「……我輩人中，當野心勃勃時，誰不曾夢想過詩式散文之奇蹟！既有音樂性而又無節拍同韻腳；既柔順而又粗獷，足供各種表達如：靈魂之抒發，夢幻之起伏以及良心的悸動。」──波特萊爾（Charles Baudelair,1821-1867）提到散文詩之起源，一般都認為始自波特萊爾，他的散文詩集《巴黎之憂鬱》（Le Spleen De Paris）也公認為最早的散文詩集。而這是台灣第一本散文詩選。書名「躍場」，
Baudelaire's prose poems had two working titles: "Petits Poemes en prose" (small prose poems) and "Le Spleen de Paris". This title features a collection of Baudelaire's pieces.
Baudelaire's prose poems had two working titles: "Petits Poemes en prose" (small prose poems) and "Le Spleen de Paris". This title features a collection of Baudelaire's pieces.
This 1993 reading of Baudelaire's Le Spleen de Paris is a response to Baudelaire's own challenge to read his text as one in which 'everything ... is head and tail, alternately and reciprocally'. Margery Evans proposes that Le Spleen de Paris serves to question the conventions of prose forms such as the unitary narrator, the extended plot, and the artifice of beginnings and endings. She shows how Baudelaire's text probes the relationship between individuality and conformity to pre-existing codes, both in literature and in the world, and how the giant metropolis provides a symbol of that drama. Dr Evans explores the interconnections between the prose poems which make up Le Spleen de Paris and their intertextual relations with other, mostly prose, works, and argues that this anomalous, hybrid work raises far-reaching questions of relevance to narratology and to literary theory as a whole.
Kathryn Mills argues that despite the enduring celebrity of Baudelaire and Flaubert, their significance to modern art has been misunderstood. Mills places Le Spleen de Paris and Trois contes, their au
Kathryn Mills argues that despite the enduring celebrity of Baudelaire and Flaubert, their significance to modern art has been misunderstood. Mills places Le Spleen de Paris and Trois contes, their au
