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The Pataphysician's Library The Pataphysician’s Library LUP/Fisher/Prelims 1 13/12/00, 1:04 pm LUP/Fisher/Prelims 2 13/12/00, 1:04 pm The Pataphysician’s Library An exploration of Alfred Jarry’s livres pairs Ben Fisher LIVERPOOL UNIVERSITY PRESS LUP/Fisher/Prelims 3 13/12/00, 1:04 pm First published 2000 by Liverpool University Press 4 Cambridge Street Liverpool L69 7ZU Copyright © Liverpool University Press 2000 All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior written permission of the publishers. British Library Cataloguing-in-Publication Data A British Library CIP Record is available ISBN 0–85323–916-9 hardback ISBN 0–85323–926-6 paperback Typeset in Goudy by Koinonia, Bury Printed and bound in Great Britain by Bell and Bain Ltd, Glasgow Bell and Bain Ltd, Glasgow LUP/Fisher/Prelims 4 13/12/00, 1:04 pm For Otto (it’s a cat thing) Wer suchet, dem wird aufgetan Der Ceylonlöwe ist kein Schwan (Cabaret Voltaire) LUP/Fisher/Prelims 5 13/12/00, 1:04 pm LUP/Fisher/Prelims 6 13/12/00, 1:04 pm Contents Acknowledgements ix Abbreviations xi Introduction 1 PART I: FAUSTROLL’S LIBRARY The Pictures 15 Une affiche de Toulouse-Lautrec, Jane Avril 15 Une de Bonnard, La Revue Blanche 16 Un portrait du sieur Faustroll, par Aubrey Beardsley 17 Une vieille image, Saint Cado 17 The Books 21 Baudelaire, un tome d’Edgar Poe, traduction 23 Bergerac, Œuvres, tome II 25 L’Evangile de Saint Luc, en grec 29 Bloy, Le Désespéré 31 Bloy, Le Mendiant ingrat 35 Coleridge, The Rime of the Ancient Mariner 38 Darien, Biribi 40 Darien, Le Voleur 43 Desbordes-Valmore, Le Serment des petits hommes 46 Elskamp, Salutations, dont d’angéliques 50 Elskamp, Enluminures 54 Un volume dépareillé du Théâtre de Florian 57 Un volume dépareillé des Mille et Une Nuits, traduction Galland 59 Grabbe, Scherz, Satire, Ironie und tiefere Bedeutung 61 Kahn, Le Livre d’images 65 Kahn, Le Conte de l’Or et du Silence 69 Lautréamont, Les Chants de Maldoror 74 Maeterlinck, Pelléas et Mélisande 75 Maeterlinck, Aglavaine et Sélysette 78 Mallarmé, Divagations 80 LUP/Fisher/Prelims 7 13/12/00, 1:04 pm viii Contents Mallarmé, Vers et prose 81 Mendès, Gog 83 L’Odyssée, édition Teubner 89 Péladan, Babylone 90 Rabelais 95 Jean de Chilra, La Princesse des ténèbres 98 Jean de Chilra, L’Heure sexuelle 101 Henri de Régnier, La Canne de jaspe 104 Rimbaud, Les Illuminations 109 Schwob, La Croisade des enfants 111 Ubu Roi 114 Verlaine, Sagesse 115 Verhaeren, Les Campagnes hallucinées 118 Verne, Le Voyage au Centre de la Terre 122 Observations 127 PART II: RECURRING THEMES Faith and Esoterica: Symbolist Thought 133 Esoteric Themes and Treatments 134 The Gospel according to Mendès 139 Esoteric Tolerances 141 Péladan 142 Magi 147 Faith without Esotericism 153 Bloy: Faith and Constraint 157 Jarry: Hermeticism and Faith 160 Heroes: The Symbolist Übermensch 171 The Avoidance of Heroes 172 The Decline of the Decadent 174 The Rise of the Aggressive Individualist 180 The Symbolist Hero 189 Conclusion 204 Bibliography 209 Index 223 LUP/Fisher/Prelims 8 13/12/00, 1:04 pm Acknowledgements The completion of this work leaves me with a debt of gratitude to numerous individuals and bodies. Particular thanks are due to the following: Peter Hutchinson for encouragement in starting off in the first place; Adrian Ritchie, Alan Busst, Michael Tilby and Walter Redfern for valued advice at various stages; the library staff in various countries who have followed up my many odd requests, always with eventual success; the warden and staff at Gregynog Hall for the tranquil atmosphere that helped greatly with work at an important stage; Katharine Hodgson for comments on the text; my family, in particular my brother Joe for many invaluable bouts of brainstorming; and the University of Wales for injecting both faith and on occasion phynance into my project. LUP/Fisher/Prelims 9 13/12/00, 1:04 pm LUP/Fisher/Prelims 10 13/12/00, 1:04 pm Abbreviations One abbreviation will be in constant use: OCBP, indicating the three- volume Œuvres Complètes of Alfred Jarry in the Bibliothèque de la Pléiade series. Within footnotes, CCP indicates Cahiers du Collège de ’Pataphysique. Notations for other works cited within the text will be introduced at the relevant points. Where italics or other forms of emphasis are shown within quotations, they follow the original author. LUP/Fisher/Prelims 11 13/12/00, 1:04 pm LUP/Fisher/Prelims 12 13/12/00, 1:04 pm Introduction 1 Introduction t is now widely recognised that Alfred Jarry (1873–1907) was a great Ideal more than the literary hooligan responsible for staging Ubu Roi. A growing number of readers in recent decades have discovered and explored the highly varied delights of his work, which includes proto-absurdist theatre, comic libretti, engagingly facetious journalism, and a prose style frequently tending towards an incomprehensibility which, depending on the reader, either blurs or enhances the effect of Jarry’s distinctive con- frontations with emotional, metaphysical and artistic truths.1 His work appeals to many – and can discourage others – by virtue of its unusual integration of an infectious sense of humour with an ambitious approach to the profundities of the universe, a combination which unnerved his contemporaries and is still something of an acquired taste. There is no denying that, as an author, Jarry is different; certainly it was this quality that first attracted me to his work. It is understandable that writing on Jarry has tended to concentrate on his status as a literary and personal individualist. As the Jarry cult has grown, many of his contem- poraries, both major and minor, have slipped into obscurity, and for some it is now Jarry who stands as one of the pre-eminent authors of the Parisian avant-garde at the turn of the century. Conveniently, he fits the Bohemian model of the starving eccentric extrovert that has become almost a stereotype of the period. Whatever the poetic justice in the status Jarry now enjoys, it gives a distorted view, and can only contribute to the strange lack of reading and understanding in modern study of his period. The Belle Epoque is only a century behind us, and is widely regarded as one of the great flowerings of French culture. Yet its literature has relatively few dedicated followers; many of the most distinctive and curious works of the period are long out of print, though it is often through these works that we can develop a fuller understanding of the creative literature of the time. This study is an attempt to redress the balance, to reconstitute partial readings of Belle Epoque literature that would make sense to Jarry and his 1 See Henri Béhar, Les Cultures de Jarry, Paris: Presses Universitaires de France, 1988, pp.5–6, for an account of how Jarry’s style can baffle students. LUP/Fisher/Intro 1 13/12/00, 1:49 pm 2 The Pataphysician’s Library contemporaries, and which are based to a significant extent on period assessments of period texts. It is not intended as a general study of Jarry’s life and work, of which there are a number of excellent examples (see the notes on Jarry publications and studies that precede my bibliography); rather, it is an attempt to put Jarry in context, using evidence from his own work about his relationship with the literature of his time. Jarry is widely regarded as a reticent personality despite the many extravagant, often dangerous gestures of his life (those involving firearms are particularly notorious), which in fact form part of a mask, together with his public adoption of the persona of Père Ubu. However, his writing includes an unusually rich set of records of his tastes in literature and art, which repay the effort of location and investigation, and have a great deal more than is often acknowledged to tell us about his work, and about the literature that surrounded and nurtured him. This may be explained to some extent by the fact that some of his preferred authors remain very well known indeed – for instance Poe, Coleridge, Lautréamont, Mallarmé and Rimbaud – but others have become at best footnotes in literary history, and are obscure to most modern readers. Examples who will be dealt with at some length in this study include Léon Bloy, Georges Darien, Max Elskamp, Gustave Kahn, Catulle Mendès, Joséphin Péladan, Rachilde, Henri de Régnier and Marcel Schwob. I suggest that the exercise of relating Jarry’s reading to his own work makes little sense if we ignore texts he admired by authors who happen not to be fashionable today. It is no coincidence that the authors noted above were Jarry’s contemporaries, and in some cases personal friends. The literary environment we are dealing with is late Symbolism – the product of a loose grouping whose ongoing réception is not helped by the simple fact that its members could, perhaps, have chosen a title that said more about what was truly distinctive in their work. It may be argued that Symbolism in its later years, tinged with the world-weary influence of the Decadents, represented something not far short of a desecration of the heady, suggestive powers of the symbol in Gautier and Baudelaire, or of the lofty cosmic vistas of Rimbaud or Lautréamont. However, the label of Symbolism is used throughout this study, simply because it is the label chosen by the writers themselves; as a result, not too much weight should be read into the term ‘Symbolism’ in these pages beyond its function of defining a recognised group of writers and artists.
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