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The Flowers of Evil: and Paris Spleen Free FREE THE FLOWERS OF EVIL: AND PARIS SPLEEN PDF Charles P Baudelaire,Wallace Fowlie | 112 pages | 25 Mar 2011 | Dover Publications Inc. | 9780486475455 | English, French | New York, United States The Flowers of Evil: Spleen and Ideal, Part I | SparkNotes The collection was published posthumously in and is associated with literary modernism. Baudelaire mentions he had read Aloysius Bertrand 's Gaspard de la nuit considered the first example of prose poetry at least twenty times before starting The Flowers of Evil: AND Paris Spleen work. Though inspired by Bertrand, Baudelaire's prose poems were based on Parisian contemporary life instead of the medieval background which Bertrand employed. He said of his work: "These are the flowers of evil again, but with more freedom, much more detail, and much more mockery. These poems have no particular order, have no beginning and no end and they can be read like thoughts or short stories in a stream of consciousness style. The point of the poems is "to capture the beauty of life in the modern city," using what Jean-Paul Sartre has labeled as being his existential outlook on his surroundings. Published twenty years after the fratricidal June Days that ended the ideal or "brotherly" revolution ofBaudelaire makes no attempts at trying to reform society he has grown up in but realizes the inequities of the progressing modernization of Paris. In poems such as "The Eyes of the Poor" where he writes after witnessing an impoverished family looking in on a new cafe : "Not only was I moved by that family of eyes, but I felt a little ashamed of our glasses and decanters, larger than our thirst The title of the work refers not to the abdominal organ the spleen but rather to the second, more literary meaning of the word, "melancholy with no apparent cause, characterised by a disgust with everything". Le Spleen de Paris explores the idea of pleasure as a vehicle for expressing emotion. Many of the poems refer to sex or sin explicitly i. In both cases, the diction is undeniably sexual; for example, in "Double Bedroom", "Muslin rains abundantly over the windows and around the bed in a snowy cascade. Within this bed is ensconced the Idol, queen of dreams. Many of Baudelaire's prose poems openly advocate drinking and intoxication, such as "Be Drunk". Intoxication or any equal pleasure such as creative work, sex, virtue, etc. In "Be Drunk", the speaker commands the reader to engage in something intoxicating: "You must be drunk always Time crushes your shoulders and The Flowers of Evil: AND Paris Spleen you earthward, you must be drunk without respite. However, this interpretation has recently been challenged by some critics, who claim that Baudelaire was actually being ironic in his advocacy for drunkenness. Maria Scott, a literary scholar, claims that Baudelaire believed "artificial toxication was In Le Spleen de Paristhe concept of artist and poet intermingle. Baudelaire saw poetry as a form of art, and thus in many of the prose poems the artist is a substitute for a traditional poet or speaker. In "The Desire to Paint", the artist attempts to depict his beautiful muse with images, just as the poet attempts to express his emotions with language. The relationship between the artist and poet reflects the need to evoke a particular feeling or idea, and this thread is carried through almost every single poem in the text. Ultimately, the artist and the poet become one, since they share the same purpose — to describe beauty. In this sense, the work itself and every individual poem within is beautiful, a "work of art" due to its innovative, interesting form. 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 The Flowers of Evil: AND Paris Spleen 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. In "Already! 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 The Flowers of Evil: AND Paris Spleen 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 Baudelairethe 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 The Flowers of Evil: AND Paris Spleen between The Flowers of Evil: AND Paris Spleen and evil in human nature. Along these lines, Baudelaire repeatedly addresses the theme of sin within his poetry as well as questioning how the hierarchy of class The Flowers of Evil: AND Paris Spleen 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. 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 ParisBaudelaire made very conscious decisions regarding his relationship with his readers. For Baudelaire, the accessibility of the text and ability for a reader to set down the book and pick it up much later was The Flowers of Evil: AND Paris Spleen, 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 The Flowers of Evil: AND Paris Spleen 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: "In this respect you, unworthy companion of my sad life, resemble the public, to whom one must never present the delicate scents that only exasperate them, but instead give them only dung, chosen with care". Le Spleen de Paris represents a definitive break from traditional poetic forms. The text is composed of "prose poems" which span the The Flowers of Evil: AND Paris Spleen between "prosaic" and "poetic" works. The new, unconventional form of poetry was characteristic of the modernist movement occurring throughout Europe and particularly in Paris at the time. For an example of a more poetic poem, see "Evening Twilight"; for a prosaic example, see "The Bad Glazier". Baudelaire's Le Spleen de Paris is unique in that it was published posthumously by his sister intwo years after Baudelaire The Flowers of Evil: AND Paris Spleen. In fact, it was not until his waning years, plagued by physical ailments and the contraction of syphilis that he created a table of contents for the book.
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