Baudelaire: Juego de triunfos by Mario Campana

By Mario Campana

L. a. biografía de Charles Baudelaire, el poeta maldito por excelencia.

La leyenda y el mito se han apoderado del autor de Las flores del mal. Convertido en uno de los iconos de los angeles cultura moderna, en el poeta maldito por excelencia, los angeles figura de Charles Baudelaire ha sufrido todo tipo de manipulaciones, que han pretendido convertirlo en dandi frívolo o en mártir y héroe inmaculado, en audaz parricida o en contumaz consumidor de drogas, simplificando así los angeles verdadera magnitud de su figura, su vida y su trabajo.

Ateniéndose a l. a. ingente documentación existente y sorteando los peligros de l. a. hagiografía y el anecdotario, esta biografía, escrita con rigor y fluidez, es los angeles obra de un poeta que prefiere ceñirse a los hechos y a l. a. complejidad de l. a. vida del que fuera el fundador de l. a. poesía contemporánea, reconociéndolo en sus grandezas y miserias, su arrojo, sus contradicciones y sus dobleces hasta llenar un inexplicable vacío en l. a. bibliografía en lengua castellana.

Con un profundo conocimiento de l. a. sociedad francesa y los avances del mercantilismo en los angeles época, Mario Campaña sitúa a Baudelaire en su contexto social y político, al tiempo que destaca cómo influyó esta convulsa situación en su vida y obra. Siendo revolucionario en 1848, el poeta terminó repudiando toda los angeles civilización occidental y proponiendo fórmulas políticas que lo situaron en el espectro más conservador de su época.

«No hay momento pertinente de l. a. vida de Baudelaire del que esta biografía no se ocupe sin una interpretación muy ajustada, repartiendo juego sin recabar méritos propios. De ahí su valor.»

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Extra resources for Baudelaire: Juego de triunfos

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This was not proof enough to convince many Boschian historians, especially the Dutch ones, such as Dirk Bax, yet the evidence was so compellingly argued by Fränger that to Patrik Reuterswärd and others it seemed highly suggestive. Something that happened in Brussels at the beginning of the 15th century can hardly explain conditions in ‘s-Hertogenbosch a hundred years later. While this objection seems justified, I should like to recall the difference between proof and circumstantial evidence. While anyone who can be convinced only by proof will be obliged to reject Fränger’s case, his reconstruction of the reality that underlies the great Prado triptych rests equally on a mass of circumstantial evidence whose diversity alone should compensate for the lack of conclusive proof.

An example of the anticlerical has already been shown in the fat monk being served by his nuns in the Hay Wagon. Another is in the pig wearing a nun’s wimple and veil soliciting the affections of a man in the Hell scene of the Garden. Since it was not the practice of a late medieval artist to paint merely for his own satisfaction, nor is it conceivable that private commissioners would have wanted such odd altarpieces for their own chapels, then there must have been a group outside the Church, operating between its severe discipline and pagan anarchy, but fighting both.

The scholar’s purpose in making these Italian connections was obviously to justify finding such an esoteric community in the North as is known to have existed in Renaissance Italy. ”) To explain his cult’s mysteries according to those of the Italian societies, and their appearance in this Netherlandish cult, Fränger had to introduce the “Grand Master” and show cause for this man’s having brought these ideas back from his own schooling days in Italy – thus the author’s assertion that the man has the look of an Italian intellectual and the further strengthening point that the woman behind him (his “bride”) has Italian colouring and features.

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