Maldoror by Comte de Lautramont - Book Report/Review Example

 ‘Maldoror’ This paper presents a critical and in-depth review of the book 'Maldoror' by Comte de Lautramont to showcase Malodoror’s greatest quality, for the purposes of Lautramont of being able to reject completely God, religion, and morality. Maldoror nature and character always are inconsistency throughout the story. Book four stanzas for example typically demonstrate this difference as it paints Maldoror as an ancient, immobile body where a number of animals nest. Therefore, this is clearly inconsistent relative to other passages where Maldoror is displayed as deftly sneaking around cities (Lautréamont 87). Therefore, he could freely reject morality, God, and religion. Thus, Maldoror voluntarily consents to his various sadistic and perverse instincts. Maldoror is depicted as a habitual murder. He is in many occasion murders and attempt to murder many people in different stories in the book with several other murders being referenced. Moreover, Maldoror is painted a homosexual with the great urge for young boys. This is thus, a vice that surprises the 19th-century audience. Thus, the possibility that his homosexually explains Maldoror’s rare moments of benevolence. For instance, his exact nature is never precise. Apart from the passages that paint Maldoror as monstrous particularly, Book four, Stanza four. The audience is persistently at deadlock as they think Maldoror is supernatural. The utilization of the phrase ‘vampire’ to refer him on many occasions despite Malodoror’s continued denial of the term as this paints him dead might lose meaning in the 19th century France modern reader. However, the story portrays an unmistakable impression of supernatural evil. The primary theme of the book is the injustice God. It is critical that the readers realize that such an injustice is in all possibilities metaphorical. The book leaves audience doubtful whether Lautramont believes in God. However, the poet is probably presenting a poetic adaptation of the classical arguments against God’s existence, the problem of evil. Thus, the book rejects God’s existence as God is supremely good and powerful and thus can never exist since if he did, all the suffering in the world would be halted. Maldoror personifies this rejection himself. Thus, he freely victimizes humanity as he wishes over and over with no strings attached since God does not exist as He would have halted his victimization. However, Maldoror is punished on few occasions like in Book Five, Stanza 7. God’s impotence is thus never literal. Thus, Lautramont demonstrates that God never exists. The presence of God in the story is advanced by narrator or Maldoror. God appearance is throughout. Maldoror persistently accuses God following a number of injustices and crimes. Key ones are that permitting evil deeds to occur to undeserving individuals. Thus, the literary adaptation of the problem of evil informs this constant complaint about God. Such is analogous to the atheist classical arguments. Such a classical argument rejecting God’s existence hinges on the occurrence of evil things in the world. Such evil things include plagues, famine, and evil individual like Maldoror. Thus, such evil occurrence contradicts the God’s qualities of his omnipotence and goodness. However, whereas God is painted as an actual being in the story, Lautramont gives a numerous reason to rate him an atheist. Thus, such a purpose helps him pretend that God existence is obvious. The author is thus inspired by creating shocks amongst his readers. Thus, he realized that the application of blasphemy is sufficient to do create and advance such shocks. Despite the fact the 19th century France had little about atheism, the elites had known it and hence the poet took to talk to such cohort of readers. Further, blasphemy gave the poet an extra punch as it had never been explored by other authors. The author has capitalized upon the jarring impacts established by the traditional intonation of the shipwreck circumstance of the post-romantic as well post-Christian literature to shock his readers. Maldoror is depicted as one who enjoys the vision of the destruction of others. The author satisfactorily utilized his long fugue with respect to the idea of sea disaster. This idea instigates with a grim parody of the Romantic prospect poem that contradicts the vision of attaining the Promised Land or the imaginative grace. This is illustrated as he describes how he sat on a rock at the seashore and demonstrated his hatred for the rest of human beings by placing himself in a physical position to witness their destruction. Interestingly, this shows how Maldoror is immoral since the sea disaster become much shocking as it is Maldoror experience which totally has no conventional moral meaning. Thus, Maldoror positions himself in physical position rather than the moral vantage-point of an avenging God. Therefore, the effect is alluded to a Northern Renaissance depiction of the Last Judgment whereby the artists displays the blessed enjoying the suffering of the damned but eliminates both God and angels. Maldoror is thus used to guide us through the steps of the stricken vessels destruction creating awareness of the severe suffering of the people on board to stress how Maldoror distances himself from the sufferers. This illustrates how immoral Maldoror is at all stages. For instance, the fact that Maldoror distances himself from the rest of human beings is clearly illustrated in the inflicting pain upon Maldoror to obtain ideas of these sufferers’ mental sufferings. Therefore, the scene of the distressed ship mocks the theories of moral sympathy to showcase how Maldoror rejects morality in every aspect (Lautréamont at al. 67). The morality is embedded in the assumption that man’s innate moral sense inspirationally shoves him to the emotional circumstance of his counterparts. However, Maldoror rejects morality as he negates the capacity for sympathy and fellow feelings that are key drivers of moral decisions. Thus, a moral being should never advance evil acts to his fellows as he is keen on the consequences of such evil. However, Maldoror struggles to experience what the sufferers feel since he lacks the normal automatic feelings provided by moral actions. Thus, Lautramont lacks the belief of innate goodness of man displays his character as trying to experience the fates of his fellows. Interestingly, Maldoror looks at fellow individuals as laboratory specimens behind a glass pane eliminated and detached alien (Lautréamont 45). Thus, Maldoror perceives himself not as human and dispassionately employs his musket to murder a survivor approaching the shore in total rejection of morality. Thus, Maldoror is displayed as massacring lieutenant of slaughtering environment. Indeed, Maldoror is a typical man who lacks the foundations of Romanticism that define the faculty of human. Lautramont thus obviously projects self-hatred and yearning for death upon the imagined victims further advancing a serious complication of the meaning of the shipwreck section. The book employs heavy ironic tone particularly between Maldoror and the weeping fictive gravedigger. Maldoror ironically questions why he was weeping as they are aboard the dismasted vessel to suffer. Maldoror ironically concludes that it is a tribute to the man to overcome miseries as God had judged them capable. In conclusion, Lautramont frames it extravagance that it is hard to uncover how extremely he ultimately expects the readers to fathom Maldoror to be himself a castaway. However, the text presents evidence that depicts he who thought would be happiest following the shipwrecked ultimately becomes a victim (Hubert 45). Therefore, Lautramont relied significantly on breaking the relation between paradigm and narrative perspectives and the distance to accomplish his end that are not only to shock the readers but also help perceive life and morality in different perspectives. Thus, this long narrative prose poem rejoices the principle of Evil in a satisfactory style driven by thirst akin to religious fanaticism. Thus, the poem makes Lautramont look squarely that which other authors had merely offered a perusal glance. Works Cited French Xx Bibliography: Critical and Biographical References for the Study of French Literature Since 1885. New York: French Institute, 1969. Print. Hubert, Renée R. Surrealism and the Book. Berkeley: University of California Press, 1988. Print. Lautréamont, , Alexis Lykiard, and Lautréamont. Maldoror: & the Complete Works of the Comte De Lautréamont. Cambridge, MA: Exact Change, 1998. Print. Lautréamont, , Guy Wernham, and Lautréamont. Maldoror (les Chants De Maldoror). New York: New Directions, 1966. Print. Lautréamont, . Lautréamont's Maldoror. New York: Crowell, 1972. Print. Skelton, Carl. Soft City Culture and Technology: The Betaville Project. , 2013. Internet resource. Read More