Claude Pichois, Poetry, and the Art of Comparative Literature

Abstract

The specificity of Claude Pichois as a comparative critic appears to originate in a passion to which he remained faithful throughout his life: a passion for poetry. His freedom as a critic, and his productivity, are rooted in his attachment to Baudelaire’s poetry – a choice which dates back to his student years. He received his training in the study of Baudelaire from Jacques Crepet, who edited Baudelaire’s works, and from Georges Blin, a professor at the College de France. Throughout his career Claude Pichois (Claude for short in the following) provided critical editions of Baudelaire’s works, most notably a fourvolume edition in the prestigious Bibliotheque de la Pleiade published by Gallimard (Œuvres completes/Complete Works, 1975–1976, and Correspondance/Correspondence, 1973)1 and, in 2005, a diplomatic edition of Les Fleurs du Mal published by Champion shortly after Claude had passed away.2 Claude’s choice of Baudelaire required both lucidity and courage. At that time, the author of Les Fleurs du Mal was still stigmatized in France as an ‘immoral’ writer: the juridical rehabilitation of Baudelaire’s work only took place amazingly late in 1949. Claude’s recognition of Baudelaire as an emblematic figure in literature was by no means