508 Reviews with a critical relationship to his predecessors, to the genres they represent, and to the status of his own texts. Ellenore is both model and counter-model forBalzac's critique of historical realism; faire inevitably involves a measure of contre(-)faire in the sense of both distortion and disavowal. As a result, a number of other Balzacian texts critique the values they supposedly endorse, from the gold standard in Melmoth reconcilie (Emeline Dhommee) to marital fidelity in Honorine, a mixture of essay and fiction (DominiqueLaporte)and, once again, T illusion realiste' in Modes teMignon (Andrew Oliver). Apart from being internally self-aware and even self-contradictory, Balzac's texts are furthercomplicated when compared with the formal and ideological contexts in which they appeared or against which they are now appraised: Le Cousin Pons ioregroundinggourmandisewhen serialized in Le Constitutionnelagainst a background of widespread famine (Gabriel Moyal); the tension between Balzac's fictions and his many justificatory prefaces (Roland Le Huenen); critics' over-easy adoption of Balzac's own architectural metaphors (Rachel Sauve). In all these cases, Balzac's own self-conscious, multifaceted language betrays what Marie-Christine Aubin calls Balzac's 'illusionnisme social', as illustrated not only by i'importance primordiale du paraitre' in Cesar Birotteau (Graham Falconer), but also by his effortto chart spatial and temporal signpostingin La Maison du Chat qui pelote (Paul Perron) and, particularly interestingly, by possibly further linguistic play with Tours (city and maternal origin) and tours (in the sense of both twists and towers), which may well operate as 'le trope-maitre, le signifiant phallique qui genere du recit' (p. 186) in the Contes drolatiques (Scott Lee). Although somewhat uneven in length, interest, and engagement with the central theme, these papers make an important and highly promising addition to the growing body of work on Balzac's textual hermeneutics or, perhaps more accurately, on the textual hermeneutics that is 'Balzac'. University of Bradford Owen Heathcote Baudelaire devant Vinnombrable. By Antoine Compagnon. Paris: Presses de l'Uni? versite de Paris-Sorbonne. 2003. 207 pp. ?14. ISBN 2-84050-263-1. Antoine Compagnon is a commentator who is sensitive to the nuances of language. For example, his discussion of the adjective 'enorme' (in 'le rire enorme de la mer' in the poem 'Obsession') shows how Baudelaire uses it in a translation of a Greek phrase from Aeschylus, so that 'enorme' stands for the adjective anarithmos (poetical anerithmos), which actually means 'innombrable' or 'immense'. The adjective can thus be read as having its full etymological force of going beyond the bounds. In this way, the laughter of the sea assumes a proportion such that it is no longer something that, as critics usually have it, is generous and therefore welcoming?a glimpse of something eternal. Instead, it takes on an aspect that threatens to overwhelm: the sea becomes a horizontal abyss. Compagnon sets out to challenge and enlarge our appreciation of Baudelaire. He complains of the way the poet has been limited on the basis of a selection or selective reading of his poems. In this way we have Baudelaire the decadent, Baudelaire the symbolist, etc. Another version of this misrepresentation is what Compagnon sees as anachronistic criticism, presenting him either as following a tradition or more usually as the origin of one. In the former case, we are presented with a decadent Baudelaire unable to match or surpass past achievements (and aware of it). In the second case, Baudelaire is valued not for what he wrote but because he showed the way for his successors. Compagnon seeks to free Baudelaire's writings from such static or linear perspectives. One result of this is a reorientation of our view of Baudelaire's relation to time. Interrupted time ('Paris change') is an important feature of his poetic world, and MLR, 100.2, 2005 509 indeed, according to Compagnon, rupture and discontinuity are a key feature of his poetry as a whole. Compagnon demonstrates that at the heart of the poet's use of allegory is the non sequitur, the interruption. In fact, this fracturing, the fall from unity (the entry into number), is what constitutes the fallen nature of creation, forhow else can the singular conceive of...
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