Abstract
ABSTRACT This article tests the textual differences between those of Baudelaire's poems that are typically considered ‘Parisian' or ‘foreign'. It argues that ‘La Belle Dorothée' is not only a poem about an African gaze on France, or indeed only a poem set in Africa, but that it can also be shown to represent an allegory for a Parisian view of self. The more overtly Parisian ‘À une passante’, for its part, glances at more than a poet struck down in Paris by the shock of Modernity; it also gazes inter alia on African beauty, Sara Baartman, aka the Hottentot Venus.
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