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By Patricia Clements

This examine of Baudelaire and English modernism observes his protean impression on poets from Swinburne, who wrote the 1st English overview of Les Fleurs du Mai, to T. S. Eliot. Documenting Baudelaire's influence on Swinburne, Pater, Wilde, Arthur Symons, Aldous Huxley, Edith and Osbert Sitwell, D. H. Lawrence, the Imagists, John Middleton Murry, Eliot, and others, Patricia Clements describes the Baudelaire who's the production of the English poets and identifies a few significant strains within the improvement of modernism in English literature.

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Extra resources for Baudelaire and the English tradition

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B. 20 CHAPTER 1 mocking, conspiratorial attack in his reviews of Cossu and Clouet. During these same years he was composing the Poems and Ballads of the First Series, elaborating some of the same subject matter that had caused the French court to send Les Epaves into exile and that would soon cause Moxon's to withdraw his own book from circulation, and he was working on his in­ tensely Baudelairean second novel, Lesbia Brandon. se Baudelaire exerts powerful pressure on the shapes, subjects, and language of all these works.

A helot who wants to make his master blush. CHAPTER 1 42 by Felicien Cossu, premiere serie (no more published), p. 89, Paris, 1858," and he continued what Cecil Y. 76 The reviews he wrote of the works of this manu­ factured pair are themselves a parody of everything else he wrote in the series, particularly of his essay on Baudelaire. Cossu and Clouet are intimately related by a variant of the international brotherhood. " Some of Cossu's poems and Clouet's themes guy the very poems Swin­ burne had cited in his review, seizing upon Baudelaire's most "offending" subjects—the satanism and blasphemy, the psycho­ logical and sexual studies—to parade them before a reviewer who adopts, one by one, as by comic inevitability, precisely the positions most fiercely ridiculed by proponents of art for art's sake.

You write as if Art and Poetry consisted of pictorial qualities. "" The answer to the question was no, as Hutton really should have known from Swinburne's discussion of the morality of Les Fleurs du Mai, but the aesthetic Swinburne was adopting—and so laying down in print for the first time in Eng­ lish some of the basic positions of modernism—made the formal quality of a work its justification, the proper center of attention for both poet and critic. Poe, Baudelaire had written in his Notes Nouvelles, etait avant tout sensible a la perfection du plan et a la cor­ rection de l'execution; demontant Ies oeuvres litteraires comme des pieces mecaniques defectueuses (pour Ie but qu'elles voulaient atteindre), notant soigneusement Ies vices de fabrication; et quand il passait au detail de l'oeuvre, a son expression plastique, au style en un mot, epluchant, sans omission, Ies fautes de prosodie, Ies erreurs grammaticales et toute cette masse de scories, qui, chez Ies ecrivains non artistes, souillent Ies meilleures intentions et deforment Ies conceptions Ies plus nobles.

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