Walter benjamin charles baudelaire pdf

In , Tableaux parisiens: Deutsche Obertragung mit einem Vorwort iiber die Aufgabe des Obersetzers von Walter Benjamin Tab- leaux parisiens: German Translation with a Foreword Concerning the Task of the Translator, by Walter Benjamin , which included a full translation of the central section of Les Fleurs du mal, appeared in a luxury edition of five hundred. To Benjamin's great disappointment, neither the introduc- tion-Benjamin's now-famous essay "The Task of the Translator"- nor the translations themselves met with.

Although he appears to have spoken from memory or perhaps from notes, the two brief texts included here un- der the title "Baudelaire" ll and III are probably preliminary ver- sions of his remarks. Both of these texts focus on binary relations within Baudelaire's works and "view of things. Aimer aloisir, Aimer et mourir Au pays qui te ressernble!

Les soleils rnouilles De ces ciels brouilles Pour mon esprit ont les charmes Si mysterieux De tes traitres yeux, Brillant atravers leurs larmes.

La, tout-n'est qu'ordre et beaute, Luxe, calrne et volupte. All is order there, and elegance, pleasure, peace, and opulence. These plates, of course, are negatives, and "no one can deduce from the negative Or, 'to take another example, Baudelaire's figuration of history as a multiple exposure in "Le Cygne": Andromaque, je pense avous!

Ce petit fleuve, Pauvre et triste miroir ou jadis resplendit L'immense majeste de vos douleurs de veuve, Ce Simois menteur qui par vos pleurs grandit, A feconde soudain rna memoire fertile, Comme je traversais le nouveau Carrousel. That stream, the sometime witness to your widowhood's enormous majesty of mourning-that mimic Simoi:s salted by your tears suddenly inundates my memory as I cross the new Place du Carrousel. Alors, 6 rna beaute!

By late , Benjamin was moving in the orbit of the "G Group;' a cenade of I ' avant-garde artists centered in Berlin. The great Hungarian artist Laszl6 Moholy-Nagy was part of the earliest formations of the group, and Benjamin came to know him. From the very beginnings of his critical engagement with Baudelaire's work, then, Benjamin was considering Baudelaire's po- etry in conjunction with key categories of modernity and especially of the technologized cultural production that is characteristic of ur- ban commodity capitalism.

After Benjamin's bookstore talk in , Baudelaire became a sub- terranean presence in his work for the next thirteen years. This was a time of radical change in the orientation and practice of Benjamin's criticism.

During those years, Benjamin had written precisely one essay on twentieth-century liter- ature, an unpublished piece on Paul Scheerbart, author of utopian science fiction.

Beginning in , however, he turned his attention and his energies in precipitously new directions: toward contempo- rary European culture, Marxist politics, and a career as a journalist and wide-ranging cultural critic. By Benjamin was embarkeq on a program of study and writing that would, he hoped, make him Germany's most widely respected voice on the modernist and avant- garde cultural production of France and the Soviet Union.

His fre- quent visits. The essay "Surrealism: The Last Snapshot of the European In- telligentsia" presents the provisional results of his analysis of French modernism.

Baudelaire, as the progenitor of French modern- ism, of course haunts this work, but Benjamin consistently avoided direct engagement with the poet in this period. Benjamin fastens on these structures as an organizing-metaphor because they are at once a historically spe'cific artifact and a particularly concentrated symbol of the mer- cantile capitalism of the period-indeed, "a world in miniature.

As he put it in a draft version of the conclusion to the essay, the cre- ations and forms of life determined by commodity production "pre- 8 MICHAEL W. In , Fritz Pollack, the co-director of the institute, suggested that Benjamin produce an expose of the project that could be shown to potential sponsors. The text "Paris, the Capital of the Nineteenth Century" included in this volume was in fact that expose; it thus represents Benjamin's first attempt to describe the scope and focus of The Arcades Pro- ject.

These are among the central categories that will inform the' great essays on Baudelaire to come. As Benjamin continued to amass material for his study of the ar- cades, and to develop a theory adequate to that material, his friends at the Institute for Social Research became increasingly eager to see some part of the project in print. Benjamin's first major work on Baudelaire is one of the greatdt essays of literary criticism from the twentieth century; it is also one of the most demanding of its reader, requiring not merely inordinate contributions of imagination and analysis, but a thorough knowl- edge of Benjamin's other work.

For Benjamin, the bohemians were not primarily artistes starving in garrets-think of Rodolfo and Mimi in Puccini's La Boheme-but a motley collec- tion of amateur and professional conspirators who imagined the overthrow of the regime of Napoleon III, France's self-elected em- peror. In the opening pages of the essay, Benjamin establishes relays between the tactics employed by these figures and the aesthetic strat- egies that characterize Baudelaire's poetic production.

Yet the ragpicker is also a figure for Baudelaire, for the poet who draws on the detritus of the soci- ety through which he moves, seizing that which seems useful in part because society has found. Here and throughout Benjamin's writings on Baudelaire, we find a powerful identification with the poet: with his social isolation, with the.

In contrasting Baudelaire with Dupont, Benjamin reveals a "profound duplicity" at the heart of Baudelaire's poetry-which, he contends, is less a statement of support for the cause of the oppressed, than a violent unveiling of their illusions.

From the outset, it-seems more promising to investigate his machinations where he was undoubtedly at home: in the enemy camp.

Baudelaire was a secret agent-an agent of the secret discontent of his class with its own rule. By the late s Benjamin was convinced that traditional historiography, with its reliance upon the kind of storytelling that suggests the inevitable process anq ou:zome of historical change, "is meant to cover up the revolutionary moments in the occurrence of history.

Far from the "lack of media- tio'n" or "billiard-ball determinism" attributed to Benjamin's practice 1 by Theodor Adorno and Fredric Jameson, Benjamin counts on the hexpressive" capacity of his images. In the crowded streets..

The important Hungarian German philosopher Georg Lukacs built on this concept in a book f , History and Class Consciousness; there,. For Benjamin, "phantasmagoria" is widely coextensive with the term "second nature"; the term "phantasmago- ria" simply emphasizes the powerfully illusory quality of this envi- ronment, a quality that has a debilitating effect upon the human ability to come to rational decisions-and in fact to undetstand our own world.

Physiologies are in this sense deeply complicit with phantasmagoria, in that they fraudulently suggest we are in posses- sion of a knowledge that we do not in fact have. Benjamin suggests that another genre developed, one "con- cerned with the disquieting and threatening aspects of urban life'. At the heart of Benjamin's reading is thus a theory of ,. The speaker of the poem, moving through the "deafening" street amid the crowd, suddenly spies a woman walking along and "with imposing hand I Gathering up a scalloped hein.

Yet, Benjamin argues, the spasms that run through the body are not caused by "the excitement of a man in whom an image has taken possession of every fiber of his being"; their cause is instead the powerful, isolated shock "with which an imperious desire suddenly overcomes a lonely man. Baudelaire was not simply aware of the processes 1 of commodification from which the phantasmagoria constructs it-! When he takes his work to market, the poet surrenders. Approaching the conclusion to "The Paris of the Second Empire in Baudelaire:' in the section entitled "Modernity;' Benjamin makes a case for Baudelaire as the characteristic writer of modern life; he seeks to reveal Baudelaire's heroism.

In other words, it takes a heroic constitution to live mo- dernity. He is the modern individual who has, piece by piece, been stripped of the possessions and security of bourgeois life!

It is understandable if a person be- comes exhausted and take! The pathos that infuses this section of the essay arises from Wal- ter Benjarttin's intense identification with Baudelaire's situation.

The most prominent features of Baudelaire's biography-the penniless poet condemned to a lack of recognition at first equivalent to an in- ner exile, and then, at the end of his life, to self-imposed exile in Bel- gium-conform closely to those of J? The temptation of suicide's release was never far from Benjamin's thoughts in the period of his exile, and his imputa- tion of "exhaustion" tb Baudelaire was certainly a powerful proj- ective act.

Yet the character of life under modern conditions is not por- trayed as irredeemably damned: "The Paris of the Second Empire in Baudelaire" suggests, if subtly and intermittently, that Baudelaire's poetry might hold the key to an understanding of that apparently unchangeable history-history as "one-way street;' as Benjamin called an important text from as the "object of a conquest.

The question thus arises as to "whether [modernity it- self will ever be able to become antiquity. This conviction was founded on the contention that the mechanisms of the capitalist process reveal themselves fully only in their waste products-in that which no longer serves a purpose and is thus free from the mecha- nisms of ideological control so pervasive elsewhere.

It is the experi- ence of such obsolete artifacts, and through them' of the coercive il- lusions of capitalism, that might give rise to political action as a corrective. Baudelaire's spleen-that is, his profound disgust at things as they were-is only the most evident emotional sign of this state of affairs. Paris of the Second Empire in Baudelaire," however, are thos'e attri- buted to Baudelaire's language itself.

On this map, words are given clearly designated positions before the outbreak of a revolt:' But how might such tactically situated words actually give rise to revolution? There, Benjamin had argued that these works of art, long ne- glected because of their apparently grave aesthetic flaws, in fact bore within them a particularly responsible historical index of their age.

They gave access not so much to a hidden knowledge of the Baroque as to the insight that all knowledge of a given system is subjective and illusory. It is 'nonsense' in the pro- found sense in which Kierkegaard conceived the word. This knowl- edge, the triumph of subjectivity and the onset of an arbitrary rule over things, is the origin of all allegoric. This rela- tional character of poetic language, its deployment of such strata-.

The plea fell on deaf ears. He was asked to rework the central section of his essay along lines acceptable to Adorno and Horkheimer. While-still at work on "The Paris of the Second Empire," Benja- min had begun to collect extended passages of interpretation and theoretical reflection under the working title "Central Park. The fragments in "Central Park" touch on a re- markable range of topics: on Baudelaire's sexuality as an expression of bourgeois impotence; on the critique of progress, which Benjamin apostrophized as the fundamental tenet of bourgeois liberalism; on Baudelaire, Jugendstil, and the threat of an increasing technologiza- tion; and, predominantly, on the problems addressed in the two still unwritten sections of the Baudelaire book: the ones on allegory "Baudelaire as Allegorist" and phantasmagoria "The Commodity as Poetic Object".

In the later essay, he examines Baudelaire's work from the perspective of its reception in the twentieth century. This may be due to a change in the structure of their experience.

Long experience is presented as a coherent body of knowledge and wisdom that is not merely retainable in human memory but transmissible from genera- tion to generation. Benjamin's essay "The Storyteller," with its rather nostalgic evocation of a precapitalist era, adduces oral literature as the privileged form of such transmission within traditional societies.

Isolated experience, on the other hand, emerges in "On Some Motifs in Baudelaire" as a form of experience bound to the shocks experi- enced by the individual strolling amid the urban masses; isolated ex- perience, far frombeing, retainable or transmissible, is in fact parried ' by consciousness and leaves a trace in the unconscious. Of particu-?

The middle sections of "On Some Motifs in Baudelaire" turn to the social form in which urban shock is most prevalent: the crowd. Technology constitutes not just a prosthetic extension of the human sensory capacity, enabling a complex series of reactions, but a veritable training school for the human sensorium that enables its subsistence in the modern world. Benjamin understands the greatness of Baudelaire's poetry asl a paradoxical capacity.

This splenetic dimension, however, stands in tension with Baude- laire's ideal: the capacity to fix in language "days of recollection [Eingedenken], not marked by any immediate experience [Erlebnis].

The term "aura" first appears in Benjamin's essay "Little History of Photography:' but the most fully devel- oped definition is to be found in his "Work of Art" essay: "What, then, is aura? A strange tissue of space and time: the unique appear- ance of a distance, however near it may be. To follow with the eye- while resting on a summer afternoon-a mountain range on the ho- rizon or a branch that casts its shadow on the beholder is to breathe the aura of those mountains, of that branch.

I say "figurative:' since, as the definition intimates, this distance is not primarily a space between painting and spectator or iJenleen "text and reader but a psychological inapproachability-an authority-claimed on the basis of the work's position within a tra- dition. The distance that intrudes between work and viewer is most often, then, a temporal distance: auratic texts are sanctioned by their inclusion in a time-tested canon.

For Benjamin, integration into the Western tradition is coterminous 'with an integration into cultic practices: "Originally, the embeddedness of an artwork in the con- text of tradition found expression in a cult. As we know, the earliest artworks originated in the service of rituals In other words: the unique value of the "authentic" work of art always has its basis in rit- ual.

If the work of art remains a fetish, a distanced and distancing object that exerts an irrational andincon- trovertible power, it attains a cultural status that lends it a sacrosanct MICHAH W.

It also remains in the hands of a privileged few. The auratic work exerts claims to power that parallel and reinforce the larger claims to political power of the class for whom such objects are most meaningful: the bourgeoisie. The theoretical defense of auratic art was and is central to the maintenance of their power. It is not just that auratic art, with its ritually certified representational strategies, poses no threat to the dominant class, but that the sense of authenticity, authority, and permanence projected by the auratic work of art represents an important cultural substantiation of the claims to power of the dominant class.

Benjamin credits Baudelaire, to be sure, with deep insight into the phenomenon of the aura. It arises in a social situation, conditioned by technology, in which humans in public spaces cannot return the gaze of others.

In late Baudelaire published an essay called "The Painter of Modern Life" in three installments in the newspaper Figaro. The reader who returns to Baudelaire's essay after making the acquain- tance of the essays in the present volume w. When Baudelaire writes, "By 'mo- dernity' I mean the ephemeral, the fugitive, the contingent, the half of art whose other half is the eternal and the immutable," we en- counter the physiognomy of Benjamin's poet riven by the splenetic and the ideal.

It consists in the rethinking of Baudelaire's representativeness in light of his claim in "The Painter of Modern Life" -that his' work makes present the character of an age: ''The pleasure which we derive from the representation of the pres- ent is due not only to the beauty with which it can be invested, but also to its essential quality of being present.

It is this that makes literature into an organon of history; and to achieve this, and not to reduce litera- ture to the material of history, is the task of the literary historian. Let us compare time to a photographer-earthly time to a photogra- pher who photographs the essence of things. But because of the na- ture of earthly time and its apparatus, the photographer manages only to register the negative of that essence on his photographic plates.

No one can read these plates; no one can deduce from the negative, on which time records the objects, the true essence of things as they really are. Moreover, the elixir that might, act as a de- veloping agent is unknown. And there is Baudelaire: he doesn't pos- sess the vital fluid either-the fluid in which these plates would have to be immersed so as to obtain the true picture. He alone is able to extract from the negatives of essence a presentiment of its real picture.

And from this presentiment speaks the negative of essence in all his poems. Underlying Baudelaire's writings is the old idea that knowledge is guilt. His soul is that of Adam, to whom Eve the world once upon a time offered the apple, from which he ate. Thereupon the spirit ex- pelled him from the garden. Knowledge of the world had not been enough for him; he wanted to know its good and evil sides as well.

And the possibility of this question, which he was never able to an- swer, is something he bought at the price of eternal remorse [Remord]. His soul has this mythical prehistory, of which he knows, and thanks to which he knows more than others about redemption.

He teaches us above all to understand the literal meaning of the word "knowl- edge" in the story of Eden. Baudelaire as litterateur. This is the only vantage point from which to discuss his relationship with Jeanne Duval. For him as a litterateur, the hedonistic and hieratic nature of the prostitute's existence came to life. What speaks v 'I to us in his poetry is not the reprehensible confusion of [moral] J judgment but the permissible reversal of perception.

A school of writers who praise recent French poetry, but would be at a loss to distinguish clearly between la morgue and Laforgue. The significance of the life legem! The Souffleur, II, 3, p. Spleen et ideal. Because of the abundance of connotations in this title, it is not translatable. Each ,of the two words on its own contains J l I a double meaning. But they do not express only that intended ef- fect; in particular, the sense of a radiant and triumphant spiritual- ity-such as is evoked in the sonnet ''L'Aube spirituelle," among many others-is not rendered adequately by Vergeistigung.

Spleen too, even when understood merely as intended effect, not as arche- typal image, is more than Trubsinn. I his language, Baudelaire indicates the share of time and eternity in these two extreme realms of the spirit. And doesn't this ambiguous title also imply that archetypal image and intended effect are myste- riously intertwined?

Translated by Rodney Livingstone. Fourier, or the Arcades The magic columns of these palaces Show to the amateur on all sides, In the objects their porticos display, That industry is the rival of the arts. The first condition for their emergence is the boom in the textile trade. Magasins de nouveautes, the first establishments to keep large stocks of merchandise on the premises, make their appearance.

This was the period of which Balzac wrqte: "The great poem of djsplax chants its stan- zas of color from the Church of the Madeleine to the Porte Saint- Denis. In j fitting them out, art enters the service of the merchant. Contem- poraries never tire of admiring them, and for a long time they re- main a drawing point for foreigners. The second condition for the emergence of the arcades is.

The Empire saw in this technology a contribution to the revival of architecture in the ciassical Greek sense. These architects design supports resembling Pompeian columns, and factories that imitate residential houses, just as later the first railroad stations will be modeled on cha- letS. It serves as the basis for a development whose tempo accelerates in the course of the century. This devcdo. V locomotive-on which experiments had been conducted since the end of the os-is compatible only with iron tracks.

The rail be- comes the first prefabricated iron component, the precursor of the girder. Iron is avoided in home construction but used in arcades, ex- hibition halls, train stations-buildings that serve transitory pur- poses.

In Scheerbart's Glasarchitektur , it still appears in the context of utopia. These images are wish images; in them the collective seeks both to overcome and to transfigure the immaturity of the so- cial product and the inadequacies in the social organization of pro- duction. At the same time, what emerges in these wish images is the resolute effort to distance oneself from all that is antiquated- which includes, however, the recent past.

These tendencies deflect the imagination which is given impetus by the new back upon the pri- mal past. In the dream in which each epoch entertains images of its successor, the latter appears wedded to elements of primal history [ Urgeschichte]-that is, to elements of a classless society.

But this fact is not di- rectly expressed in the Fourierist literature, which takes as its, point of departure the amorality of the business world and the false moral- ity enlisted in its service. The phalanstery is designed to restore hu- man beings to relationships in which morality becomes superfluou-s. The highly complicated organization of the phalanstery appears as machinery. The meshing of the passions, the intricate collaboration of passions mecanistes with the passion cabaliste, is a primitive con- trivance formed-on analogy with the machine-from materials of psychology.

Fourier saw, in the arcades, the architectural canon of the phalan- stery. Their reactionary metamorphosis with him is characteristic: whereas they originally serve commercial ends, they become,. The phalanstery becomes a city of arcades. Fourier establishes, in the-Empire's austere world of forms, the color- ful idyll of Biedermeier.

Its brilliance persists, however faded, up through Zola, who takes up Fourier's ideas in his book Travail, just as he bids farewell to the arcades in his Therese Raquin. In fact, Jean Paul, in his Levana, is as closely allied to Fourier the pedagogue as Scheerbart, in his Glass Ar- chitecture, is to Fourier the utopian.

Daeuerre, or the Panoramas Sun, look out for yourself] -A. One sought tire- lessly, through technical devices, to make panoramas the scenes of a perfect imitation of nature. An attempt was made to reproduce the changing daylight in the landscape, the rising of the moon, the rush of waterfalls. David counsels his pupils to draw from nature as it is shown in panorarnas. Contemporary with the panoramas is a panoramic literature.

This lite:nlJ. The city dweller, whose political supremacy over the prov- inces is attested many times in the course of the century, attempts to bring the countryside into town. In the panoramas, the city opens out, becoming landscape-as it will do later, in subtler fashion, for the flaneurs. Daguerre is a student of the panorama painter Prevost, whose establishment is located in the Passage des PanoramasJ4.

De- scription of the panoramas of Prevost and Daguerre. In Da- guerre's panorama burns down. On the other side, artists begin to de- bate its artistic value. Photography leads to the extinction of the great profession of portrait miniaturist. This happens not just for economic reasons. The early photograph was artistically superior to the miniature portrait. The technical grounds for this advantage lie in the long exposure time, which requires of a subject the highest concentration; the social grounds for it lie in the fact that the first photographers belonged to the avant-garde, from which most of their clientele came.

Nadar's superiority tobis colleagues is shown by his attempt to take photographs in the Paris sewer system: for the first time, the lens was deemed capable of making discoveries. The world exhibition of offers for the first time a special dis- play called "Photography. Wiertz can be characterized as the first to demand, if not actually foresee, the use of photographic montage for political agitation.

With the in- creasing scope of communications and transport, the informational value of painting diminishes. In reaction to photography, painting begins to stress the elements of color in the piCture. Rivers will flow with chocolate and tea, Sheep roasted whole will frisk on the plain, And sauteed pike will swim in the Seine.

World exhibitions are places of pilgrimage to the commodity fetish. It arises from the wish "to entertain the working classes, and it becomes for them a festival of emancipation. The framework of the entertain- ment industry has not yet taken shape; the popular festival provides this.

Chaptal's speech on industry opens the exhibition. Chevalier, the first authority in the new field, is a student of Enfantin and editor of the Saint- Simonian newspaper Le Globe. Next to their active participation in industrial and commercial enter- prises around the middle of the century stands their helplessness on all questions concerning the proletariat.

World exhibitions glorify the e:x;change value of the commodity. Its inge- nuity in representing inanimate objects corresponds to what Marx calls the "theological niceties" of the commodity.

Under Grandville's pencil, the whole ofj. I nature is transformed into specialties. He ends in madness. Fashion: "Madam Death!

Madam Death! Ihey modernize it. SatJ,ll:n's ring becames.. Grandville extend. In taking it to an extreme, he reveals its nature. Fashion stallihJn. To the living, it defends the rights of the corpse.

The latter delegation was of indirect importance for Marx's founding of the International Workingmen's Association. The Second Empire is at the height of its power.

Paris is acknowledged as the capital of luxury and fashion. Offenbach sets the rhythm of Parisian life. Louts Philippe, or the Interior The head It furthers railway construction in order to improve its stock holdings. It pro- motes the reign of Louis Philippe as that of the private individual managing his affairs. With the July Revolution, the bourgeoisie real- ized the goals of Marx.

Jts complement is the office. This necessity is all the more pressing since he has no intention of allowing his commercial considerations to impinge on social ones. In the formation of his private environ- ment, both are kept out. Of course, according to its own ideology, the Jugendstil movement seems to bring with it the consummation of the interior. The transfiguration of the solitary soul appears to be its goal.

Individualism is its theory. With van de Velde, the house becomes an expression of the personality. But the real meaning of Jugendstil is not expressed in this ideology.

This attempt mobilizes all the reserves of inwardness. They find their expression in the mediumistic language of the line, in the flower as symbol of a naked vegetal nature confronted by the techno- logically armed world. The new elements of iron construction- girder forms-preoccupy Jugendstil. In ornament, it endeavors to win back these forms for art.

Concrete presents it with new possibili- ties for plastic creation in architecture. Around this time, the real gravitational center of living space shifts to the office. The irreal cen- ter makes its place in the home. The consequences of Jugendstil are depicted in Ibsen's Master Builder the attempt by the individual, on the strength of his inwardness, to vie with technology leads to his downfall. L ettres pari si ennes , Paris, , pp.

Physionomies parisiennes, Paris, , p. I, pp. Ernest L avisse, Histoire de France contemporaine: L a monarchie de juillet , Paris, ', p. M aison A l exandre Dumas et Compagnie, Paris, Paulin L imayrac, Du roman actuel et de nos romanciers, in: Revue des deux mondes, tomo I I, , pp. Ernest Raynaud, Charles Baudelaire. Etude biographique, Paris, , p. Etude biographique, Paris, , pp.

Os trajes de gala de uma escritura por natureza destinada a se vender nas ruas. Tampouco f oi esquecida a fisiologi a dos animais, desde sempre recomendada como assunto i nofensivo. O que importava era a inofensividade. Tudo passava em desfile. M esmo socialmente, essa escritura era suspeita. M ais do que todos os outros, Balzac se achava em seu elemento com tais certezas.

Ni sso concordava com De M aistre que, por seu turno, unira o estudo do dogma ao de Bacon. Aqui, a massa desponta como o asil o que protege o anti- social contra os seus perseguidores. Desenvolve formas de reagir convenientes ao ritmo da cidade grande. Chama-se Tovah e, num passeio de fiacre, consegue escalpas seus quatro acompanhantes brancos de tal modo que o cocheiro nada percebe.

Baudelaire leu Sade bem demais para poder concorrer com Poe. Entre outras coisas precisa ser determi- nado o momento do crime. Que luz. L onge daqui! Na verdade, existe uma profunda ruptura entre os quartetos que representam o encontro e os tercetos que o transfiguram. Sua forma interna se manifesta em que mesmo o amor se reconhece estigmatizado pela cidade grande. Busca-a entre suas quatro paredes. Hoff mann. Sua luz dura e vibrante fere a vista. Nenhum dos retratados acompanha o jogo da manei ra habitual.

Mouquet, Negro quadro com que teria sonhado o negro Ezequiel. Baudelaire descreve como, ao anoitecer, ". Ai nda havia balsas cruzando o Sena onde, mai s tarde, seri am i nstaladas pontes. Protesta igualmente contra a sua industriosidade. Se o tivessem seguido, o progresso deveria ter aprendido esse passo. Havi a no tempo de Poe l ojas de muitos andares? Como almas errantes que buscam um corpo, penetra, quando lhe apraz, a personagem de qualquer um.

Al guns de seus atrativos provinham do mercado e se tornaram instrumentos de poder. Quem sai em busca de passatempo, procura o prazer. Era evidente, contudo, que o prazer dessa classe se deparava com limites tanto mais estreitos quanto mai s se quisesse entregar a ele dentro dessa sociedade. Faz com que o 61 pavoroso atue sobre ele como um encantamento. Assim, uma das mais perfeitas poesias de Baudelaire fica correspondendo a uma das mais fracas que Hugo jamais escreveu.

Todos os vivos! Nel a tornava a reconhecer a massa popular. Queria ser a carne de sua carne. Baudelaire o protetor desse limiar, isso o distinguia de Victor Hugo. Notas 1. Monstro a que a lenda atribui o poder de matar com a vista. Guillain, Pari s, , pp. Edward George Bulwer, Eugene A ram. A Tale, Paris, 3 , p. Edouard Foucaud, 1. Jean L acoste, Paris, Petite Payot, , p.

Franz J. L avater , criador da fisiognomonia. Conard, , p. M estre Jou, 2. Charles Baudelaire, L es fl eurs du mal, Paris, Ed. Edgar Poe, Histoires extraordinaires, trad. Charles Baudelaire, Paris, , pp. Walter Benj amin, loc. Hans M akart Wal ter Benj amin, loc.

I, p-. A lphonse Bertillon Edgar Poe, Nouvelles histoires extraordinaires, trad. Charles Baudelaire, Paris, , p. Hitzig, Stuttgart, , pp. Julien L emer, Paris au gaz, Paris, , p. Alfred Delvau, L es heures parisi ennes, Paris, , p.

Louis V euillot, L es odeurs de Paris, Paris, , p. Edgar Poe, loc. Edgar Poe, Nouvell es histoi res extraordinaires, loc. Edgar Poe, Nouvelles histoires extraordinaires, loc.

K arl M arx, Das K api tal, loc. L eipzig, , pp. Qualificativo de divindades infernais que habitam o interior da Terra. Significa morrer. Gustave Simon, Chez V ictor Hugo. Les tables tournantes de Jersey, Paris, , pp. Melancolia passageira, sem causa aparente, caracterizada por um desgosto por tudo.

IV, Paris, , p. Em seu li vro sobre Di ckens, Chesterton fi xa magi stral mente o homem que percorre a cidade perdi do em pensamentos. Foi absorvida pelo mundo exterior O que sabia, sabi a a fundo, mas sabi a pouca coisa. Eles concluem a segunda estrof e do terceiro poema de As V el hi nhas.

Em Bal zac, o gladi ador se torna cai xeiro-vi ajante. O grande Gau- dissart se prepara para trabalhar Tourai ne. Que arena! E que armas! O apache renega as vi rtudes e as l eis. Rescinde de uma vez por todas o contrato soci al. Uma luz suspei ta cai sobre a poesi a do apachi smo. Horst Wessel foi membro do partido nazista desde Segundo Baudelaire, ela aparece na obra de Victor Hugo.

A contragosto, e em casos contados, Baudel aire a atri bui a Hugo. Sem esse segundo elemento. Baudel aire nunca tentou coi sa semel hante. Sempre que aparece em A s Fl ores do M al, Paris carrega essa marca. El a os di ferenci a de quase toda a poesia sobre a ci dade grande que surgi u depois. Provavelmente as ruas de Paris daquel e tempo. A apai xonadamente. Ambos tinham af ini dades el etivas. A fama sobreveio a ambos tardiamente. Quando trata de M eryon, reverencia a modernidade, mas lhe homenagei a o rosto antigo.

E agora se despede dessa cidade, dessa casa, pelas quais sofreu tanto. Entre tai s cidades, Roma ocupa para ele o primeiro lugar. A baixo a lei do sangue! Di go: abaixo a maternidade! Isso nada prova contra a sua idiossincrasia. Uma obra-prima da vontade Apresentar essa atitude como uma proeza da vontade estava na mente de Baudelaire. Tanto mais atraente ele i magi nava outro modo de viver, nos extremos, que se configura nos encantamentos de muitos de seus versos perfeitos; em alguns destes ela mesma se nomei a.

Um ritmo acalentador caracteriza essa conhecida estrof e; seu movimento capta os navios atracados no canal. A imagem dos navios surge quando se trata do ideal prof undo, secreto e paradoxal de Baudel aire: ser levado, ser acolhi do pela grandeza.

A modernidade se revel a como sua fatalidade. A marra-o para sempre a um porto seguro; abandona-o a uma eterna ociosi dade.

O tanto que ti nha de provocador no trato, tinha de prudente em sua obra. By using our site, you agree to our collection of information through the use of cookies.

To learn more, view our Privacy Policy. AFS was a file system and sharing platform that allowed users to access and distribute stored content. AFS was available at afs. AFS was launched in the mids and was eventually superseded by newer platforms. AFS accounts were removed in the service retirement process.

Further information will be sent to those using AFS to host web pages, as well as being shared on this page. Combining elements of German idealism or Romanticism, historical materialism and Jewish mysticism, Benjamin made enduring and influential contributions to aesthetic theory and Western Marxism, and is associated with the Frankfurt School.

This section is based upon Marianne Franklin's article on Walter Benjamin , pp He was raised in a well-off quarter of the city and came of age during the Weimar Republic years before becoming a political refugee, fleeing to Paris in The historical record of his life and career has been clarified with several recent detailed biographies.

Blanqui 3. Exchange with Theodor W. Note on Brecht 5. Central Park 6. Commentary on Poems by Brecht 8. Walter Benjamin's writings on Charles Baudelaire offer one of the most influential accounts of the challenges facing the poet of modern urban experience. By reading Halpern's urban poetics alongside Benjamin's writings on Baudelaire, we can bring Halpern's modernism out of the exclusively Yiddish context in which it is generally read.