Paris Spleen: Little Poems in Prose (Wesleyan Poetry Series) by Charles Baudelaire

By Charles Baudelaire

Among 1855 and his dying in 1867, Charles Baudelaire inaugurated a new?and in his personal phrases "dangerous"?hybrid shape in a chain of prose poems often called Paris Spleen. vital and provocative, those fifty poems take the reader on a journey of 1850s Paris, via sparkling cafes and filthy facet streets, revealing a city at the eve of significant switch. In its planned fragmentation and merging of the lyrical with the sardonic, Le Spleen de Paris might be considered as one of many earliest and such a lot winning examples of a in particular city writing, the textual identical of the town scenes of the Impressionists. during this compelling new translation, Keith Waldrop provides the spouse to his leading edge translation of The vegetation of Evil. right here, Waldrop's completely modulated combine releases the song, depth, and dissonance in Baudelaire's prose. the result's a robust new re-imagining that's towards Baudelaire's personal poetry than any earlier English translation.

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I do not know in what miserable café and in what manner she breakfasted. I followed her to a reading room and watched a long time while she went through the newspapers, her eyes, already scorched with tears, searching for something of intense and personal interest. Finally, in the afternoon, under a fine autumn sky, one of those skies from which masses of regrets and memories sift down, she sat apart in a park, to listen, off from the crowd, to the kind of concert army bands provide for the people of Paris.

Practically all our mishaps come from not staying in our room,” says another sage, Pascal I think, recalling thus to the cell of meditation all the fools searching for happiness in movement and in a prostitution I would call fraternalistic, if I wanted to speak in my century’s uppity tone. 46 xxiv Planning To himself he said, wandering alone in a large park: “How beautiful she would be, wearing an elaborate and elegant court dress, in the fine feel of evening, coming down the marble steps of a palace to broad lawns and ornamental lakes.

They made, in fact, a redoubtable concert: squealing, bellowing, howling. A medley of cries, brassy blares, exploding rockets. Clowns and fools screwed up sunburnt faces, hardened by wind, rain, sun. They launched with aplomb actors with sure-fire acts, perfect oneliners, and gags as forceful and solid as Molière’s. Strong Men, proud of their enormous limbs, prognathous, beetle-browed, apelike, strutted their stuff in trunks laundered for the occasion. Dancers, beautiful as fairies, as princesses, capered and gamboled under bright lights that layered their skirts with glitter.

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