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Comte de Lautréamont
(redirected from Lautremont)

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Lautréamont, Comte de 

(pseudonym of Isidore Ducasse). Born Apr. 4, 1846, in Montevideo; died Nov. 24, 1870, in Paris. French poet.

Lautréamont left a paradoxical poetic legacy. He initially expounded a violent rejection of the moral and social principles of modern society in the poem Les Chants de Maldoror (1868-69; published in full, 1890); with the same force and conviction he denounced what he considered the unwholesome excesses of European romanticism in the collection Poems: Preface to a Future Book (1870). The first book contained finished prose poems united by a single hero and the intricate plotting of horror fiction; the second was a series of lively aphorisms, in which Lautreamont sang of goodness and of boundless faith in man’s strength and his future.

Lautréamont’s works, rediscovered in the 20th century by the surrealists, foreshadowed the tragic floundering of Western European poetry in its course from symbolism to futurism. Both the modernist and the realistic traditions of modern French poetry (P. Eluard, L. Aragon) proceed from Lautréamont’s work.

REFERENCES

Gourmont, R. de. Kniga masok. St. Petersburg, 1913. (Translated from French.)
Balashov, N. “Neotrazimosf Eluara.” In Poeziia sotsializma. Moscow, 1969. Pages 77-80, 101, 102.
Lautréamont: Une etude par Ph. Soupault. Extrait, documents, bibliographie. [Paris, 1946.]
Bachelard, G. Lautreamont, new ed. Paris, 1956.
Pleynet, M. Lautreamont par lui-meme. Paris, 1967.
Lautréamont. Published under the direction of M. Chaleil. [Toulouse, 1971.]
Philip, M. Lectures de Lautréamont. Paris [1971].

N. N. POLIANSKII



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This image of Catherine is curiously reminiscent of one of Surrealism's most evocative verbal phrases, penned by the Comte de Lautremont (1846-1870), grandfather to the movement, in an attempt to characterize the term "convulsive beauty," the specific aesthetic ideal mixing terror with beauty: "As beautiful as the chance encounter of a sewing-machine and an umbrella on a dissecting table.
Many critics have seen Farabeuf as a reflection of the author's devotion to the dark perversity of Baudelaire, Lautremont, Bataille, and Rimbaud.
But it is never that idolatrous dissolution of language from the grammar of a possible world, which results from the belief that language itself can be reality, or by incantation can create reality: a superstition that comes down in French from Lautremont, Rimbaud, and Mallarme to the Surrealists, and in English to Hart Crane, Wallace Stevens, and Dylan Thomas.
 
 
 
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