Paul Verlaine's poetry is rejected by a literary journal. 1890.

Paul Verlaine (1844.1896)

Autographed letter signed to René Baschet.

One octavo page

Paris. March 1 ^, 1890

"I hope the portrait and biography will be published soon."

Paul Verlaine's poetry was deemed unsuitable for the pages of the Revue illustrée. The poet's portrait, illustrated by Félix Vallotton, was finally published in the magazine on September 1, 1890.

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"Sir, Mr. Maurice Barrès informs me that the verses I sent you would not be suitable for the readers of your magazine. Following your request, which he conveyed to me, I looked through my unpublished verses for something that might do the job, and I found nothing."

I therefore think we can proceed without it, and I hope that the portrait and biography will be published soon; the timing seems to me quite opportune. Please accept, Sir, my kind regards. P. Verlaine. Hôtel des Mines, 125 Boulevard Saint-Michel.

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Between the end of March and the beginning of July 1888, Félix Vallotton drew two portraits of Verlaine.

Ludovic Baschet (editor of the periodical) or his son René noted, at the beginning of the summer of 1888, one of Vallotton's portraits of Verlaine for the Revue illustrée: "But it was enough for me, regarding the Verlaine question, to know of Baschet's acceptance of your drawing, and I did not wait for official notifications to rejoice in it for your own benefit. [...] Kind regards from Verlaine, appreciative of yours." (letter from an unidentified correspondent – ​​perhaps the bookbinder Marius-Michel – to Vallotton, sent from the Hôtel Royer-Collard, where Verlaine resided from the end of March to the end of September 1888).

In a letter dated December 14, 1888, Verlaine wrote to Jules Tellier: “I would be very happy if you would take all the necessary steps to ensure that my portrait by Vallotton, accepted months ago by the *Revue illustrée*, is published and that you write the accompanying text.” It is clear that the emphasis is on the portrait itself, with the text intended to serve as a descriptive note. It is therefore more of a drawing with commentary than a true illustration.

In early 1889, the publication of a biographical notice seemed to be taking shape, but it was to be written by Maurice Barrès. On January 19, 1889, Verlaine wrote to Émile Le Brun: “Dear friend, I would be most grateful if you would kindly inform Vallotton, whose address I do not know at all, that Maurice Barrès is willing to write the biographical notice for his portrait of me in the Revue illustrée. I believe this will be a good little deal for all of us—the Revue, Vallotton, and myself. Please inform Vallotton. I would be happy to see him or write to him about this matter, which is of interest to us both.”

Then, on February 12, 1890, Verlaine re-established contact with Maurice Barrès: "Are you still thinking about the biography for the Revue illustrée? Baschet seems very keen on it. The old portrait by Vallotton would be useful."

Vallotton's drawing, depicting Verlaine standing, was finally reproduced in the Revue illustrée more than two years after its creation, in the issue of September 1, 1890. It was engraved using the intaglio technique by Marie Genty and placed alongside a text by Maurice Barrès. The engraver's signature, "M. Genty," is applied diagonally, in line with Paul Verlaine's foot.

In an article published in Le Figaro on April 7, 1923, illustrated with a portrait of Verlaine seated, Maurice Monda—based on Vallotton's account—recounts the story of these two drawings and the belated publication of only one: “[…] while still a student, and already a great admirer of Verlaine's genius, Vallotton was determined to make a very thorough documentary study of him; for this purpose, he went to Verlaine's home on Rue Royer-Collard, […]. Vallotton made two drawings of an extremely personal design, which he intended for the Revue illustrée, edited by Ludovic Baschet. One of them is the one we are reproducing. This very elegant publication, with a rather illogical scruple, chose not to show its readers the features of this notorious bohemian, a regular at the tavern, a hospital resident, and Verlaine, who was not insensitive to his well-deserved notoriety, was eager to see his portrait published; Vallotton advised him to go to the Revue and ask for an explanation for what he, too, considered a mere delay; the poet went there; he was having one of his nervous days; he argued, lost his temper, and was politely turned away; this portrait was never published and was returned to the artist. But in 1890, with Verlaine's fame constantly growing, the Revue illustrée published the other portrait it had kept, and asked Maurice Barrès to accompany it with a biography, which he did in the form of a letter to the poet […]