{"title":"忧郁与撒旦","authors":"R. Pearson","doi":"10.1093/oso/9780192843319.003.0006","DOIUrl":null,"url":null,"abstract":"This chapter presents Baudelaire’s views on the relationship between beauty and melancholy and considers his famous definition of beauty (‘quelque chose d’ardent et de triste […] laissant carrière à la conjecture’) in the context of his radically alternative moral philosophy, embraced under the aegis of Satan. Unlike Chateaubriand and Staël, who associate melancholy historically with the advent of Christianity, Baudelaire sees melancholy as deriving from the irremediable ‘tragedy’ of human desire. Accordingly, his Satan (from the Hebrew for ‘adversary’, ‘he who resists’) is not a representative of evil and sinfulness but combines the Satan of Genesis (inviting humankind to know) with Lucifer, the rebellious angel of light who experienced both heaven and hell. Baudelaire’s Satan therefore stands for a human condition of self-conscious ill-being (‘le Mal’) in which the integrity of poetry as a form of progressive lawgiving lies in the open-eyed, no-holds-barred portrayal of the human experience of desire.","PeriodicalId":264256,"journal":{"name":"The Beauty of Baudelaire","volume":"12 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2021-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Melancholy and Satan\",\"authors\":\"R. Pearson\",\"doi\":\"10.1093/oso/9780192843319.003.0006\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This chapter presents Baudelaire’s views on the relationship between beauty and melancholy and considers his famous definition of beauty (‘quelque chose d’ardent et de triste […] laissant carrière à la conjecture’) in the context of his radically alternative moral philosophy, embraced under the aegis of Satan. Unlike Chateaubriand and Staël, who associate melancholy historically with the advent of Christianity, Baudelaire sees melancholy as deriving from the irremediable ‘tragedy’ of human desire. Accordingly, his Satan (from the Hebrew for ‘adversary’, ‘he who resists’) is not a representative of evil and sinfulness but combines the Satan of Genesis (inviting humankind to know) with Lucifer, the rebellious angel of light who experienced both heaven and hell. Baudelaire’s Satan therefore stands for a human condition of self-conscious ill-being (‘le Mal’) in which the integrity of poetry as a form of progressive lawgiving lies in the open-eyed, no-holds-barred portrayal of the human experience of desire.\",\"PeriodicalId\":264256,\"journal\":{\"name\":\"The Beauty of Baudelaire\",\"volume\":\"12 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2021-09-16\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"The Beauty of Baudelaire\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1093/oso/9780192843319.003.0006\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"The Beauty of Baudelaire","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1093/oso/9780192843319.003.0006","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
本章介绍波德莱尔对美与忧郁之间关系的看法,并在他完全不同的道德哲学的背景下考虑他对美的著名定义(“quelque选择了d’ardent et de triste[…]laissant carri la conjecture”),在撒旦的庇护下接受。与夏多布里昂和Staël不同,他们将忧郁与基督教的出现联系在一起,波德莱尔认为忧郁源于人类欲望的不可挽回的“悲剧”。因此,他的撒旦(来自希伯来语的“对手”,“抵抗者”)不是邪恶和罪恶的代表,而是将创世纪中的撒旦(邀请人类了解)与路西法(经历过天堂和地狱的叛逆的光明天使)结合在一起。因此,波德莱尔的撒旦代表了一种人类自我意识的病态状态(“le Mal”),在这种状态下,诗歌作为一种进步立法形式的完整性在于对人类欲望体验的睁大眼睛、无拘无束的描绘。
This chapter presents Baudelaire’s views on the relationship between beauty and melancholy and considers his famous definition of beauty (‘quelque chose d’ardent et de triste […] laissant carrière à la conjecture’) in the context of his radically alternative moral philosophy, embraced under the aegis of Satan. Unlike Chateaubriand and Staël, who associate melancholy historically with the advent of Christianity, Baudelaire sees melancholy as deriving from the irremediable ‘tragedy’ of human desire. Accordingly, his Satan (from the Hebrew for ‘adversary’, ‘he who resists’) is not a representative of evil and sinfulness but combines the Satan of Genesis (inviting humankind to know) with Lucifer, the rebellious angel of light who experienced both heaven and hell. Baudelaire’s Satan therefore stands for a human condition of self-conscious ill-being (‘le Mal’) in which the integrity of poetry as a form of progressive lawgiving lies in the open-eyed, no-holds-barred portrayal of the human experience of desire.