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4.07 AVERAGE
4.07 AVERAGE
what do you mean he's a misogynist? he's literally suicidal
Sex, death, drugs and all - it’s relatively easy to see why some of Baudelaire’s works were considered so scandalous, and why many of his poems were subject to such suppression. Yet like the best of writers, it is his unabashed exploration and adroit expression of these themes that flag his work as a remarkable piece of literature and literary history.
Whilst Baudelaire adeptly traverses the rocky and risqué borders of the aforementioned topics, along with some more ubiquitous themes (love, nature, beauty), the ardent and uncensored manner in which he expresses them can sometimes work to his disfavour. A selection of his poems reveal underlying or overt shades of anti-semitism, imperialism, and an exoticisation of women (particularly when it comes to those from different cultures). I do wonder if this unearthly portrayal of women is an inevitable product of romanticism during the 1800s - especially considering a possible parallel between femininity and the environment, and the evocation of alien-like landscapes by many a romantic.
However, the influence of romanticism and the author’s immersion in the revolutionary sentiment of 1848 perhaps also provided impetus for the drive with which he portrays his subjects. He displays a finesse with words; skilfully employing potent diction and conjuring dreamlike images bordering on the mystical, which at times are more nightmarish than ethereal. Baudelaire exploits not only the meaning but also the phonetic qualities of words, weaving striking songs of lamentation, desire, and love.
Reading the poems in French lends a further musical quality to the writing, with the softer sounds creating a sort of euphony. Roy Campbell’s translation is a good attempt at harnessing at least a little of Baudelaire’s prowess: the recreation of the rhyme propels the poems forward, although it does remain deficit in its inability to completely capture the subtle resonances of the language of love. William Aggeler’s versions are perhaps better in his refined choice of language. Unburdened by the need to maintain a rhyming scheme, Aggeler’s translations do come across as slightly more accurate. That said, both still beautifully capture the essence of the poet’s works, perhaps even contributing a nuance that is charming in itself.
Baudelaire undoubtedly left a clamour of astounded high-brow critics in his wake. Yet he equally leaves his contemporary readers with a powerful palinopsia of his grace in Les Fleurs du Mal. A large portion of his poems are emotionally and intellectually resonant; evidence that much of his writing did not accompany him to his early grave.
Whilst Baudelaire adeptly traverses the rocky and risqué borders of the aforementioned topics, along with some more ubiquitous themes (love, nature, beauty), the ardent and uncensored manner in which he expresses them can sometimes work to his disfavour. A selection of his poems reveal underlying or overt shades of anti-semitism, imperialism, and an exoticisation of women (particularly when it comes to those from different cultures). I do wonder if this unearthly portrayal of women is an inevitable product of romanticism during the 1800s - especially considering a possible parallel between femininity and the environment, and the evocation of alien-like landscapes by many a romantic.
However, the influence of romanticism and the author’s immersion in the revolutionary sentiment of 1848 perhaps also provided impetus for the drive with which he portrays his subjects. He displays a finesse with words; skilfully employing potent diction and conjuring dreamlike images bordering on the mystical, which at times are more nightmarish than ethereal. Baudelaire exploits not only the meaning but also the phonetic qualities of words, weaving striking songs of lamentation, desire, and love.
Reading the poems in French lends a further musical quality to the writing, with the softer sounds creating a sort of euphony. Roy Campbell’s translation is a good attempt at harnessing at least a little of Baudelaire’s prowess: the recreation of the rhyme propels the poems forward, although it does remain deficit in its inability to completely capture the subtle resonances of the language of love. William Aggeler’s versions are perhaps better in his refined choice of language. Unburdened by the need to maintain a rhyming scheme, Aggeler’s translations do come across as slightly more accurate. That said, both still beautifully capture the essence of the poet’s works, perhaps even contributing a nuance that is charming in itself.
Baudelaire undoubtedly left a clamour of astounded high-brow critics in his wake. Yet he equally leaves his contemporary readers with a powerful palinopsia of his grace in Les Fleurs du Mal. A large portion of his poems are emotionally and intellectually resonant; evidence that much of his writing did not accompany him to his early grave.
reflective
sad
tense
slow-paced
Plot or Character Driven:
Character
Strong character development:
No
Loveable characters:
No
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
dark
emotional
reflective
sad
every second of it felt haram astaghfirullah, almost gave it a 1 star out of sheer pettiness against school
dark
emotional
reflective
tense
slow-paced
Plot or Character Driven:
N/A
Strong character development:
N/A
Loveable characters:
N/A
Diverse cast of characters:
N/A
Flaws of characters a main focus:
N/A
slow-paced
I have the sudden urge to time travel or summon demons in a dark ally, but probably both.
Ok, let’s all appreciate the cat poem because it was the best.
Read this for a class I’m taking, looking forward to the discussion.
Ok, let’s all appreciate the cat poem because it was the best.
Read this for a class I’m taking, looking forward to the discussion.
Luuletusi ma kuigi tihti ei loe, sest ma ei oska neid nautida nii nagu raamatuid. Vahel satub kätte mõni tore poeem, mis meeldib, aga üldiselt jäävad nad mulle kaugeks. Charles Baudelaire'i luulekogu "Kurja lilled" jäi kõrva koolis oma huvitava nimega ning tema luuletus "Raibe" on ka omanäolisena meelde jäänud. Otsustasingi väljakutse raames tervikteose läbi lugeda. Alustasin augustis ning esialgne plaan oli iga õhtu üks luuletus lugeda. See töötas paar esimest päeva, siis vajus raamat unustuse hõlma, kuni detsembri lõpus oli vaja ta ruttu-ruttu läbi saada.
Luuletustel oli väga mitu tõlkijat ning mind kõnetasid kõige rohkem August Sanga tõlked, mille riimid tundusid mulle voolavamad, mitte niivõrd pingutatult otsitud. Veel olid need kuidagi argisemad, ei kasutanud liialt arhaismi vajunud sõnu. Kusjuures raamatu lõpus oli sõnastik vähemtuntud sõnadega, mis mulle väga meeldis. Selle avastasin muidugi siis, kui kõik luuletused läbi olid loetud. Väga palju oli kasutatud näiteks sõna taarn, mis tähendab kuristikku.
Mulle meeldis sünge õhustik, mida luuletused endas kandsid ning ka jaburus, puänt, mida just "Raibe" hästi näitab, kus armsamale tee äärest leitud korjust meelde tuletatakse.
Kokkuvõtteks tasus lugeda küll, kuid luuleusku see mind pöörata ei suutnud.
Luuletustel oli väga mitu tõlkijat ning mind kõnetasid kõige rohkem August Sanga tõlked, mille riimid tundusid mulle voolavamad, mitte niivõrd pingutatult otsitud. Veel olid need kuidagi argisemad, ei kasutanud liialt arhaismi vajunud sõnu. Kusjuures raamatu lõpus oli sõnastik vähemtuntud sõnadega, mis mulle väga meeldis. Selle avastasin muidugi siis, kui kõik luuletused läbi olid loetud. Väga palju oli kasutatud näiteks sõna taarn, mis tähendab kuristikku.
Mulle meeldis sünge õhustik, mida luuletused endas kandsid ning ka jaburus, puänt, mida just "Raibe" hästi näitab, kus armsamale tee äärest leitud korjust meelde tuletatakse.
Kokkuvõtteks tasus lugeda küll, kuid luuleusku see mind pöörata ei suutnud.