LES CHANTS DE MALDOROR BY THE COMTE DE LAUTREAMONT

If you have been following my reviews for any length of time you will be aware that there are many things of which I am afraid. Spiders! Fatherhood! Demonic possession! Death! Yet it is increasingly the shark that haunts my mind like he haunts the sea, silently slicing through the darkness until he is upon me, intent on ripping out my throat! He is a ghoul, shaped like a knife-blade. He is swift and agile madness, with the skin of an elephant and teeth like the sharpest shards of glass. How feeble, how ungainly man seems when compared to this creature, how unlike a God.

Given its awesome, horrifying appearance, and its savage power, it is no surprise that Maldoror – the sinister creation of the Comte de Lautréamont, who was himself the alter ego of Isidore-Lucien Ducasse – is an admirer of, and sees himself in, the shark. Indeed, he wishes that he were the son of one and, in Les Chants most [in]famous passage, he actually couples with a female, inspiring the most eyebrow-raising title of any article I’ve ever come across: Shark-shagger. Yet his admiration isn’t limited to these beasts; Maldoror [or the Comte] sings the praises of the louse, the tiger, the ocean, mathematics[!]…anything, it seems, that isn’t human.

Maldoror was, we’re told, once a happy, ’upright’ child, indicating that something [or a combination of things] happened to effect a change in his personality or character. Yet it is also claimed that he felt as though he was ‘born wicked’, and had tried his best to disguise his nature. In any case, one is led to believe – due to the sheer number of rants dedicated to the subject, if nothing else – that an ever intensifying disgust for humanity was at least partly responsible for his subsequent ‘career of evil’. Throughout, Maldoror rails against human weakness of character, hypocrisy, hunger for fame and money, etc.

However, while all that might be enjoyable [especially if, like me, you agree with the sentiments expressed], such misanthropy isn’t unique or even unusual in works of literature. What sets Les Chants apart, what makes them a still thrilling, shocking, and amusing experience, is that Maldoror doesn’t simply hate humanity, he wants to make it suffer, in imaginative, creative ways. My favourite example of this is when he breeds a pit of vicious lice, which he then lets loose upon the unsuspecting public. Moreover, he openly enjoys these activities, so that the book reads like an ode to cruelty and sadism. Children, one assumes because they are representative of innocence and purity, are paid special attention, with Maldoror extolling the pleasures of abusing and then freeing them, so that one is seen as both their torturer and their saviour. He also gleefully admits to wanting to slice off their rosy cheeks with a razor.

“One should let one’s nails grow for a fortnight. O, how sweet it is to drag brutally from his bed a child with no hair on his upper lip and with wide open eyes, make as if to touch his forehead gently with one’s hand and run one’s fingers through his beautiful hair. Then suddenly, when he is least expecting it, to dig one’s long nails into his soft breast, making sure, though, that one does not kill him; for if he died, one would not later be able to contemplate his agonies.”

Before continuing it is necessary to return to that comment, that assertion that Les Chants is funny, especially as a lot of the book’s content is, without question, unpleasant [sadism is, in fact, something that I find particularly abhorrent]. The reason I find Les Chants entertaining, rather than unbearable, is that they are, for the most part, [intentionally] over-the-top, bizarre and vaudeville; and they feature a main character so thoroughly dastardly, such that even the nastiest bits are absurd or almost farcical. The best example of this is when Maldoror is watching a ship sink and delights in the forthcoming annihilation of the crew and passengers. At this stage, the story is engaging, but not necessarily funny. It is when the hero decides to shoot a survivor as he swims towards the shore that the scene is taken into the realm of comedy [although you may argue that what it provokes is the uncomfortable laughter of disbelief].

sedlec

[Sedlec Ossuary or bone church, Czech Republic]

There are an abundance of religious references in Les Chants, and God, in particular, is routinely mocked and criticised and doubted. Lautréamont says that God, although powerful, is untrustworthy, and suggests that the creation of heaven, or the bestowing of any kind of eternal reward, is inconsistent with a Being who causes suffering, or is prepared to allow his people to be miserable or wretched, on earth; in one of the most memorable and amusing passages, he imagines God as a kind of blood-thirsty tyrant, sitting on a throne of gold and excrement, wrapped in unclean hospital sheets. Of course, for anyone who wants to offend, who wants to position themselves as anti-establishment, religion is an obvious, necessary target. An author intent on writing filth and getting up people’s noses isn’t really doing his job if he doesn’t blaspheme.

Some critics would have you believe that Maldoror is the Devil, which isn’t the strangest claim, considering how grotesque and seemingly immoral he is. Certainly, there is something of Milton’s charismatic Satan about him; and he does harbour ambitions of overthrowing God and taking his place, indicating that he is no mere mortal. Moreover, there is one quite chilling scene in which he endeavors to tempt a young boy into murdering someone who has wronged him. Yet I prefer not to think of Maldoror as the Devil, as something so easy to digest. To label him thus is almost a kind of comfort. We may not like the Devil, but we do understand him. It is, therefore, far more frightening to think of Maldoror as an ordinary man, although I don’t believe he is that either.

“I am filthy. I am riddled with lice. Hogs, when they look at me, vomit. My skin is encrusted with the scabs and scales of leprosy, and covered with yellow pus.[…] A family of toads has taken up residence in my left armpit and, when one of them moves, it tickles. Mind one of them does not escape and come and scratch the inside of your ear with its mouth; for it would then be able to enter your brain.”

So, what, then, is he? For me, he is a bogyman, a nightmare; he is Nosferatu’s shadow climbing up the wall. One might also call him an outcast, although I’m not sure myself how accurate that is [for you have to want to be part of something to be cast out from it]. He does, however, identify with outcasts, with prostitutes [with whom he claims to have made a pact to ruin families] and hermaphrodites. In any case, what most struck me while I read Les Chants is that Maldoror is essentially a kind of Mr. Hyde, he is the bad in every one of us, the dark side. Indeed, it is said in the text that evil thoughts exist in all men. This theory is given extra weight when you consider that it isn’t always clear who is narrating the book, that while it begins in the manner of someone [the Comte] describing, in the third person, the outrageous acts and character of another man, the majority of it is written as though the one committing these acts is the narrator, almost as though Maldoror has seized control, of the text and of Lautréamont himself.

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2 comments

  1. Maybe it’s just the translation, but I believe that, near the beginning of the book, it says, “I shall set down in a few lines how upright Maldoror was during his early years, when he lived happy. There: done.” I believe this implies that he was never upright or happy at any point in his life, not even his early years, so there are no lines to put down about that time.

    I enjoyed this review; thanks for taking the time to write it!

    1. That’s perhaps a better way of interpreting it. I took it to mean he wasn’t interested in his happy years. Glad you enjoyed the review. Thanks for stopping by.

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