Text: T. H. Goetz, “Addenda: Fugitive References, Poe and France,” Poe Studies, December 1976, Vol. IX, No. 2, 9:51-52


[page 51, column 2, continued:]

Addenda: Fugitive References, Poe and France

New York State University College, Fredonia

Bandy, W. T. “La Preface des Nouvelles histoires extraordinaires (Deux notes explicatives),” Bulletin Baudelairien, 10, No. 2 (1975), 17-20. [Identifies for the first time the Cyclopaedia of American Literature, published by Evert and George Duyckinck (New York: Scribner’s, 1856), as the probable source of an article on Poe’s poetry which Baudelaire remarked having read in an unnamed American biographical dictionary in the preface to his translation of Poe s tales entitled Nouvelles histoires extraordinaires, pp. 18-19.]

————————. “Hugo’s View of Poe,” Revue de Lite’rature Comparee, 40 (1975), 480-482. [A newspaper clipping from the Baltimore Ssun by “Mont,” a foreign correspondent of the Svn in 1884, entitled a “Chat with Victor Hugo,” indicates Hugo admired the warmth and tenderness of “The City of the Sea.”]

Boon, Jean-Pierre. “Baudelaire, Correspondances et le magnetisme animal,” PMLA, 86 (1971), 406-410 [Attributes Baudelaire’s interest in animal magnetism as a factor in his selection of “Mesmeric Revelation” (“Revelation magnetique ”) as his first Poe translation.]

Brombert, Victor. La Prison romantique (Paris: J. Corti, 1975). [Baudelaire’s fear of an oppressive and humiliating claustrophobia serves as the basis for the great affinity he felt with Poe for whom, according to Baudelaire, all America was only a vast prison, p. 145. Other references, pp. 20, 129, 146, 155.] [page 52:]

Cohn, Robert Greer. The Poetry of Rimband (Princeton: Princeton Univ. Press, 1973). [For Rimbaud, the chateau of “Le Bonheur,” as for Poe (in “The Fall of the House of Usher”), is the “experience of sheer innocence and beauty wrung from the guilty, suffering life,” p. 10. Other references, pp. 43, 77, 157; 183, 267, 321.]

De George, Fernande M. “The Structure of Baudelaire’s Petits poemes en prose,” L’ Esprit Createvr, 13, No. 2 (1973), 144-153. [Baudelaire placed Poe’s tales in what was the most illogical order, “giving them an orderly development that Poe himself had not given them in his collection of tales,” p. 150.]

De Haes, Frans. Images de Lautreamont (Gembloux: J. Duculot, 1970). [Cites L. Krestovsky’s comparison of Laurreamont’s Chants de Maldoror to Poe’s work, p. 177. Other references, pp. 76, 84, 110, 112, 203.]

Knapp, Bettina. Maurice Maeterlinck. (Boston: Twayne, 1975) Twayne’s World Authors Series, France, s 342. [Poe was one of Maeterlinck’s favorite authors. The atmosphere of his first play, “Princess Maleine” (1889) is comparable to “the one delineated in Poe’s ‘The Fall of the House of Usher.’” The tragic love motif in “Pelleas and Melisande” is similar to the devasting passion of Poe’s child lovers in “Annabel Lee,” pp. 33, 69-70. Other references, pp. 26, 39, 67, 157, 160.]

Kravis, Judy. The Prose of Mallarme: The Evolution of a Literary Language (London and New York: Cambridge Univ. Press, 1976). [Argues that in spite of Mallarme’s over-dramatized emotional reaction to Poe as the “upholder of the mythical status of Literature,” the importance Mallarme attached to Poe’s theoretical writing about his own work, which emphasized the French poet’s belief that “great writing is not a matter of intuitive chance, but rather a conquering of chance,” provides evidence of the seriousness inherent in his theoretical reaction to Poe, pp. 31-34. Other references, pp. 2, 17n, 40, 48, 60-64, 77, 1S6, 208, 224.]

Mickel, Emanuel J., Jr. “Concerning the Source and Date of Baudelaire’s “La Beaute,’” Romance Notes, 14 (1972), 299303. [Passing reference to Antoine Adam’s suggestion that “La Beaute” was written (after 1852) when Baudelaire was “most interested in Poe and close to Gautier,” p. 299.]

Peyre, Henri. French Literary Imagination and Dostoevsky and Other Essays (University, Alabama: The University of Alabama Press, 1975). Studies in the Humanities No. 10. [Includes Valery’s comment on his unbounded admiration for Poe, as well as Paul Claudel’s warm and spirited defense of Poe as storyteller, poet, and thinker, pp. 116-117. Other references, pp. 122, 132.]

Rabbin, Marcelle. “La Pitre chatie ou la Societe comme cirque,” French Review, 45 (1972), 980-987 [Presents some curious coincidences between a number of images and symbols used in R. Altman’s film, “Brewster McCloud,” and some themes of Poe, Baudelaire, Mallarme, and others.]

Sachs, Murray. “The Emergence of a Poetics,” French Literature Series (University of South Carolina), 2 (1975), 140-151. [“Anatole France’s innovative method of beginning a short story with an idea, and then inventing or selecting the characters and events which will best communicate that idea, corresponds, apparently by pure chance, to Poe’s classic definition of how a short story should be constructed,” pp. 149-150.]

Taylor, John. “Joris-Karl Huysmans an Impressionist in Prose,” Papers on Language and Literature, 8 (1972), 67-78. [Huysmans’ A rebours, which can be read “as a series of essays in art criticism, essays united by a single theme and a single taste,” fits Poe’s specifications that the writer of short fiction seek to achieve a single effect,” p. 72. Other references, pp. 71, 73.]


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