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[NABOKOV-L] Bald Baudelaire..."my twin",
"my fellow man" in LOLITA; T.S. Eliot's essay on CB.
"my fellow man" in LOLITA; T.S. Eliot's essay on CB.
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About Eliot and Baudelaire: URL: http://world.std.com/~raparker/exploring/tseliot/works/essays/lesson-of-baudelaire.html
article and a note: "Eliot's essay ends in a few French words: Vous, hypocrite lecteur . . . . Eliot is alluding to the last line of Baudelaire's poem "Au Lecteur" ("To the Reader") which served as the preface to his collection of poems Les Fleurs du Mal (The Flowers of Evil). The line is "Hypocrite lecteur, -- mon semblable, -- mon frère!" and a translation of it is "Hypocrite reader, my double, my brother!" Eliot was to reuse this line in The Waste Land (Part I, line 76)." *
From Alfred Appel's Notes (AL, p. 393) : "Poor Baudelaire" is evoked in a variant from Shade's poem in Pale Fire (167) and Kinbote's gardener aspires "to read the original Baudelaire and Dumas". The title of Invitation to a Beheading is drawn from B.'s L'Invitation au voyage". The poem's opening lines are quoted and toyed with in Ada (106). Lolita's lines (162) "there crouched a brun adolescent whom her russet beauty and the quicksilver in the baby folds of her stomach were sure to cause to se tordre - oh Baudelaire! - in recurrent dreams for months to come" are found in Baudelaire's "Le Crépuscule du matin"
262/1 - "Reader! Bruder!" (German, brother) An echo of the last line of Au Lecteur .
Appel's translation "Hypocrite reader - my fellow man - my brother"
I found other translations where "my fellow man" became "my twin":
Roy Campbell (1952) "Hypocritre reader! - You! - My twin! - My brother!"
Norman R. Shapiro Les Fleurs du mal, Univ. Chicago Press."-You know him, reader,-hypocrite,-my twin!"
284/3 "Shorn Baudelaire": A.Appel: "the poet's dramatic baldness" [ "an abstract idea, a painting, stippled Hopkins or shorn Baudelaire, God or Shakespeare, anything of genuine kind."]
..................................................................................
* - T.S Eliot's essay: The Lesson of Baudelaire
With regard to certain intellectual activities across the Channel, which at the moment appear to take the place of poetry in the life of Paris, some effort ought to be made to arrive at an intelligent point of view on this side. It is probable that this French performance is of value almost exclusively for the local audience; I do not here assert that it has any value at all, only that its pertinence, if it has any, is to a small public formidably well instructed in its own literary history, erudite and stuffed with tradition to the point of bursting. Undoubtedly the French man of letters is much better read in French literature than the English man of letters is in any literature; and the educated English poet of our day must be too conscious, by his singularity in that respect, of what he knows, to form a parallel to the Frenchman. If French culture is too uniform, monotonous*, English culture, when it is found, is too freakish and odd. Dadaism is a diagnosis of a disease of the French mind; whatever lesson we extract from it will not be directly applicable in London.
Whatever value there may be in Dada depends upon the extent to which it is a moral criticism of French literature and French life. All first-rate poetry is occupied with morality: this is the lesson of Baudelaire. More than any poet of his time, Baudelaire was aware of what most mattered: the problem of good and evil. What gives the French Seventeenth Century literature its solidity is the fact that it had its Morals, that it had a coherent point of view. Romanticism endeavoured to form another Morals--Rousseau, Byron, Goethe, Poe were moralists. But they have not sufficient coherence; not only was the foundation of Rousseau rotten, his structure was chaotic and inconsistent. Baudelaire, a deformed Dante (somewhat after the intelligent Barbey d'Aurevilly's phrase), aimed, with more intellect plus intensity, and without much help from his predecessors, to arrive at a point of view toward good and evil.
English poetry, all the while, either evaded the responsibility, or assumed it with too little seriousness. The Englishman had too much fear, or too much respect, for morality to dream that possibly or necessarily he should be concerned with it, vom Haus aus, in poetry. This it is that makes some of the most distinguished English poets so trifling. Is anyone seriously interested in Milton's view of good and evil? Tennyson decorated the morality he found in vogue; Browning really approached the problem, but with too little seriousness, with too much complacency; thus the " Ring and the Book" just misses greatness--as the revised version of "Hyperion" almost, or just, touches it. As for the verse of the present time, the lack of curiosity in technical matters, of the academic poets of to-day (Georgian et cætera) is only an indication of their lack of curiosity in moral matters. On the other hand, the poets who consider themselves most opposed to Georgianism, and who know a little French, are mostly such as could imagine the Last Judgment only as a lavish display of Bengal lights, Roman candles, catherine-wheels, and inflammable fire-balloons. Vous, hypocrite lecteur . . . .
* Not without qualification. M. Valéry is a mathematician; M. Benda is a mathematician and a musician. These, however, are men of exceptional intelligence.
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article and a note: "Eliot's essay ends in a few French words: Vous, hypocrite lecteur . . . . Eliot is alluding to the last line of Baudelaire's poem "Au Lecteur" ("To the Reader") which served as the preface to his collection of poems Les Fleurs du Mal (The Flowers of Evil). The line is "Hypocrite lecteur, -- mon semblable, -- mon frère!" and a translation of it is "Hypocrite reader, my double, my brother!" Eliot was to reuse this line in The Waste Land (Part I, line 76)." *
From Alfred Appel's Notes (AL, p. 393) : "Poor Baudelaire" is evoked in a variant from Shade's poem in Pale Fire (167) and Kinbote's gardener aspires "to read the original Baudelaire and Dumas". The title of Invitation to a Beheading is drawn from B.'s L'Invitation au voyage". The poem's opening lines are quoted and toyed with in Ada (106). Lolita's lines (162) "there crouched a brun adolescent whom her russet beauty and the quicksilver in the baby folds of her stomach were sure to cause to se tordre - oh Baudelaire! - in recurrent dreams for months to come" are found in Baudelaire's "Le Crépuscule du matin"
262/1 - "Reader! Bruder!" (German, brother) An echo of the last line of Au Lecteur .
Appel's translation "Hypocrite reader - my fellow man - my brother"
I found other translations where "my fellow man" became "my twin":
Roy Campbell (1952) "Hypocritre reader! - You! - My twin! - My brother!"
Norman R. Shapiro Les Fleurs du mal, Univ. Chicago Press."-You know him, reader,-hypocrite,-my twin!"
284/3 "Shorn Baudelaire": A.Appel: "the poet's dramatic baldness" [ "an abstract idea, a painting, stippled Hopkins or shorn Baudelaire, God or Shakespeare, anything of genuine kind."]
..................................................................................
* - T.S Eliot's essay: The Lesson of Baudelaire
With regard to certain intellectual activities across the Channel, which at the moment appear to take the place of poetry in the life of Paris, some effort ought to be made to arrive at an intelligent point of view on this side. It is probable that this French performance is of value almost exclusively for the local audience; I do not here assert that it has any value at all, only that its pertinence, if it has any, is to a small public formidably well instructed in its own literary history, erudite and stuffed with tradition to the point of bursting. Undoubtedly the French man of letters is much better read in French literature than the English man of letters is in any literature; and the educated English poet of our day must be too conscious, by his singularity in that respect, of what he knows, to form a parallel to the Frenchman. If French culture is too uniform, monotonous*, English culture, when it is found, is too freakish and odd. Dadaism is a diagnosis of a disease of the French mind; whatever lesson we extract from it will not be directly applicable in London.
Whatever value there may be in Dada depends upon the extent to which it is a moral criticism of French literature and French life. All first-rate poetry is occupied with morality: this is the lesson of Baudelaire. More than any poet of his time, Baudelaire was aware of what most mattered: the problem of good and evil. What gives the French Seventeenth Century literature its solidity is the fact that it had its Morals, that it had a coherent point of view. Romanticism endeavoured to form another Morals--Rousseau, Byron, Goethe, Poe were moralists. But they have not sufficient coherence; not only was the foundation of Rousseau rotten, his structure was chaotic and inconsistent. Baudelaire, a deformed Dante (somewhat after the intelligent Barbey d'Aurevilly's phrase), aimed, with more intellect plus intensity, and without much help from his predecessors, to arrive at a point of view toward good and evil.
English poetry, all the while, either evaded the responsibility, or assumed it with too little seriousness. The Englishman had too much fear, or too much respect, for morality to dream that possibly or necessarily he should be concerned with it, vom Haus aus, in poetry. This it is that makes some of the most distinguished English poets so trifling. Is anyone seriously interested in Milton's view of good and evil? Tennyson decorated the morality he found in vogue; Browning really approached the problem, but with too little seriousness, with too much complacency; thus the " Ring and the Book" just misses greatness--as the revised version of "Hyperion" almost, or just, touches it. As for the verse of the present time, the lack of curiosity in technical matters, of the academic poets of to-day (Georgian et cætera) is only an indication of their lack of curiosity in moral matters. On the other hand, the poets who consider themselves most opposed to Georgianism, and who know a little French, are mostly such as could imagine the Last Judgment only as a lavish display of Bengal lights, Roman candles, catherine-wheels, and inflammable fire-balloons. Vous, hypocrite lecteur . . . .
* Not without qualification. M. Valéry is a mathematician; M. Benda is a mathematician and a musician. These, however, are men of exceptional intelligence.
Search archive with Google:
http://www.google.com/advanced_search?q=site:listserv.ucsb.edu&HL=en
Contact the Editors: mailto:nabokv-l@utk.edu,nabokv-l@holycross.edu
Visit Zembla: http://www.libraries.psu.edu/nabokov/zembla.htm
View Nabokv-L policies: http://web.utk.edu/~sblackwe/EDNote.htm
Visit "Nabokov Online Journal:" http://www.nabokovonline.com
Manage subscription options: http://listserv.ucsb.edu/