The Flowers of Evil and Paris Spleen, by Charles Baudelaire
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The Flowers of Evil and Paris Spleen, by Charles Baudelaire
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Upon its original publication in 1857 Charles Baudelaire’s “Les Fleurs du Mal” or “The Flowers of Evil” was embroiled in controversy. Within a month of its publication the French authorities brought an action against the author and the book’s publisher claiming that the work was an insult to public decency. Eventually the French courts would acknowledge the literary merit of Baudelaire’s work but ordered that six poems in particular should be banned from subsequent publication. In this edition we reproduce the 1861 edition along with the six censored poems. Also included in this volume is the collection of 51 short prose poems by Charles Baudelaire entitled “Paris Spleen” which was first published posthumously in 1869. Inspired by Aloysius Bertrand’s “Gaspard de la Nuit — Fantaisies à la manière de Rembrandt et de Callot” or “Gaspard of the Night — Fantasies in the Manner of Rembrandt and Callot,” Baudelaire remarked that he had read Bertrand’s work at least twenty times for starting “Paris Spleen.” A commentary on Parisian contemporary life, Baudelaire remarked on his work that “These are the flowers of evil again, but with more freedom, much more detail, and much more mockery.” Rich with symbolism, these works are rightly considered classics of the modernist literary movement. This edition is printed on premium acid-free paper and includes an introduction by James Huneker.
The Flowers of Evil and Paris Spleen, by Charles Baudelaire- Amazon Sales Rank: #886114 in Books
- Published on: 2015-06-01
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .51" w x 5.50" l, .58 pounds
- Binding: Paperback
- 202 pages
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Most helpful customer reviews
14 of 16 people found the following review helpful. Destroys Baudelaire By R. A. Gaskill In the poem "Le Soleil" (The Sun), Crosby translates the words "secrete luxures," as "lubricious evils." The phrase literally and simply means "secret and unrestrained sensual pleasures" (Le Petit Larousse). Getting from there to something evil is the reviewer's problem, not Baudelaire's. Time and again throughout the book, Crosby foists his own meaning on Baudelaire, distorting the intent of the author. In the same poem, a line which translates literally as "sniffing in every corner the chance of a rhyme," Crosby writes, "Sniffing for lucky rhymes at every thingamabob." He uses this monstrously unpoetic and ridiculous vocabulary to make a rhyme with "job" in the preceding line. This translation is frequently clumsy and wrong, and if you can't read French, there is little point in reading this, because it is not Baudelaire. And to add a response to the opposing review, I am not asking for a purist, literal translation; I just don't like to see a translator absolutely violate the meaning of the text. Translators do exist who are capable of both getting it right and keeping the poetry.
7 of 13 people found the following review helpful. Stunning By A Customer I have read the purist's dismissal of this work. It is, they complain, not a literal translation. There are many literal, word-for-word translations of Baudelaire. But there is only one translation in which the author attempts and most often succeeds in capturing the sound and spirit of the poet, and this is this one. Poetry is not just words. What makes poetry different from prose is the use of word-sound to carry meaning. Crosby captures the music of Baudelair's verse. It is the only translation to do so.
1 of 5 people found the following review helpful. Poetry. By Grast Moribund Granted that much is always lost in any translation, much is also gained regarding these English renditions of one of the greatest poets our transient existence is likely to witness. Crosby has presented Baudelaire's verses, preserving the poet's lyricism & profound wit as close to the originals as has yet been possible. The pros/cons of translations are that each one shows a disparate shade of a poet's versatility and brilliance, just as some nuances are forlorn or perverted by the interpretations and misrepresentations of the translator. But just as Molière found his Wilbur, Baudelaire has his Crosby.
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