorrow?
Does one explain to them alterations and variants . . . ? Does one reveal to
them all the rags, the makeup, the pulleys, the chains, the touch-ups, the
marked-up proof sheetsin sum, all the horrors that compose the temple
of art?] (Projet de prface pour Les Fleurs du mal, OC I : 185)
I present this visit behind the scenes in the hope that Baudelaire was wrong
to think that those who did not already see would never understand.
I call what Baudelaire does intratextual (as opposed to intertextual)
because it takes place within his own text. It does, that is, if we consider the
Fleurs du mal or the Spleen de Paris a single text, as opposed to merely a
collection of different texts whose interrelationships could be characterized
as intertextual. Collectionswhether of poems, short stories, essays, or the
I NTRODUCTI ON
15
letters of an epistolary novelare potentially intratextual, and in fact quite
a few live up to that potential, as I have elsewhere argued: Montaignes
Essais, La Fontaines Fables and Contes, Montesquieus Lettres persanes,
Robert Penn Warrens poetic collections and his volume of short stories,
and Raymond Carvers short story and poetry collections.
22
In my book on
Carver I called intratextuality what can happen when the texts in a text
(poems or stories in an intelligently assembled sequence) begin to refer to
each other in ways that seem to refer to their doing so.
23
That may have
been too restrictive a definition, since we do not require that intertextual-
ity always have that self-referential aspect. Yet intratextuality in Baudelaire
does sometimes feature such mises en abyme: the recycling of debris as both
motif and practice in une petite mendiante rousse and Le Cygne and
again in Le Vin des chiffonniers; the multiple images of the same thing in
Le Cygne and Les Sept Vieillards; the enclosure-penetrating perfumes
in Harmonie du soir and Le Flacon; the cadavres in the side-by-side
poems Le Vampire and Une nuit que jtais . . . , alluded to in the lat-
ter in Comme au long dun cadavre un cadavre tendu; the twins whose
struggle over a piece of bread in Le Gteau results in its disappearance
(a mise en abyme of the way in which any two neighboring poems claim
possession of the same words and motifs, resulting in the disappearance of
the meaning we originally thought they had); the self-reflecting mirrors in
La Belle Dorothe and Les Yeux des pauvres; or the emblem in Le
Thyrse: qui osera dcider si les fleurs et les pampres ont t faits pour
le bton, ou si le bton nest que le prtexte pour montrer la beaut des
pampres et des fleurs? [who will dare decide if the flowers and the vines
were made for the staff, or if the staff is but the pretext for showing the
beauty of the vines and the flowers?]. Who can decide of two neighboring
and interrelated poems which was made for the other?
22. I list these in the Works Cited.
23. Randolph Paul Runyon, Reading Raymond Carver (Syracuse, NY: Syracuse Uni-
versity Press, 1992), 9.
263
1857 1861
Au Lecteur Au Lecteur
1. Bndiction 1. Bndiction
2. Le Soleil (1861: 87) 2. LAlbatros
3. lvation 3. lvation
4. Correspondances 4. Correspondances
5. Jaime le souvenir . . . 5. Jaime le souvenir . . .
6. Les Phares 6. Les Phares
7. La Muse malade 7.La Muse malade
8. La Muse vnale 8. La Muse vnale
9. Le Mauvais Moine 9. Le Mauvais Moine
10. LEnnemi 10. LEnnemi
11. Le Guignon 11. Le Guignon
12. La Vie antrieure 12. La Vie antrieure
13. Bohmiens en voyage 13. Bohmiens en voyage
14. LHomme et la mer 14. LHomme et la mer
15. Don Juan aux enfers 15. Don Juan aux enfers
16. Chtiment de lorgueil 16. Chtiment de lorgueil
17. La Beaut 17. La Beaut
18. LIdal 18. LIdal
19. La Gante 19. La Gante
20. Les Bijoux 20. Le Masque
21. Hymne la beaut
The Order of the Poems in the
1857 and 1861 Editions
APPENDI X A
i
APPENDI X A
264
21. Parfum exotique 22. Parfum exotique
23. La Chevelure
22. Je tadore . . . 24. Je tadore . . .
23. Tu mettrais lunivers . . . 25. Tu mettrais lunivers . . .
24. Sed non satiata 26. Sed non satiata
25. Avec ses vtements . . . 27. Avec ses vtements . . .
26. Le Serpent qui danse 28. Le Serpent qui danse
27. Une charogne 29. Une charogne
28. De profundis clamavi 30. De profundis clamavi
29. Le Vampire 31. Le Vampire
30. Le Lth
31. Une nuit que jtais . . . 32. Une nuit que jtais . . .
32. Remords posthume 33. Remords posthume
33. Le Chat: Viens . . . 34. Le Chat: Viens . . .
35. Duellum
34. Le Balcon 36. Le Balcon
37. Le Possd
38. Un fantme
I. Les Tnbres
II. Le Parfum
III. Le Cadre
IV. Le Portrait
35. Je te donne ces vers . . . 39. Je te donne ces vers . . .
40. Semper eadem
36. Tout entire 41. Tout entire
37. Que diras-tu ce soir . . . 42. Que diras-tu ce soir . . .
38. Le Flambeau vivant 43. Le Flambeau vivant
39. celle qui est trop gaie
40. Rversibilit 44. Rversibilit
41. Confession 45. Confession
42. LAube spirituelle 46. LAube spirituelle
43. Harmonie du soir 47. Harmonie du soir
44. Le Flacon 48. Le Flacon
45. Le Poison 49. Le Poison
46. Ciel brouill 50. Ciel brouill
47. Le Chat: Dans ma cervelle . . . 51. Le Chat: Dans ma cervelle . . .
48. Le Beau Navire 52. Le Beau Navire
49. LInvitation au voyage 53. LInvitation au voyage
50. LIrrparable 54. LIrrparable
51. Causerie 55. Causerie
56. Chant dautomne

APPENDI X A
265
57. une Madone
58. Chanson daprs-midi
59. Sisina
52. LHautontimoroumenos (1861: 83)
53. Franciscae meae laudes 60. Franciscae meae laudes
54. une dame crole 61. une dame crole
55. Moesta et errabunda 62. Moesta et errabunda
63. Le Revenant (1857: 72)
64. Sonnet dautomne
65. Tristesses de la lune (1857: 75)
56. Les Chats 66. Les Chats
57. Les Hiboux 67. Les Hiboux
68. La Pipe (1857: 77)
69. La Musique (1857: 76)
70. Spulture (1857: 74)
71. Une gravure fantastique
72. Le Mort joyeux (1857: 73)
73. Le Tonneau de la Haine
(1857: 71)
58. La Cloche fle 74. La Cloche fle
59. Spleen: Pluvise, irrit . . . 75. Spleen: Pluvise, irrit . . .
60. Spleen: Jai plus de souvenirs . . . 76. Spleen: Jai plus de
souvenirs . . .
61. Spleen: Je suis comme le roi . . . 77. Spleen: Je suis comme le roi . . .
62. Spleen: Quand le ciel . . . 78. Spleen: Quand le ciel . . .
79. Obsession
80. Le Got du nant
63. Brumes et pluies (1861: 101)
81. Alchimie de la douleur
82. Horreur sympathique
83. LHautontimoroumnos
(1857: 52)
64. LIrrmdiable 84. LIrrmdiable
85. LHorloge
86. Paysage
87. Le Soleil (1857: 2)
65. une mendiante rousse 88. une mendiante rousse
89. Le Cygne
90. Les Sept Vieillards
91. Les Petites Vieilles
92. Les Aveugles
APPENDI X A
266
93. une passante
94. Le Squelette laboureur
66. Le Jeu (1861: 96)
67. Le Crpuscule du soir 95. Le Crpuscule du soir
96. Le Jeu (1857: 66)
97. Danse macabre
98. LAmour du mensonge
99. Je nai pas oubli . . .
(1857: 70)
100. La servante au grand cur . . .
(1857: 69)
101. Brumes et pluies (1857: 63)
102. Rve parisien
68. Le Crpuscule du matin 103. Le Crpuscule du matin
69. La servante au grand cur . . . (1861: 100)
70. Je nai pas oubli . . . (1861: 99)
71. Le Tonneau de la Haine (1861: 73)
72. Le Revenant (1861: 63)
73. Le Mort joyeux (1861: 72)
74. Spulture (1861: 70)
75. Tristesses de la lune (1861: 65)
76. La Musique (1861: 69)
77. La Pipe (1861: 68)
104. Lme du vin
105. Le Vin des chiffonniers
106. Le Vin de lassassin
107. Le Vin du solitaire
108. Le Vin des amants (1857:
9397)
78. La Destruction 109. La Destruction
79. Une martyre 110. Une martyre
80. Lesbos
81. Femmes damnes: la ple
clart . . .
82. Femmes damnes: Comme un 111. Femmes damnes: Comme un
btail pensif . . . btail pensif . . .
83. Les Deux Bonnes Surs 112. Les Deux Bonnes Surs
84. La Fontaine de sang 113. La Fontaine de sang
85. Allgorie 114. Allgorie
86. La Batrice 115. La Batrice
87. Les Mtamorphoses du vampire
88. Un voyage Cythre 116. Un voyage Cythre
APPENDI X A
267
89. LAmour et le crne 117. LAmour et le crne
90. Le Reniement de saint Pierre 118. Le Reniement de saint Pierre
91. Abel et Can 119. Abel et Can
92. Les Litanies de Satan 120. Les Litanies de Satan
93. Lme du vin
94. Le Vin des chiffonniers
95. Le Vin de lassassin
96. Le Vin du solitaire
97. Le Vin des amants (1861: 1048)
98. La Mort des amants 121. La Mort des amants
99. La Mort des pauvres 122. La Mort des pauvres
100. La Mort des artistes 123. La Mort des artistes
124. La Fin de la journe
125. Le Rve dun curieux
126. Le Voyage
269
1. Ltranger
2. Le Dsespoir de la vieille
3. Le Confiteor de lartiste
4. Un plaisant
5. La Chambre double
6. Chacun sa chimre
7. Le Fou et la Vnus
8. Le Chien et le flacon
9. Le Mauvais Vitrier
10. une heure du matin
11. La Femme sauvage et la petite-matresse
12. Les Foules
13. Les Veuves
14. Le Vieux Saltimbanque
15. Le Gteau
16. LHorloge
17. Un hmisphre dans une chevelure
18. LInvitation au voyage
19. Le Joujou du pauvre
20. Les Dons des fes
21. Les Tentations, ou ros, Plutus et la gloire
22. Le Crpuscule du soir
23. La Solitude
The Order of the Poems in
Le Spleen de Paris
APPENDI X B
i
APPENDI X B
270
24. Les Projets
25. La Belle Dorothe
26. Les Yeux des pauvres
27. Une mort hroque
28. La Fausse Monnaie
29. Le Joueur gnreux
30. La Corde
31. Les Vocations
32. Le Thyrse
33. Enivrez-vous
34. Dj!
35. Les Fentres
36. Le Dsir de peindre
37. Les Bienfaits de la lune
38. Laquelle est la vraie?
39. Un cheval de race
40. Le Miroir
41. Le Port
42. Portraits de matresses
43. Le Galant Tireur
44. La Soupe et les nuages
45. Le Tir et le cimetire
46. Perte daurole
47. Mademoiselle Bistouri
48. Any where out of the worldNimporte o hors du monde
49. Assommons les pauvres!
50. Les Bons Chiens
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277
Verse poems
Abel et Can, 1058
celle qui est trop gaie, 5658,
137, 195
LAlbatros, 12022, 161, 162
Alchimie de la douleur, 15758
Allgorie, 98101
Lme du vin, 10813, 18081
LAmour du mensonge, 9, 8485,
17276
LAmour et le crne, 1025
LAube spirituelle, 8, 5860, 178
Au Lecteur, 1721, 195
une dame crole, 7172, 146
une madone, 14043, 146
une mendiante rousse, 15, 80
81, 120, 16265
une passante, 16869
Avec ses vtements . . . , 4043, 45
Les Aveugles, 16769
Le Balcon, 2728, 5254, 13032
La Batrice, 99101, 18384,
19495
Le Beau Navire, 9, 6467
La Beaut, 3335
Bndiction, 1721, 12022, 163,
194, 249
Les Bijoux, 3537, 49, 12325
I NDEX TO BAUDELAI RE S WORKS BI BLI OGRAPHY
i
Bohmiens en voyage, 2930, 106,
175
Brumes et pluies, 7880, 17678
Causerie, 6971, 13840, 148
Chanson daprs-midi, 14245
Chant dautomne, 13842
Une charogne, 4347
Le Chat: Dans ma cervelle . . . , 9,
6365
Le Chat: Viens . . . , 5152, 64, 130
Chtiment de lorgueil, 3133
Les Chats, 7274, 147, 14950
La Chevelure, 12629, 21315,
236, 252
Ciel brouill, 9, 6263, 64
La Cloche fle, 7476, 15455
Confession, 5859
Correspondances, 2123
Le Crpuscule du matin, 8283,
17981
Le Crpuscule du soir, 8183, 170,
174, 179
Le Cygne, 15, 16366
Danse macabre, 17075
De profundis clamavi, 4547
La Destruction, 10, 9192, 18183
Les Deux Bonnes Soeurs, 10,
9699, 181
Don Juan aux Enfers, 3033
I NDEX TO BAUDELAI RE S WORKS
278
Duellum, 13031
lvation, 2021, 86, 12022, 163
LEnnemi, 2728
Un fantme, 51, 13235, 137
Femmes damnes: la ple
clart . . . , 41, 9496
Femmes damnes: Comme un
btail . . . , 9597, 183
La Fin de la journe, 18587
Le Flacon, 89, 15, 5962
Le Flambeau vivant, 5657, 60,
13738, 195
La Fontaine de sang, 10, 9799
Franciscae meae laudes, 7172, 145
La Gante, 3537, 12324
Le Got du nant, 15657
Une gravure fantastique, 15153
Le Guignon, 2730
Harmonie du soir, 8, 15, 5961
LHautontimoroumnos, 7071,
145, 15859
Les Hiboux, 7375, 150
LHomme et la mer, 3031
LHorloge, 15961
Horreur sympathique, 15758
Hymne la beaut, 12326
LIdal, 3435
LInvitation au voyage, 9, 6569,
21416, 218, 252
LIrrmdiable, 7980, 15860
LIrrparable, 6770, 164
Jaime le souvenir . . . , 2124, 26,
175
Je nai pas oubli . . . , 910, 83
87, 98, 17276, 178
Je tadore lgal . . . , 3839,
12729
Je te donne ces vers . . . , 18, 52
55, 61, 13436
Le Jeu, 8182, 17075
Lesbos, 41, 9396, 183
Le Lth, 4750, 129, 194
Les Litanies de Satan, 10, 1079,
18485
Une martyre, 9194, 182, 183
Le Masque, 12325
Le Mauvais Moine, 2527
Les Mtamorphoses du vampire,
100102, 18384, 195
Moesta et errabunda, 7274,
14547
La Mort des amants, 11718,
18485
La Mort des artistes, 119, 185
La Mort des pauvres, 11819
Le Mort joyeux, 8889, 146,
15354
La Muse malade, 2326
La Muse vnale, 2526
La Musique, 90, 149, 15051,
15354, 156
Une nuit que jtais . . . , 15, 48
51, 52, 12830, 194
Obsession, 15556, 157
Parfum exotique, 3738, 12529,
252
Paysage, 120, 15962
Les Petites Vieilles, 16668
Les Phares, 2326
La Pipe, 9091, 150
Le Poison, 9, 6163
Le Possd, 13134
Que diras-tu ce soir . . . , 5556
Remords posthume, 5052, 64
Le Reniement de saint Pierre,
1037
Le Rve dun curieux, 18588
Rve parisien, 17780
Le Revenant, 8788, 14548
Rversibilit, 5758, 13738, 195
Sed non satiata, 3941, 93
Semper eadem, 54, 13537
Les Sept Vieillards, 15, 16567
Spulture, 8889, 14953, 156
Le Serpent qui danse, 9, 4145
La servante au grand coeur . . . , 10,
8386, 17477, 179
Sisina, 14345
Le Soleil, 1921, 98, 110, 120,
16163
Sonnet dautomne, 14549
Spleen: Jai plus de souvenirs . . . ,
7677
Spleen: Je suis comme le roi . . . ,
279
7678
Spleen: Pluvise, irrit . . . , 51,
7576, 85, 164
Spleen: Quand le ciel bas . . . ,
7780, 15556
Le Squelette laboureur, 16970
Le Tonneau de la Haine, 8788,
145, 146, 15355
Tout entire, 5356, 61, 13637
Tristesses de la lune, 8990, 146,
14851
Tu mettrais lunivers . . . , 3840
Le Vampire, 15, 4748, 50, 128
30, 194
La Vie antrieure, 2830
Le Vin de lassassin, 11316, 181
Le Vin des amants, 11618,
18183
Le Vin des chiffonniers, 15, 110
16, 181
Le Vin du solitaire, 11617
Le Voyage, 18788, 194, 196
Un voyage Cythre, 1014,
18384, 195
Prose poems
Any where out of the world.
Nimporte o hors du monde,
25153
Assommons les pauvres!, 25261
une heure du matin, 2036
La Belle Dorothe, 12, 13, 15,
22528
Les Bienfaits de la lune, 24345
Les Bons Chiens, 8, 25361
Chacun sa chimre, 199204
La Chambre double, 198200
Un cheval de race, 24546
Le Chien et le flacon, 13, 2014
Le Confiteor de lartiste, 19798
La Corde, 23337
Le Crpuscule du soir, 22124
Dj!, 12, 23942
Le Dsespoir de la vieille, 19698
Le Dsir de peindre, 24243
Les Dons des fes, 21921
Enivrez-vous, 23840
Ltranger, 19697
La Fausse Monnaie, 23033
La Femme sauvage et la petite-ma-
tresse, 2057
Les Fentres, 12, 24042
Le Fou et la Vnus, 13, 200203
Les Foules, 12, 2069, 223, 254
Le Galant Tireur, 24748
Le Gteau, 12, 13, 15, 21013
Un hmisphre dans une chevelure,
21316, 218
LHorloge, 13, 21114
LInvitation au voyage, 21419,
252
Le Joueur gnreux, 23234
Le Joujou du pauvre, 21620
Laquelle est la vraie? 24345
Mademoiselle Bistouri, 25053
Le Mauvais Vitrier, 2015, 206
Le Miroir, 24546
Une mort hroque, 22832
Perte daurole, 24952
Un plaisant, 19899
Le Port, 24647
Portraits de matresses, 24648, 249
Les Projets, 12, 13, 22426
La Solitude, 22225
La Soupe et les nuages, 24849
Les Tentations, ou ros, Plutus et la
gloire, 22022
Le Thyrse, 15, 41, 23740
Le Tir et le cimetire, 24850
Les Veuves, 12, 20710, 223, 254
Le Vieux Saltimbanque, 12, 20912
Les Vocations, 23538
Les Yeux des pauvres, 15, 22630
Other prose works
Canevas de la ddicace, 203
Du vin et du hachisch, 11013
Hgsippe Moreau, 260
LIvrogne, 115
Letter to Arsne Houssaye about the
280
poems in prose, 1112, 18995,
203, 207, 243, 25860
Morale du joujou, 21619
Projet de prface pour Les Fleurs du
mal, 14
Richard Wagner et Tannhuser
Paris, 56, 17, 149, 19294
Salon de 1846, 22
281
Adam, Antoine, 9, 10, 24, 36, 41,
57, 61, 67, 68, 71, 90, 97, 98,
1056, 116, 141, 142, 152, 156,
159
Asselineau, Charles, 11n16, 257
Aupick, Caroline (Baudelaires
mother), 84, 175
Balzac, Honor de, 147, 205
Banville, Thodore de, 11n16, 141,
257
Barbey dAurevilly, Jules, 25
Baudelaire, Franois (Baudelaires
father), 86
Belleau, Rmy, 147
Berger, Anne, 80
Blood, Susan, 120
Burton, Richard D. E., 144n2
Carver, Raymond, 15
Chambers, Ross, 111, 179n6
Dante, 100
Daubrun, Marie, 61, 64, 67, 89, 141,
142
Drost, Wolfgang, 256n25
DuBellay, Joachim, 175
Dupont, Jacques, 93, 130
Duval, Jeanne, 3637, 40, 54, 61
GENERAL INDEX BI BLI OGRAPHY
i
Evans, Margery, 2n3, 203, 257, 258
Flaubert, Gustave, 120
Florenne, Yves, 205
Franon, Marcel, 3
Freud, Sigmund, 111
Garson, R. W., 259
Gautier, Thophile, 4, 101, 194
Godfrey, Sima, 24142
Goltzius, Hendrick, 102
Goya, Francisco, 130
Gray, Thomas, 28, 30
Guerlac, Suzanne, 232
Hansen, William, 49n6
Hiddleston, J. A., 9, 12, 191, 203
Hugo, Victor, 41
Johnson, Barbara, 204, 213n17
Kaplan, Edward K., 13, 195, 196,
236, 238, 241, 243, 245, 258
Klein, Richard, 249
Kopp, Robert, 196, 207
La Fontaine, Jean de, 15
Lawler, James, 811, 13, 31, 67,
19697, 203, 23132
Leakey, F. W., 16, 22
Lemaitre, Henri, 196
Lvi-Strauss, Claude, 1, 8, 203
Liszt, Franz, 5, 6, 17, 19294,
23740
Lloyd, Rosemary, 11011
Lucan, 15455
Mahuzier, Brigitte, 85
Mallarm, Stphane, 44n5
Manet, Edouard, 23334, 236
Michelangelo, 3435
Milner, Max, 1112, 11n16
Molire, 31
Montaigne, Michel de, 15
Montesquieu, Charles de Secondat,
baron de, 15
Mortelette, Yann, 257
Mortimer, John Hamilton, 152
Moskalew, Walter, 260
Murphy, Steve, 191, 192, 195, 202,
205, 219, 23233, 249, 257
Nies, Fritz, 1213, 19899n9, 201,
207, 212n15, 22526, 241n21,
245, 247
Ovid, 40, 158
Pearce, James B., 259
Pichois, Claude, 5, 10, 21, 2223, 25,
30, 38, 4041, 49, 64, 69, 71,
92, 93, 97, 98, 100, 105, 109,
116, 127, 134, 141, 145, 152,
154, 159, 162, 166, 168, 257
Plutarch, 94
Poe, Edgar Allan, 7, 243
Poulet-Malassis, Auguste, 17374,
175, 255
Quesnel, Michel, 6, 32, 139, 178
Raitt, A. W., 12
Richter, Mario, 910, 13, 22n2, 33,
34, 42, 58n7, 70, 71, 80, 8485,
96, 104, 105, 116, 121, 163
Rimbaud, Arthur, 147
Robb, Graham, 147
Sabatier, Apollonie-Agla, 9, 54, 57,
61
Scve, Maurice, 179
Scott, Maria C., 257
Shakespeare, 34, 35, 100, 257
Starobinski, Jean, 86n10
Stephens, Sonya, 2078
Stevens, Joseph, 25556, 261
Thlot, Jrome, 257
Theocritus, 25861
Vigny, Alfred de, 3, 22, 194
Virgil, 100, 25861
Voltaire, 88
Wagner, Richard, 56, 17, 149, 192
94, 238n20
Warren, Robert Penn, 15
Wright, Barbara, 78
GENERAL I NDEX
282

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