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6 Rather, I shall proceed in an indirect and consciously circuitous manner in order to determine not what La Chute says or declares under the cloak of a discernible symbolism, but rather its potential for the elaboration of a theory of literary interpretation, how it functions within a network of barely audible intertextual echoes, and how its confessional mode relates to its narrative form. My point of departure will be the elucidation of Blanchot’s suggestive but metaphorically elusive critical vocabulary.

Laughter is therefore Satanic in essence. ” In fact, at a crucial stage in the development of his essay, Baudelaire enters into the problematics of vertige. In comparing what he calls the comique significatif (whose mode of functioning is double, based on the contrasts between mask and reality that constitute social comedy) to the comique absolu or grotesque (whose appearance is that of a closed unity “that must be seized by intuition”[254], Baudelaire finds himself at a logical impasse. Because the comique significatif involves the duplicity of theatrical hypocrisy, it can be analyzed into its component parts and understood; the grotesque, on the other hand, can be verified only by laughter itself, not by a discourse on laughter.

Yet the very triumphant voice of the poet, coupled with the fact that he has presented his case as a rigorously demonstrated, logical theorem, make one question the truth-value of such an inflated ego’s apotheosis in rhetoric. (As the beggar turns around to strike him, the poet exclaims: “Oh miracle, oh delight of the philosopher who verifies the excellence of his theory” [306]). Most important, one is led to wonder about the motivations behind the “idée supérieure” that drove the poet from the solitude of his room to the encounter with the beggar.

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