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• W137196438 abstract "psychological, with poet's compulsion both to flaunt and to conceal self, sometimes aesthetic, with a desire to glorify and question nature and function of art, and always metaphysical, in exploration of delicate relationship between life and art, reality and illusion. (238) Theodore de Banville, who was the first poet to represent in any important manner clown as a symbolic analogue of poet, however, is in peculiar position of having a few frequently cited acrobat / clown poems in his repertoire that on surface qualify as posing such questions, while rest of his poetry, whose technical exquisiteness is undisputed, is almost categorically dismissed by critics for lacking ideas (240). Two of these metaphysical poems frame his 1857 Odes funambulesques . For Peter J. Edwards, they present image of poete-paria qui, par les merveilles de son art, transcende les poncifs et les banalites de son monde as well as serve to defini[r] symboliquement raison d'etre du recueil (381-82). For Max Fuchs as well, figure of acrobat / clown in these two poems sets tone for a reading of works found in between: acrobat's technical skill and grace affirms la divinite de poesie against vulgar bourgeois morality; and clown / pierrot ridicules bourgeois complacency (180). These images of acrobat / clown never materialize, however, as raison d 'etre of remaining poems, which are characterized by what Barbey d'Aurevilly describes as [des] spectacles inferieurs [. . .] sans pensee et sans coeur, and which J. Habans attacks for their showcasing of individuals singularly unimportant to anyone outside Paris, let alone outside small Parisian world of journalism and letters (qtd. in Edwards, TUodore 399; 41 6).2 The artist as marginalized acrobat / clown, a figure that would attain great symbolic resonance in work of later poets, novelists, and painters from fin de siecle, elicited a surprisingly negative and lasting critical response from Banville's contemporaries, becoming metaphor of choice to describe all of Banville's work. As John Charpentier comments, Reconnait-on que ses vers sont bien faits? On s'empresse aussitot d'ajouter, comme Veuillot, qu'ils ne veulent rien dire (63). Accordingly, supporters find themselves, sometimes unwillingly and unwittingly, in 1 I do not translate funambulesque here as fantastic since word refers both to celebrated pantomime theater of first half of nineteenth century, Theâtre Funambules, and to tightrope walkers, Latin derivative of which exists in English. 2 Only Ancien Pierrot prefigures explicitly image in Le Saut du Tremplin of acrobat flying way above boursiers a lunettes d'or, / Des critiques, demoiselles / Et realistes en feu (290). Pierrot, who has been given a voice as punishment by fairy Azurine, dreams of once again becoming silent and doing des sauts - / de carpe egalement, pour etonner les sots {Poesies 168)." @default.
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• W137196438 title "Théodore de Banville and Funambulesque Aesthetics" @default.
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