Buried by the Shadow: Lessons from Baudelaire

Having just read a piece of historical fiction called Black Venus by James MacManus, I have been left at once saddened, uplifted, more informed about the French poet Charles Baudelaire and perhaps also a little wiser on the work of shadow energies in our lives. In the midst of public horror and ridicule, this gifted but tormented artist had the courage to face and describe the human shadow through its many manifestations in his personal life (much like James Joyce would do a century later). It is this window of identification and therefore the sense that we are not alone in our experiences that is, I believe, one of the massive attributes of literature, indeed all forms of expression. These ideas are also tied in with my current interests in creativity and mental health recovery and promotion, as well as with previous musings on the role of the shadow within a Jungian approach to personal maturation.

That literature and Jungian ideas overlap is inevitable. Jung emphasised the symbolic nature of human thought and imagination, as did Baudelaire and Manet. A muse was often a source of both inspiration and projection for the artist, a dynamic that may well be present in all our lives – who hasn’t ever had a hero or a guru or some other personified source of inspiration and motivation?

 

But to truly move onwards in  the hero’s journey of our life course, it is essential to incorporate and balance all the archetypal energies, of which the dark shadow is only one. The self-acceptance required remains elusive and unthinkable still for many of us and therefore while we might take the necessary step of acknowledging the shadow’s terrifying existence in ourselves, we must also avoid disowning and projecting it, or conversely, allowing it to swallow and destroy us. I fear that Baudelaire may have been devoured by his own shadow, a force he projected into his muses and possibly detected in himself but was unable to fully accept with compassion and therefore was ultimately unable to constructively channel it.

Like many before and since, Baudelaire went relatively unappreciated in his own time but is now recognised for his visionary genius and his initiation (with the painter Manet) of a whole new world of symbolism, modernist literature and the impressionist artistic oeuvre. T. S. Eliot, who wrote the groundbreaking modernist work The Wastelandcited Baudelaire as having paved the way for him and as the inspiration behind his poetry.

While the nihilism of these writers might be something of a blind alley if taken alone, and for many an all-too-shocking description of human nature, they did at least move towards a more authentic insight into that nature, if ultimately a too-pessimistic and destructive one. From  more recent work on the shadow as being both dark and light, we can embrace the shadow as having something to teach us, as gifting us with the potential for liberation and motivation, while living alongside the inherent potential danger.

It is unclear whether or not Baudelaire reached a level of self acceptance and accommodation. Certainly by all accounts he struggled and suffered but also experienced episodes of joy and happiness  in his life. I suspect we are all dancing a similar dance and can only hope that through literature, compassion, empathy and all the many forms of self-expression we can find, we can each give and take encouragement with our fellow journey-makers. Whether or not we manage to face, own and constructively channel our own shadow aspect is possibly the chief deciding factor of our mental health and well-being, perhaps even one of the  core tasks of our lives.

The novel Black Venus  by James MacManus is and excellent read by the way (follow the link at the start of this post).

My book is available now in the UK, USA and on Palgrave and Amazon sites:

Creativity and Social Support in Mental Health: Service Users’ Perspectives (Palgrave 2014)

 

images: Top: Charles Baudelaire by Emile Deroy

and Second image is T.S.Eliot photo by Lady Ottoline Morrell

 

 

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Finding the Lost Generation

Paris in the 1920s was home for a group of American writers nicknamed ‘The Lost Generation’ by Gertrude Stein, herself a Parisian-based ex-pat author and art collector. They were lost because they had suffered and survived the terrible First World War and were considered to have been in some sense ruined by it and in need of something totally new and life affirming. Though Irish author in self-imposed exile James Joyce fraternised with the group, he seemed to be more of an elder statesman to the youthful Ernest Hemingway, F. Scott Fitzgerald and T. S. Elliot who comprised the core of the group. Though feeding off each others’ imagination and company, tensions were also at times high and the relationship between Hemingway and Fitzgerald was particularly close, yet at the same time troublesome. An interesting post by Daniel Dalton presents an intriguing photograph of the pair

Image

How dapper they both look and you can imagine the buzz on the streets of Paris during the era – both freshly published and hailed as the new modernist writers of the day. While on something of a Hemingway bender of late, reading biographies as well as some early novels, I had read Fitzgerald’s The Great Gatsby years ago and recently attended the cinema to watch the movie with my daughter. Baz Lurmann has captured something of the facile veneer of Daisy and company through amazing sets, full of glitz and streams of champagne, that cover up an almost total selfishness and lack of empathy. I felt Toby Maguire did an equally marvellous job as Nick, well matched by Leonardo di Caprio’s Jay Gatsby. Their sadness stayed with me for ages after, and in a weird way reminded me of the underlying depression of the nineteen eighties with its similar undercurrents (or reaction formations) of glamour and excess.

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