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Paris Spleen
Set in a modern, urban Paris, the prose pieces in this volume constitute a further exploration of the terrain Baudelaire had covered in his verse masterpiece, The Flowers of Evil: the city and its squalor and inequalities, the pressures of time and mortality, and the liberation provided by the sensual delights of intoxication, art, and women. Published posthumously in 1869, Paris Spleen was a landmark publication in the development of the genre of prose poetry¡ªa format which Baudelaire saw as particularly suited for expressing the feelings of uncertainty, flux, and freedom of his age¡ªand one of the founding texts of literary modernism.
118 pages, Paperback
First published January 1, 1857
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About the author
Charles Baudelaire
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Les fleurs du mal
(1857), obscene only volume of French writer, translator, and critic Charles Pierre Baudelaire; expanded in 1861, it exerted an enormous influence over later symbolist and modernist poets.
Reputation of Charles Pierre Baudelaire rests primarily on perhaps the most important literary art collection, published in Europe in the 19th century. Similarly, his early experiment Petits po¨¨mes en prose (1868) ( Little Prose Poems ) most succeeded and innovated of the time.
From financial disaster to prosecution for blasphemy, drama and strife filled life of known Baudelaire with highly controversial and often dark tales of Edgar Allan Poe. Long after his death, his name represents depravity and vice. He seemingly speaks directly to the 20th century civilization.
Reputation of Charles Pierre Baudelaire rests primarily on perhaps the most important literary art collection, published in Europe in the 19th century. Similarly, his early experiment Petits po¨¨mes en prose (1868) ( Little Prose Poems ) most succeeded and innovated of the time.
From financial disaster to prosecution for blasphemy, drama and strife filled life of known Baudelaire with highly controversial and often dark tales of Edgar Allan Poe. Long after his death, his name represents depravity and vice. He seemingly speaks directly to the 20th century civilization.
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March 5, 2022
Les fleurs du mal; Le spleen de Paris = The Flowers of Evil Paris Spleen: Selected Poems, Charles Baudelaire
Charles Pierre Baudelaire (April 9, 1821 ¨C August 31, 1867) was a French poet who also produced notable work as an essayist, art critic, and pioneering translator of Edgar Allan Poe. His most famous work, The Flowers of Evil, expresses the changing nature of beauty in modern, industrializing Paris during the 19th century.
Baudelaire's highly original style of prose-poetry influenced a whole generation of poets including Paul Verlaine, Arthur Rimbaud and St¨¦phane Mallarm¨¦ among many others. He is credited with coining the term modernity to designate the fleeting, ephemeral experience of life in an urban metropolis, and the responsibility art has to capture that experience.
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???? ???????? ?????? ?????? ????? ???: ?????? ???????? ? ??????? ?????? ?????? ??? ?? ??? ? ??? ?????? ????? (1821?????? ?? 1867??????)?? ???? ?????????? ??? ? ??????? ?????? ???? ??? ???? ????? ???? ??? ????? ?????? ??????? ???? ??? ??????? ????????? ???? ?????????? ?????? ??? ??? ?????? ??? ????????? ???? ???? ? ?????? ????? ?? ??????? ??? ?? ?? ??????? ??????? ???
?? ??????? ???? ????? ????? ????: (?? ????? ????????? ???? ?????? ?????? ??????? ??????? ??? ???? ????????? ???????? ?????? ????? ????? ??? ?? ?? ?????? ? ???? ??????? ???? ? ????? ??? ???? ????? ???? ????? ?? ??? ???????? ??? ????? ??????? ??????? ???? ? ??? ??????? ??????? ??? ?????? ??? ?????? ? ??? ?????? ??? ??????? ??? ??????? ? ??? ??????? ?????? ???? ????? ??? ??? ?? ??????? ???????? ?????? ? ????? ??? ??? ?? ???? ?????? ? ????????? ????? ???? ????? ??? ????? ??? ???? ??????????? ?? ???? ?????? ????? ??? ????? ?????? ???? ?????? ????? ?????? ?? ????? ??????? ???? ????
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....
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????? ?? ?????? ?????? ????????? ??? ???? ????? ?? ??????? ?????? ??? ??????? ???? ?????? ???? ? ????? ??? ????? ??? ???? ??? ????? ???????? ???? ???? ?? ????? ????? ?????? ??????
????? ?? ??????? ?????: ??? ???????? ???? ??????? ?? ?? ???? ????? ?????? ?????? ???? ?? ????? ?????? ??? ?????? ??????? ??? ??????? ?? ????? ?????? ?????? ?? ???? ???? ????????? ??????? ???? ??? ?????? ??????? ??? ?????? ??????? ??????? ??????? ????? ????? ???????? ????? ??? ???????? ? ?????? ????? ????? ???? ??????? ????? ??????? ? ????? ?????? ??? ????? ? ?????? ??? ?? ????? ??? ?????? ??????? ??? ???? ? ??? ?????? ??????? ???? ??? ?????? ???? ?? ??? ???? ??????? ?? ????? ??? ??? ?????? ????? ? ?????? ?????? ??? ??????? ?? ??? ??????? ??? ???? ??????? ???
????? ?? ??? ???????? ???? ?????? ????? ? ??? ???????? ?? ??????? ? ???? ?? ?? ??? ?????? ??????? ? ??? ??? ?????????? ?? ???? ?????? ?????? ??? ?? ?????? ??????? ????? ?????? ?????? ?? ???? ? ????????? ? ??????? ??????? ??? ??? ??? ??? ????? ? ?????? ?????? ?????? ???? ????? ??????? ??? ?????? ??? ?? ??????? ???????? ??? ?????? ? ?????? ???????
??? ????? ????? ????? ? ??? ????? ????? ??? ???????? ?????? ????? ?? ???? ????? ?????: (?????????? ????? ???????? ??????? ??????? ??? ?? ?????? ??? ??????? ????????? ? ???????? ???? ? ???? ????? ?????? ????? ????? - ???? ???? ?????? ?????? ??????? ????: ??????? ?????? ???? ? ??? ??????? ????? ???? ??????? ????? ????? ? ?????? ????? ? ??? ??????? ? ??????????
????? ?????? ????? 04/03/1400???? ???????? 13/12/1400???? ???????? ?. ???????
Charles Pierre Baudelaire (April 9, 1821 ¨C August 31, 1867) was a French poet who also produced notable work as an essayist, art critic, and pioneering translator of Edgar Allan Poe. His most famous work, The Flowers of Evil, expresses the changing nature of beauty in modern, industrializing Paris during the 19th century.
Baudelaire's highly original style of prose-poetry influenced a whole generation of poets including Paul Verlaine, Arthur Rimbaud and St¨¦phane Mallarm¨¦ among many others. He is credited with coining the term modernity to designate the fleeting, ephemeral experience of life in an urban metropolis, and the responsibility art has to capture that experience.
????? ?????? ?????: ??? ???? ??? ??????? ???1976??????
?????: ????? ?????? ? ??????? ?? ?? ?????? ????? ??? ? ???: ????? ????? ????? ??????? ?????? ?????? ?????? ????? ????? ? ??? ????? ???1341? ??47? ?250?? ?????: ?????? ? ??? ?????? ?????? - ???19?
???? ???????? ?????? ?????? ????? ???: ?????? ???????? ? ??????? ?????? ?????? ??? ?? ??? ? ??? ?????? ????? (1821?????? ?? 1867??????)?? ???? ?????????? ??? ? ??????? ?????? ???? ??? ???? ????? ???? ??? ????? ?????? ??????? ???? ??? ??????? ????????? ???? ?????????? ?????? ??? ??? ?????? ??? ????????? ???? ???? ? ?????? ????? ?? ??????? ??? ?? ?? ??????? ??????? ???
?? ??????? ???? ????? ????? ????: (?? ????? ????????? ???? ?????? ?????? ??????? ??????? ??? ???? ????????? ???????? ?????? ????? ????? ??? ?? ?? ?????? ? ???? ??????? ???? ? ????? ??? ???? ????? ???? ????? ?? ??? ???????? ??? ????? ??????? ??????? ???? ? ??? ??????? ??????? ??? ?????? ??? ?????? ? ??? ?????? ??? ??????? ??? ??????? ? ??? ??????? ?????? ???? ????? ??? ??? ?? ??????? ???????? ?????? ? ????? ??? ??? ?? ???? ?????? ? ????????? ????? ???? ????? ??? ????? ??? ???? ??????????? ?? ???? ?????? ????? ??? ????? ?????? ???? ?????? ????? ?????? ?? ????? ??????? ???? ????
???????: ???? ??? ???? ?????? ???? ???????? ?????? ??? ??????? ???? ???? ????? ???? ?????? ???????? ??? ???? ???? ???????? ???????? ?????? ????????? ????? ??? ??? ??????? ??? ?????? ? ??? ?????? ?????? ????
????? ???? ?????? ? ????? ???? ????? ???? ?? ????????? ??? ???? ??????????? ? ??? ???????? ??????? ???? ??? ????? ???????? ? ??????? ??? ??? ??????? ?????????? ????? ????????....? ???????? ?? ??? ?????? ??? ????? ???? ??? ????? ??????? ??????
....
??? ?????? ??? ??????? ?? ???????? ?????? ??? ?????? ??????? ?? ????? ?????? ?????? ????? ???? ????? ??????? ?????? ?? ? ????? ?????: ???? ?????? ??? ???? ??? ???? ??????? ?????? ??? ??????? ????? ????? ????? ???? ??? ??? ??? ????? ??? ????? ???? ???? ???? ????? ? ???? ??????? ?????? ??? ?????? ????? ????? ???? ?????? ???? ??? ??????? ??? ???? ???? ????? ??? ??? ?????? ?????? ???????? ?????? ? ???? ???????? ????? ? ??????? ??? ???? ?????? ?? ? ????????? ??? ????? ?? ?? ????? ???????????? ???????? ???????? ???? ????? ????
????? ?? ?????? ?????? ????????? ??? ???? ????? ?? ??????? ?????? ??? ??????? ???? ?????? ???? ? ????? ??? ????? ??? ???? ??? ????? ???????? ???? ???? ?? ????? ????? ?????? ??????
????? ?? ??????? ?????: ??? ???????? ???? ??????? ?? ?? ???? ????? ?????? ?????? ???? ?? ????? ?????? ??? ?????? ??????? ??? ??????? ?? ????? ?????? ?????? ?? ???? ???? ????????? ??????? ???? ??? ?????? ??????? ??? ?????? ??????? ??????? ??????? ????? ????? ???????? ????? ??? ???????? ? ?????? ????? ????? ???? ??????? ????? ??????? ? ????? ?????? ??? ????? ? ?????? ??? ?? ????? ??? ?????? ??????? ??? ???? ? ??? ?????? ??????? ???? ??? ?????? ???? ?? ??? ???? ??????? ?? ????? ??? ??? ?????? ????? ? ?????? ?????? ??? ??????? ?? ??? ??????? ??? ???? ??????? ???
????? ?? ??? ???????? ???? ?????? ????? ? ??? ???????? ?? ??????? ? ???? ?? ?? ??? ?????? ??????? ? ??? ??? ?????????? ?? ???? ?????? ?????? ??? ?? ?????? ??????? ????? ?????? ?????? ?? ???? ? ????????? ? ??????? ??????? ??? ??? ??? ??? ????? ? ?????? ?????? ?????? ???? ????? ??????? ??? ?????? ??? ?? ??????? ???????? ??? ?????? ? ?????? ???????
??? ????? ????? ????? ? ??? ????? ????? ??? ???????? ?????? ????? ?? ???? ????? ?????: (?????????? ????? ???????? ??????? ??????? ??? ?? ?????? ??? ??????? ????????? ? ???????? ???? ? ???? ????? ?????? ????? ????? - ???? ???? ?????? ?????? ??????? ????: ??????? ?????? ???? ? ??? ??????? ????? ???? ??????? ????? ????? ? ?????? ????? ? ??? ??????? ? ??????????
????? ?????? ????? 04/03/1400???? ???????? 13/12/1400???? ???????? ?. ???????
November 7, 2024
Charles Baudelaire's Little Poems in Prose (The Spleen of Paris) are inseparable from Paris and the architectural, social, and economic transformations the capital experienced in the second half of the 19th century.
The street plays a fundamental role in this because it represents the meeting place par excellence, a place of excellent mixing: the classes of society crossed there, the beings, crowds, or individuals, are offered in their diversity, generality, or specificity, revealing a form of their truth and a style of their honesty and authenticity.
How does time, the history of France and Europe, the history of ideas, and scientific and technological progress change Baudelaire's vision and poetics to bring it into modernity to be one of the initiators?
In the Spleen of Paris, Baudelaire becomes a man of the street, a ranger, voyeur, and clairvoyant. In this fascinating, repulsive city, Paris, Baudelaire seeks his inspiration and is no longer in the spectacle of nature.
It expands the field of inner experience in this place of evil and wanderings from which beauty sometimes arises.
Turning his back on conventional poetry, he then enters modernity.
The street plays a fundamental role in this because it represents the meeting place par excellence, a place of excellent mixing: the classes of society crossed there, the beings, crowds, or individuals, are offered in their diversity, generality, or specificity, revealing a form of their truth and a style of their honesty and authenticity.
How does time, the history of France and Europe, the history of ideas, and scientific and technological progress change Baudelaire's vision and poetics to bring it into modernity to be one of the initiators?
In the Spleen of Paris, Baudelaire becomes a man of the street, a ranger, voyeur, and clairvoyant. In this fascinating, repulsive city, Paris, Baudelaire seeks his inspiration and is no longer in the spectacle of nature.
It expands the field of inner experience in this place of evil and wanderings from which beauty sometimes arises.
Turning his back on conventional poetry, he then enters modernity.
September 25, 2023
I have this book by my bed. Before I drop my eyes into deep sleep I like to read a page or two of this book. It gives me a certain sense ..... of dreams. Wonderful dreams.
October 5, 2017
Tell me, enigmatical man, whom do you love best, your father,
your mother, your sister, or your brother?
I have neither father, nor mother, nor sister, nor brother.
Your friends?
Now you use a word whose meaning I have never known.
Your country?
I do not know in what latitude it lies.
Beauty?
I could indeed love her, Goddess and Immortal.
Gold?
I hate it as you hate God.
Then what do you love, extraordinary stranger?
I love the clouds...the clouds that pass...up there...
up there...the wonderful clouds!
your mother, your sister, or your brother?
I have neither father, nor mother, nor sister, nor brother.
Your friends?
Now you use a word whose meaning I have never known.
Your country?
I do not know in what latitude it lies.
Beauty?
I could indeed love her, Goddess and Immortal.
Gold?
I hate it as you hate God.
Then what do you love, extraordinary stranger?
I love the clouds...the clouds that pass...up there...
up there...the wonderful clouds!
May 25, 2023
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§ª §Ó§à§ä §å§Ø§Ö §Ô§Ý§å§Ò§Ú§ß§Ñ §ß§Ö§Ò§Ö§ã §Þ§Ö§ß§ñ §á§à§Õ§Ñ§Ó§Ý§ñ§Ö§ä, §é§Ú§ã§ä§à§ä§Ñ §Ú §á§â§à§Ù§â§Ñ§é§ß§à§ã§ä§î ¡ª §Ó§í§Ó§à§Õ§ñ§ä §Ú§Ù §ã§Ö§Ò§ñ. §¢§Ö§ã§ã§ä§â§Ñ§ã§ä§ß§Ñ§ñ §Þ§à§â§ã§Ü§Ñ§ñ §Ô§Ý§Ñ§Õ§î, §ß§Ö§Ù§í§Ò§Ý§Ö§Þ§à§ã§ä§î §ï§ä§à§Ô§à §Ô§â§Ñ§ß§Õ§Ú§à§Ù§ß§à§Ô§à §Ù§â§Ö§Ý§Ú§ë§Ñ §á§â§Ö§Õ§ã§ä§Ñ§Ó§Ý§ñ§ð§ä§ã§ñ §Þ§ß§Ö §Ó§à§Ù§Þ§å§ä§Ú§ä§Ö§Ý§î§ß§í§Þ§Ú¡ §¡§ç!.. §ß§å§Ø§ß§à §Ý§Ú §Ó§Ö§é§ß§à §ã§ä§â§Ñ§Õ§Ñ§ä§î §Ú§Ý§Ú §Ó§Ö§é§ß§à §Ú§Ù§Ò§Ö§Ô§Ñ§ä§î §á§â§Ö§Ü§â§Ñ§ã§ß§à§Ô§à? §±§â§Ú§â§à§Õ§Ñ, §Ó§à§Ý§ê§Ö§Ò§ß§Ú§è§Ñ, §ß§Ö §Ù§ß§Ñ§ð§ë§Ñ§ñ §Ø§Ñ§Ý§à§ã§ä§Ú, §Ó§ã§Ö§Ô§Õ§Ñ §ä§à§â§Ø§Ö§ã§ä§Ó§å§ð§ë§Ñ§ñ §ã§à§á§Ö§â§ß§Ú§è§Ñ, §à§ã§ä§Ñ§Ó§î §Þ§Ö§ß§ñ! §¯§Ö §Ú§ã§Ü§å§ê§Ñ§Û §Þ§Ö§ß§ñ §Ó §Þ§à§Ú§ç §Ø§Ö§Ý§Ñ§ß§Ú§ñ§ç §Ú §Ó §Þ§à§Ö§Û §Ô§à§â§Õ§í§ß§Ö! §£§ã§ñ§Ü§Ú§Û §å§â§à§Ü §á§â§Ö§Ü§â§Ñ§ã§ß§à§Ô§à ¡ª §á§à§Ö§Õ§Ú§ß§à§Ü, §Ô§Õ§Ö §ç§å§Õ§à§Ø§ß§Ú§Ü §Ú§ã§á§å§ã§Ü§Ñ§Ö§ä §Ó§à§á§Ý§î §å§Ø§Ñ§ã§Ñ, §á§Ö§â§Ö§Õ §ä§Ö§Þ §Ü§Ñ§Ü §å§á§Ñ§ã§ä§î §á§à§Ò§Ö§Ø§Õ§Ö§ß§ß§í§Þ."
§´§Ö§Þ §Ó §ï§ä§à§Þ §ã§Ò§à§â§ß§Ú§Ü§Ö §ä§Ñ§Ü §Þ§ß§à§Ô§à §Ú §à§ß§Ú §Ú§Ù§Ó§Ö§â§Ô§Ñ§ð§ä§ã§ñ §ä§Ñ§Ü§Ú§Þ §Ò§Ö§ã§á§à§â§ñ§Õ§à§é§ß§í§Þ §á§à§ä§à§Ü§à§Þ, §é§ä§à §Ü§Ñ§Ø§Õ§í§Û §Ò§å§Õ§Ö§ä §Ú§Þ§Ö§ä§î §ã§Ó§à§Ö §Þ§ß§Ö§ß§Ú§Ö, §à §é§Ö§Þ §Ø§Ö §ã§ä§Ú§ç§Ú.
§®§ß§Ö §Ø§Ö §Ü§Ñ§Ø§Ö§ä§ã§ñ, §é§ä§à §Ü§â§Ñ§ã§à§ä§Ñ §Ú §ç§å§Õ§à§Ø§ß§Ú§Ü / §á§à§ï§ä. §¡ §Þ§à§Ø§Ö§ä §Ò§í§ä§î §£§â§Ö§Þ§ñ, §Ü§à§Ô§Õ§Ñ §ã§Ö§Ü§å§ß§Õ§í, §ã§â§í§Ó§Ñ§ð§ë§Ú§Ö§ã§ñ §ã §Þ§Ñ§ñ§ä§ß§Ú§Ü§Ñ §Ó§à§Ù§Ó§Ö§ë§Ñ§ð§ä: "§Á ¡ª §ã§Ñ§Þ§Ñ §¨§Ú§Ù§ß§î, §ß§Ö§Ó§í§ß§à§ã§Ú§Þ§Ñ§ñ, §ß§Ö§å§Þ§à§Ý§Ú§Þ§Ñ§ñ §¨§Ú§Ù§ß§î!".
§®§ß§à§Ô§Ú§Ö §ã§ä§Ú§ç§à§ä§Ó§à§â§Ö§ß§Ú§ñ §æ§Ú§Ý§à§ã§à§æ§ã§Ü§Ú §Ô§Ý§å§Ò§à§Ü§Ú.
§¯§Ö§à§Ø§Ú§Õ§Ñ§ß§ß§à §Ö§ã§ä§î §Ú §ã§à§è§Ú§Ñ§Ý§î§ß§Ñ§ñ §á§â§à§Ò§Ý§Ö§Þ§Ñ§ä§Ú§Ü§Ñ, §ß§Ñ§á§â§Ú§Þ§Ö§â, §Ó "§³§ä§Ñ§â§à§Þ §á§Ñ§ñ§è§Ö", "§ª§Ô§â§å§ê§Ü§Ö §Ò§Ö§Õ§ß§ñ§Ü§Ñ" §Ú§Ý§Ú "§±§Ú§â§à§Ø§Ü§Ö".
§ª§Ù §é§Ñ§ã§ä§í§ç §á§â§à§Ô§å§Ý§à§Ü §á§à §Ò§à§Ý§î§ê§Ú§Þ §Ô§à§â§à§Õ§Ñ§Þ, §Ú§Ù §ß§Ñ§Ò§Ý§ð§Õ§Ö§ß§Ú§Û §Ù§Ñ §Ò§Ö§ã§é§Ú§ã§Ý§Ö§ß§ß§í§Þ§Ú §Ý§ð§Õ§ã§Ü§Ú§Þ§Ú §à§ä§ß§à§ê§Ö§ß§Ú§ñ§Þ§Ú §Ú §Ó§à§Ù§ß§Ú§Ü§Ñ§Ö§ä §ï§ä§à§ä §ß§Ö§à§ä§ã§ä§å§á§ß§í§Û §Ú§Õ§Ö§Ñ§Ý".
§¹§å§Ø§Ö§Ù§Ö§Þ§Ö§è, §å §Ü§à§ä§à§â§à§Ô§à §ß§Ú§Ü§à§Ô§à §ß§Ö§ä, §Ü§à§Ô§à §Ò§í §Ý§ð§Ò§Ú§ä§î, §ß§à §Ü§à§ä§à§â§í§Û §Ý§ð§Ò§Ú§ä §à§Ò§Ý§Ñ§Ü§Ñ, §é§ä§à §á§Ý§í§Ó§å§ä §ä§Ñ§Þ §Ó §Ó§í§ê§Ú§ß§Ö, §Õ§Ú§Ó§ß§í§Ö §à§Ò§Ý§Ñ§Ü§Ñ, §³§ä§Ñ§â§í§Û §±§Ñ§ñ§è §Ú §Þ§ß§à§Ô§Ú§Ö §Õ§â§å§Ô§Ú§Ö §Ø§Ú§Ó§å§ä §Ó §ï§ä§à§Û §Ý§Ú§â§Ú§Ü§Ö §Ó §á§â§à§Ù§Ö.
§Á§Ù§í§Ü §¢§à§Õ§Ý§Ö§â§Ñ §à§Ò§â§Ñ§Ù§Ö§ß §Ú §à§Ò§â§Ñ§Ù§í §á§â§Ö§Ü§â§Ñ§ã§ß§í.
"§¯§Ö§ä §à§ã§ä§â§Ú§ñ §Ò§à§Ý§Ö§Ö §Ü§à§Ý§Ü§à§Ô§à, §é§Ö§Þ §à§ã§ä§â§Ú§Ö §¢§Ö§ã§Ü§à§ß§Ö§é§ß§à§ã§ä§Ú."
§³§ä§Ú§ç§à§ä§Ó§à§â§Ö§ß§Ú§ñ §ß§Ñ§á§à§Ý§ß§Ö§ß§í §ï§Ü§Ù§Ú§ã§ä§Ö§ß§è§Ú§Ñ§Ý§î§ß§à§Û §ä§à§ã§Ü§à§Û, §à§ä§é§Ñ§ñ§ß§Ú§ñ, §á§â§Ö§Õ§à§á§â§Ö§Õ§Ö§Ý§×§ß§ß§à§ã§ä§Ú §á§à§â§Ñ§Ø§Ö§ß§Ú§ñ §ß§Ñ §æ§à§ß§Ö §Ó§Ö§é§ß§à§Û §Ü§â§Ñ§ã§à§ä§í. "§°§Õ§ß§Ñ§Ü§à §ï§ä§Ú §Þ§í§ã§Ý§Ú, §Ú§ã§ç§à§Õ§ñ§ä §Ý§Ú §à§ß§Ú §à§ä §Þ§Ö§ß§ñ §Ú§Ý§Ú §å§ã§ä§â§Ö§Þ§Ý§ñ§ð§ä§ã§ñ §Ú§Ù §Ô§Ý§å§Ò§Ú§ß§í §Ó§Ö§ë§Ö§Û, §Õ§Ö§Ý§Ñ§ð§ä§ã§ñ §Ó§ã§Ü§à§â§Ö §é§Ö§â§Ö§ã§é§å§â §ß§Ñ§á§â§ñ§Ø§Ö§ß§ß§í§Þ§Ú. §ª§Ù§Ò§í§ä§à§Ü §ß§Ñ§ã§Ý§Ñ§Ø§Õ§Ö§ß§Ú§ñ §ã§Þ§Ö§ß§ñ§Ö§ä§ã§ñ §Ó§ñ§Ý§à§ã§ä§î§ð §Ú §ã§Ñ§Þ§í§Þ §ß§Ñ§ã§ä§à§ñ§ë§Ú§Þ §ã§ä§â§Ñ§Õ§Ñ§ß§Ú§Ö§Þ. §®§à§Ú §ß§Ö§â§Ó§í, §ã§Ý§Ú§ê§Ü§à§Þ §ß§Ñ§ä§ñ§ß§å§ä§í§Ö, §ã§à§Õ§â§à§Ô§Ñ§ð§ä§ã§ñ §Ò§à§Ý§Ö§Ù§ß§Ö§ß§ß§à §Ú §Þ§å§é§Ú§ä§Ö§Ý§î§ß§à.
§ª §Ó§à§ä §å§Ø§Ö §Ô§Ý§å§Ò§Ú§ß§Ñ §ß§Ö§Ò§Ö§ã §Þ§Ö§ß§ñ §á§à§Õ§Ñ§Ó§Ý§ñ§Ö§ä, §é§Ú§ã§ä§à§ä§Ñ §Ú §á§â§à§Ù§â§Ñ§é§ß§à§ã§ä§î ¡ª §Ó§í§Ó§à§Õ§ñ§ä §Ú§Ù §ã§Ö§Ò§ñ. §¢§Ö§ã§ã§ä§â§Ñ§ã§ä§ß§Ñ§ñ §Þ§à§â§ã§Ü§Ñ§ñ §Ô§Ý§Ñ§Õ§î, §ß§Ö§Ù§í§Ò§Ý§Ö§Þ§à§ã§ä§î §ï§ä§à§Ô§à §Ô§â§Ñ§ß§Õ§Ú§à§Ù§ß§à§Ô§à §Ù§â§Ö§Ý§Ú§ë§Ñ §á§â§Ö§Õ§ã§ä§Ñ§Ó§Ý§ñ§ð§ä§ã§ñ §Þ§ß§Ö §Ó§à§Ù§Þ§å§ä§Ú§ä§Ö§Ý§î§ß§í§Þ§Ú¡ §¡§ç!.. §ß§å§Ø§ß§à §Ý§Ú §Ó§Ö§é§ß§à §ã§ä§â§Ñ§Õ§Ñ§ä§î §Ú§Ý§Ú §Ó§Ö§é§ß§à §Ú§Ù§Ò§Ö§Ô§Ñ§ä§î §á§â§Ö§Ü§â§Ñ§ã§ß§à§Ô§à? §±§â§Ú§â§à§Õ§Ñ, §Ó§à§Ý§ê§Ö§Ò§ß§Ú§è§Ñ, §ß§Ö §Ù§ß§Ñ§ð§ë§Ñ§ñ §Ø§Ñ§Ý§à§ã§ä§Ú, §Ó§ã§Ö§Ô§Õ§Ñ §ä§à§â§Ø§Ö§ã§ä§Ó§å§ð§ë§Ñ§ñ §ã§à§á§Ö§â§ß§Ú§è§Ñ, §à§ã§ä§Ñ§Ó§î §Þ§Ö§ß§ñ! §¯§Ö §Ú§ã§Ü§å§ê§Ñ§Û §Þ§Ö§ß§ñ §Ó §Þ§à§Ú§ç §Ø§Ö§Ý§Ñ§ß§Ú§ñ§ç §Ú §Ó §Þ§à§Ö§Û §Ô§à§â§Õ§í§ß§Ö! §£§ã§ñ§Ü§Ú§Û §å§â§à§Ü §á§â§Ö§Ü§â§Ñ§ã§ß§à§Ô§à ¡ª §á§à§Ö§Õ§Ú§ß§à§Ü, §Ô§Õ§Ö §ç§å§Õ§à§Ø§ß§Ú§Ü §Ú§ã§á§å§ã§Ü§Ñ§Ö§ä §Ó§à§á§Ý§î §å§Ø§Ñ§ã§Ñ, §á§Ö§â§Ö§Õ §ä§Ö§Þ §Ü§Ñ§Ü §å§á§Ñ§ã§ä§î §á§à§Ò§Ö§Ø§Õ§Ö§ß§ß§í§Þ."
§´§Ö§Þ §Ó §ï§ä§à§Þ §ã§Ò§à§â§ß§Ú§Ü§Ö §ä§Ñ§Ü §Þ§ß§à§Ô§à §Ú §à§ß§Ú §Ú§Ù§Ó§Ö§â§Ô§Ñ§ð§ä§ã§ñ §ä§Ñ§Ü§Ú§Þ §Ò§Ö§ã§á§à§â§ñ§Õ§à§é§ß§í§Þ §á§à§ä§à§Ü§à§Þ, §é§ä§à §Ü§Ñ§Ø§Õ§í§Û §Ò§å§Õ§Ö§ä §Ú§Þ§Ö§ä§î §ã§Ó§à§Ö §Þ§ß§Ö§ß§Ú§Ö, §à §é§Ö§Þ §Ø§Ö §ã§ä§Ú§ç§Ú.
§®§ß§Ö §Ø§Ö §Ü§Ñ§Ø§Ö§ä§ã§ñ, §é§ä§à §Ü§â§Ñ§ã§à§ä§Ñ §Ú §ç§å§Õ§à§Ø§ß§Ú§Ü / §á§à§ï§ä. §¡ §Þ§à§Ø§Ö§ä §Ò§í§ä§î §£§â§Ö§Þ§ñ, §Ü§à§Ô§Õ§Ñ §ã§Ö§Ü§å§ß§Õ§í, §ã§â§í§Ó§Ñ§ð§ë§Ú§Ö§ã§ñ §ã §Þ§Ñ§ñ§ä§ß§Ú§Ü§Ñ §Ó§à§Ù§Ó§Ö§ë§Ñ§ð§ä: "§Á ¡ª §ã§Ñ§Þ§Ñ §¨§Ú§Ù§ß§î, §ß§Ö§Ó§í§ß§à§ã§Ú§Þ§Ñ§ñ, §ß§Ö§å§Þ§à§Ý§Ú§Þ§Ñ§ñ §¨§Ú§Ù§ß§î!".
§®§ß§à§Ô§Ú§Ö §ã§ä§Ú§ç§à§ä§Ó§à§â§Ö§ß§Ú§ñ §æ§Ú§Ý§à§ã§à§æ§ã§Ü§Ú §Ô§Ý§å§Ò§à§Ü§Ú.
§¯§Ö§à§Ø§Ú§Õ§Ñ§ß§ß§à §Ö§ã§ä§î §Ú §ã§à§è§Ú§Ñ§Ý§î§ß§Ñ§ñ §á§â§à§Ò§Ý§Ö§Þ§Ñ§ä§Ú§Ü§Ñ, §ß§Ñ§á§â§Ú§Þ§Ö§â, §Ó "§³§ä§Ñ§â§à§Þ §á§Ñ§ñ§è§Ö", "§ª§Ô§â§å§ê§Ü§Ö §Ò§Ö§Õ§ß§ñ§Ü§Ñ" §Ú§Ý§Ú "§±§Ú§â§à§Ø§Ü§Ö".
April 23, 2018
?????? ?????? ??????? ????? ????? ?? ?????? ???? ????? ??????? ????? ?????? ??????? ?? ????? ???????? ?????? ?????? ???? ???? ?? ???? ?????? ??? ??????, ??? ????? ??? ?????? ??????? ?? ?? ???, ???? ?????, ???? ????? ???? , ??? ???? ???? ???? ???? ??? ????? ????? ?????? ????? ???????? ?? ???? ????????, ???? ?? ??????? ???? ?????? ??????? ???? ????? ?? ??????? ????? ?? ?????? ?? ?????? ?????? ??..
??? ??? ??? ???? , ?? ???? ????? ????????? ?? ??? ????? ?????? ?? ??? ????? ?? ?????? ????? ?? ???? ????? , ??? ????? ??? ?????? ??? ?????? ..
?????? ??? ?? ??????? ??????? ?? ?? ????? ?? ???? ???????? ??????? ?????????..
??? ??? ??? ???? , ?? ???? ????? ????????? ?? ??? ????? ?????? ?? ??? ????? ?? ?????? ????? ?? ???? ????? , ??? ????? ??? ?????? ??? ?????? ..
?????? ??? ?? ??????? ??????? ?? ?? ????? ?? ???? ???????? ??????? ?????????..
January 12, 2023
Paris Spleen is a retelling of Les Fleurs du Mal in a more profound and elaborate manner. It's more powerful with its touch on a wider range of themes. As in with Les Fleurs du Mal, pleasure, women, and intoxication, the causes of moral decadence are touched and elaborated. The artistry that was budding in the former work is fully realized in this work with the vagueness and mystery being replaced by more expression. But what makes Paris Spleen unique and stands apart from its predecessor is the picture of the daily city life of Paris that it paints through the 50 prose poems.
Baudelaire's observations of contemporary Paris flow through these powerful vignettes. It was a time of social, cultural, and economic transformation. And Baudelaire's pen exposed the human conditions and the human emotions of the people in this transformation period. With dark undertones, Baudelaire brings out the negative, the ugly aspect of things, that the city was eager to hide. And amidst all this change and progress, Baudelaire contemplates on one thing that the city seems to forget, which is human mortality.
Paris Spleen won my heart more than Les Fleurs du Mal. I did enjoy the mysterious and darker beauty of the latter but enjoyed more the open and communicative nature of the former. Out of his two celebrated works, I found Paris Spleen easier to connect with. His unmistakable sympathy for the unpleasant side of life was more positively and completely communicated through this bold collection.
Baudelaire is a gifted poet. He has the rare ability to make readers fall in love with the negative, the ugly, and the taboo. He tore the hypocritical veil of pretty verses and paved the way for realistic expression. In short, he exposed the truth of life, its nature, and its conditions in its true form.
More of my reviews can be found at
Baudelaire's observations of contemporary Paris flow through these powerful vignettes. It was a time of social, cultural, and economic transformation. And Baudelaire's pen exposed the human conditions and the human emotions of the people in this transformation period. With dark undertones, Baudelaire brings out the negative, the ugly aspect of things, that the city was eager to hide. And amidst all this change and progress, Baudelaire contemplates on one thing that the city seems to forget, which is human mortality.
Paris Spleen won my heart more than Les Fleurs du Mal. I did enjoy the mysterious and darker beauty of the latter but enjoyed more the open and communicative nature of the former. Out of his two celebrated works, I found Paris Spleen easier to connect with. His unmistakable sympathy for the unpleasant side of life was more positively and completely communicated through this bold collection.
Baudelaire is a gifted poet. He has the rare ability to make readers fall in love with the negative, the ugly, and the taboo. He tore the hypocritical veil of pretty verses and paved the way for realistic expression. In short, he exposed the truth of life, its nature, and its conditions in its true form.
More of my reviews can be found at
December 26, 2017
Who among us has not dreamt, in moments of ambition, of the miracle of a poetic prose, musical without rhythm and rhyme, supple and staccato enough to adapt to the lyrical stirrings of the soul, the undulations of dreams, and sudden leaps of consciousness.
Contrary to popular belief, I had never read Baudelaire until now. I've trusted Walter Benjamin and lately Calasso to provide me with a well informed ethos about this central figure. There are many concerns that this is the literature of the young, to which I shout, absurd. This is the lettres of the Absolute, the eternally curious.
Below the bile, there is a hum of sensitivity. Behind the debris are the tears of the sensitive. Is it forgiving, likely not? There is a buzzing pulse at play, a hum and a forgiving glance.
Contrary to popular belief, I had never read Baudelaire until now. I've trusted Walter Benjamin and lately Calasso to provide me with a well informed ethos about this central figure. There are many concerns that this is the literature of the young, to which I shout, absurd. This is the lettres of the Absolute, the eternally curious.
Below the bile, there is a hum of sensitivity. Behind the debris are the tears of the sensitive. Is it forgiving, likely not? There is a buzzing pulse at play, a hum and a forgiving glance.
April 23, 2022
Continuo a dire che leggere i bozzetti scritti dagli autori consente di apprezzare ancora di pi¨´ il loro stile e la loro poetica. In questi brevi poemetti dal gusto prosaico, Baudelaire ci conduce a conoscere buona parte della Parigi nascosta, di quelle vite che a stento destano l'attenzione del passante, ma che tanto hanno dentro di s¨¦. Solitudine, disperazione, scoramento, ma anche gioia, speranza, spensieratezza sembrano mescolarsi nell'animo delle curiose figure protagoniste di questa breve raccolta, a ricordarci che la vita non ¨¨ una cosa soltanto, ma miriadi di sensazioni mescolati insieme. Come il cielo stellato che tanto sa emozionarci.
May 26, 2013
I feel odd labeling a book of poetry as 'read'. That's not how a book of poetry is appreciated. It's not the simple act of opening to page one, reading each page in a linear fashion, then putting it back on the shelf (or in this case, closing the Kindle). Poetry is something that one must refer back to again and again. The images sit in the back of the mind waiting to be recalled again. Then, when the mood strikes, you jump to the bookcase and frantically flip the pages to find that image once again, to find that perfect phrase, that lucid expression that just sits there like an enigmatic cat, unmoving with deep-set eyes that flash and hint at some mysterious profundity.
This is true at least of the good poetry and Baudelaire gives us bags and bags full of those enigmatic cats (please excuse the cruel metaphor) in this collection. I'm not sure why Le fleurs de mal gets all the attention. These prose poems read so much more pure and uninhibited by the confines of poetic tradition. How can one resist such a beautiful manifesto to life as this:
"One must be for ever drunken: that is the sole question of importance. If you would not feel the horrible burden of Time that bruises your shoulders and bends you to the earth, you must be drunken without cease. But how? With wine, with poetry, with virtue, with what you please. But be drunken."
Twisting the notion of intoxication and turning the Enlightenment, with its glorious seekers of truth and justice, on its head feels so wonderfully perverse. There is a heavy dose of Romanticism in this phrase as there is at the core of much of Baudelaire's work, but I read it as a more mature Romanticism. Not the naive idealism and ignorant aspirations that killed Madame Bovary, but a Romanticism that's willing to look at life right in the eyes and kick it in the teeth if need be. Baudelaire seems to be someone who was attracted to the exuberance of Romanticism, but who was unwilling the accept the falseness of it.
Maybe we could call this a pragmatic Romanticism, or a realistic Romanticism. Hoping for the ideal while accepting the real. One example of this can be seen in Artist's Confiteor (which is "a form of prayer confessing sins, used in the Roman Catholic Mass and some other sacraments"). The poem starts with a romantic description of an autumn day. The sky and the sea. The immensity of Infinity. The Silence. The Solitude. Then, it all becomes too much. "Now the profound depth of the sky dismays me; its purity irritates me." Here we have a more realistic relationship between man and nature, Beauty and the artist, which leads to the final line of the poem: "The study of beauty is a duel in which the artist shrieks with terror before being overcome."
This is true at least of the good poetry and Baudelaire gives us bags and bags full of those enigmatic cats (please excuse the cruel metaphor) in this collection. I'm not sure why Le fleurs de mal gets all the attention. These prose poems read so much more pure and uninhibited by the confines of poetic tradition. How can one resist such a beautiful manifesto to life as this:
"One must be for ever drunken: that is the sole question of importance. If you would not feel the horrible burden of Time that bruises your shoulders and bends you to the earth, you must be drunken without cease. But how? With wine, with poetry, with virtue, with what you please. But be drunken."
Twisting the notion of intoxication and turning the Enlightenment, with its glorious seekers of truth and justice, on its head feels so wonderfully perverse. There is a heavy dose of Romanticism in this phrase as there is at the core of much of Baudelaire's work, but I read it as a more mature Romanticism. Not the naive idealism and ignorant aspirations that killed Madame Bovary, but a Romanticism that's willing to look at life right in the eyes and kick it in the teeth if need be. Baudelaire seems to be someone who was attracted to the exuberance of Romanticism, but who was unwilling the accept the falseness of it.
Maybe we could call this a pragmatic Romanticism, or a realistic Romanticism. Hoping for the ideal while accepting the real. One example of this can be seen in Artist's Confiteor (which is "a form of prayer confessing sins, used in the Roman Catholic Mass and some other sacraments"). The poem starts with a romantic description of an autumn day. The sky and the sea. The immensity of Infinity. The Silence. The Solitude. Then, it all becomes too much. "Now the profound depth of the sky dismays me; its purity irritates me." Here we have a more realistic relationship between man and nature, Beauty and the artist, which leads to the final line of the poem: "The study of beauty is a duel in which the artist shrieks with terror before being overcome."
November 9, 2019
????? ??? ???? ???? ?????? ?? ?????? ? ????? ????? ?????????? ?????. ???? ????? ??? ??? ?????? ?? ?????? ????? ?? ??? ???? ? ?? ??? ???? ?????? ? ????????? ???? ???? ??? ?? ????? ???? ????? ?? ???? ???? ?? ?? ??? ??? ? ????? ???? ??????? ????.
?? ???? ?? ????? ??? ???? ????? ? ?? ?????? ??????? ?? ?????? ??? ????? ????? ?? ????? ??????? ???? ???? ?? ?????. ?????? ??????? ??? ?? ???? ???? ? ?????? ??? ?????? ? ??? ????? ?? ??? ???? ??? ??? ????? ??? ?????? ????? ??????.
?? ????? ?? ????? ?????? ???? ?? ???? ????? ??? ?? ?? ??? ???? ???? ????? ???? ??? ?????.
?????? ???? ????? ????? ???? ???? ????? ?? ????? ?? ??? ??? ??? ?? ???? ???? ??? ????? ???.
??? ??????? ????? ?? ?? ???? ???? ?? ?????? ?? ???? ????????.
?? ???? ?? ????? ??? ???? ????? ? ?? ?????? ??????? ?? ?????? ??? ????? ????? ?? ????? ??????? ???? ???? ?? ?????. ?????? ??????? ??? ?? ???? ???? ? ?????? ??? ?????? ? ??? ????? ?? ??? ???? ??? ??? ????? ??? ?????? ????? ??????.
?? ????? ?? ????? ?????? ???? ?? ???? ????? ??? ?? ?? ??? ???? ???? ????? ???? ??? ?????.
?????? ???? ????? ????? ???? ???? ????? ?? ????? ?? ??? ??? ??? ?? ???? ???? ??? ????? ???.
??? ??????? ????? ?? ?? ???? ???? ?? ?????? ?? ???? ????????.
May 17, 2015
J'aurais eu bien du mal ¨¤ entrer dans l'univers tr¨¨s particulier de ces po¨¨mes en prose de Charles Baudelaire (1821-1867) si je n'avais pas lu au pr¨¦alable son , un essai dans lequel il expose son ¨¦tat d'esprit vis ¨¤ vis de l'art: quelque chose de fugace, de fragile, sans cesse menac¨¦ par la lourdeur et la b¨ºtise ambiante, une fleur rare ¨¤ cueillir non pas seulement sur les monts Ida ou Parnasse, mais aussi et surtout dans l'activit¨¦ des faubourgs, le fracas et les tracas de la vie moderne, les bras des amantes, les vapeurs des liqueurs, pour qui sait la voir, la saisir et la peindre.
Les quelques dizaines de textes courts qui composent cet ouvrage ne forment aucune esp¨¨ce d'unit¨¦, et sont ind¨¦pendantes les unes des autres. Le plus souvent, l'auteur semble tirer d'anecdotes de sa vie quotidienne un sujet frappant pour l'imagination, le jugement et la sensibilit¨¦, qu'il tourne avec un style et un vocabulaire ¨¦l¨¦gant, et serre en la terminant d'une chute cruelle, d'un aphorisme riche ou d'une pens¨¦e ¨¦lev¨¦e. Le bonheur n'est jamais complet ou b¨¦at, le malheur fracassant et terrible; l'¨¦motion est le fruit d'une dissonance, d'un contraste, d'une opposition: entre le bien et le mal, l'amour et le m¨¦pris, le luxe et la pauvret¨¦, l'illusion et le r¨¦el, la nature et la civilisation, la violence et la charit¨¦, la solitude et l'empathie. Il int¨¦resse et inqui¨¨te ¨¤ la fois, il fascine et d¨¦range en m¨ºme temps.
Mon temp¨¦rament est bien ¨¦loign¨¦ du sien; il aime l'ombre et les contrastes, je pr¨¦f¨¨re la lumi¨¨re et la clart¨¦; il aime l'ivresse et la douleur, je pr¨¦f¨¨re le calme et la s¨¦r¨¦nit¨¦. Et pourtant, il a r¨¦ussi ¨¤ me faire vibrer, ¨¤ m'envouter, ¨¤ me transmettre ses ¨¦motions. Cette mani¨¨re d'enchanter le r¨¦el dans ce qu'il a de plus sordide ou de plus trivial, m'a agr¨¦ablement surpris, charm¨¦ et conquis. Une tr¨¨s belle collection de textes po¨¦tiques en prose.
February 1, 2023
Charles Baudelaire¡¯s ¡°Les Fen¨ºtres¡±
(translated by Emily Leithauser)
He who looks out at the world from an open window never sees as many things as he who looks at a closed window. There is nothing deeper, more mysterious, more fruitful, more shadowy, or more dazzling than a window lit by a candle. What we can see in daylight is always less interesting than what happens behind a windowpane. Deep in that dark or luminous aperture, life lives, life dreams, life suffers.
Beyond the waves of rooftops, I glimpse a middle-aged woman, already wrinkled, poor; she is always bent over something, and never goes out. From her face, from her clothing, from her gestures, from almost nothing, I have remade this woman¡¯s past, or rather, her story, which I tell myself from time to time in tears.
If it had been a poor, old man, I would have remade his story just as easily.
And then I go to sleep, proud of having lived and suffered as people other than myself.
You might ask me: ¡°Are you sure that this story is the real one?¡± What does it matter what reality dwells outside of me, if the story helps me live, helps me feel that I am and what I am?
(translated by Emily Leithauser)
He who looks out at the world from an open window never sees as many things as he who looks at a closed window. There is nothing deeper, more mysterious, more fruitful, more shadowy, or more dazzling than a window lit by a candle. What we can see in daylight is always less interesting than what happens behind a windowpane. Deep in that dark or luminous aperture, life lives, life dreams, life suffers.
Beyond the waves of rooftops, I glimpse a middle-aged woman, already wrinkled, poor; she is always bent over something, and never goes out. From her face, from her clothing, from her gestures, from almost nothing, I have remade this woman¡¯s past, or rather, her story, which I tell myself from time to time in tears.
If it had been a poor, old man, I would have remade his story just as easily.
And then I go to sleep, proud of having lived and suffered as people other than myself.
You might ask me: ¡°Are you sure that this story is the real one?¡± What does it matter what reality dwells outside of me, if the story helps me live, helps me feel that I am and what I am?
March 14, 2017
¦¯ Baudelaire , ¦Ø? ?¦Ë¦Ë¦Ï? Bukowski ¦Ó¦Ç? ¦Å¦Ð¦Ï¦Ö?? ¦Ó¦Ï¦Ô, ¦Ì¦Á? ¦Ð¦Á¦Ñ¦Á¦Ò?¦Ñ¦Å¦É ¦Ò¦Å ¦Ò¦Å ¦Ì?¦Á ¦Ì¦Å¦Ë¦Ø¦Ä¦É¦Ê? ¦Ï¦Í¦Å¦É¦Ñ¦Ï¦Ð?¦Ë¦Ç¦Ò¦Ç, ?¦Ð¦Ï¦Ô ¦Á¦Í¦Á¦Â¦Ë?¦Æ¦Ï¦Ô¦Í ¦Ï¦É ¦Ì¦Ï¦Ô¦Ò¦É¦Ê?? ¦Ó¦Ç? ¦Æ¦Ø?? ¦Ò¦Å ?¦Í¦Á ¦Á?¦Ñ¦É¦Ò¦Ó¦Ï ¦Ì¦Ï¦Ô¦Ñ¦Ì¦Ï¦Ô¦Ñ¦Ç¦Ó? . ¦§ ¦Ð¦Ï?¦Ç¦Ò? ¦Ó¦Ï¦Ô ¦Ð¦Ï¦Ô ¦Ð¦Á¦Ñ¦Ï¦Ô¦Ò¦É?¦Æ¦Å¦É ¦Ó?¦Ò¦Ï ¦Ë¦Ô¦Ñ¦É¦Ê? ¦Ó¦Ç ¦Ì¦É¦Æ?¦Ñ¦É¦Á ¦Ó¦Ç? ¦Ê¦Á¦È¦Ç¦Ì¦Å¦Ñ¦É¦Í?¦Ó¦Ç¦Ó¦Á? ¦Ê¦Á¦É ¦Ó¦Ï¦Ô ¦Ð¦Ñ¦Ï¦Ò¦Ø¦Ð¦É¦Ê¦Ï? ¦Ä¦Ñ?¦Ì¦Á¦Ó¦Ï?. ¦ª ?¦Ð¦Ø? ¦Ä¦É¦Á¦Ð¦É¦Ò¦Ó?¦Í¦Å¦É ¦Ê ¦Ï ?¦Ä¦É¦Ï?, ¦Ò¦Á¦Í ¦Ð¦Á¦Ã¦É¦Ä¦Å¦Ô¦Ì?¦Í¦Ï? ¦Ë?¦Ê¦Ï?, ¦Ì?¦Í¦Å¦É ¦Ð¦Ñ¦Ï¦Ò¦Ê¦Ï¦Ë¦Ë¦Ç¦Ì?¦Í¦Ï?, ?¦Ò¦Ø? ¦Ã¦É¦Á ¦Ð?¦Í¦Ó¦Á, ¦Ò¦Ó¦Ï¦Í ¦Ó?¦Õ¦Ï ¦Ó¦Ï¦Ô ¦É¦Ä¦Á¦Í¦É¦Ê¦Ï?
April 7, 2021
§á§â§Ö§Ü§â§Ñ§ã§ß? §á§Ö§â§Ö§Ü§Ý§Ñ§Õ§Ú. §ç§à§ä?§Ý§à§ã§î §Ò§Ú §Ò?§Ý§î§ê§Ö §á§â§à§Ù§Ú §¢§à§Õ§Ý§Ö§â§Ñ §å§Ü§â§Ñ?§ß§ã§î§Ü§à§ð+??§Ö§ñ§Ü? §á§â§Ú§Þ?§ä§Ü§Ú §ß§Ñ§Õ§ä§à §Ü§å§è? §Û §ß§Ö?§ß§æ§à§â§Þ§Ñ§ä§Ú§Ó§ß?, §Ñ§Ý§Ö §Ù§Ñ§Ô§Ñ§Ý§î§ß§Ñ §Ù§Ñ§Õ§å§Þ§Ü§Ñ (§Ó§ã§ä§å§á+§ä§Ó§à§â§Ú+§Ü§à§ß§ä§Ö§Ü§ã§ä §Ó?§Õ §¢§Ö§ß§î§ñ§Þ?§ß§Ñ) - §ß§à§Ó§Ñ §Û ?§ß§ä§â§Ú§Ô§å?.
October 15, 2019
O impacto de Baudelaire na poesia francesa oitocentista ¨¦ equivalente ao de Victor Hugo na prosa do per¨ªodo an¨¢logo. Tal como Hugo, Baudelaire representa um aut¨ºntico cometa que veio revolucionar os meios liter¨¢rios e art¨ªsticos atrav¨¦s dos quais melhor se expressou. Na verdade, a publica??o da sua primeira, e definidora, obra po¨¦tica, As Flores do Mal (1857), mereceu um elogio rasgado da parte do pr¨®prio Hugo: ¡°as suas As Flores do Mal brilham e deslumbram como estrelas¡± (consultar ¸é±ð´Ú±ð°ù¨º²Ô³¦¾±²¹²õ).
Apesar de ficar conhecido para a posteridade pela sua poesia, foi pela cr¨ªtica de arte que Baudelaire primeiro enveredou. A atest¨¢-lo est¨¢ a publica??o do Salon de 1845 e do Salon de 1846, mistos de cat¨¢logos das obras ent?o expostas no sal?o parisiense e de uma fina censura contra a parcialidade dos cr¨ªticos de arte da Monarquia de Julho. Na g¨¦nese destes ensaios estava j¨¢ subjacente aquela que seria a sua futura teoriza??o da arte e do conceito de modernidade, e a rela??o intr¨ªnseca entre ambas, a partir do per¨ªodo Rom?ntico, com a consequente rejei??o dos modelos cl¨¢ssicos, exposta em O Pintor da Vida Moderna.
Paralelamente, e de importante relev?ncia para a matura??o do sentido est¨¦tico baudelairiano, surge o interesse pelo autor americano Edgar Allan Poe. Respons¨¢vel pela geral aceita??o de Poe em Fran?a, atrav¨¦s de in¨²meras tradu??es da sua lavra, Baudelaire considerava-o o seu antecessor liter¨¢rio, e a ele foi beber inspira??o para o grotesco e o satanismo on¨ªrico da sua l¨ªrica futura. A produ??o intermitente destas tradu??es coincidir¨¢ com a publica??o da magnum opus As Flores do Mal, corte definitivo com a hegemonia do c?none rom?ntico na poesia, abrindo novos horizontes na expressividade simb¨®lica e fragment¨¢ria, prenhe de sensa??es e intui??es que prefiguram j¨¢ uma nova est¨¦tica de estilo impressionista. A morte prematura de Baudelaire (1867), aos 46 anos, v¨ªtima dos excessos a que se votou, e a pouco mais de meia d¨²zia de obras publicadas em vida n?o devem, contudo, enganar o observador superficial, a maior parte das suas produ??es liter¨¢rias foi publicada postumamente.
O Spleen de Paris encontra-se precisamente entre essa produ??o p¨®stuma, tendo sido dado ao prelo em 1869, pelas m?os de Charles Asselineau e Th¨¦odore de Banville. O nome pelo qual tamb¨¦m ¨¦ conhecido, Petits Po¨¨mes en Prose, evidencia o car¨¢cter formal inovador, composto por cinquenta poemas em prosa, ¨¤ maneira de Louis Jacques Napol¨¦on Bertrand, seu inventor. Como parte da sua busca por uma nova expressividade capaz de apreender e plasmar a realidade em perp¨¦tua e alucinante mudan?a da modernidade, prop¨®sito ¨²ltimo de Baudelaire, O Spleen de Paris representa uma quebra decisiva com as formas po¨¦ticas tradicionais, alteradas mas n?o derrubadas pelos Rom?nticos. Nas suas pr¨®prias palavras, esse inv¨®lucro exterior deveria assumir a forma de uma ¡°prosa po¨¦tica, musical sem ritmo e sem rima, suficientemente male¨¢vel e suficientemente contrastante para se adaptar aos movimentos l¨ªricos da alma, ¨¤s ondula??es do devaneio, aos sobressaltos da consci¨ºncia¡± (BAUDELAIRE, p. 17-18) .
Tendo passado os ¨²ltimos anos da sua vida a terminar o Spleen, no qual vinha a trabalhar de forma intermitente desde 1855, era inten??o de Baudelaire que a colect?nea de poemas funcionasse como complemento ou introdu??o a As Flores do Mal. ? semelhan?a de Balzac em A Com¨¦dia Humana, o tema central dos Petits Po¨¨mes ¨¦ a pr¨®pria Paris caput mundi, leviat? insaci¨¢vel da modernidade, cadinho da civiliza??o ocidental em constante expans?o, desta feita sob a batuta do bar?o Haussmann, introdutor da racionalidade urban¨ªstica. O conceito de spleen que d¨¢ nome ¨¤ obra, j¨¢ introduzido em As Flores do Mal, ¨¦ aqui aprofundado como forma de pintar a nova vida parisiense, convulsionada pelas constantes demoli??es de Haussmann, enegrecida pela pobreza e mis¨¦ria humanas resultantes da industrializa??o, ent?o em franca expans?o, impregnada de t¨¦dio, des?nimo e ang¨²stia existencial.
A defini??o do poeta ¨¦ outro dos vectores agregadores dos Petits Po¨¨mes. Para Baudelaire, o poeta deve ser o nefelibata profissional da inquietude, eternamente incompreendido pela sociedade mundana, dela exclu¨ªdo para melhor captar o seu ?mago; o fl?neur das exist¨ºncias colectivas, vagueando n?o s¨® pela cidade como pela alma dos transeuntes por quem se cruza, sendo sua obriga??o viver m¨²ltiplas vidas, tantas quantas as que tocam a sua sensibilidade, naquilo que descreve como uma ¡°santa prostitui??o da alma¡± (BAUDELAIRE, p. 40). O iluminismo, em particular o mito rousseauniano do bom selvagem, ¨¦ ridicularizado, sendo contraposto ao absurdo da vida mundana e ¨¤s for?as inelut¨¢veis do irracional. Em contrapartida, a est¨¦tica decadentista ¨¦ j¨¢ antevista no poema ¡°O Confiteor do Artista¡±, onde ¨¦ advogada a superioridade da subjectividade po¨¦tica e a sua capacidade de artif¨ªcio criativo em detrimento da esterilidade da natureza id¨ªlica e espont?nea, n?o mediada pela vis?o mistificadora do eu l¨ªrico. Por fim, perpassa por toda a obra o indel¨¦vel sabor, nas palavras do pr¨®prio Baudelaire, dos ¡°pa¨ªses sonhadores que consolam Gambrinus¡± (BAUDELAIRE, p. 96), uma refer¨ºncia ¨¤ cerveja e ao ¨¢lcool (aos quais recorre como b¨¢lsamo demasiadas vezes administrado), atrav¨¦s da evoca??o do lend¨¢rio her¨®i europeu a eles associado.
Se a primeira metade do s¨¦culo XIX viveu sob a ¨¦gide de Victor Hugo, a segunda metade de oitocentos viveria sob a influ¨ºncia de Charles Baudelaire. Ap¨®s a sua morte, poetas como Verlaine, Rimbaud ou Mallarm¨¦ reivindicariam o ascendente baudelairiano na sua poesia. Deste modo, as inova??es formais presentes em As Flores do Mal e O Spleen de Paris far?o escola, particularmente a prosa po¨¦tica abrir¨¢ novos horizontes ¨¤ poesia do s¨¦culo XX, pelo que podemos afirmar acerca de Baudelaire que ¨¦ o primeiro poeta moderno. Ademais, tal como j¨¢ referido, a sua est¨¦tica ser¨¢ a base do movimento liter¨¢rio decadentista. Bem assim, o frequente emprego de uma simbologia sinest¨¦sica como forma de alargar os horizontes da apreens?o de uma realidade apenas percept¨ªvel ao olhar perscrutador do sujeito po¨¦tico constituir¨¢ o fundamento do movimento simbolista.
Como nota de rodap¨¦, ¨¦ interessante entrever, em embri?o, o heter¨®nimo de Fernando Pessoa, Bernardo Soares, nos versos ¡°porqu¨º obrigar o meu corpo a mudar de lugar, se a minha alma viaja t?o lestamente? E para qu¨º realizar projectos, se o projecto j¨¢ ¨¦ um prazer suficiente?¡± (BAUDELAIRE, p. 71).
¸é±ð´Ú±ð°ù¨º²Ô³¦¾±²¹²õ
[Consultado a 06-10-2019].
BAUDELAIRE, Charles (2007) ¨C O Spleen de Paris ¨C Pequenos Poemas em Prosa. Lisboa: Rel¨®gio D¡¯?gua Editores. (BI: Biblioteca de Editores Independentes, n.? 25).
Apesar de ficar conhecido para a posteridade pela sua poesia, foi pela cr¨ªtica de arte que Baudelaire primeiro enveredou. A atest¨¢-lo est¨¢ a publica??o do Salon de 1845 e do Salon de 1846, mistos de cat¨¢logos das obras ent?o expostas no sal?o parisiense e de uma fina censura contra a parcialidade dos cr¨ªticos de arte da Monarquia de Julho. Na g¨¦nese destes ensaios estava j¨¢ subjacente aquela que seria a sua futura teoriza??o da arte e do conceito de modernidade, e a rela??o intr¨ªnseca entre ambas, a partir do per¨ªodo Rom?ntico, com a consequente rejei??o dos modelos cl¨¢ssicos, exposta em O Pintor da Vida Moderna.
Paralelamente, e de importante relev?ncia para a matura??o do sentido est¨¦tico baudelairiano, surge o interesse pelo autor americano Edgar Allan Poe. Respons¨¢vel pela geral aceita??o de Poe em Fran?a, atrav¨¦s de in¨²meras tradu??es da sua lavra, Baudelaire considerava-o o seu antecessor liter¨¢rio, e a ele foi beber inspira??o para o grotesco e o satanismo on¨ªrico da sua l¨ªrica futura. A produ??o intermitente destas tradu??es coincidir¨¢ com a publica??o da magnum opus As Flores do Mal, corte definitivo com a hegemonia do c?none rom?ntico na poesia, abrindo novos horizontes na expressividade simb¨®lica e fragment¨¢ria, prenhe de sensa??es e intui??es que prefiguram j¨¢ uma nova est¨¦tica de estilo impressionista. A morte prematura de Baudelaire (1867), aos 46 anos, v¨ªtima dos excessos a que se votou, e a pouco mais de meia d¨²zia de obras publicadas em vida n?o devem, contudo, enganar o observador superficial, a maior parte das suas produ??es liter¨¢rias foi publicada postumamente.
O Spleen de Paris encontra-se precisamente entre essa produ??o p¨®stuma, tendo sido dado ao prelo em 1869, pelas m?os de Charles Asselineau e Th¨¦odore de Banville. O nome pelo qual tamb¨¦m ¨¦ conhecido, Petits Po¨¨mes en Prose, evidencia o car¨¢cter formal inovador, composto por cinquenta poemas em prosa, ¨¤ maneira de Louis Jacques Napol¨¦on Bertrand, seu inventor. Como parte da sua busca por uma nova expressividade capaz de apreender e plasmar a realidade em perp¨¦tua e alucinante mudan?a da modernidade, prop¨®sito ¨²ltimo de Baudelaire, O Spleen de Paris representa uma quebra decisiva com as formas po¨¦ticas tradicionais, alteradas mas n?o derrubadas pelos Rom?nticos. Nas suas pr¨®prias palavras, esse inv¨®lucro exterior deveria assumir a forma de uma ¡°prosa po¨¦tica, musical sem ritmo e sem rima, suficientemente male¨¢vel e suficientemente contrastante para se adaptar aos movimentos l¨ªricos da alma, ¨¤s ondula??es do devaneio, aos sobressaltos da consci¨ºncia¡± (BAUDELAIRE, p. 17-18) .
Tendo passado os ¨²ltimos anos da sua vida a terminar o Spleen, no qual vinha a trabalhar de forma intermitente desde 1855, era inten??o de Baudelaire que a colect?nea de poemas funcionasse como complemento ou introdu??o a As Flores do Mal. ? semelhan?a de Balzac em A Com¨¦dia Humana, o tema central dos Petits Po¨¨mes ¨¦ a pr¨®pria Paris caput mundi, leviat? insaci¨¢vel da modernidade, cadinho da civiliza??o ocidental em constante expans?o, desta feita sob a batuta do bar?o Haussmann, introdutor da racionalidade urban¨ªstica. O conceito de spleen que d¨¢ nome ¨¤ obra, j¨¢ introduzido em As Flores do Mal, ¨¦ aqui aprofundado como forma de pintar a nova vida parisiense, convulsionada pelas constantes demoli??es de Haussmann, enegrecida pela pobreza e mis¨¦ria humanas resultantes da industrializa??o, ent?o em franca expans?o, impregnada de t¨¦dio, des?nimo e ang¨²stia existencial.
A defini??o do poeta ¨¦ outro dos vectores agregadores dos Petits Po¨¨mes. Para Baudelaire, o poeta deve ser o nefelibata profissional da inquietude, eternamente incompreendido pela sociedade mundana, dela exclu¨ªdo para melhor captar o seu ?mago; o fl?neur das exist¨ºncias colectivas, vagueando n?o s¨® pela cidade como pela alma dos transeuntes por quem se cruza, sendo sua obriga??o viver m¨²ltiplas vidas, tantas quantas as que tocam a sua sensibilidade, naquilo que descreve como uma ¡°santa prostitui??o da alma¡± (BAUDELAIRE, p. 40). O iluminismo, em particular o mito rousseauniano do bom selvagem, ¨¦ ridicularizado, sendo contraposto ao absurdo da vida mundana e ¨¤s for?as inelut¨¢veis do irracional. Em contrapartida, a est¨¦tica decadentista ¨¦ j¨¢ antevista no poema ¡°O Confiteor do Artista¡±, onde ¨¦ advogada a superioridade da subjectividade po¨¦tica e a sua capacidade de artif¨ªcio criativo em detrimento da esterilidade da natureza id¨ªlica e espont?nea, n?o mediada pela vis?o mistificadora do eu l¨ªrico. Por fim, perpassa por toda a obra o indel¨¦vel sabor, nas palavras do pr¨®prio Baudelaire, dos ¡°pa¨ªses sonhadores que consolam Gambrinus¡± (BAUDELAIRE, p. 96), uma refer¨ºncia ¨¤ cerveja e ao ¨¢lcool (aos quais recorre como b¨¢lsamo demasiadas vezes administrado), atrav¨¦s da evoca??o do lend¨¢rio her¨®i europeu a eles associado.
Se a primeira metade do s¨¦culo XIX viveu sob a ¨¦gide de Victor Hugo, a segunda metade de oitocentos viveria sob a influ¨ºncia de Charles Baudelaire. Ap¨®s a sua morte, poetas como Verlaine, Rimbaud ou Mallarm¨¦ reivindicariam o ascendente baudelairiano na sua poesia. Deste modo, as inova??es formais presentes em As Flores do Mal e O Spleen de Paris far?o escola, particularmente a prosa po¨¦tica abrir¨¢ novos horizontes ¨¤ poesia do s¨¦culo XX, pelo que podemos afirmar acerca de Baudelaire que ¨¦ o primeiro poeta moderno. Ademais, tal como j¨¢ referido, a sua est¨¦tica ser¨¢ a base do movimento liter¨¢rio decadentista. Bem assim, o frequente emprego de uma simbologia sinest¨¦sica como forma de alargar os horizontes da apreens?o de uma realidade apenas percept¨ªvel ao olhar perscrutador do sujeito po¨¦tico constituir¨¢ o fundamento do movimento simbolista.
Como nota de rodap¨¦, ¨¦ interessante entrever, em embri?o, o heter¨®nimo de Fernando Pessoa, Bernardo Soares, nos versos ¡°porqu¨º obrigar o meu corpo a mudar de lugar, se a minha alma viaja t?o lestamente? E para qu¨º realizar projectos, se o projecto j¨¢ ¨¦ um prazer suficiente?¡± (BAUDELAIRE, p. 71).
¸é±ð´Ú±ð°ù¨º²Ô³¦¾±²¹²õ
[Consultado a 06-10-2019].
BAUDELAIRE, Charles (2007) ¨C O Spleen de Paris ¨C Pequenos Poemas em Prosa. Lisboa: Rel¨®gio D¡¯?gua Editores. (BI: Biblioteca de Editores Independentes, n.? 25).
Read
February 2, 2025"peki, neyi seversin ?yleyse, ola?an¨¹st¨¹ yabanc??"
"bulutlar? severim.. i?te ?u.. ?u ge?ip giden bulutlar?.. e?siz bulutlar?!"
ah, ah..
baudelaire s?k?nt?y? sadece ge?ici bir duygu olarak de?il, modern ya?am?n yayg?n ve neredeyse ka??n?lmaz bir ko?ulu olarak ele alm??. tasvirleri hem b¨¹y¨¹leyici hem de bo?ucu, ben de adeta bir klostrofobi hissi uyand?rd?.
ancak tarz?na a?ina olmad???m i?in yer yer s?k?ld???m? s?ylemeliyim, o y¨¹zden puan konusunda teredd¨¹tteyim.
"bulutlar? severim.. i?te ?u.. ?u ge?ip giden bulutlar?.. e?siz bulutlar?!"
ah, ah..
baudelaire s?k?nt?y? sadece ge?ici bir duygu olarak de?il, modern ya?am?n yayg?n ve neredeyse ka??n?lmaz bir ko?ulu olarak ele alm??. tasvirleri hem b¨¹y¨¹leyici hem de bo?ucu, ben de adeta bir klostrofobi hissi uyand?rd?.
ancak tarz?na a?ina olmad???m i?in yer yer s?k?ld???m? s?ylemeliyim, o y¨¹zden puan konusunda teredd¨¹tteyim.
Read
July 9, 2018K?sac?k ?²â°ì¨¹ms¨¹lerden olu?uyor Paris S?k?nt?s?. Baudelaire'in yazd?klar? hem ?ocuksu ?o?kunluk ve ne?eye, hem de bilgece bir vazge?mi?lik ve ironiye sahip. Co?kusuna da, pes etmi?li?ine de yolda? hissediyorum kendimi. Evet ben de ''bulutlar? severim... i?te ?u... ?u ge?ip giden bulutlar?... e?siz bulutlar?'' ve evet ben de ''d¨¹nyan?n d???nda neresi olursa, al?p ba??m? gitmek istiyorum.''
Ben Baudelaire'i ?ok sevdim, pasakl? k?peklere ?iirler d¨¹zen kim varsa, al?p ba?r?ma basabilirim.
--Bir de bana uzaktan uzaktan Sait Faik'i ?a?r??t?rd? yazd?klar?ndaki hissiyat. Ayn? ?eyi d¨¹?¨¹n¨¹p hisseden var m?d?r merak ettim.
Ben Baudelaire'i ?ok sevdim, pasakl? k?peklere ?iirler d¨¹zen kim varsa, al?p ba?r?ma basabilirim.
--Bir de bana uzaktan uzaktan Sait Faik'i ?a?r??t?rd? yazd?klar?ndaki hissiyat. Ayn? ?eyi d¨¹?¨¹n¨¹p hisseden var m?d?r merak ettim.
August 22, 2018
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October 10, 2021
Tahsin Y¨¹cel¡¯in berrak ve muhte?em T¨¹rk?e¡¯si, bu harika metne ayr? bir tad katm??. Bu t¨¹r¨¹ ilk kez okuyorum, ?ok be?endim. Yoksulluk, ya?l?l?k, ?l¨¹m, umut, sanat, yaln?zl?k metinlerde ?zel bir yer tutuyor. Sindirerek okunmas? gereken bir metin.
A?a??da al?nt?lad???m ilk metin, bir b?l¨¹m¨¹n tam metnidir. Ger?ekten ?iir gibi!
¡°Hep sarho? olmal?. Her ?ey bunda: tek Zorum bu. Omuzlar?n?z? ezen, sizi topra?a do?ru ?eken Zaman¡¯?n korkun? a??rl???n? duymamak i?in durmamacas?na sarho? olmal?s?n?z.
Ama neyle? ?arapla, ?iirle ya da erdemle, nas?l isterseniz. Ama sarho? olun.
Ve baz? baz?, bir saray?n basamaklar?, bir hende?in ye?il otlar? ¨¹st¨¹nde, odan?z?n donuk yaln?zl??? i?inde, sarho?lu?unuz azalm?? ya da b¨¹sb¨¹t¨¹n ge?mi? bir durumda uyan?rsan?z, sorun, yele, dalgaya, y?ld?za, ku?a, saatte sorun, her ka?an ?eye, inleyen, yuvarlanan, ?ak?yan, konu?an her ?eye sorun, ¡°Saat ka??¡± deyin; yel, dalga, y?ld?z, ku?, saat hemen verecektir yan?t? size: ¡°Sarho? olma saatidir! Zaman?n inim inim iniletilen k?leleri olmamak i?in sarho? olun durmamacas?na! ?arapla, ?iirle ya da erdemle, nas?l isterseniz.¡±, sf; 80.
¡°¡ Ancak e?it oldu?unu kan?tlayan ki?i e?ittir bir ba?kas?na, ?zg¨¹rl¨¹?¨¹ ancak onu kazanan hak eder.¡±, sf; 111.
¡°¡ Akademik esin tanr??as?n? istemem! O kocakar?y? ne yapay?m ben?¡¡±, sf; 113.
A?a??da al?nt?lad???m ilk metin, bir b?l¨¹m¨¹n tam metnidir. Ger?ekten ?iir gibi!
¡°Hep sarho? olmal?. Her ?ey bunda: tek Zorum bu. Omuzlar?n?z? ezen, sizi topra?a do?ru ?eken Zaman¡¯?n korkun? a??rl???n? duymamak i?in durmamacas?na sarho? olmal?s?n?z.
Ama neyle? ?arapla, ?iirle ya da erdemle, nas?l isterseniz. Ama sarho? olun.
Ve baz? baz?, bir saray?n basamaklar?, bir hende?in ye?il otlar? ¨¹st¨¹nde, odan?z?n donuk yaln?zl??? i?inde, sarho?lu?unuz azalm?? ya da b¨¹sb¨¹t¨¹n ge?mi? bir durumda uyan?rsan?z, sorun, yele, dalgaya, y?ld?za, ku?a, saatte sorun, her ka?an ?eye, inleyen, yuvarlanan, ?ak?yan, konu?an her ?eye sorun, ¡°Saat ka??¡± deyin; yel, dalga, y?ld?z, ku?, saat hemen verecektir yan?t? size: ¡°Sarho? olma saatidir! Zaman?n inim inim iniletilen k?leleri olmamak i?in sarho? olun durmamacas?na! ?arapla, ?iirle ya da erdemle, nas?l isterseniz.¡±, sf; 80.
¡°¡ Ancak e?it oldu?unu kan?tlayan ki?i e?ittir bir ba?kas?na, ?zg¨¹rl¨¹?¨¹ ancak onu kazanan hak eder.¡±, sf; 111.
¡°¡ Akademik esin tanr??as?n? istemem! O kocakar?y? ne yapay?m ben?¡¡±, sf; 113.
June 2, 2018
¡°...Sonra, ya?am? ?ylesine ?etin olan Zaman¡¯? ?ld¨¹rmek, ?ylesine a??r akan Ya?am¡¯? h?zland?rmak i?in yeni ?i?eler getirttiler...¡±
November 27, 2010
I never really understood the appeal of , but so many people love it that I started to feel bad. What was I missing? Along comes this book, Paris Spleen, which is full of prose poems made of equal parts humor, cynicism, and insight (and often all three within a paragraph). I like these poems because reading it, I feel like I have a sense of who Baudelaire might have been as a person...
Plus, his humor is so odd:
Plus, his humor is so odd:
Soup and Clouds
My adorable little minx was serving me supper; through the dining room's open window I was contemplating the shifting architectures God creates from vapour, those marvellous constructions of the evanescent. As I watched, I thought: "Those apparitions are nearly as beautiful as my sweet lady's eyes, the mad little green-eyed monster."
Suddenly a violent fist landed in my back and I heard a charming, raw voice hysterical and brandy-damaged, the voice of my little darling, saying: "Get on with your bloody soup, cloud merchant."
August 30, 2019
?? ??? ??? ?? ???? ????? ??? ?? ???????? ??????? ?? ?? ???????? ????? ? ????? ? ?? ???? ?????? ?? ?????? ????? ?? ???? ?????. ???? ??? ???? ???? ?? ???? ?????? ?? ??? ???? ? ????? ?? ?? ???? ????? ???? ?????. ?? ??? ??? ????? ???? ?????? ?? ???? ??????. ????? ?? ???? ?????? ????? ?? ?? ??? ? ?? ? ??? ? ???? ? ??? ? ? ??? ???? ?? ?????? ???? ????????? ?? ?? ????? ???. ????? ?????? ?? ??? ?????? ?? ???????? ????? ? ???? ???? ????? ?? ??????? ? ?????????????? ???? ????? ? ??? ? ?? ?? ??? ?????? ? ?????? ?????.. ???? ??????? ??? ???? ????? ??? ???? ?? ???? ?????? ??? ????.
?.?: ??? ????? ???? ?????? ?? ????? ?? ???? ???? ??????? ???? ? ?????? ?????? ???? ?? ????? ???? ????? ?? ?? ????? ? ??????? ????????? ?? ????? ????? ?? ????? ??? ???? ?? ?? ?? ???? ?? ???????? ?? ???? ????? ?? ??. ?? ?????? ??? ?????? ? ????? ??????? ???? ??? ?? ??? ???? ??? ???? ?????? ? ????? ????. ???? ???? ?? ?? ????? ???? ?? ???? ?? ?? ???. ?????? ?? ??????? ?? ????? ?? ????? ?? ?? ? ?? ? ??? ???????.
?.?: ?? ???? ???? ???? ? ?????? ???? ?????? ???? ???? ??? ???? ???? ?? ?????? ??? ??????? ???? ?? ????? ??? ??? ???? ?? ??????.
?.?: ??? ????? ???? ?????? ?? ????? ?? ???? ???? ??????? ???? ? ?????? ?????? ???? ?? ????? ???? ????? ?? ?? ????? ? ??????? ????????? ?? ????? ????? ?? ????? ??? ???? ?? ?? ?? ???? ?? ???????? ?? ???? ????? ?? ??. ?? ?????? ??? ?????? ? ????? ??????? ???? ??? ?? ??? ???? ??? ???? ?????? ? ????? ????. ???? ???? ?? ?? ????? ???? ?? ???? ?? ?? ???. ?????? ?? ??????? ?? ????? ?? ????? ?? ?? ? ?? ? ??? ???????.
?.?: ?? ???? ???? ???? ? ?????? ???? ?????? ???? ???? ??? ???? ???? ?? ?????? ??? ??????? ???? ?? ????? ??? ??? ???? ?? ??????.
October 8, 2018
Inesperado.
Este pequeno livro de pequenos poemas em prosa, inquieta.
Com C. B., a poesia deixa de ocupar-se do belo, do ideal, da Natureza e passa a tratar da realidade, de todas as mis¨¦rias humanas, e da cidade. Tudo pode ser objecto da poesia, mesmo a escrita, mesmo a dificuldade do poeta em escrever. A poesia deixa de servir de entretenimento, e passa a servir para pensar.
O poeta n?o ¨¦ diferente dos outros miser¨¢veis humanos, a ¨²nica coisa que o distingue ¨¦ o facto de escrever. Ele n?o ¨¦ inspirado, ele ¨¦ atento ¨¤ realidade e usa tamb¨¦m a imagina??o, mas ¨¦ atrav¨¦s do trabalho da escrita, que exp?e as suas ideias. O poeta apresenta situa??es que promovem a reflex?o, mas n?o procura evangelizar, nem afirmar uma determinada verdade.
Este pequeno livro de pequenos poemas em prosa, inquieta.
Com C. B., a poesia deixa de ocupar-se do belo, do ideal, da Natureza e passa a tratar da realidade, de todas as mis¨¦rias humanas, e da cidade. Tudo pode ser objecto da poesia, mesmo a escrita, mesmo a dificuldade do poeta em escrever. A poesia deixa de servir de entretenimento, e passa a servir para pensar.
O poeta n?o ¨¦ diferente dos outros miser¨¢veis humanos, a ¨²nica coisa que o distingue ¨¦ o facto de escrever. Ele n?o ¨¦ inspirado, ele ¨¦ atento ¨¤ realidade e usa tamb¨¦m a imagina??o, mas ¨¦ atrav¨¦s do trabalho da escrita, que exp?e as suas ideias. O poeta apresenta situa??es que promovem a reflex?o, mas n?o procura evangelizar, nem afirmar uma determinada verdade.
August 2, 2016
Baudelaire is a lover of dichotomy: rich/poor, solitude/society, excrement/perfume. "She is very ugly. She is nevertheless delectable." ("A Thorough-Bred") The unstated purpose of each poem is to transform degradation and disunity into an unsettled and ironic harmony, or at least to shine a light on the beauty of decay. They are passionate poems; they move with force, but with time it becomes apparent that each of them moves in a familiar pattern, and by the end of the collection it is comforting to find each poem discover its point of balance amidst the contradictions.
July 14, 2019
El spleen o espl¨ªn, como se lo espa?oliza, es la melancol¨ªa que produce tedio o hast¨ªo de todo.
Y en los 50 poemas en prosa est¨¢ presente, como no, esa sensaci¨®n.
Baudelaire nos lega pensamientos profundos sobre la vida, el amor, las mujeres, las artes y la modernidad (fines del sXIX). Te hace pensar, te provoca sentimientos profundos, te llega al alma.
El concepto de soledad flota a lo largo de varios de los poemas relacionado con temas varios como por ejemplo las multitudes, los viajes, la fealdad, la pobreza.
Es un libro complejo, literatura de alta calidad, de doble lectura.
Y en los 50 poemas en prosa est¨¢ presente, como no, esa sensaci¨®n.
Baudelaire nos lega pensamientos profundos sobre la vida, el amor, las mujeres, las artes y la modernidad (fines del sXIX). Te hace pensar, te provoca sentimientos profundos, te llega al alma.
El concepto de soledad flota a lo largo de varios de los poemas relacionado con temas varios como por ejemplo las multitudes, los viajes, la fealdad, la pobreza.
Es un libro complejo, literatura de alta calidad, de doble lectura.
October 27, 2019
Baudelaire vents his spleen about a variety of issues. Traditionally the spleen was thought to be the seat of emotions. Much emotion is displayed here. These short pieces are keenly observed and beautifully written, but at times they are quite shocking and heart breaking.
January 2, 2022
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September 10, 2018
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January 7, 2019
?? ??? ??????? ???? ?????? ????????? ??????? ?? ???? ????? ??????? "?????" ?? ??????? ?????? ?? ????? ?????? ???????. ???? ???? ???? ??? ???? ?????? ?????? ???????? ????????? ?? ?????? ?????? ????? ???????? ??????? ??? ????? ??????? ?????? ?? ???? ???? ???? ????? ???????? ??????? ??? ???????? ???? ???? ??? ?????/????? ???? ??????? ???? ???? ?????? ??????? ????? ?? ??????? ???????? ????????? ?????? ??? ??????? ?? ??????. ???? ?? ???? ????????? ???????? ???????? ?? ??????? ?????? ??????? ???????? ???????? ???????? ?????? ??????? ??????? ???? ????? ?????? ????? ????? ??????? ?????? ?????? ?????? ????? ?? ??????? ???????? ??? ??????????? ?????? ????.
????? ?????? ????? ??????? ???? ???? ??????? ???????????? ?????? ?? ??? ???? ?? ?????? ?????? ??????? ?????? ??????.. ????? ???? ????? ???????? ??????? ???????? ??????? ???????? ????????? ????????? ????? ??? ??????? ?????? ??????? ??????? ?? ???? ??????? ?????? ???? ????? ??? ??-??????? ??? ?? ???????? ?????????. ??? ??? ????? ?????? ???????? ?? ???? ???????????? ???? ?????? ???? ?????? ???????? ???????? ?????? ?? ??? ??????? ????? ??????? ??? ??? ????? ????? ?? ???????.
?? ??? ??? ?????? ?????? ??? ???????? ????? ?????? ???? ?? ?????? ???? ????????????? ??????? ??????? ????? ?????? ??????? ??? ???????? ??? ?? ???? ?? ??????? ?????? ?? ????????? ??? ?????? ?????? ?? ?????????. ?????? ???? ????? ??????? ????????? ???? ??? ??????? ???? ????? ????? ??????: ?????? ????? ?????? ?????? ??? ?????? ??????? ?? ???? ??? ????? ??? ????? ??????? ?? ???? ????? ???????? ???? ?????? ???????? ???? ????? ?????? "???? ????? ????? ????? ?? ??? ?? ????????? ???? ???? ????? ??????? ?? ???? ??????? ??????? ????? ?????? ??????"..
??????? ?? ???? ??? ???????? ?? ????? ?????? ??????? ?? ?????? ?????? "???? ?????? ??????? Le Peintre de la vie moderne" ??????? ??? 1863: "?? ??????? ?? ??????? ????? ??????? ???????? ?? ??? ????? ????? ?????? ??????? ?? ????? ?????". ???? ????? ??????? ?? ??????? ??????? ?? ?????? ???????. ??? ?????? ?? ?????? ?? ???? ?????? ?? ??????? "??? ?????? ?????? ????????? ????? ???? ??????? ?? ???????. ??? ?? ??? ??????? ?? ????????? ???. ??? ??????? ????? ?? ????? ?? ????? ?????? ?????? ?? ???????.. ????? ?????? ??????? ??? ??????? ??????.".
??????? ??? ?????? ?? ?????? ?????? ?????? ??????? ?? ????? ?? ???? ???? ?? ???? ??????? ????? ???? ???? ??????? ???? ??? ?????? ??????? ????????? ???????? ????????? ?? ??????? ????? ?? ????? ??????? ?????? ?? ??????? ?? ??????? ??? ??? ?? ??????? ?? ?? ???????? ???????.. ???? ??? ????? ????????? ??????? ???????? ?? ???? ??????? ??????? ?????? ???????? ??? ??? ?????? ???? ???? ??? ????? ????? ??? ????????? ??????? ?????? ????????? ???? ??? ??????? ????????? ?? ?????? ?? ?????? ??????? ?? ????? ?????? ??????? ????. ?????? ??????? ??????? ????? ???????? ?? ??? ???? ?????? ?????? ??? ????? ??????? ??? "???? ??? ??? ?????? ????" ?? "????? ?????? ?????? ??????? ?? ?????? ???????"? ??????? ?? ???? ???? ??????? ?? ???? ??? ???? ???? ???? ?? ??? ????? "???? ???? ?????? ???????? ??????".
????? ???? ????? "??? ?????" ????? ?????? ?? ????? ????: ??? ?????? ???? ????? ???? ??? ??????? ?????? ?? ????? ??? ?? ?? ???? ??? ??? ???. ????? ???? ???? ????? ??????? ??????? ?????????? ???? ??????? ?? ????? ??? ??????? ??????? ???????? ????????? ???? ??? ????? ??????? ????? ????? ?????? ????? ?? ?????? ??? ??????? ????????? ??? ??????? ???????? ???? ???? ??????? ?????? ???????? ?? ????? ???????? ??????? ?? ??? ??????? ??? ?? ???? ?????? ?? ????? "??? ?????" ??? ??? ????? ????????? ??????? ??????? ?????? ???? ???? ?????? ?????? ???? ?? ???????? ????? ?? ????? ??? ??????? ?????? ????? ?????? ???? ?????? ??????? ????? ?????? ???? ????? ???? ????? ?????????? ?? ?????. ??? ??? ????? "?????" ??????? ?? ??????? ???????? ??? ?????? ????? ?? ?????? ?? ???? ??? ?? ????? ???? ?? ?????? ??????? ????.
????? ?????? ??-??????? ?? ?? ?????? ????? ?? ????????? ???? ?? ???? ??? ????? ?? ?????? ?? ??????? ?? ??? ?? ????. "?? ?? ?????? ??????? ??? ?? ???? ????? ??? ?? ?????? ??? ?? ???? ????? ????????? ?? ??????? ??? ?????? ????? ??? ????? ???????? ??? ??? ??? ????? ????????". "??? ???? ?? ??? ?????? ????? ???? ????? ?? ????? ?? ???? (?????????)? ??? ????.".
???? ?????? ?? ??? ??? ??? ???????? ?? ?????? ????????? ???? ???? ????? ???? ?????? ?? ???? ???????? ??????? ??? ????? ???????? ??????? ?????? ????? ?????? ?? ??? ????? ??????.
????? ?????? ????? ??????? ???? ???? ??????? ???????????? ?????? ?? ??? ???? ?? ?????? ?????? ??????? ?????? ??????.. ????? ???? ????? ???????? ??????? ???????? ??????? ???????? ????????? ????????? ????? ??? ??????? ?????? ??????? ??????? ?? ???? ??????? ?????? ???? ????? ??? ??-??????? ??? ?? ???????? ?????????. ??? ??? ????? ?????? ???????? ?? ???? ???????????? ???? ?????? ???? ?????? ???????? ???????? ?????? ?? ??? ??????? ????? ??????? ??? ??? ????? ????? ?? ???????.
?? ??? ??? ?????? ?????? ??? ???????? ????? ?????? ???? ?? ?????? ???? ????????????? ??????? ??????? ????? ?????? ??????? ??? ???????? ??? ?? ???? ?? ??????? ?????? ?? ????????? ??? ?????? ?????? ?? ?????????. ?????? ???? ????? ??????? ????????? ???? ??? ??????? ???? ????? ????? ??????: ?????? ????? ?????? ?????? ??? ?????? ??????? ?? ???? ??? ????? ??? ????? ??????? ?? ???? ????? ???????? ???? ?????? ???????? ???? ????? ?????? "???? ????? ????? ????? ?? ??? ?? ????????? ???? ???? ????? ??????? ?? ???? ??????? ??????? ????? ?????? ??????"..
??????? ?? ???? ??? ???????? ?? ????? ?????? ??????? ?? ?????? ?????? "???? ?????? ??????? Le Peintre de la vie moderne" ??????? ??? 1863: "?? ??????? ?? ??????? ????? ??????? ???????? ?? ??? ????? ????? ?????? ??????? ?? ????? ?????". ???? ????? ??????? ?? ??????? ??????? ?? ?????? ???????. ??? ?????? ?? ?????? ?? ???? ?????? ?? ??????? "??? ?????? ?????? ????????? ????? ???? ??????? ?? ???????. ??? ?? ??? ??????? ?? ????????? ???. ??? ??????? ????? ?? ????? ?? ????? ?????? ?????? ?? ???????.. ????? ?????? ??????? ??? ??????? ??????.".
??????? ??? ?????? ?? ?????? ?????? ?????? ??????? ?? ????? ?? ???? ???? ?? ???? ??????? ????? ???? ???? ??????? ???? ??? ?????? ??????? ????????? ???????? ????????? ?? ??????? ????? ?? ????? ??????? ?????? ?? ??????? ?? ??????? ??? ??? ?? ??????? ?? ?? ???????? ???????.. ???? ??? ????? ????????? ??????? ???????? ?? ???? ??????? ??????? ?????? ???????? ??? ??? ?????? ???? ???? ??? ????? ????? ??? ????????? ??????? ?????? ????????? ???? ??? ??????? ????????? ?? ?????? ?? ?????? ??????? ?? ????? ?????? ??????? ????. ?????? ??????? ??????? ????? ???????? ?? ??? ???? ?????? ?????? ??? ????? ??????? ??? "???? ??? ??? ?????? ????" ?? "????? ?????? ?????? ??????? ?? ?????? ???????"? ??????? ?? ???? ???? ??????? ?? ???? ??? ???? ???? ???? ?? ??? ????? "???? ???? ?????? ???????? ??????".
????? ???? ????? "??? ?????" ????? ?????? ?? ????? ????: ??? ?????? ???? ????? ???? ??? ??????? ?????? ?? ????? ??? ?? ?? ???? ??? ??? ???. ????? ???? ???? ????? ??????? ??????? ?????????? ???? ??????? ?? ????? ??? ??????? ??????? ???????? ????????? ???? ??? ????? ??????? ????? ????? ?????? ????? ?? ?????? ??? ??????? ????????? ??? ??????? ???????? ???? ???? ??????? ?????? ???????? ?? ????? ???????? ??????? ?? ??? ??????? ??? ?? ???? ?????? ?? ????? "??? ?????" ??? ??? ????? ????????? ??????? ??????? ?????? ???? ???? ?????? ?????? ???? ?? ???????? ????? ?? ????? ??? ??????? ?????? ????? ?????? ???? ?????? ??????? ????? ?????? ???? ????? ???? ????? ?????????? ?? ?????. ??? ??? ????? "?????" ??????? ?? ??????? ???????? ??? ?????? ????? ?? ?????? ?? ???? ??? ?? ????? ???? ?? ?????? ??????? ????.
????? ?????? ??-??????? ?? ?? ?????? ????? ?? ????????? ???? ?? ???? ??? ????? ?? ?????? ?? ??????? ?? ??? ?? ????. "?? ?? ?????? ??????? ??? ?? ???? ????? ??? ?? ?????? ??? ?? ???? ????? ????????? ?? ??????? ??? ?????? ????? ??? ????? ???????? ??? ??? ??? ????? ????????". "??? ???? ?? ??? ?????? ????? ???? ????? ?? ????? ?? ???? (?????????)? ??? ????.".
???? ?????? ?? ??? ??? ??? ???????? ?? ?????? ????????? ???? ???? ????? ???? ?????? ?? ???? ???????? ??????? ??? ????? ???????? ??????? ?????? ????? ?????? ?? ??? ????? ??????.
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