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Intratextual Baudelaire


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T H E O H I O S TAT E U N I V E R S I T Y P R E S SC O L U M B U S

Intratextual Baudelairei

The Sequential Fabric of theFleurs du mal and Spleen de Paris

R A N D O L P H P A U L R U N Y O N


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Copyright 2010 by The Ohio State University. All rights reserved.

Library of Congress Cataloging-in-Publication DataRunyon, 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 2009029578This 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 AmericanNational Standard for Information SciencesPermanence of Paper for Printed LibraryMaterials. ANSI Z39.48-1992.

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C O N T E N T S

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Introduction 1

C HAPTER 1 The Fabric of the First Edition: TheFleurs of 1857 17C HAPTER 2 The Sequence Rebuilt: TheFleurs of 1861 120C HAPTER 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 inLe Spleen de Paris 269Works Cited 271

Index to Baudelaire's Works 277General Index 281


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BAUDELAIRE ASSERTED more than once that the order in which hearranged his poems was meaningful. Even before theFleurs du mal firstappeared in 1857, at a time when he was negotiating for the publication ofsome poems in theRevue des deux mondes, he wrote to the editor: je tiens vivement, quels que soient les morceaux que vous choisirez, les mettre

en ordreavec vous,1

de manire quils se fassent, pour ainsi dire, suite [Iam very anxious, whatever pieces you choose, to put them in orderwith you, so that they form, so to speak, a sequence].2 He was at the editorsmercy as to which poems would appear, yet he hoped to play a role indetermining the order of those that did. That order did not exist beforethe editors selection but would depend on the poems he chose. Baudelaire would then engage in somebricolage in the Lvi-Straussian sense, to cre-ate somethingin this case, a meaningful sequenceout of the materialson hand. The bricoleur, Lvi-Strauss writes, is adept at performing alarge number of diverse tasks; but, unlike the engineer, he does not sub-ordinate each of them to obtaining the raw materials and tools conceivedand procured for the purpose of the project. His universe of instruments isclosed and the rules of his game are always to make do with whatever isat 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 quotationsfrom Baudelaires poetic works, italics have been added for emphasis unless indicated to bepresent in Baudelaires original. For all other sources, italics can be presumed to be originalunless 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 asCorr. I or II; translations are my own unless otherwise noted). Eventu-ally eighteen poems were published in theRevue des deux mondes on June 1, 1855. 3. Claude Lvi-Strauss,The Savage Mind, trans. John Weightman and Doreen Weight-

I N T R O D U C T I O N

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Baudelaire sought to adopt in the arrangement of these poemsthat ofsequence, 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 monthspreceding the publication of theFleurs du mal, telling his publisher hehoped that together Nous pourrons disposer ensemble lordre desmatires desFleurs du mal,ensemble, entendez-vous, car la question estimportante [We will be able to arrange together the order of the materialof theFleurs du mal together, you understand, for the question is impor-tant] (Corr. I: 364). When Baudelaire was subjected to prosecution in 1857, when theFleurs du mal were deemed an offense to public morals, he prepared notesfor 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 poemsremovedand eventually six were. Baudelaire wanted his lawyer to arguethat the collection was itself a work of art that would be destroyed if anypart of it were taken away. On Baudelaires invitation, and to some undetermined extent with hiscollusion, 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 ofits details or the glory of its thought,a very important value with respectto the whole and to its location there [une valeur trs importante d ensembleet de situation ] that must not be lost by detaching it. Artists who can seethe lines beneath the luxurious eforescence of color will clearly see thatthere isa secret architecture [une architecture secrte ] here, a plan calculatedby the poet, premeditated and intentional.Les Fleurs du mal are not linedup 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 bringthem together. They are not so much poems as a poetic workof the strongest unity. From the standpoint of Art and aesthetic perception they wouldtherefore lose a great deal by not being readin the order in which the poet,

man (Chicago: University of Chicago Press, 1966), 17; corresponds to p. 27 ofLa Pensesauvage(Paris: Plon, 1962). Margery Evans, inBaudelaire and Intertextuality: Poetry atthe Crossroads(Cambridge: Cambridge University Press, 1993), suggests the relevance of

the concept ofbricolage to the structure ofLe Spleen de Paris (p. 3); I will argue that it isequally pertinent to that ofLes Fleurs du mal. 4. F. W. Leakey,Baudelaire: Les Fleurs du Mal (Cambridge: Cambridge UniversityPress, 1992), 5, hereafter cited in text asFM Leakey. 5. Charles Baudelaire,uvres compltes, 2 vols., ed. Claude Pichois (Paris: Gallimard/Pliade, 197576), I: 194; hereafter cited in text asOC I or II.


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who well knows what he is doing, has arranged them. But they would loseeven more from the point of view of the moral effect of which we earlierspoke. (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 enoughto include it among the Articles justitatifs of which he had two hundredcopies printed before his trial. The italics, Marcel Franon suggests, maybe Baudelaires own.6 And even though Barbeys remarks, and Baudelairesapproval of them, were motivated by the need to deflect the prosecutionsattack, what Barbey wrote about the value the poems have by virtue of theirsituation, about what they would lose by not being read in the orderBaudelaire gave them, and his assertion that theFleurs are not so muchpoems in the plural as a single poetic work are consonant with Baudelairesconcern, before and long after the prosecution, for the order in which hispoems appear. Four years later, when the second edition appeared, minus the sixoffending poems but containing thirty-five new poems and a significantrearrangement of those retained, Baudelaire sent a copy to Alfred de Vignyand 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 singulierque 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 frameworkI had chosen] (Corr. II: 196). Leakey explains:

Not a mere album because, as in 1857, the poems had been carefullygrouped, and their presentation meticulously planned in their relation oneto another; a beginning and an end, because the book opens, inBndic- tion, with the narration of a generic poets birth, and closes, inLe Voyage, with the vision of a death . . . which yet promisesre birth into the new. And when Baudelaire goes on, in his second sentence, to say that the new poemshave been written expressly to be adapted to the distinctive frameworkhe 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 isthe architectural fallacy rst propounded in 1857 by Barbey dAurevilly,

though never by Baudelaire himself), but rather the careful groupings andsequences he is here modifying from the rst edition. (FM Leakey, 13)

6. Marcel Franon, [L]unit desFleurs du mal, PMLA60, no. 4 (December 1945):1130n1.


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Leakey somehow understood Barbeys saying the book had a secret archi-tecture to mean that it conveyed a moral message. Barbey speaks elsewhere in the article of such a message: punishment after the crime, illness

after overindulgence, remorse, sadness, ennui, all the shames and pains thatdegrade and devour us for having transgressed against the laws of divineProvidence (OC I, 1192). The connection Leakey saw between architectureand message may lie in the way in which Barbey understood Baudelairesassertion (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 mindconsisted of such opposing forces, as a flying buttress counterbalances theGothic cathedrals vault. But Leakey also believed that Barbey wronglyconflated two independent statements of the poets in his assertion thatthe book could only properly be understood in terms of its secret archi-tecturethat is, from the supposed total message that emerges from aconsecutive reading. . . . But this whole moral defence of Baudelaires wasin 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 theone conflating, if the two independent statements Baudelaire made werethat aspirations to heaven will counterbalance blasphemies and that thebook has a secret architectureconflating Barbeys saying there is a secretarchitecture with his saying, elsewhere in the article, that punishmentscounterbalance crimes. But it should be clear from the last sentence of theparagraph where Barbey speaks of a secret architectureBut they wouldlose even more from the point of view of the moral effect of which we spokeat the beginning of this articlethat the moral effect is a considerationquite 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 theFleursdu mal Baudelaire salutes Gautier as a disciple saluting his master, Barbeyplaces him in the latters Parnassian school, as one of those refined andambitious materialists who can conceive of only one kind of perfectionmaterial perfection (OC I: 1194). The language of theFleursis more

plastic even than poetic, crafted and chiseled like bronze and stone, and where the sentence has volutes and groovesimagine something out offlowered Gothic or Moorisharchitecture [quelque chose du gothique fleuri


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ou de larchitecture moresque] (OC I: 119495; italics added). No over-all plan here (and no flying buttresses of the Moorish variety), just a focuson detail. And even when Barbey goes on to speak of the lines beneath

the luxurious efflorescence and of a secret architecture, a plan calculatedby the poet, premeditated and intentional, that plan may not necessarilybe the supposed total message that emerges from a consecutive read-ing, as Leakey thought, but something else that becomes apparent froma careful consecutive reading: the plan behind the presentation of hispoems . . . their careful grouping by themes and their sequential relationone with another, as LeakeyI think correctlysaw. Like Leakey, Claude Pichois rejected the notion of an explanatorysecret architecture (he said it would be like trying to explain Nerval bytarot cards), yet he seconded Barbeys assertion that theFleurs du mal was a highly unified work: How can one not recognize with Barbey thatthe Fleurs are not so much poems as a poetic workof the strongest unity ;a book and not a collection? A book . . . whose framework was as muchsecreted by the poems already composed as it was the source from whichothers arose. A book whose poems sometimes combine into cycles, whileothers 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 nothaphazard but planned by the poet whom Barbey called an artist of will,of reflection, and above all ofcombination [et decombinaison avant tout](OC I: 1193; italics added). It is how Baudelairecombines 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, theoperas of Richard Wagner. After quoting Franz Liszt saying even if themusic of this opera were deprived of its beautiful words, it would still be aproduction 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 bienfaite; explicative par elle-mme, tant toutes choses y sont bien unies, con- jointes, rciproquement adaptes, et, sil est permis de faire un barbarismepour exprimer le superlatif dune qualit, prudemmentconcatnes.

[Indeed, without poetry, Wagners music would still be a poetic work, sinceit is endowed with all the qualities that constitute well-made poetry: self-explanatory, for all things there are so well united, conjoined, recipro-


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cally adapted, andif it is permissible to create a barbarism to express thesuperlative of a qualityprudentlyconcatenated.] (Richard Wagner etTannhuser Paris,OCII: 803)

BescherellesDictionnaire universel, published in 1856 and thus contempo-rary with Baudelaire, defines concatnation (from the Latincum [with]andcatena [chain]) as Enchanement, liaison [Chain, link] and as a rhe-torical figure that consists in picking up some words from the first part tobegin the second, and thus tie in succession all the parts together, up untilthe last.7 Baudelaire is alluding to Wagners leitmotif compositional tech-nique; elsewhere in the essay he alludes to certaines phrases mlodiquesdont 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 intriguedmy ear] (OC II: 801). Baudelaire quotes Liszt as saying that traditionalopera is like a collection of poems in which there is no particular con-nection between one poem and the next: une srie de chants rarementapparents entre eux [a series of songs rarely related to each other] (OC II: 802), but Wagner makes greater demands on the listeners ability toconcentrate and remember: forant notre mditation et notre mmoire

un si constant exercice, [il] arrache, par cela seul, laction de la musique audomaine des vagues attendrissements et ajoute ses charmes quelques-unsdes plaisirs de lesprit [compelling our meditation and memory to suchconstant exercise, by that alone he tears musics effect away from the realmof vague sentiments and to its charms adds some of the pleasures of themind] (Liszt, quoted in ibid.). I intend to show in this study of Baudelaires poetic collections, theFleurs du mal and theSpleen de Paris, that he makes the same demandson his readers and offers them equivalent rewards. It is not the leitmotiftechnique itself, however, that distinguishes Baudelaire from other poets,for that finds a ready equivalent in the network of associations that arepart of any poets personal language (such as the association between thesun and the father that Michel Quesnel finds in Baudelaire).8 Rather, it issomething Baudelaire hints at in making a place for concatenation in hisdefinition of a well-made poetic work. The poems in theFleurs du mal andthe 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 citedin text.


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they are connected as links in a chain. As Leakey insisted, one telling aspectof their presentation is their sequential relation one with another. Thatsequential 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 nepourront pas passer travers les mailles de ce rseau tress par la logique.Toutes les ides, comme des flches obissantes, volent au mme but [Inthe books of Edgar Poe, the style is closely woven,concatenated; neitherthe readers recalcitrant will nor his laziness can pass through the meshes ofthis net woven by logic. All the ideas, like obedient arrows, fly to the sametarget] (OC II: 283). Poes concatenation creates a net, but it also works byenchanement, as Baudelaire points out in describing how Auguste Dupinsolved the mystery of The Murders in the Rue Morgue:

Entre une parole et une autre, entre deux ides tout fait trangres enapparence, il peut rtablir la lacune des ides non exprimes et presqueinconscientes. Il a tudi profondment tous les possibles et tous lesenchanements probables des faits. Il remonte dinduction en induction, etarrive dmontrer premptoirement que cest un singe qui a fait le crime.

[Between one word and another, between two ideas that appear to havenothing in common, he can restore the lacuna of unexpressed and nearlyunconscious ideas. He made a deep study of every possible and every likelychain of events deducible from the facts. He moves from induction toinduction, 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 theFleurs du mal and theSpleen de Paris todo the same: to find connections between words, between two ideas thatat first seem total strangers to each other, between one poem and the nextin the chain he has prepared. So it is not the secretarchitecture a term of which we have no proofthat it was Baudelaires way of describing his workbut the hidden fabric we will see uncovered here. It has remained hidden simply becausefew have thought it worth pursuing. The hunt for a secret architecture, whether based on a hidden message or on Baudelaires having divided theFleurs into chapters (Spleen et Idal, Tableaux parisiens, Le Vin,

Fleurs du mal, Rvolte, La Mort) or into subgroups according tomistress, or because it roughly moves from birth to death, has proved morealluring. The term fabric is appropriate whether we focus on the text astextileas does, for example, Barbara Wright: the work was conceived


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of imagination in Le Poison, Ciel brouill, Le Chat, Le BeauNavire, and LInvitation au voyage (poems 4953).10 But to place LeFlacon 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 lasttwo lines of the former, the Cher poison . . . / Qui me ronge, la vie etla mort de mon cur! [Dear poison . . . / That eats at me, O life anddeath of my heart!] (ll. 2728). As Antoine Adam remarks, If we wantto know why he calls [his love for Madame Sabatier] a poison at the endof Le Flacon, we only have to read the poem that immediately followsthis one. For the connection between the two is evident, and the secondcomments on the last lines of the first.11 J. A. Hiddleston suggests that inLawlers approach there are moments when one feels that the patterningcould have gone in a different direction, moments where there is morethan a hint of procrustianism that can lead to reductionism, since LeSerpent qui danse is not about coldness (though of course everyone knowsthat snakes are cold-blooded), but about light, sensuality, movement andmuch more.12 Lawler does not explain why he thinks Baudelaire arrangedthe collection by fives and threes. Why not sixes and sevensor why not,more simply, see each single poem as capable of interacting, as he arguesthat his groups interact, with the poem before and the poem after?

Mario Richters lecture intgrale of the 1861Fleurs du mal comescloser than Lawlers to anticipating my own. He reads the collection poemby poem, noting many of the connections linking each to each. Whatinterests me above all, he writes, is to follow thediscourse that developsin theFleurs du mal, the reason for which the poems have been arrangedin the order that is theirs and not in another.13 But it never seems to haveoccurred to Richter to consider why the poems were arranged in the orderthey were in the first place, which is to say, in the 1857 edition. For him itis as if the first edition never existed, and this leads him to the astoundingerror of asserting that the other person implied in the Notre [Our] in theline Notre blanche maison, petite mais tranquille [Our white house, smallbut tranquil] of the poem Je nai pas oubli, voisine de la ville . . . mustbe the woman who figures in the immediately preceding poem LAmourdu 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 asFM Adam). 12. See Hiddlestons review of Lawlers book, inFrench Studies 54, no. 1 (2000): 99. 13. Mario Richter,Baudelaire: Les Fleurs du mal: Lecture intgrale (Geneva: Slatkine,2001), 1314, hereafter cited in text.


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Je nai pas oubli . . . does. How could the meaning of Notre changein 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 thatapproach we must consider what they first meant when the poems oneither 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 orrelated character in the next. The poems are not continuous in the man-ner of succeeding paragraphs or chapters in a novel. Rather, each poemrepeats elements of the poem before in what is almost always a completelydifferent context. The poems play off each other in pairs by virtue of theresulting discrepancy, indeed quite often an ensuing opposition, betweenhow the repeated element functions in one context and how it functionsin 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 mistressto which two neighboring poems may allude) is identical in one poem andthe next occurs in the conjunction of Les Deux Bonnes Surs (1857:83; 1861: 11214) and La Fontaine de sang (1857: 84; 1861: 113): in thelatter, ces cruelles filles, as both Adam and Pichois remark, can only be

understood by imagining that the narrator is referring to the two sisters ofthe preceding poem. Lawler does not quite neglect the 1857 order. He devotes three pagesto it in an appendix, again finding fives and threes throughout, except fora stretch of threes only from La Destruction to Les Litanies de Satan.The two poems, however, that Baudelaire singled out in a letter to hismother as belonging together because both allude to their life togetherafter the death of his father and before her remarriageLa servante augrand cur . . . (1857: 69; 1861: 100) and Je nai pas oubli, voisinede la ville . . . (1857: 70; 1861: 99), which he kept together in the sec-ond edition even while reversing their orderfall in the same group ofthree 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 thegroup characterized by compassionate identification with figures of thecity and Je nai pas oubli, voisine de la ville . . . into the group whoseunifying theme is regret (183). This despite thenon urban setting of Laservante au grand cur . . . , the same little white houseoutside of the

city (voisine de la ville) where Je nai pas oubli takes place, and theregret that permeates both. Lawler admits, It is not that any one of thepieces cannot be displacedBaudelaire will move a good number of them

14. These numbers indicate the poems place in the order of the indicated edition.


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in the second editionsince clearly they can have more than one meaningand more than one context, while the wording will on occasion, especiallyin 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 comeclose to admitting that the meanings he (Lawler) assigns them come fromthe groups to which he also assigns them? In any event, Lawlers system isbased 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 tobe of interest. I am interested in what is paradoxically the same betweenneighboring poems despite their having no common theme worth talkingabout. 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 forma pendant to theFleurs du mal. I think he meant this in the sense in which Littr gives the word: Il se dit de deux objets dart peu prspareils, et destins figurer ensemble en se correspondant [It is said oftwo 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 theFleurs (Spleen et Idal, Tableaux parisiens) and (2) the letter Baude-laire wrote Arsne Houssaye, who published the first twenty of the prosepoems, in which he appears to give himcarte blanche to cut the sequenceat 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 forthe absence of section headings, while they may be relevant to an approachto the Fleurs based on claims of a secret architecture that involves clas-sifying the poems by theme, those headings are irrelevant to the sequentialstructure I uncover there, which continues without a break from the lastpoem of every section to the first poem of the next, and which is exactlythe same kind of structure uniting the poems in prose. Max Milner writes, It would be futile . . . to seek inLe Spleen de Paris the type of architecture that characterizesLes Fleurs du mal. . . . Is that to

15. mile Littr,Dictionnaire de la langue franaise(Paris: Hachette, 1877). Availableat 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 Houssayeand 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.


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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 theFleurs

does not preclude the presence of other connections, less visible no doubtand, to use Baudelaires own term, more tortuous, but still with some pos-sible structural signicance. One may even wonder whether theDdicace 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 etrciproquement [Everything . . . there is at the same time head and tail,alternatively and reciprocally]: what does that mean if not that each poem isa 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 in1964 in a detailed study ofLe Spleen de Paris to which few scholars havepaid any attention.18 According to Nies, there is some element alwayslinking 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 refersto 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 BelleDorothe) (a cabin by a tropical sea), and 34 (Dj!) with 35 (LesFentres) (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 lieto the notion that Baudelaire seriously meant that the reader (as distin-guished from Houssaye, the editor he hoped would publish at least some ofhis poems) could cut up the collection and read its pieces in any order hepleased. As it happens, poems 34 and 35, one of the examples Hiddlestoncites from Raitt, were not even among the poems Baudelaire sent Hous-saye. It is somewhat surprising that Hiddleston dismisses Niess approachon 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, OnLe 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 AloysiusBertrand und Baudelaire (Heidelberg: Winter, 1964), hereafter cited in text. 19. J. A. Hiddleston, Chacun sonSpleen : Some Observations on Baudelaires ProsePoems,Modern Language Review 86, no. 1 (January 1991): 68.


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motif at virtually every point in the sequence, for example, the perfumesthat figure in both poems 7 (Le Fou et la Vnus) and 8 (Le Chien etle flacon), the lac immobile in 15 (Le Gteau) and the heure immo-

bile in 16 (LHorloge), and the woman bien vente, fumant [wellfanned, smoking] in 24 (Les Projets) and the woman who takes pleasure fumer, se faire venter [in smoking, in being fanned] in 25 (La BelleDorothe) (Nies, 27980). Recalling that Baudelaire once described the Spleen de Paris to Sainte-Beuve as a flnerie [stroll] (Corr. II: 583), Niessays of his list of connections that they do not point to some overarch-ing architecture with subdivisions, for they come about through the freemovement of the poetic imagination, which will unexpectedly take up inits 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 Iintend to show, that each successive poem borrows some word, phrase, ormotif from its immediate predecessor and gives it a new context, as if thesecond poem were composed around this borrowed element. Edward K. Kaplan argues that the Spleen de Paris is not a randomassemblage of melodic rhapsodies, but a coherent ensemble, and that itengages 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 notalways find connections between them. Yet he does find quite a few, andI often enter into conversation and debate with him in my chapter on theprose poems, as I do with Lawler and Richter in readingLes Fleurs du mal. In the conclusion toPoetry and Moral Dialectic Lawler analyzes the firstten of the prose poems, and in The Prose Poem as Art of Anticlimax21 he takes up the rest. I would suggest, he writes, that the prose poemsare not fortuitously placed but obey the simplest of patterns . . . abrupttwos in which one text plays directly off the other by a sudden turn of thescrew or a twist of the kaleidoscope (the two images are Baudelaires). Tailanswers head, head answers tail (Lawler 1997, 17677). But he does notread them as do Nies, Kaplan, or myself, seeing each as having somethingin common with its predecessor2 with 1, 3 with 2, 4 with 3. Instead, hereads them in discrete pairs: 2 with 1, 4 with 3, 6 with 5, and so forthseeing 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 aJanus-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 (hereaftercited 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.


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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 theartfulness with which Baudelaire assembled his poems. I believe this aspect

of his work is part of what he meant by the rhtorique profonde that heimagined some would already know or guess and that others would neverunderstand:

Mon diteur prtend quil y aurait quelque utilit . . . expliquer pourquoiet comment jai fait ce livre, quels ont t mon but et mes moyens, mondessein et ma mthode. Un tel travail de critique aurait sans doute quelqueschances damuser les esprits amoureux de la rhtorique profonde. . . . Mais, un meilleur examen, ne parat-il pas vident que ce serait l une besognetout fait superue, pour les uns comme pour les autres, puisque les unssavent ou devinent, et que les autres ne comprendront jamais?. . . . Mne-t-on la foule dans les ateliers de lhabilleuse et du dcorateur, dans la logede la comdienne? Montre-t-on au public affol aujourdhui, indiffrentdemain, le mcanisme des trucs? Lui explique-t-on les retouches et les variantes . . . ? Lui rvle-t-on toutes les loques, les fards, les poulies, leschanes, les repentirs, les preuves barbouilles, bref toutes les horreurs quicomposent le sanctuaire de lart?

[My editor claims that there might be some utility . . . in explaining whyand how I made this book, what were my end and my means, my plan andmy method. Such a critical endeavor would no doubt have some chance ofamusing 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 costumersand designers workshops, into the actresss dressing room? Does one showthe mechanics of illusion to the public thrilled today, indifferent tomorrow?Does one explain to them alterations and variants . . . ? Does one reveal tothem all the rags, the makeup, the pulleys, the chains, the touch-ups, themarked-up proof sheetsin sum, all the horrors that compose the templeof art?] (Projet de prface pourLes Fleurs du mal, OC I : 185)

I present this visit behind the scenes in the hope that Baudelaire was wrongto think that those who did not already see would never understand.

I call what Baudelaire doesintra textual (as opposed tointer textual)because it takes place within his own text. It does, that is, if we consider theFleurs du mal or theSpleen de Paris a single text, as opposed to merely acollection of different texts whose interrelationships could be characterizedas intertextual. Collectionswhether of poems, short stories, essays, or the


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letters of an epistolary novelare potentially intratextual, and in fact quitea few live up to that potential, as I have elsewhere argued: MontaignesEssais, La FontainesFables and Contes, MontesquieusLettres persanes,

Robert Penn Warrens poetic collections and his volume of short stories,and Raymond Carvers short story and poetry collections.22 In my book onCarver I called intratextuality what can happen when the texts in a text(poems or stories in an intelligently assembled sequence) begin to refer toeach other in ways that seem to refer to their doing so.23 That may havebeen too restrictive a definition, since we do not require that intertextual-ity always have that self-referential aspect. Yet intratextuality in Baudelairedoes sometimes feature suchmises en abyme: the recycling of debris as bothmotif and practice in une petite mendiante rousse and Le Cygne andagain in Le Vin des chiffonniers; the multiple images of the same thing inLe Cygne and Les Sept Vieillards; the enclosure-penetrating perfumesin Harmonie du soir and Le Flacon; thecadavres in the side-by-sidepoems Le Vampire and Une nuit que jtais . . . , alluded to in the lat-ter in Comme au long dun cadavre un cadavre tendu; the twins whosestruggle 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 claimpossession of the same words and motifs, resulting in the disappearance of

the meaning we originally thought they had); the self-reflecting mirrors inLa Belle Dorothe and Les Yeux des pauvres; or the emblem in LeThyrse: qui osera dcider si les fleurs et les pampres ont t faits pourle bton, ou si le bton nest que le prtexte pour montrer la beaut despampres 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 thebeauty of the vines and the flowers?]. Who can decide of two neighboringand 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.


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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. J aime le souvenir . . . 5. J aime 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 the1857 and 1861 Editions

A P P E N D I X A

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21. Parfum exotique 22. Parfum exotique23. 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


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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 desouvenirs . . .

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


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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


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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


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1. Ltranger

2. Le Dsespoir de la vieille 3. LeConfiteor 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 inLe Spleen de Paris

A P P E N D I X B

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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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Scve, Maurice.The Dlie of Maurice Scve. Edited by I. D. McFarlane. Cam-bridge: Cambridge University Press, 1966.

Scott, Maria C.BaudelairesLe Spleen de Paris: Shifting Perspectives. Aldershot,UK: Ashgate, 2005.

Starobinski, Jean. Je nai pas oubli . . . (Baudelaire: pome XCIX desFleursdu mal ). In Au bonheur des mots: mlanges en lhonneur de Grald Antoine,41929. Nancy: Presses Universitaires de Nancy, 1984.

Stephens, Sonya.Baudelaires Prose Poems: The Practice and Politics of Irony. Oxford: Oxford University Press, 1999.

Thlot, Jrme. Une citation de Shakespeare dansLes Bons Chiens. Bulletinbaudelairien 24, no. 2 (1989): 6166.

Virgil. Eclogues, Georgics, Aeneid IVI, vol. 1. Translated by H. Rushton Fair-clough. Cambridge, MA: Harvard University Press, 1965. Wright, Barbara. Baudelaires Poetic Journey inLes Fleurs du Mal. In The

Cambridge Companion to Baudelaire, edited by Rosemary Lloyd, 3150.Cambridge: Cambridge University Press, 2005.


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Verse poems

Abel et Can, 1058 celle qui est trop gaie, 5658,

137, 195LAlbatros, 12022, 161, 162Alchimie de la douleur, 15758Allgorie, 98101Lme du vin, 10813, 18081LAmour du mensonge, 9, 8485,

17276LAmour et le crne, 1025LAube spirituelle, 8, 5860, 178Au Lecteur, 1721, 195 une dame crole, 7172, 146 une madone, 14043, 146 une mendiante rousse, 15, 80

81, 120, 16265 une passante, 16869Avec ses vtements . . . , 4043, 45Les Aveugles, 16769Le Balcon, 2728, 5254, 13032La Batrice, 99101, 18384,

19495

Le Beau Navire, 9, 6467La Beaut, 3335Bndiction, 1721, 12022, 163,

194, 249Les Bijoux, 3537, 49, 12325

I N D E X T O B A U D E L A I R E S W O R K S

i

Bohmiens en voyage, 2930, 106,175

Brumes et pluies, 7880, 17678Causerie, 6971, 13840, 148Chanson daprs-midi, 14245Chant dautomne, 13842Une charogne, 4347Le Chat: Dans ma cervelle . . . , 9,

6365Le Chat: Viens . . . , 5152, 64, 130Chtiment de lorgueil, 3133Les Chats, 7274, 147, 14950La Chevelure, 12629, 21315,

236, 252Ciel brouill, 9, 6263, 64La Cloche fle, 7476, 15455Confession, 5859Correspondances, 2123Le Crpuscule du matin, 8283,

17981Le Crpuscule du soir, 8183, 170,

174, 179Le Cygne, 15, 16366Danse macabre, 17075

De profundis clamavi, 4547La Destruction, 10, 9192, 18183Les Deux Bonnes Soeurs, 10,

9699, 181Don Juan aux Enfers, 3033


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I N D E X T O B A U D E L A I R E S W O R K S

280

poems in prose, 1112, 18995,203, 207, 243, 25860

Morale du joujou, 21619Projet de prface pourLes Fleurs du

mal, 14Richard Wagner etTannhuser

Paris, 56, 17, 149, 19294Salon de 1846, 22


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Leakey, F. W., 16, 22Lemaitre, Henri, 196Lvi-Strauss, Claude, 1, 8, 203Liszt, Franz, 5, 6, 17, 19294,

23740Lloyd, Rosemary, 11011Lucan, 15455

Mahuzier, Brigitte, 85Mallarm, Stphane, 44n5Manet, Edouard, 23334, 236Michelangelo, 3435Milner, Max, 1112, 11n16Molire, 31Montaigne, Michel de, 15Montesquieu, Charles de Secondat,

baron de, 15Mortelette, Yann, 257Mortimer, John Hamilton, 152Moskalew, Walter, 260Murphy, 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., 259Pichois, 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, 94Poe, Edgar Allan, 7, 243Poulet-Malassis, Auguste, 17374,

175, 255

Quesnel, Michel, 6, 32, 139, 178

Raitt, A. W., 12Richter, Mario, 910, 13, 22n2, 33,

34, 42, 58n7, 70, 71, 80, 8485,96, 104, 105, 116, 121, 163

Rimbaud, Arthur, 147Robb, Graham, 147

Sabatier, Apollonie-Agla, 9, 54, 57,61

Scve, Maurice, 179Scott, Maria C., 257Shakespeare, 34, 35, 100, 257Starobinski, Jean, 86n10Stephens, Sonya, 2078Stevens, Joseph, 25556, 261

Thlot, Jrome, 257Theocritus, 25861

Vigny, Alfred de, 3, 22, 194 Virgil, 100, 25861 Voltaire, 88

Wagner, Richard, 56, 17, 149, 19294, 238n20

Warren, Robert Penn, 15

Wright, Barbara, 78

G E N E R A L I N D E X