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Livre

Baudelaire Charles & Hugo Victor

Théophile Gautier. Notice littéraire précédée d'une lettre de Victor Hugo

Poulet-Malassis et de Broise, 1859

86250,00 €

Feu Follet Librairie (Paris, France)

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Détails

Année
1859
Lieu d'édition
Paris
Auteur
Baudelaire Charles & Hugo Victor
Éditeurs
Poulet-Malassis et de Broise
Format
11,5x18cm
Thème
Littérature|Editions originales
Description
relié
Dédicacée
Oui
Premiére Edition
Oui

Description

- Poulet-Malassis et de Broise, Paris 1859, 11,5x18cm, relié. - Théophile Gautier. Notice littéraire précédée d'une lettre de Victor Hugo Poulet-Malassis et de Broise | Paris 1859 | 11.5 x18 cm | full morocco First edition, of which only 500 copies were printed. Portrait of Théophile Gautier etched by Emile Thérond on the frontispiece. Important preface letter by Victor Hugo. Bound in red morocco, gilt date at the foot of spine, marbled endpapers, Baudelairian ex-libris from Renée Cortot's collection glued on the first endpaper, wrappers preserved, top edge gilt. Pale foxing affecting the first and last leaves, beautiful copy perfectly set. Rare handwritten inscription signed by Charles Baudelaire: " à mon ami Paul Meurice. Ch. Baudelaire. " ("To my friend Paul Meurice. Ch. Baudelaire.") This exceptional handwritten dedication to Paul Meurice, a real surrogate brother to Victor Hugo, bears witness to a unique literary meeting between two of the most important French poets, Hugo and Baudelaire. Paul Meurice was indeed the essential intermediary between the condemned poet and his illustrious exiled peer, since asking Victor Hugo to combine their names in this Théophile Gautier elegy was one Charles Baudelaire's most daring acts and would, no doubt, not have had a chance of being realised without Paul Meurice's precious support. Paul Meurice, Dumas' ghost-writer, author of Fanfan la Tulipe and the theatre adaptations of Victor Hugo, George Sand, Alexandre Dumas and Théophile Gautier, was a talented writer who was shadowed by the great artists of his time. His unique relationship with Victor Hugo, however, gave him a decisive role in literary history. More than a friend, alongside Auguste Vacquerie, Paul replaced Victor Hugo's deceased brothers: "I lost my two brothers; him and you, you and him, you replace them; only I was the youngest; I became the eldest, that's the only difference." It is to this brother at heart (whose marriage he witnessed alongside Ingres and Dumas) that the exile entrusted his literary and financial interests and it is he who he will appoint, along with Auguste Vacquerie, as executor of his will. After the poet's death, Meurice founded the Maison Victor Hugo, which is still today one of the writer's most famous residences. In 1859, Paul's house then became Victor Hugo's Parisian antechamber on the Anglo-Norman rock, and so naturally Baudelaire went to speak to this official ambassador. The two did not know each other well but they had a mutual friend, Théophile Gautier, with whom Meurice had worked since 1842 on an adaptation of Falstaff. Consequently, he is the ideal intermediary to guarantee the inaccessible Hugo's benevolence. Baudelaire had, however, already briefly met Victor Hugo. At the age of 19 he asked for an interview with the greatest modern poet, whom he had worshiped since childhood: "I love you as one loves a hero, a book, as one loves everything beautiful purely and without interest." He already dreamed of himself as a worthy successor, as he tacitly confessed to him: "at nineteen years old would you have hesitated over writing as much to [.] Chateaubriand for example?" For the young apprentice poet, Victor Hugo belonged to the past, and Baudelaire will quickly want to free himself of this heavy model. From his first work, Le Salon de 1845, the iconoclast Baudelaire criticized his old idol by declaring the end of Romanticism, of which Hugo is the absolute representative: "These are the last ancient ruins of romanticism [.] It is Mr Victor Hugo who lost Boulanger - after having lost so many others - It is the poet who caused the painter to fall into the pit." One year later, in Le Salon de 1846 he reiterated his attack even more fiercely, removing the Romantic master from his throne: "because if my definition of romanticism (intimacy, spirituality, etc.) puts Delacroix at the head of romanticism, it naturally excludes Mr Victor Hugo. [.] Mr Victor Hugo, whose nobility and m