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لافانفارلو
يتركز محور الرواية حول سيدة تدعى مدام دي كوسميلي، تتجول في حديقة اللكسمبورغ، تصادف خلال تجولها صديق طفولتها ، "صموئيل كريمر"، وتبدأ بالبوح بأسرار حياتها الزوجية له. وتذكر له أن زوجها مسيو دي كوسميلي أهملها من اجل الراقصة لافانفارلو. صموئيل يقرر أن يضع حدا لهذا الحب البريء، لكنه سرعان ما أغرم بهذه المرأة المقلقة...
101 pages, Paperback
First published January 1, 1847
15 people are currently reading
493 people want to read
About the author
Charles Baudelaire
2,050 books4,246 followersPublic condemned
Les fleurs du mal
(1857), obscene only volume of French writer, translator, and critic Charles Pierre Baudelaire; expanded in 1861, it exerted an enormous influence over later symbolist and modernist poets.
Reputation of Charles Pierre Baudelaire rests primarily on perhaps the most important literary art collection, published in Europe in the 19th century. Similarly, his early experiment Petits poèmes en prose (1868) ( Little Prose Poems ) most succeeded and innovated of the time.
From financial disaster to prosecution for blasphemy, drama and strife filled life of known Baudelaire with highly controversial and often dark tales of Edgar Allan Poe. Long after his death, his name represents depravity and vice. He seemingly speaks directly to the 20th century civilization.
Reputation of Charles Pierre Baudelaire rests primarily on perhaps the most important literary art collection, published in Europe in the 19th century. Similarly, his early experiment Petits poèmes en prose (1868) ( Little Prose Poems ) most succeeded and innovated of the time.
From financial disaster to prosecution for blasphemy, drama and strife filled life of known Baudelaire with highly controversial and often dark tales of Edgar Allan Poe. Long after his death, his name represents depravity and vice. He seemingly speaks directly to the 20th century civilization.
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October 16, 2017
Η Φανφαρλό είναι μια αυτοβιογραφική νουβέλα και αποτελεί το μοναδικό πεζογράφημα που έγραψε ποτέ ο Μπωντλαίρ.
Διαδραματίζονται δυο παράλληλες μεταξύ τους ιστορίες. Η ιστορία της απατημένης και τρυφερά πληγωμένης κυρίας ντε Κοσμελί και η ερωτική ιστορία του Σάμουελ Κράμερ ( Σαρλ Μπλωνταίρ) -ποιητή των Αρπακτικών Πτηνών- με τη Φανφαρλό. Μια όμορφη, προκλητική και χαρισματική χορεύτρια.
Σε αυτό το πεζογράφημα ο Μπωντλαίρ μιλάει με απλότητα και αμεσότητα για τον εαυτό του, την ποίηση του, τη ζωή του. Οι προσωπικές του σκέψεις, οι διάλογοι, η δομή και η εξέλιξη της ιστορίας αποτελούν έμμεση αναφορά στον ίδιο.
Ωστόσο οι χαρακτήρες και η ανάλυση του ψυχογραφήματος των ηρώων είναι επιφανειακή και επιτεδευμένα οριακή.
Όλη η ιστορία, παρά την ισχυρή ερωτική φαντασία του συγγραφέα, είναι πανομοιότυπη με την ιστορία των Επικίνδυνων σχέσεων, αυτό το επιστολικό αριστούργημα του Λακλό.
Οι δολοπλοκίες και οι μηχανορραφίες μιας αξιαγάπητης και έντιμης γυναίκας, της πονεμένης κυρίας ντε Κοσμελί, η οποία πασχίζει να ξανακερδίσει το σύζυγο της. Έτσι, αποφασίζει να ρίξει στην αγκαλιά της ερωμένης του συζύγους της τον δικό της επίδοξο εραστή.
Αυτή η ιστορία μας παραπέμπει αδιαμφισβήτητα στις σατανικές δολοπλοκίες της κακόβουλης και μοχθηρής κυρίας ντε Μαρτέιγ, ηρωίδας των Επικίνδυνων σχέσεων.
Ίσως γι αυτό δεν εντυπωσιάστηκα ιδιαίτερα απο την πρώτη πεζογραφική δημιουργία του Μπωντλαίρ.
Καλή ανάγνωση.
Πολλούς ασπασμούς.
Διαδραματίζονται δυο παράλληλες μεταξύ τους ιστορίες. Η ιστορία της απατημένης και τρυφερά πληγωμένης κυρίας ντε Κοσμελί και η ερωτική ιστορία του Σάμουελ Κράμερ ( Σαρλ Μπλωνταίρ) -ποιητή των Αρπακτικών Πτηνών- με τη Φανφαρλό. Μια όμορφη, προκλητική και χαρισματική χορεύτρια.
Σε αυτό το πεζογράφημα ο Μπωντλαίρ μιλάει με απλότητα και αμεσότητα για τον εαυτό του, την ποίηση του, τη ζωή του. Οι προσωπικές του σκέψεις, οι διάλογοι, η δομή και η εξέλιξη της ιστορίας αποτελούν έμμεση αναφορά στον ίδιο.
Ωστόσο οι χαρακτήρες και η ανάλυση του ψυχογραφήματος των ηρώων είναι επιφανειακή και επιτεδευμένα οριακή.
Όλη η ιστορία, παρά την ισχυρή ερωτική φαντασία του συγγραφέα, είναι πανομοιότυπη με την ιστορία των Επικίνδυνων σχέσεων, αυτό το επιστολικό αριστούργημα του Λακλό.
Οι δολοπλοκίες και οι μηχανορραφίες μιας αξιαγάπητης και έντιμης γυναίκας, της πονεμένης κυρίας ντε Κοσμελί, η οποία πασχίζει να ξανακερδίσει το σύζυγο της. Έτσι, αποφασίζει να ρίξει στην αγκαλιά της ερωμένης του συζύγους της τον δικό της επίδοξο εραστή.
Αυτή η ιστορία μας παραπέμπει αδιαμφισβήτητα στις σατανικές δολοπλοκίες της κακόβουλης και μοχθηρής κυρίας ντε Μαρτέιγ, ηρωίδας των Επικίνδυνων σχέσεων.
Ίσως γι αυτό δεν εντυπωσιάστηκα ιδιαίτερα απο την πρώτη πεζογραφική δημιουργία του Μπωντλαίρ.
Καλή ανάγνωση.
Πολλούς ασπασμούς.
April 21, 2025
معلم هولدن در ناتور دشت به او میگوید که او در غم تنها نیست و بسیاری دیگر مثل او بودهاند و آثاری از خود به جا گذاشتهاند که با خواندنشان میتوانیم احساس بهتری داشته باشیم (نقل به مضمون). من این را در باب آبرو هم میگویم. دوستم آریان شعار جالبی دارد: بیآبرویی چه اهمیتی داره تا وقتی همه بیآبروییم؟
آبرو در وهلهٔ اول چیز درستی به نظر میآید، اما وقتی در آن عمیق میشویم، میبینیم سر رومینا اشرفی به خاطر آبروی پدرش از تنش جدا شد، پس قضیه واقعا جدی است. بهخصوص در کشور مزخرف ما که ارزشهای آبروسازش خیلی ابلهانه بنا شدهاند. مثلا یک زنوشوهر مشکلی ندارند که با هم دعوا کنند، اما اگر همسایه متوجه این موضوع شود مشکلساز میشود. آبرو پنهانکردن وجوهی از زندگی است که پنهانکردنشان اصلا ضرورتی ندارد. مثل حجاب است (میدانیم که حجاب با پوشش فرق دارد). اما مسئلهٔ آبرو فقط هم این نیست. مسئله این نیست که چیزهایی هستند که لزوما بد نیستند و باید به اشتراک گذاشته شوند، بلکه به نظرم ویژگیهای لزوما بد هم باید عمومی شوند (نسبی است بله). معلمی داشتم که میگفت ذهنیت سفیدوسیاه ایرانی ریشه در ثنویت زرتشتی دارد، و اسکندر و چنگیز و عرب هم نتوانستند تغییرش دهند. چرا ما از دانستن ضعفهای یکدیگر ابا داریم؟ فروید این را ذیل خودشیفتگی تقسیمبندی میکرد: امتناع از دانستن ضعفهای دیگرانی که بهشان اهمیت میدهیم و امتناع بیان ضعفهای خود. درحالیکه در یک جامعهٔ شفاف خیلی آسودهتریم. چندباری روی کشور خودمان تأکید کردم چون علیرغم اینکه این موضوعات تاحدودی بینالمللیاند، اما جوامع غربی اغلب خیلی جلوترند و هنرمندانی پرورش دادهاند که خیلی جلوتر از خودشان است. بودلر یکی از بهترین این هنرمندها ست. شاید بتوان او را آبروی سیگماها دانست. مردی بیپروا که هم با سنتها و فضایل اخلاقی در ستیزه بود، هم خودش. او هم مثل کسانی که معلم هولدن میگوید، با دستگذاشتن روی مسائلی که بسیاری نویسندگان و مردمان خجالت میکشند بیانش کنند، باعث شد امثال ما آزادی عمل بیشتری برای ابراز خود داشته باشیم. هنوز و با گذشتن دو قرن، او مثل دوست صمیمی کنار مخاطبش مینشیند و سر حالش میآورد.
فانفارلو داستان خفنی نیست. درواقع خوشحالم که تنها اثر داستانی بودلر است، یک شاعر بیهمتا و یک داستاننویس معمولی. داستان به خوبی شروع میشود و عالی پیش میرود، اما پایانی معمولی و حتی تویذوقزننده دارد، هرچند غافلگیرکننده. اما همانطور که گفتهاند، پایان اولین چیزی است که مخاطب به یاد میآورد، و شاید اتفاقا اگر برعکس، اثری معمولی شروع شود و عالی تمام شود بهتر تلقی شود. آنچه واضح است نبوغ شاعرانهٔ بودلر است که در این اثر هم خودش را به رخ میکشد. دیالوگها بامزه و سرگرمکنندهاند، توصیفها خیرهکننده، روانشناسی شخصیت اصلی اعلی و استعارهها بینظیر (در جایی در توصیف اثربخشی مثبت یک چیز میگوید مثل این است که جلوی یک عدد چند صفر بگذاریم)، اما این کافی نیست. بهوضوح شعر و داستان دو ناحیهٔ جدا از نبوغ ادبی هستند که هر کسی قادر نیست در هر دویشان به استادی برسد. میتوان تکههایی از فانفارلو را به عنوان قطعات ادبی ممتاز عرضه کرد، اما روایت عرصهٔ توالی است (نه لزوما خطی). روایتگر مثل تدوینگری در سینما ست. روایتگر باید بداند که ۱. چه چیزی را ۲. کجا قرار میدهد، و پایانبندی فانفارلو در هر دو مورد به نظر من مشکل دارد، و به اندازهٔ سایر قسمتهای کتاب و نبوغ بودلر نیست.
آبرو در وهلهٔ اول چیز درستی به نظر میآید، اما وقتی در آن عمیق میشویم، میبینیم سر رومینا اشرفی به خاطر آبروی پدرش از تنش جدا شد، پس قضیه واقعا جدی است. بهخصوص در کشور مزخرف ما که ارزشهای آبروسازش خیلی ابلهانه بنا شدهاند. مثلا یک زنوشوهر مشکلی ندارند که با هم دعوا کنند، اما اگر همسایه متوجه این موضوع شود مشکلساز میشود. آبرو پنهانکردن وجوهی از زندگی است که پنهانکردنشان اصلا ضرورتی ندارد. مثل حجاب است (میدانیم که حجاب با پوشش فرق دارد). اما مسئلهٔ آبرو فقط هم این نیست. مسئله این نیست که چیزهایی هستند که لزوما بد نیستند و باید به اشتراک گذاشته شوند، بلکه به نظرم ویژگیهای لزوما بد هم باید عمومی شوند (نسبی است بله). معلمی داشتم که میگفت ذهنیت سفیدوسیاه ایرانی ریشه در ثنویت زرتشتی دارد، و اسکندر و چنگیز و عرب هم نتوانستند تغییرش دهند. چرا ما از دانستن ضعفهای یکدیگر ابا داریم؟ فروید این را ذیل خودشیفتگی تقسیمبندی میکرد: امتناع از دانستن ضعفهای دیگرانی که بهشان اهمیت میدهیم و امتناع بیان ضعفهای خود. درحالیکه در یک جامعهٔ شفاف خیلی آسودهتریم. چندباری روی کشور خودمان تأکید کردم چون علیرغم اینکه این موضوعات تاحدودی بینالمللیاند، اما جوامع غربی اغلب خیلی جلوترند و هنرمندانی پرورش دادهاند که خیلی جلوتر از خودشان است. بودلر یکی از بهترین این هنرمندها ست. شاید بتوان او را آبروی سیگماها دانست. مردی بیپروا که هم با سنتها و فضایل اخلاقی در ستیزه بود، هم خودش. او هم مثل کسانی که معلم هولدن میگوید، با دستگذاشتن روی مسائلی که بسیاری نویسندگان و مردمان خجالت میکشند بیانش کنند، باعث شد امثال ما آزادی عمل بیشتری برای ابراز خود داشته باشیم. هنوز و با گذشتن دو قرن، او مثل دوست صمیمی کنار مخاطبش مینشیند و سر حالش میآورد.
فانفارلو داستان خفنی نیست. درواقع خوشحالم که تنها اثر داستانی بودلر است، یک شاعر بیهمتا و یک داستاننویس معمولی. داستان به خوبی شروع میشود و عالی پیش میرود، اما پایانی معمولی و حتی تویذوقزننده دارد، هرچند غافلگیرکننده. اما همانطور که گفتهاند، پایان اولین چیزی است که مخاطب به یاد میآورد، و شاید اتفاقا اگر برعکس، اثری معمولی شروع شود و عالی تمام شود بهتر تلقی شود. آنچه واضح است نبوغ شاعرانهٔ بودلر است که در این اثر هم خودش را به رخ میکشد. دیالوگها بامزه و سرگرمکنندهاند، توصیفها خیرهکننده، روانشناسی شخصیت اصلی اعلی و استعارهها بینظیر (در جایی در توصیف اثربخشی مثبت یک چیز میگوید مثل این است که جلوی یک عدد چند صفر بگذاریم)، اما این کافی نیست. بهوضوح شعر و داستان دو ناحیهٔ جدا از نبوغ ادبی هستند که هر کسی قادر نیست در هر دویشان به استادی برسد. میتوان تکههایی از فانفارلو را به عنوان قطعات ادبی ممتاز عرضه کرد، اما روایت عرصهٔ توالی است (نه لزوما خطی). روایتگر مثل تدوینگری در سینما ست. روایتگر باید بداند که ۱. چه چیزی را ۲. کجا قرار میدهد، و پایانبندی فانفارلو در هر دو مورد به نظر من مشکل دارد، و به اندازهٔ سایر قسمتهای کتاب و نبوغ بودلر نیست.
December 12, 2012
On “Black Friday” I hardly stirred from bed – but if I did not stamp on an old lady’s face to reach that big TV, I did manage to prop myself on the pillows and drowsily order La Fanfarlo, once alerted to the 50% discount Melville House was offering. The slim pamphlet-like paperback arrived this Monday morning, just as I was stepping off into the snowfall of the weekend blizzard and a 10-degree wind. I backed into the living room, ground and brewed more coffee, and sat out the day among my books.
Baudelaire the prose fictionist has a winning, Pushkin-like way of lampooning Romantic types and tropes even as he deploys them. Don’t scorn the template of your times. Note your brothers, your semblances; the humus of your conceit – “One of Samuel’s most natural failings was too deem himself the equal of those he could admire…”
La Fanfarlo is less a story than a gallery of Baudelaire’s fetishes, an "eternal situation" (Calasso) rather than a developing narrative: one of the dandies (“the indecisive, intellectual sex” said Barbey d’Aurevilly) falls in love with, or is at least prompted to comprehensive reverie by, an Amazon of muscular grace, the athletic star of burlesques and pantomimes, a strenuous epitome of the feminine – hard gymnastic thighs tied up in fishnet. I think it was Manet who noted the abnormally developed pectorals of Jeanne Duval, Baudelaire’s Haitian mulatto mistress of two decades. Baudelaire’s own drawings of her look like me in drag.
No matter the form Baudelaire is a richness of apercus:
Baudelaire the prose fictionist has a winning, Pushkin-like way of lampooning Romantic types and tropes even as he deploys them. Don’t scorn the template of your times. Note your brothers, your semblances; the humus of your conceit – “One of Samuel’s most natural failings was too deem himself the equal of those he could admire…”
La Fanfarlo is less a story than a gallery of Baudelaire’s fetishes, an "eternal situation" (Calasso) rather than a developing narrative: one of the dandies (“the indecisive, intellectual sex” said Barbey d’Aurevilly) falls in love with, or is at least prompted to comprehensive reverie by, an Amazon of muscular grace, the athletic star of burlesques and pantomimes, a strenuous epitome of the feminine – hard gymnastic thighs tied up in fishnet. I think it was Manet who noted the abnormally developed pectorals of Jeanne Duval, Baudelaire’s Haitian mulatto mistress of two decades. Baudelaire’s own drawings of her look like me in drag.
No matter the form Baudelaire is a richness of apercus:
You celebrate the beauty of mothers in a style that might deprive you of their daughters’ approval.
...an easygoing philosophy is able to find consolations in apparently the most unworthy objects.
...the soul is more tender and open to divine hope, the more it finds reason to love others, as stained as they may be...
...that absolute materialism was not far from the purest idealism.
...that mystical language, spangled with enormous impurities and coarseness.
Samuel had the habit of saying that a glass of real wine should be like a bunch of grapes, that it provided as much to eat in it as to drink.
June 8, 2020
Fanfarlo'nun ezik eksantriği Samuel, saf görüp ayartmaya çalıştığı evli kadına atıp tutarken der ki: ''Umut denen kutsal armağan olmadan, size anlattığım bu iğrenç can sıkıntısı çölünü nasıl geçebiliriz?''
Umutsuzluğun bedene bürünmüş hali Baudelaire, Fanfarlo'yu yayımladığı günlerde Kötülük Çiçekleri'ne çoktan (bir yıl kadar önce) başlamıştı ve gerçekte ''can sıkıntısı çölünde bir dehşet vahası'' yaratıyordu.
Bu kitabı yazarken çok eğlendiğine ve dinlendiğine eminim.
Umutsuzluğun bedene bürünmüş hali Baudelaire, Fanfarlo'yu yayımladığı günlerde Kötülük Çiçekleri'ne çoktan (bir yıl kadar önce) başlamıştı ve gerçekte ''can sıkıntısı çölünde bir dehşet vahası'' yaratıyordu.
Bu kitabı yazarken çok eğlendiğine ve dinlendiğine eminim.
August 30, 2020
بدترین ترجمهای است که از بودلر در تمام جهان وجود داره
March 22, 2017
Only poets are innocent enough to invent such monstrosities.
Perhaps I should have enjoyed this more. It appeared jerky, fissured with jump cuts and unsettling twitches. I realized early that this reminded me of Balzac , who handles this theme better. It has been a strange 10 days and this may have bled into my reading.
A misfit man of letters encounters a childhood flame and helps to fix a man doing his lady wrong. This is achieved by wooing the wrong. This won't dissuade me from my Baudelaire fascination, though I may be making more room for Brecht, Beckett and Genet in coming days.
Postscript: Sometimes sleeping after a review will forge an additional vantage. Not this time. I would like to read Sartre's book on Baudelaire.
Perhaps I should have enjoyed this more. It appeared jerky, fissured with jump cuts and unsettling twitches. I realized early that this reminded me of Balzac , who handles this theme better. It has been a strange 10 days and this may have bled into my reading.
A misfit man of letters encounters a childhood flame and helps to fix a man doing his lady wrong. This is achieved by wooing the wrong. This won't dissuade me from my Baudelaire fascination, though I may be making more room for Brecht, Beckett and Genet in coming days.
Postscript: Sometimes sleeping after a review will forge an additional vantage. Not this time. I would like to read Sartre's book on Baudelaire.
May 4, 2016
La única novela escrita por Baudelaire a sus jóvenes 25 años que involucra amor, sensualidad y romanticismo.
November 14, 2024
میشه گفت یه اتوبیوگرافی نه چندان جالب از جناب بودلر که پایان جالبی هم نداشت.
ساموئل کرامر این کتاب با شخصیتی که از بودلر در ذهنم داشتم بسیار متفاوت بود.
ای کاش در همان عالم شعر قلم میزدید جناب بودلر و در همان عالم میماندید .
ساموئل کرامر این کتاب با شخصیتی که از بودلر در ذهنم داشتم بسیار متفاوت بود.
ای کاش در همان عالم شعر قلم میزدید جناب بودلر و در همان عالم میماندید .
February 21, 2016
Cuando escribió La Fanfarlo, Baudelaire tenía ventiseis años y creía que lo peor que podía pasarle era convertirse en un ciudadano prolijamente indecente, con una esposa bien conectada, un cargo político y responsabilidades.
March 23, 2020
La Fanfarlo es la única novela escrita por Baudelaire, en 1847. Se le reconoce entre líneas porque a ratos parece que lees poesía.
Es una historia sobre amor, celos y pasiones, intercaladas con opiniones del autor enmascaradas en el texto sobre diversos temas, sobretodo estéticos.
Es una historia sobre amor, celos y pasiones, intercaladas con opiniones del autor enmascaradas en el texto sobre diversos temas, sobretodo estéticos.
February 19, 2022
داستانی کوتاه و پر از حرف و نکته ظریف که شخصیت اصلی داستان انعکاسی از خود نویسنده هست یا شاید هم دقیقا خودش.
October 3, 2012
La Fanfarlo follows themes of curiosity, love beauty and cynicism. It is well-known and quite obvious that the poetic dandy of a protagonist, Samuel Cramer, is, at the very least, modeled after Baudelaire and possibly an autobiographical roman-a-clef character. The novella itself faithfully follows the prosaic footsteps of Honoré de Balzac while splicing Baudelairean ideas on aesthetics and loyalties to the virtue of beauty.
The novella begins by describing the young, complex and compelling Samuel Cramer. Monsuier Cramer was both lazy and enterprising with the moxie of fine geniuses with naive effrontery. Yet, he had the arrogance to identify with or claim the works of good writers he admired! Still, he was good-hearted, gentle, dapper, romantic, faithful turned atheist, learned, curious and, perhaps, bi-curious. Near Lyon, Cramer meets and befriends a distraught reader and wife named Mme. de Cosmelly. She bemoans her husband's affair with a dancer known as La Fanfarlo ("The Braggart" or "The Flaunter"). Cramer vows to act as a sort of beard and romantic usurper by luring away La Fanfarlo from de Cosmelly's husband despite his lack of authentic feelings for the mistress. Not surprisingly, the romantic and sensitive poet falls for the beautiful dancer who performed as columbine in a vast pantomime and bonded with Samuel Cramer through truffles, conversing and making love. But for how long can Cramer feed his appetite for beauty by seeing La Fanfarlo? Will the ploy behind this concubinage work and rekindle de Cosmelly's relationship? How will the spirited La Fanfarlo react to this union's basis on a scandalous scheme?
This is a riveting, extravagant and energetic tale of a poetic man with noble genius, idleness, meretriciousness and a quixotic reality as he faces a near-tragic end. Cramer is met with bitter poetic justice; his status becomes a mirror to his sins. It is easy to use La Fanfarlo as a study on Baudelaire's life with Mme de Cosmelly as analogous to his sister-in-law Félicité and La Fanfarlo to Jeanne Duval. It is Samuel Cramer as a sosie of Baudelaire himself, however, that provides the most intrigue for readers. Using a good dose of gentle self-parody throughout the novella, Samuel Cramer not only holds Baudelaire's flaws and vices but also demonstrates the near cursed ill-fate for the paradoxical man. The 1986 translation and introduction by Greg Boyd are excellent and accessible for reader. Occasional footnotes define terms that may be obscure or out-of-reach for English language readers. While this is not Baudelaire's finest work nor a milestone in the Romantic tradition, this novella is a gem for readers.
The novella begins by describing the young, complex and compelling Samuel Cramer. Monsuier Cramer was both lazy and enterprising with the moxie of fine geniuses with naive effrontery. Yet, he had the arrogance to identify with or claim the works of good writers he admired! Still, he was good-hearted, gentle, dapper, romantic, faithful turned atheist, learned, curious and, perhaps, bi-curious. Near Lyon, Cramer meets and befriends a distraught reader and wife named Mme. de Cosmelly. She bemoans her husband's affair with a dancer known as La Fanfarlo ("The Braggart" or "The Flaunter"). Cramer vows to act as a sort of beard and romantic usurper by luring away La Fanfarlo from de Cosmelly's husband despite his lack of authentic feelings for the mistress. Not surprisingly, the romantic and sensitive poet falls for the beautiful dancer who performed as columbine in a vast pantomime and bonded with Samuel Cramer through truffles, conversing and making love. But for how long can Cramer feed his appetite for beauty by seeing La Fanfarlo? Will the ploy behind this concubinage work and rekindle de Cosmelly's relationship? How will the spirited La Fanfarlo react to this union's basis on a scandalous scheme?
This is a riveting, extravagant and energetic tale of a poetic man with noble genius, idleness, meretriciousness and a quixotic reality as he faces a near-tragic end. Cramer is met with bitter poetic justice; his status becomes a mirror to his sins. It is easy to use La Fanfarlo as a study on Baudelaire's life with Mme de Cosmelly as analogous to his sister-in-law Félicité and La Fanfarlo to Jeanne Duval. It is Samuel Cramer as a sosie of Baudelaire himself, however, that provides the most intrigue for readers. Using a good dose of gentle self-parody throughout the novella, Samuel Cramer not only holds Baudelaire's flaws and vices but also demonstrates the near cursed ill-fate for the paradoxical man. The 1986 translation and introduction by Greg Boyd are excellent and accessible for reader. Occasional footnotes define terms that may be obscure or out-of-reach for English language readers. While this is not Baudelaire's finest work nor a milestone in the Romantic tradition, this novella is a gem for readers.
Read
March 23, 2021I read aku no hana, and I’m such a weeb I decided to buy some Baudelaire to see if he’s worth his snot, and this wasn’t the best introduction, I should have just bought Baudelaire’s flowers of evil. I saw it on a shelf at half priced books but I was really put off by the tassel bookmark connected to the binding of the book like you would find on a bible, it was tattered weird and it was sticking off of the bottom on the half priced books shelf and I though that I surely would not want my home shelf to look like how the half priced books poetry shelf looked with the tassel frayed out. A quick read, seems like a he’s setting a fictionalization version of himself up to be made fun of idk. I feel bad giving it 2 stars, it surely has merit at least as a piece of Baudelaire’s to compare to flowers of evil. I give books stars based off of enjoyability, a book can accomplish a lot but can be unenjoyable to read. It can be an enjoyable experience in reflection. I didn’t spend much time with this book, I wasn’t the biggest fan of it while reading it, but it’s alright if you’re into this stuff I’m sure. You could also probably find something better, aku no Hana was fun!
April 22, 2020
هرچند فانفارلو دوست دارد معشوقش عضو فرهنگستان فرانسه شود و دارد در وزارتخانهی مربوطه اعمال نفوذ میکند تا نشان لژیون دو نور را به او بدهند.
November 26, 2024
LA FANFARLO-CHARLES BAUDELAIRE
✒️"La danse peut révéler lout ce que la musique recèle de mystérieux, et elle a de plus le mérite d'être humaine et palpable. La danse, c'est la poésie avec des bras et des jambes, c'est la matière, gracieuse et terrible, animée, embellie par le mouvement."
💃Jedini roman Šarla Bodlera je romansirana autobiografija koju je budući pesnički velikan objavio sa 25 godina.
💃La Fanfarlo je inspirisana Bodlerovom vezom sa plesačicom Jeanne Duval.
💃Ovo je priča o mladom pesniku (o gle čuda😃) koji se zaljubljuje i plesačicu i pristaje da svoj talenat komercijalizuje,jer mu,naravno,trebaju pare 😁
💃Roman prate i crteži samog autora,pa je za pozadinu ovog posta ismorišćen skrinšot-dama na slici je La Fanfarlo ili Jeanne Duval,kako je mladi zaljubljeni pesnik vidi.
💃Iako ispod nivoa kasnije Bodlerove poezije, talenat je uočljiv. Svi su negde morali da počnu,pa bih ja ovome dala peticu za trud,u inat Goodreads mrgudima 😂
❤️❤️❤️❤️❤️
#7sensesofabook #charlesbaudelaire #lafanfarlo
✒️"La danse peut révéler lout ce que la musique recèle de mystérieux, et elle a de plus le mérite d'être humaine et palpable. La danse, c'est la poésie avec des bras et des jambes, c'est la matière, gracieuse et terrible, animée, embellie par le mouvement."
💃Jedini roman Šarla Bodlera je romansirana autobiografija koju je budući pesnički velikan objavio sa 25 godina.
💃La Fanfarlo je inspirisana Bodlerovom vezom sa plesačicom Jeanne Duval.
💃Ovo je priča o mladom pesniku (o gle čuda😃) koji se zaljubljuje i plesačicu i pristaje da svoj talenat komercijalizuje,jer mu,naravno,trebaju pare 😁
💃Roman prate i crteži samog autora,pa je za pozadinu ovog posta ismorišćen skrinšot-dama na slici je La Fanfarlo ili Jeanne Duval,kako je mladi zaljubljeni pesnik vidi.
💃Iako ispod nivoa kasnije Bodlerove poezije, talenat je uočljiv. Svi su negde morali da počnu,pa bih ja ovome dala peticu za trud,u inat Goodreads mrgudima 😂
❤️❤️❤️❤️❤️
#7sensesofabook #charlesbaudelaire #lafanfarlo
July 12, 2025
En självironisk kärleksskildring i nugget-format. Stundtals lite smårolig och halvintressant. Dock inget som fick mig att känna något särskilt.
February 11, 2013
Odd, apparently highly biographical little story that does an admirable job of keeping the reader at a distance. There are simply too many devices, too many allusions, too many asides, however, to make things compelling.
Baudelaire is adept foremost at self-deprecation, ceaselessly mocking his fictional stand-in, the excessively romantic, "hypocritical" poet/actor Samuel Cramer who nevertheless gets plenty of time to talk and act ridiculous.
The translation is odd, too, occasionally opting, particularly with the narrator's voice, for a very loose modern tone which contrasts severely the effusive, purple nonsense of Cramer and even the straightforward seriousness of Madame de Cosmelly. The shifting diction and voices initially made it hard to understand exactly how to read what I was reading: who was serious, what was a joke, etc. By the time I felt I understood, there was no longer really any stakes to the action, and yet still, there was Cramer being silly, now with his prize, Fanfarlo.
The witty reflections on love and life are the highlight—more striking, perceptive, honest, almost sardonic throwaway lines than it is possible to list here
Illuminations: http://www.mhpbooks.com/baudelaire854/
(MHP cover now omits the "La.")
Incidentally, this edition contains an appendix of references, literary and historical, but manages to skip a couple; they have asterisks but no corresponding entries.
I also admit to being minor-ly disappointed with the "HybridBook" deal, described as a "union of print and electronic media" which actually just means you can download a PDF of additional context material if you choose. I appreciate the effort as well as the bonus readings and illustrations, but it seems a bit much to describe and advertise (back cover and last page of the book) in the way it currently is. Moreover, please do away with the QR code.
Baudelaire is adept foremost at self-deprecation, ceaselessly mocking his fictional stand-in, the excessively romantic, "hypocritical" poet/actor Samuel Cramer who nevertheless gets plenty of time to talk and act ridiculous.
The translation is odd, too, occasionally opting, particularly with the narrator's voice, for a very loose modern tone which contrasts severely the effusive, purple nonsense of Cramer and even the straightforward seriousness of Madame de Cosmelly. The shifting diction and voices initially made it hard to understand exactly how to read what I was reading: who was serious, what was a joke, etc. By the time I felt I understood, there was no longer really any stakes to the action, and yet still, there was Cramer being silly, now with his prize, Fanfarlo.
The witty reflections on love and life are the highlight—more striking, perceptive, honest, almost sardonic throwaway lines than it is possible to list here
Illuminations: http://www.mhpbooks.com/baudelaire854/
(MHP cover now omits the "La.")
Incidentally, this edition contains an appendix of references, literary and historical, but manages to skip a couple; they have asterisks but no corresponding entries.
I also admit to being minor-ly disappointed with the "HybridBook" deal, described as a "union of print and electronic media" which actually just means you can download a PDF of additional context material if you choose. I appreciate the effort as well as the bonus readings and illustrations, but it seems a bit much to describe and advertise (back cover and last page of the book) in the way it currently is. Moreover, please do away with the QR code.
November 1, 2007
Firstly, this is a 50 page short story; this edition of the book looks more meaty because it also contains the entire text in French.
Generally, I like Baudelaire and there are moments when the prose of "La Fanfarlo" shows some of his wit and poetic sensibility. But much of the story suffers from his pretension and his need to drop unnecessary and distracting literary references all over the place. It's a young man's book; these are not surprising errors. The book is very much in dialogue with the French authors that Baudelaire wished to dethrone and it prevents his authentic and individual voice from emerging.
It's got a few interesting thoughts on jealousy, attraction and relationships.
Some good parts:
"Men caught in the snare of their own mistakes do not like to make an offering of their remorse on the alter of clemency."
" . . . sitting on the edge of the bed with the insouciance, the triumphant serenity of the adored woman . . . "
"What aura of such magical charm does vice cast around certain creatures? What crooked, repulsive aspect does their virtue impart to certain others?"
Generally, I like Baudelaire and there are moments when the prose of "La Fanfarlo" shows some of his wit and poetic sensibility. But much of the story suffers from his pretension and his need to drop unnecessary and distracting literary references all over the place. It's a young man's book; these are not surprising errors. The book is very much in dialogue with the French authors that Baudelaire wished to dethrone and it prevents his authentic and individual voice from emerging.
It's got a few interesting thoughts on jealousy, attraction and relationships.
Some good parts:
"Men caught in the snare of their own mistakes do not like to make an offering of their remorse on the alter of clemency."
" . . . sitting on the edge of the bed with the insouciance, the triumphant serenity of the adored woman . . . "
"What aura of such magical charm does vice cast around certain creatures? What crooked, repulsive aspect does their virtue impart to certain others?"
August 7, 2021
"فانفارلو" از اون دست کتابا بود که شاید چند سال دیگه سراغش برم. همیشه بودلر رو به عنوان شاعر میشناختم(ضمن اینکه کاری ازش نخونده بودم) ولی با خوندن فانفارلو فهمیدم که چه مرد پر دردی بوده این بودلر و اگه میخواست رماننویس باشه هم خیلی موفق میشد.
به نظرم تا حالا هیچ کتابی تو ادبیات فرانسه که اینقدر لحن غمگین و ریتم آرومی داشته باشه نخونده بودم.
طرح جلد کتاب من رو یاد کتابای ترسناک مینداخت ولی در کل هیچ چیز ترسناکی تو کتاب نیست. البته منش ساموئل تو کتاب در مقابل انسانیت و انسان بودن چیز ترسناکیه.
وَ مثل همیشه هم یه ترجمه تمیز از پرویز شهدی.
فانفارلو رو میذارم جزو اون گروه از کتابا که ازش ماجرا در نمیاد ولی پشتش کلی ماجراست.
به نظرم تا حالا هیچ کتابی تو ادبیات فرانسه که اینقدر لحن غمگین و ریتم آرومی داشته باشه نخونده بودم.
طرح جلد کتاب من رو یاد کتابای ترسناک مینداخت ولی در کل هیچ چیز ترسناکی تو کتاب نیست. البته منش ساموئل تو کتاب در مقابل انسانیت و انسان بودن چیز ترسناکیه.
وَ مثل همیشه هم یه ترجمه تمیز از پرویز شهدی.
فانفارلو رو میذارم جزو اون گروه از کتابا که ازش ماجرا در نمیاد ولی پشتش کلی ماجراست.
Want to read
February 9, 2013I had 40 minutes to kill at the library, and had just finished leafing through a roughly 24x14" Arno Schmidt folio and failing to find Leonora Carrington art books. Perfectly, this was only 60 tiny pages long. I'd of finished it, too, but my ride arrived early. soon.
January 18, 2016
I can't even make an atempt to put pretty words forward for this review. Not when Baudelaire's proze is what it is. Suffice to say in a sentence: If you do not read and like Boudelaire, I fear you may be a very cold, cold person. One exception: if you hate cynicism, I'll forgive you.
September 10, 2018
Un cuento largo o novela breve. Refleja los condicionantes de la época y el lugar. Se deja ver el pensamiento que el autor va a llevar a cabo en toda su obra. Si hubiese escrito esto solo, Baudelaire no sería ni por asomo Baudelaire.
April 23, 2013
Prose thrown together in hopes of creating something plotful but didn't
November 21, 2025
Per conquistare la sua amica d'infanzia, Madame de Cosmelly, il poeta Samuel Cramer si offre di sedurre l'amante del marito di lei, la Fanfarlo del titolo, esotica e passionale attrice, ma ne viene irrimediabilmente sedotto.
Samuel Cramer assomiglia molto a Baudelaire: ultimo dei romantici o primo dei decadenti, poeta di scarso successo diviso tra il maschile e il femminile, oscilla tra la trascuratezza e il dandismo. Le sue passioni sono allo stesso tempo spontanee e affettate, e forse proprio per questo non potrà che essere travolto da un'attrice e danzatrice come la Fanfarlo, dall'emotività esuberante ma, per esigenze di palcoscenico, necessariamente artificiale. Manipolatore e manipolato per tutto il racconto, ben rispecchia la superficialità della borghesia con cui l'autore stesso convisse, sguazzandoci dentro e fingendo di ribellarvisi per l'intera sua esistenza.
Charles Baudelaire utilizza una prosa molto vicina al suo linguaggio poetico (da quanto ho assorbito dalla traduzione italiana, perlomeno). La sua sintassi è grassa e il suo lessico è abbondante, le sue immagini sono talora azzardate, ma efficaci.
Consiglio la lettura per trascorrere un'ora in compagnia di un personaggio irritante, ma allo stesso tempo comprensibile.
Samuel Cramer assomiglia molto a Baudelaire: ultimo dei romantici o primo dei decadenti, poeta di scarso successo diviso tra il maschile e il femminile, oscilla tra la trascuratezza e il dandismo. Le sue passioni sono allo stesso tempo spontanee e affettate, e forse proprio per questo non potrà che essere travolto da un'attrice e danzatrice come la Fanfarlo, dall'emotività esuberante ma, per esigenze di palcoscenico, necessariamente artificiale. Manipolatore e manipolato per tutto il racconto, ben rispecchia la superficialità della borghesia con cui l'autore stesso convisse, sguazzandoci dentro e fingendo di ribellarvisi per l'intera sua esistenza.
Charles Baudelaire utilizza una prosa molto vicina al suo linguaggio poetico (da quanto ho assorbito dalla traduzione italiana, perlomeno). La sua sintassi è grassa e il suo lessico è abbondante, le sue immagini sono talora azzardate, ma efficaci.
Consiglio la lettura per trascorrere un'ora in compagnia di un personaggio irritante, ma allo stesso tempo comprensibile.
April 21, 2020
Baudrillard, modernleşmeyi kıskıvrak yakalamış ve orasını burasını çekiştirerek onunla oynayan yaramaz bir çocuk gibi... Kitap halihazırda kısa ve akıcı ama yine de kendimi tutamayıp bir parça bırakmak istiyorum burada:
"En üzücü olan, tüm aşkların kötü sonla bitmesi. Başladığındaki kutsallık ve yüceliğin şiddetinden çok daha berbat bir sonla. Ne kadar ideal olursa olsun, sonunda obur ve tombul bir bebeğin kucakta yer almadığı aşk düşü yoktur."
(...) ciddi ve bastırılamaz bir sesin kulağınıza eğilip, ihtiraslarımızın yalan olduğunu, bedenleri güzel kılanın miyopluğumuz, ruhları güzel kılanın ise cehaletimiz olduğunu, bir gün gelip net gören gözlerin, hayran olduğumuz putların nesnelerden başka bir şey olmadığını göreceğini, bu putlara karşı nefret değil, şaşkınlık ve kayıtsızlık duyguları arasında gidip geleceğimizi söylediğini düşünsenize...
Ayrıca, düş kırıklığının sonucu korkunçtur. Can çekişen bir aşkın meyveleri olan hastalıklı çocuklar, mutsuz bir sefahat ve acınası bir acizliktir:
Ruhun sefaleti ve kalbin acizliği! Biri, hayatınızı yalnızca meak yüzünden devam ettirmenize neden olur; öteki ise her gün yavaş yavaş sıkıntıdan ölmenize.
"En üzücü olan, tüm aşkların kötü sonla bitmesi. Başladığındaki kutsallık ve yüceliğin şiddetinden çok daha berbat bir sonla. Ne kadar ideal olursa olsun, sonunda obur ve tombul bir bebeğin kucakta yer almadığı aşk düşü yoktur."
(...) ciddi ve bastırılamaz bir sesin kulağınıza eğilip, ihtiraslarımızın yalan olduğunu, bedenleri güzel kılanın miyopluğumuz, ruhları güzel kılanın ise cehaletimiz olduğunu, bir gün gelip net gören gözlerin, hayran olduğumuz putların nesnelerden başka bir şey olmadığını göreceğini, bu putlara karşı nefret değil, şaşkınlık ve kayıtsızlık duyguları arasında gidip geleceğimizi söylediğini düşünsenize...
Ayrıca, düş kırıklığının sonucu korkunçtur. Can çekişen bir aşkın meyveleri olan hastalıklı çocuklar, mutsuz bir sefahat ve acınası bir acizliktir:
Ruhun sefaleti ve kalbin acizliği! Biri, hayatınızı yalnızca meak yüzünden devam ettirmenize neden olur; öteki ise her gün yavaş yavaş sıkıntıdan ölmenize.
June 25, 2025
Definitivamente no es tan bueno como novelista que como poeta
September 13, 2025
ترجمۀ فارسی خوب نیست. اصلاً خوب نیست. خود داستان رو ولی میشه خیلی دوست داشت.
August 23, 2024
3.5/5⭐
“...pero le juro, señor Crámer, que muchas veces, a la noche, hacia las tres o cuatro de la mañana, con los ojos rojos de lágrimas y de insomnios, después de haber hecho largos y suplicantes ruegos por su retorno a la fidelidad y al deber, he preguntado a Dios, a mi conciencia, a mi espejo, si era tan bella como esa miserable Fanfarlo.”
😭😭😭😭
“...pero le juro, señor Crámer, que muchas veces, a la noche, hacia las tres o cuatro de la mañana, con los ojos rojos de lágrimas y de insomnios, después de haber hecho largos y suplicantes ruegos por su retorno a la fidelidad y al deber, he preguntado a Dios, a mi conciencia, a mi espejo, si era tan bella como esa miserable Fanfarlo.”
😭😭😭😭
November 4, 2021
Instagram: @clautmontesinos
Un relato corto, publicado en 1847, es una de las primeras obras de Baudelaire. Cuenta la historia de Samuel un joven poeta que acepta el atrevido reto de enamorar a la Fanfarlo, una peculiar bailarina. Un trato, una emboscada: “Todos nos parecemos, en cierta medida, a un viajero que hubiera recorrido todo un país muy extenso, y que, cada atardecer, viera el sol, que otro tiempo doraba magníficamente las bellezas del camino, ponerse en un horizonte chato.”
Un relato corto, publicado en 1847, es una de las primeras obras de Baudelaire. Cuenta la historia de Samuel un joven poeta que acepta el atrevido reto de enamorar a la Fanfarlo, una peculiar bailarina. Un trato, una emboscada: “Todos nos parecemos, en cierta medida, a un viajero que hubiera recorrido todo un país muy extenso, y que, cada atardecer, viera el sol, que otro tiempo doraba magníficamente las bellezas del camino, ponerse en un horizonte chato.”
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