Bøker av Charles Baudelaire

This book contains the one hundred poems that were published by the French poet Charles Baudelaire in 1857 under the title 'Les Fleurs du Mal'. Each original French poem is followed by a facing-page translation in rhyming and metered English verse.

The original poems in this book were published by Charles Baudelaire in 1861 under the title Les Fleurs du Mal. This was the second edition of the same name, but it differs from the first edition both in the increased number and in the order of poems. The first edition, consisting of one hundred poems appeared in 1857, but almost immediately after publication Baudelaire and his editor were prosecuted and condemned for 'vulgar realism offending against public decency'. Following the trial six of the poems were censored and banned by the court. The six banned poems are included here, with their translations, after the main text of the 1861 edition.

Imaginative and haunting new translations by Ian Brinton of the 18 poems in the 'Tableaux Parisiens' section of Baudelaire's Les Fleurs du Mal, with evocative illustrations by Sally Castle. Includes the poems in their original French side by side with Ian Brinton's English translation.

On the 200th anniversary of Baudelaire's birth comes this stunning landmark translation of the book that launched modern poetry

In the 1850s, ancien and Haussmannian Paris clash, giving birth to a violent disjunction. At that moment in time, an other present is born, a new history, like Baudelaire's poet freely abandoning his halo on the macadam. The laurel crown has been discarded; the pastoral poet is dead; classical lyric poetry is dead. The steam-driven, gaslit, electrically-charged poet is born. "Retreat Academic Muse!," Baudelaire commands, "I don't care about that old stutterer." With Paris Spleen, we move toward a new rhythm, a rhythm born of the pace, speed, and reality of a metropolis hitherto never seen or experienced. It is the rhythm of the street, of the swift-moving eye, of overloaded senses and hyper-perception, of newspapers and optical devices. Baudelaire's life spans the essential birth of whole new forms of technology, including steam locomotives, gas light, and electricity, not to speak of the typewriter and the Daguerreotype. The dandy sees and moves with the coming speed of light. His life is one lived in the midst of illumination, mechanics, and simulacra. Baudelaire's Paris is a place of experience, a metropolis that spawns unique and particular realities, a kaleidoscope of visions and mirror of alternative societies. The grist of his poems is not ancient Greece or the Renaissance. As he stated in the so-called preface to Paris Spleen, it is especially from frequenting great cities, from the crossroads of their innumerable relations, that the haunting ideal of the prose poem was born. Our flâneur wanders swiftly through crowds, in contact, but anonymous, extracting from the city material to forge his new ars poetica, like a bricolage artist. The future is called forth. The street is the new Olympus; the phantasmagoric city is a big harlot whose infernal charm continually rejuvenates the poet. The ironic, infernal beacon is the totem of the new age: the age of dissonance, the age of artificial paradises. "I love you, O infamous capital!" the poet exults. Here is Paris Spleen, an invitation to voyage, to have the entirety of Baudelaire's Paris enter into our flesh and for us to undergo contagion, if our spleens can handle it.

In his introduction to Charles Baudelaire’s Salon of 1846, the renowned art historian Michael Fried presents a new take on the French poet and critic’s ideas on art, criticism, romanticism, and the paintings of Delacroix.Charles Baudelaire, considered a father of modern poetry, wrote some of the most daring and influential prose of the nineteenth century. Prior to publishing the international bestseller Les Fleurs du mal (1857), he was already notable as a forthright and witty critic of art and literature. Captivated by the Salons in Paris, Baudelaire took to writing to express his theories on modern art and art philosophy.    The Salon of 1846 expands upon the tenets of romanticism as Baudelaire methodically takes his reader through paintings by Delacroix and Ingres, illuminating his belief that the pursuit of the ideal must be paramount in artistic expression. Here we also see Baudelaire caught in a fundamental struggle with the urban commodity of capitalism developing in Paris at that time. Baudelaire’s text proves to be a useful lens for understanding art criticism in mid-nineteenth-century France, as well as the changing opinions regarding the essential nature of romanticism and the artist as creative genius.    Acclaimed art historian and art critic Michael Fried’s introduction offers a new reading of Baudelaire’s seminal text and highlights the importance of his writing and its relevance to today’s audience.

Baudelaire: His Prose And Poetry, Edited By T. R. Smith With A Study On Charles Baudelaire By F. P. SturmThis book is a result of an effort made by us towards making a contribution to the preservation and repair of original classic literature.In an attempt to preserve, improve and recreate the original content, we have worked towards:1. Type-setting & Reformatting: The complete work has been re-designed via professional layout, formatting and type-setting tools to re-create the same edition with rich typography, graphics, high quality images, and table elements, giving our readers the feel of holding a 'fresh and newly' reprinted and/or revised edition, as opposed to other scanned & printed (Optical Character Recognition - OCR) reproductions.2. Correction of imperfections: As the work was re-created from the scratch, therefore, it was vetted to rectify certain conventional norms with regard to typographical mistakes, hyphenations, punctuations, blurred images, missing content/pages, and/or other related subject matters, upon our consideration. Every attempt was made to rectify the imperfections related to omitted constructs in the original edition via other references. However, a few of such imperfections which could not be rectified due to intentional\unintentional omission of content in the original edition, were inherited and preserved from the original work to maintain the authenticity and construct, relevant to the work.We believe that this work holds historical, cultural and/or intellectual importance in the literary works community, therefore despite the oddities, we accounted the work for print as a part of our continuing effort towards preservation of literary work and our contribution towards the development of the society as a whole, driven by our beliefs. We are grateful to our readers for putting their faith in us and accepting our imperfections with regard to preservation of the historical content. HAPPY READING!

Le Spleen de Paris, également connu sous le titre Petits poèmes en prose, est un recueil posthume de poésies en prose de Charles Baudelaire, établi par Charles Asselineau et Théodore de Banville. Il a été publié pour la première fois en 1869 dans le quatrième volume des oeuvres complètes de Baudelaire publié par l'éditeur Michel Levy après la mort du poète. Ce recueil fut conçu comme un « pendant » aux Fleurs du Mal. Baudelaire y fait l'expérience d'une « prose poétique, musicale sans rythme et sans rime, assez souple et assez heurtée pour s'adapter aux mouvements lyriques de l'âme, aux ondulations de la rêverie, aux soubresauts de la conscience ». Le recueil de Baudelaire comprend les poèmes suivants : À Arsène HoussayeI. L'ÉtrangerII. Le Désespoir de la vieilleIII. Le Confiteor de l'artisteIV. Un plaisantV. La Chambre doubleVI. Chacun sa chimèreVII. Le Fou et la VénusVIII. Le Chien et le FlaconIX. Le Mauvais VitrierX. À une heure du matinXI. La Femme sauvage et la Petite-maîtresseXII. Les FoulesXIII. Les VeuvesXIV. Le Vieux SaltimbanqueXV. Le GâteauXVI. L'HorlogeXVII. Un hémisphère dans une chevelureXVIII. L'Invitation au voyage (2e version)XIX. Le Joujou du pauvreXX. Les Dons des féesXXI. Les Tentations ou Eros, Plutus et la GloireXXII. Le Crépuscule du soirXXIII. La SolitudeXXIV. Les ProjetsXXV. La Belle DorothéeXXVI. Les Yeux des pauvresXXVII. Une mort héroïqueXXVIII. La Fausse MonnaieXXIX. Le Joueur généreuxXXX. La CordeXXXI. Les VocationsXXXII. Le ThyrseXXXIII. Enivrez-vousXXXIV. Déjà !XXXV. Les FenêtresXXXVI. Le Désir de peindreXXXVII. Les Bienfaits de la luneXXXVIII. Laquelle est la vraie ?XXXIX. Un cheval de raceXL. Le MiroirXLI. Le PortXLII. Portraits de maîtressesXLIII. Le Galant TireurXLIV. La Soupe et les NuagesXLV. Le Tir et le CimetièreXLVI. Perte d'auréoleXLVII. Mademoiselle BistouriXLVIII. Anywhere out of the WorldXLIX. Assommons les Pauvres !L. Les Bons ChiensÉpilogue.

For sheer reading pleasure and fidelity to its source, this entirely new translation of Baudelaire's magnum opus is matchless. With admirable disregard for the fashionable cliché according to which poetry is fundamentally "untranslatable," Eric Gans works from the startling premise that the greatest French poet of the nineteenth century can indeed be rendered in English without significant loss of meaning or effect. His daring approach involves sticking as closely as possible to the French original, combining the translator's modesty with a remarkable poetic talent, in order to showcase not his own ingenuity but Baudelaire's distinctive vision. Poetry lovers and students of French literature alike will applaud the result. Trevor Merrill, Lecturer in French, California Institute of Technology

Histoires extraordinaires est un recueil de nouvelles écrites par Edgar Allan Poe, puis traduites et réunies sous ce titre par Charles Baudelaire en 1856.Le recueil comprend les nouvelles suivantes : Double assassinat dans la rue Morgue (1841)La Lettre volée (1845)Le Scarabée d'or (1843)Le Canard au ballon (1844)Aventure sans pareille d'un certain Hans Pfaall (1839)Manuscrit trouvé dans une bouteille (1833)Une descente dans le Maelstrom (1841)La Vérité sur le cas de M. Valdemar (1845)Révélation magnétique (1844)Souvenirs de M. Auguste Bedloe (1844)Morella (1835)Ligeia (1838)Metzengerstein (1832)

In April of 1864, Baudelaire departed Paris for Brussels with something of a massive shipwreck in his wake: his major work, Les fleurs du Mal, had been condemned and censored a decade earlier, many of his other works were out of print, and he pawned his prized Poe translations to gain much needed survival money. Fearful of being imprisoned for debt, the poet who was an outcast in Paris would soon become a pariah in Brussels. Not long after his arrival, rumors spread that he was a spy reporting on Republican exiles on behalf of the French police. While encountering a pestiferous city in the midst of redevelopment, and after failing to secure a publisher for his work, Baudelaire would begin writing notes for his projected book on Belgium. In his catalogus rerum of Brussels and the Belgians, the general overruling condition is one of blandness and dissolution: with observations ranging from those of a sociologist to an anthropologist, city planner, and aesthete, through Baudelaire's fleeting eye, we witness his examination of physiognomy, cultural and political customs, Belgium's fear of annexation by France, & more. Deemed a mean-spirited and even xenophobic book by figures such as Derrida, Baudelaire himself spoke of it as a sketch and satire that had the double advantage of being a caricature of the follies of France and a simulacrum of a Democratic state. As he attempted to complete his project on Belgium as well as other works, Baudelaire suffered violent attacks of neuralgia, then, in early 1866, he was plagued with more attacks, dizzy spells, and nausea. After a cerebral stroke, he was left hemiplegic and mute. In this veritable full-scale examination of every aspect of life in Belgium, Baudelaire's perspectival eye catches a world in a glance. The poet's plethora of notes and vast collection of related newspaper clippings (summarized within) reveal to us the inner workings of his mind, what Blake called the artist's Infernal workshop. Belgium Stripped Bare is an aesthetico-diagnostic litany of often vitriolic observations whose victory is found in the act of analysis itself, in the intoxication of diagnosis, just as great comedians exult in caustic and biting observations of society, a slap in the face of the status quo.