Baudelaire and Aldous Huxley - Point counter point

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Baudelaire and Aldous Huxley Author(s): James S. Patty Source: South Atlantic Bulletin, Vol. 33, No. 4 (Nov., 1968), pp. 5-8Published by: South Atlantic Modern Language AssociationStable URL: http://www.jstor.org/stable/3198080Accessed: 23-08-2015 16:19 UTC

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November, 1968 SOUTH ATLANTIC BULLETIN Page Five

Baudelaire and Aldous Huxley To juxtapose the names of Baude-

laire and Huxley is to bring together two figures of unusual importance in the long, richly complex story of Anglo-French literary relations. On the one hand, the Baudelaire-Poe relationship is, all by itself, a long and complex story, and it is by no means the only important connection between Baudelaire and the Anglo- Saxon world-there is also the Bau- delaire-DeQuincey relationship, for instance. As for Huxley, it would be difficult to find an English writer of the last century or so more deeply imbued with a knowledge of French literature and with admira- tion for it. True, Huxley is but one of a number of ardent Francophiles among the Anglo-Saxons-after all, there are Swinburne, Wilde, George Moore, T. S. Eliot, to mention per- haps the most noteworthy. But when, in 1939 in the Revue de Littdrature Comparde, Ruth Z. Temple devoted a sound and thorough study to the general subject of Huxley's knowledge and use of French literature, she produced an article forty-six pages long, solidly packed with information. Ten of her pages were about Huxley and Baudelaire. The present paper is a sort of appendix to her excellent article. I propose to review briefly the principal points she made, to elaborate on one of them, and to conclude with a few observations on matters which she could not deal with in 1939. Huxley, we must remember, lived on and wrote and evolved for almost another quarter century, but his death on November 22, 1963, was over- shadowed by other, more terrible news, and it seems to me he has not yet emerged from this shadow.

As Miss Temple makes clear, references to Baudelaire are frequent in Huxley's work-nine, for example, in Texts and Pretexts (more than for any other French writer). More significantly, he included an essay on Baudelaire in the collection Do What You Will (1929); he based the character of Spandrell in Point Counter Point (1928) on Baude- laire; and he translated into English the long and difficult poem "Femmes damnbes: Delphine et Hippolyte," one of the "pidces condamnbes." I agree with Miss Temple that this translation is "in general successful." She seems unnecessarily non-com- mittal when she says that Huxley "seems not incapable of feeling the

special qualities of Baudelaire's poetry." Her discussion of Huxley's failure, in his essay, to comprehend fully Baudelaire's sense of spleen and ennui and his rather special form of Christianity, with its em- phasis on the primacy and power of evil, need not be recapitulated in detail. Suffice it to say that, as might be suspected, she finds certain important resemblances between the two writers, as well as certain dif- ferences of temperament and back- ground which account for the lack of total comprehension on Huxley's part. One might ask, in passing, who has ever totally understood Baude- laire?

As I have indicated, Miss Temple's discussion of the Baudelaire-Huxley relationship is largely based on the essay in Do What You Will. I would like to develop-and this is my principal topic-the Baudelairian ele- ments in Point Counter Point. This topic has not, I believe, been treated in detail, and it deserves such treatment, in my opinion, since we have here an almost unique instance of an important novel inspired by Bau- delaire. Partly inspired, I should say, of course, for Point Counter Point is an unusually complex novel, with a large and varied cast of characters, and the Spandrell theme is but one among a number.

Before turning to this specifically Baudelairian element in the novel, I would like to note in passing, by way of substantiating my earlier statement about Huxley as a knower and admirer of French literature, that there are references to Musset, to Vigny ("La maison du berger"), to Verlaine, to Rimbaud-a key allusion, since he "believed in life" and is thus set in contrast to Span- drell-Baudelaire-as well as references to various French prosateurs: Flaubert, Zola, Barres, Bourget, Marie Leneru, Proust, Robert de Montesquiou, and Cocteau. Further- more, Huxley's fictional painter, John Bidlake, is evidently a kind of British Renoir, and there are references to Manet and D6gas as well (not to mention two French painters well known to Baudelaire-Ingres and Ary Scheffer). Finally, the novelistic techniques employed by Huxley are to a large extent bor- rowed from Gide's Les Faux-Mon- nayeurs. A word might be said, too, about the general influence of Vol- taire and Anatole France.

In Point Counter Point, Huxley reveals an almost scholarly interest in Baudelaire. In an early chapter, at a cocktail party, a minor character is shown drunkenly "defend- ing art against the Philistines," and arraying himself "on the side of the angels, of Baudelaire, of Edgar Allan Poe, of De Quincey. . . ." A little later in the same scene, Spandrell brings Baudelaire into the argu- ment, characterizing him as "the last poet of the Middle Ages as well as the first modern," and, by way of illustration, citing seven lines from "Une charogne." Much later in the book, Mr. Quarles quotes several lines from Baudelaire's "L'albatros," but this allusion cannot be regarded as a real compliment to the French poet, since Mr. Quarles is attempt- ing to justify his wasted life and since Huxley clearly wants us to regard him as a pompous nonentity. But it is still another passage which really justifies claiming that Huxley was something of a Baudelaire schol- ar (fortunately, he was also much more). Philip Quarles is engaged in conversation with the coquettish Molly d'Exergillod:

Molly smiled. "Do you know why Jean says I'm the only woman he could ever fall in love with?"

"No," said Philip, thinking that she was really superb in her Junonian way.

"Because," Molly went on, "according to him, I'm the only woman who isn't what Baude- laire calls le contraire du dandy. You remember that fragment in Mon Coeur Mis

' Nu? 'La

femme a faim et elle veut man- ger; soif, et elle veut boire. La femme est naturelle, c'est-a-dire abiminable. Aussi est-elle . . .'

Philip interrupted her. "You've left out a sentence," he said, laughing. 'Soif, et elle veut boire.' And then: 'Elle est en rut, et elle veut Stre...' They don't print the word in Cr~pet's edition; but I'll supply it if you like."

"No, thanks," said Molly, rather put out by the interrup- tion. It had spoilt the easy un- folding of a well-tried conver- sational gambit. She wasn't ac- customed to people being so well up in French literature as Philip. "The word's irrelevant."

"Is it?" Philip raised his eye-


Page Six SOUTH ATLANTIC BULLETIN November, 1968

brows. "I wonder." "'Aussi est-elle toujours vul-

gaire,' " Molly went on, hurry- ing back to the point at which she had been interrupted, 'c'est- a-dire le contraire du dandy.' Jean says I'm the only female dandy. What do you think?"

"I'm afraid he's right." Aside from the extensive quotation from Mon coeur mis & nu and Hux- ley's amusing exploitation of it, we must take note of the reference to "Cr6pet's edition." One's first reac- tion is to think of the magnificent nineteen-volume set edited by Jac- ques Crepet beginning in 1922. But at the time when Point Counter Point was published (1928), the volume containing the journaux in- times had yet to appear. Huxley must have seen a copy of the Oeuvres posthumes of 1908 or pos- sibly the Oeuvres posthumes et cor- respondances inedites published by the elder Crepet (Eugene) in 1887. In any case, Huxley had gone out of his way to collect or at least to consult reliable texts of Baudelaire's works.

But it is the character of Maurice Sprandrell which is most crucial to this paper. First of all, it is obvious that Huxley knew a good deal about Baudelaire's life; he probably used the Baudelaire: 6tude biographique by the two Cr6pets (1906). Span- drell is the son of a woman who, after the death of her first husband, Maurice's father, married a handsome army officer. When we first see Gen. Knoyle at a cocktail party, he is immediately ridiculous and unsympathetic. "His voice [is] mar- tial and asthmatic," and he is talking about race-horses with another officer. A few pages later, Frank I1- lidge says of the general: "Nothing short of hanging would do for a man like that." We are reminded of the story which has the young Baude- laire shouting during some 1848 turb- ulence: "11 faut fusiller le g~ndral Aupick." Some pages later, we see the general through the eyes of Wal- ter Bidlake: "The general had been handsome once. Corseted, his tall figure still preserved its military bearing. The gallant and the guards- man, he smiled; he fingered his white moustache. The next moment he was the playful, protective and confidential old uncle." Here Hux- ley is, of course, extrapolating a portrait from the little he knew or thought he knew about Baudelaire's step-father. A few moments later,

Lucy Tantamount tells the general she expects to see Maurice that eve- ning: ". . . between Spandrell and his stepfather the quarrel, she knew very well, was mortal." This insight of Lucy's is enlarged upon when Huxley lets the reader briefly enter the general's private thoughts: "What he hadn't done for that boy! And how ungratefully the boy had responded, how abominably he had behaved! Getting himself kicked out of every job the General had wan- gled him into. A waster, an idler; drinking and drabbing; making his mother miserable, sponging on her, disgracing the family name. And the insolence of the fellow, the things he had ventured to say the last time they had met and, as usual, had a scene together! The General was never likely to forget being called 'an impotent old fum- bler.'" Obviously, Huxley has ac- cepted the long-familiar-and, as we now know, somewhat inaccurate-- picture according to which the young Baudelaire always hated his stepfather and clashed often and violent- ly with him. Huxley has slightly reworked the facts about Baudel- aire's expulsion from school. But there is one crucial 'way in which Huxley's account of Maurice's early life resembles Baudelaire's youth: Spandrell preserves a vivid memory of "those quite incredible felicities of his boyhood"--the happiness he had known when he enjoyed sole possession of his mother's love and attention. His present gloom and misanthropy are traced directly to his mother's remarriage. During a quarrel with his mother he upbraids her: "'You didn't think much of my happiness in the past . When you married that man,' he went on, 'did you think of my happiness?' " His mother defends herself by saying that, at the time of her second marriage, Maurice gave no reasons for his "unreasonable" be- havior. "'Reasons,' he repeated slowly. 'Did you honestly expect a boy of fifteen to tell his mother the reasons why he didn't want her to share her bed with a stranger?'" That Huxley is deliberately linking his character to Baudelaire and through him to the Hamlet-Oedipus motif is made clear when he tells us that young Maurice had been reading a pornographic novel about a French girls' school in which "the sexual exploits of the military were pindarically exalted" shortly before his mother announced to him her forthcoming remarriage.

After this psychic shock, Maurice had grown up into a very splenetic young man. His very face seems to be taken from that haunting photo- graph of Baudelaire by Carjat: "It was a gaunt face. Cheekbone and jaw showed in hard outline through the tight skin. The grey eyes were deeply set. In the cadaverous mask only the mouth was fleshy--a wide mouth, with lips that stood out from the skin like two thick weals. 'When he smiles,' Lucy Tantamount had once said of him, 'it's like an ap- pendicitis operation with ironical corners.' The red scar was sensual, but firm at the same time and de- termined, as was the round chin below. There were lines round the eyes and at the corners of his lips. The thick brown hair had begun to retreat from the forehead."

The most Baudelairian part of the novel, however, is a long passage in which Huxley shows Spandrell wallowing in a slough of ennui, sloth, debauchery, and depravity. "It had been raining for days. To Spandrell it seemed as though the fungi and the mildew were sprouting in his soul. He lay in bed, or sat in his dismal room, or leaned against the counter in a public house, feeling the slimy growth within him, watch- ing it with his inward eyes." From natural laziness reinforced by pride and aristocratic contempt for work, Spandrell had moved on to conscious evil-doing. "Ever since his mother's second marriage Spandrell had always perversely made the worst of things, chosen the worst course, deliberately encouraged his own worst tendencies. It was with debauchery that he distracted his endless lei- sures. He was taking revenge on her, on himself also for having been so foolishly happy and good. He was spiting her, spiting himself, spiting God. He hoped there was a hell for him to go to and regretted his in- ability to believe in its existence. Still, hell or no hell, it was satis- factory, it was even exciting in those early days to know that one was doing something bad and wrong." While Huxley is apparently forget- ting or ignoring Baudelaire's pro- fessions of belief in the existence of the Devil and indeed the whole ul- tra-orthodox, Maistrian side of Bau- delaire's thought, he is obviously quite familiar with such a passage as this: ". . . la volupt6 unique et supreme de 1'amour git dans la certi- tude de faire le mal." When, in the same part of the novel, Huxley de-


November, 1968 SOUTH ATLANTIC BULLETIN Page Seven

scribes the power of habit to dull the conscience, he may well have in mind certain lines from the admoni- tory poem "Au lecteur":

Et nous alimentons nos aimables remords,

Comme les mendiants nourrissent leur vermine.

Nos peches sont tetus, nos repentirs sont liches;

Aux objets repugnants nous trouvons des appas;

Chaque jour vers 1'Enfer nous descendons d'un pas,

Sans horreur, a travers des t6nebres qui puent.

Huxley's point is a little different from Baudelaire's-Spandell, ulti- mately, finds no charms in the re- pugnant objects he pursues. But the moral torpor, the volatilization of the rich metal of man's will are the same. And the two writers are once again in touch when Huxley turns to the final stage of Spandrell's "descent into hell":

The corruption of youth was the only form of debauchery that now gave him any active emo- tion. Inspired, as Rampion had divined, by that curious venge- ful hatred of sex, which had re- sulted from the shock of his mother's second marriage super- vening, in an uneasy moment of adolescence, on the normal up- per middle-class training in re- finement and gentlemanly re- pression, he could still feel a peculiar satisfaction in inflict- ing what he regarded as the humiliation of sensual pleasure on the innocent sisters of those too much loved and therefore detested women who had been for him the personification of the detested instinct. Medievally hating, he took his revenge, not (like the ascetics and puritans) by mortifying the hated fllesh of women, but by teaching it an indulgence which he himself regarded as evil, by luring it and caressing it on to more and more complete and triumphant rebellion against the conscious soul. And the final stage of his revenge consisted in the gradual insinuation into the mind of his victim of the fundamental wrongness and baseness of the raptures he himself had taught her to feel.

This seems to derive from Baude- laire's sketch for the never-written

play Le marquis du ler houzards. On her wedding night, the Comtesse de Timey had received from her elderly bridegroom (!who dies immediately afterwards) initiation into his own moral and political corruption. His dying words to her are: "Ma chore fille, je laisse dans votre ame vir- ginale l'exp6rience d'un vieux roue." Huxley works in a brief account of Spandrell's latest sexual affair, one in which he had carried out the obsessions just described. Now he has been abandoned by his wretched victim. "He contented himself with talking about the ex- citements of diabolism, while in practice he remained sunk apatheti- cally in the dismal routine of brandy and hired love. The talk momentari- ly excited him; but when it was over he fell back again yet deeper into boredom and despondency. There were times when he felt as though he were becoming inwardly paralyzed, with a gradual numbing of the very soul. It was a paralysis which it was within his power, by making an effort of the will, to cure. But he could not, even would not, make the effort." "I really like hating and being bored," he admits. And Huxley concludes his long an- alysis of Spandrell's spiritual sick- ness thus: "He liked it. The rain fell and fell; the mushrooms sprouted in his very heart and he deliberately cultivated them." One may not agree with this interpreta- tion of Baudelaire's moral situation, but one cannot doubt that it is de- rived from Huxley's knowledge of Baudelaire's life and writings. We recognize at once the Baudelaire who, as his letters and journals show specially well, tried to lash himself into activity, vainly; who, unable to establish satisfying relationships with decent women, normally re- sorted to "hired love"; who sank deeper and deeper into cranky misanthropy in those last dreadful years in Belgium. Huxley's treatment of Spandrell, as far as his plot is concerned, culminates in the nihilistic political murder which his character commits near the end of the novel. But, for our present purposes, it all leads up to a terrible scene directly inspired by one of Baudelaire's strangest and strongest poems. One Sunday afternoon in spring, Span- drell rents a car and, accompanied by the aging Connie, drives into the country. As Mr. Carter ably sum- marizes the scene, ". . . the spectacle of nature, glorious in the first

warmth of spring and rebirth, awakens Spandrell's smouldering algolagnia: he indulges in a curious emasculation fantasy which is, of course, a direct negation of [D. H.] Lawrence's 'phallic consciousness.' " Huxley's words in the crucial passage are as follows: "'Oh, the fox- gloves! cried Connie. . . . Spandrell followed her. 'Pleasingly phallic,' he said,, fingering one of the spikes of unopened buds. And he went on to develop the conceit, profusely . Raising his stick he suddenly began to lay about him right and left, slash, slash. . . . 'Down with them,' he shouted, 'down with them.... Do you think I'm going to sit still and let myself be insulted? The insolence of the brutes! . . . Damn their insolence! It serves them right.' "

This extraordinary passage springs from several Baudelairian sources. One thinks of the letter to Fernand Desnoyers which Baudelaire wrote to serve as a preface to his poems on twilight: ". . . vous savez bien que je suis incapable de m'attendrir sur les vegetaux, et que mon ame est rebelle a cette singulibre Re- ligion nouvelle, qui aura toujours, ce me semble, pour tout etre spi- rituel, je ne sais quoi de shocking. ... J'ai meme toujours pense qu'il y avait dans la Nature, florissante et rajeunie, quelque chose d'affli- geant, de dur, de cruel,-un je ne sais quoi qui frise l'impudence." But most pertinent is the "piece con- damnee" entitled "A celle qui est trop gaie," which reads in part:

Quelquefois dans un beau jardin Ou je trainais mon atonie, J'ai senti, comme une ironie, Le soleil dechirer mon sein; Et le printemps et la verdure Ont tant humili6 mon coeur, Que j'ai puni sur une fleur L'insolence de la Nature. From what has been set forth in

this paper, from various rapproche- ments of detail already noted in Miss Temple's article, from others I could add to hers if there were time to do so, I conclude that the life and work of Baudelaire furn- ished Huxley one of the major themes for his novelistic symphony. And it must be borne in mind that against Spandrell and his nihilistic hatred of life, Huxley sets the figure of Mark Rampion, a sort of trans- posed D. H. Lawrence, under whose spell Huxley was when he wrote Point Counter Point and Do What You. Will. Thus we have among the major characters a fictionalized


Page Eight SOUTH ATLANTIC BULLETIN November, 1968

Baudelaire and a fictionalized anti- Baudelaire.

In an unpublished paper which he has generously made available to me, A. E. Carter shows how the Spandrell-Baudelaire t y p e re- appears in later novels by Huxley-- Mark Staithes in Eyeless in Gaza (1936), Will Farnaby in Island (1962). You can take my word, I think, that he proves his point. I would like, therefore, to devote my conclusion to showing how Baude- laire and Huxley looked at the question of the mind-expanding drugs, an interest which, as everyone knows, greatly preoccupied Huxley in his last years and to which he devoted two long essays, The Doors of Perception and Heaven and Hell. To bring the matter to a head, we have but to compare two essential quotations. Baudelaire wrote in Les Paradis artificiels: "En

effet, il est d6fendu i l'homme, sous peine de d6cheance et de mort in- tellectuelle, de d6ranger les conditions primordiales de son existence et de rompre l'6quilibre de ses facultes avec les milieux ou elles sont destinies a se mouvoir, en un mot, de deranger son destin pour y substituer une fatalite d'un nouveau genre." In The Doors of Perception, Huxley expressed precisely the op- posite point of view: "To be shaken out of the ruts of ordinary perception, to be shown for a few timeless hours the outer and the inner world, not as they appear to an animal obsessed with survival or to a human being obsessed with words and notions, but as: they are appre- hended, directly and uncondition- ally, by Mind at Large--this is an experience of inestimable value to everyone and especially to the in- tellectual." In his essays on drugs,

Huxley does not bother to refute Baudelaire's arguments explicitly, though he must have been quite familiar with the texts concerned. But he does refer to "artificial para- dises," and he does cite a phrase from Baudelaire's essay on laughter. So, even in the midst of very un- Baudelairian or indeed anti-Baude- lairian ideas, fragments of Baude- laire break through.

And that in fact is more or less the point. That Baudelaire should have influenced Swinburne and Wilde adds nothing to his glory- they were, so to speak, predestined to absorb something from him. But it is an extraordinary tribute that Baudelaire's presence should have impinged upon a mind which, on most fundamentals, was fundament- ally in disaccord with his own.

JAMES S. PATTY, Vanderbilt University.

Baudelaire and the German Metropolis The ascendancy of the metropolis

and the consequent flight from the countryside throughout Europe de- manded a new means of literary expression during and after the de- cline of the Romantic age. In Ger- many this phenomenon occurred only sporadically and rather late and did not come to fruition until the first decade of the present century. The lyric work of Friedrich Nietzsche had given some impetus to modern German poetry, particu- larly with regard to imagination and the will to exceed oneself. A similar effect can be ascribed to Charles Baudelaire, of whom the vagabond poet Peter Hille said: "Die Phan- tasie wandert zu viel."

In 1955, Gottfried Benn, looking back at the lyric poetry of the Ex- pressionist decade, states that the modern poetry of that time was different in workmanship and per- sonalities from "Landschaftsbetr~i- mer und Bliimchenverdufter, die dem deutschen Publikum als innige Poeten aufgeredet wurden." He then continues to praise the willingness of the Expressionist poets to seek new avenues, to condense and ex- periment and yet to uphold the "Moral der Form." Benn, steadfast in the defense of his generation, de- scribes the Expressionist endeavor to "4pater le bourgeois": "Noch aber steht sie da: 1910-1920 Meine Generation. Haimmert das Absolute in abstrakte, harte Formen: Bild,

Vers, Fltenlied. Arm und rein, nie am biirgerlichen Erfolg beteiligt, am Ruhm, am Fett des schliirfenden Gesindes. Lebt von Schatten, macht Kunst."

Imagination and form are precisely the forces which Baudelaire infused into European poetry and which made German poetry "modern" from about the last-decade of the nineteenth century. Paul Val6ry highlights the importance of Baude- laire as the apostle of modernity in his "Situation de Baudelaire": "Mais avec Baudelaire, la po6sie frangaise sort enfin des frontieres de la na- tion. Elle se fait lire dans le monde; elle s'impose comme la po6sie meme de la modernitY; elle engendre l'imitation, elle feconde de nom- breux espirits." Among these for- eign poets Valery names Stefan George, for whose circle Mallarm6 and Verlaine had also been of the greatest consequence.

The intensive preoccupation of the German literary world with Baudelaire during the Expressionist decade is attested by the Berlin critic Erich Oesterheld in an inter- esting essay entitled "Baudelairi- ana."

Er ist noch keine "literarhis- torische" Grbsse im landlaiufigen Sinne der Philologie, eher schon -und besonders in Deutschland -der artistische Befruchter der Modern e, eine aisthetische Norm, ein endgiiltiger Typus

der Dekadenz mit neuen Gefiihls-und Ausdrucksformen. . .. Die lyrische Architektur der Fleurs du Mal reizte wohl formal verwandte Nachdichter wie Stefan George, aber sein wirklicher Einfluss beginnt, so sonderbar es klingen mag, erst jetzt, und zwar auf die lyrische Produktion einiger der Ganz- jungen, der zumeist noch ganz unbekannten lyrischen "Stiir- mer und Driinger." One of Baudelaire's "modern"

themes is the paradoxical mixture of disgust and fascination with the metropolis. Eccentricity, absurdity, horror, and ecstasy intermingle here to give a true insight into modern urban life. In 1859, Baudelaire used the term "modernity" for this spe- cific human condition. What the German poets admired was the im- position of a highly intelligible form, in George's words, "der eifer mit dem er der dichtung neue gebiete eroberte und die gliihende geistigkeit mit der er auch die spr 5 desten Stoffe durchdrang." Since the turn of the century the city has become the habitat for half the German population. Therefore, the social problem of the urban en- vironment turned into a general human problem. Arno Holz and others had written urban poetry as early as 1885, but their social pity is rather pathetic and shallow. Stefan George, Richard Schaukal,


Article Contentsp. 5p. 6p. 7p. 8

Issue Table of ContentsSouth Atlantic Bulletin, Vol. 33, No. 4 (Nov., 1968) pp. 1-32The Changing Accent in English and American Criticism of Baudelaire [pp. 1-4]Baudelaire and Aldous Huxley [pp. 5-8]Baudelaire and the German Metropolis [pp. 8-10]Highlights of Spanish Criticism of Baudelaire [pp. 11-13]Baudelaire and Stevens: "L'Esthetique du Mal" [pp. 14-18]O'Neill's Idea of Theater [pp. 18-21]The Achievement of Uwe Johnson [pp. 22-24]A Measure for the Story of Initiation [pp. 24-26]FICE Statement of Policy on Reinstatement of Federal Fellowships [pp. 26-27]Graduate Studies and the Draft: Policies at SAMLA Graduate Schools [pp. 27-29]Southeastern Renaissance Conference [pp. 29-30]BooksFaithful Synthesis [pp. 30-31]Dramatist Reclaimed [pp. 31-32]

Virginia [pp. 32]Florida State [pp. 32]

Baudelaire and Aldous Huxley - Point counter point

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