‘La Beauté’: Art and Dialogism in the Poetry of Baudelaire

Studies of Baudelaire’s poem ‘La Beauté’ have generally agreed that it has a key role to play in our understanding of his aesthetic theories, but have differed wildly in how this role is interpreted. The present study brings together arguments that see the speaker of the poem, Beauty, as a statue, along with those that understand the poem as being fundamentally ironic. Situating ‘La Beauté’ in the context of Baudelaire’s art criticism allows us to understand it as part of his engagement in debates within the visual arts. This gives us a new reading of Beauty’s claims as voicing the positions of neo-classical idealism, and specifically those of nineteenth-century academic theorists influenced by the eighteenth-century German inventor of art history, Winckelmann. Recognizing the importance of Winckelmann in approaching this poem sheds light on the rejection of movement and emotion that is pronounced by Beauty, and which contradict Baudelaire’s theoretical positions expressed elsewhere. The sonnet is thus incorporating the language of a speaker who is distinct from the lyric ‘je’ and cannot be reduced to a mask for him or a part of his divided self. This language and the position it expresses are framed within the sonnet, whose implicit irony leads to what Bakhtin calls double voicing. This approach offers a new reading of ‘La Beauté’ in formal terms as an example of Bakhtinian dialogism within lyric poetry

Baudelaire and Other People

This is the author accepted manuscript. The final version is available from Johns Hopkins University Press via the DOI in this record