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Charles Baudelaire
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The Poems and Prose Poems
of Charles Baudelaire: Preface, Page 9

by James Huneker (1919).

His period of mental production was not brief nor barren. He was a student. Du Camp's charge that he was an ignorant man is disproved by the variety and quality of his published work. His range of sympathies was large. His mistake, in the eyes of his colleagues, was to write so well about the seven arts. Versatility is seldom given its real name — which is protracted labour. Baudelaire was one of the elect, an aristocrat, who dealt with the quintessence of art; his delicate air of a bishop, his exquisite manners, his modulated voice, aroused unusual interest and admiration. He was a humanist of distinction; he has left a hymn to Saint Francis in the Latin of the decadence. Baudelaire, like Chopin, made more poignant the phrase, raised to a higher intensity the expressiveness of art.

Women played a commanding rôle in his life. They always do with any poet worthy of the name, though few have been so frank in acknowledging this as Baudelaire. Yet he was in love more with Woman than the individual. The legend of the beautiful creature he brought from the East resolves itself into the dismal affair with Jeanne Duval. He met her in Paris, after he had been in the East. She sang at a café concert in Paris. She was more brown than black. She was not handsome, not intelligent, not good; yet he idealized her, for she was the source of half his inspiration. To her were addressed those marvellous evocations of the Orient, of perfume, tresses, delicious dawns on strange far-away seas and "superb Byzant," domes that devils built. Baudelaire is the poet of perfumes; he is also the patron saint of ennui. No one has so chanted the praise of odours. His soul swims on perfume as do other souls on music, he has sung. As he grew older he seemed to hunt for more acrid odours; he often presents an elaborately chased vase the carving of which transports us, but from which the head is quickly averted. Jeanne, whom he never loved, no matter what may be said, was a sorceress. But she was impossible; she robbed, betrayed him; he left her a dozen times only to return. He was a capital draughtsman with a strong nervous line and made many pen-and-ink drawings of her. They are not prepossessing. In her rapid decline she was not allowed to want. Madame Aupick paid her expenses in the hospital. A sordid history. She was a veritable flower of evil for Baudelaire. Yet poetry, like music, would be colourless, scentless, if it sounded no dissonances. Fancy art reduced to the beatific and banal chord of C major!

He fell in love with the celebrated Madame Sabatier, a reigning beauty, at whose salon artistic Paris assembled. She had been christened by Gautier Madame la Presidente, and her sumptuous beauty was portrayed by Ricard in his La Femme au Chien. She returned Baudelaire's love. They soon parted. Again a riddle which the published letters hardly solve. One letter, however, does show that Baudelaire had tried to be faithful, and failed. He could not extort from his exhausted soul the sentiment; but he put its music on paper. His most seductive lyrics were addressed to Madame Sabatier: "A la très chère, à la très-belle," a hymn saturated with love. Music, spleen, perfumes — "colour, sound, perfumes call to each other as deep to deep; perfumes like the flesh of children, soft as hautboys, green as the meadows " — criminals, outcasts, the charm of childhood, the horrors of love, pride, and rebellion, Eastern landscapes, cats, soothing and false; cats, the true companions of lonely poets; haunted clocks, shivering dusks, and gloomier dawns — Paris in a hundred phases — these and many other themes this strange-souled poet, this "Dante, pacer of the shore," of Paris has celebrated in finely wrought verse and profound phrases. In a single line he contrives atmosphere; the very shape of his sentence, the ring of the syllables, arouse the deepest emotion. A master of harmonic undertones is Baudelaire. His successors have excelled him in making their music more fluid, more lyrical, more vapourous — many young French poets pass through their Baudelarian green-sickness — but he alone knows the secrets of moulding those metallic, free sonnets, which have the resistance of bronze; and of the despairing music that flames from the mouths of lost souls trembling on the wharves of hell. He is the supreme master of irony and troubled voluptuousness.

Baudelaire is a masculine poet. He carved rather than sang; the plastic arts spoke to his soul. A lover and maker of images. Like Poe, his emotions transformed themselves into ideas. Bourget classified him as mystic, libertine, and analyst. He was born with a wound in his soul, to use the phrase of Père Lacordaire. (Curiously enough, he actually contemplated, in 1861, becoming a candidate for Lacordaire's vacant seat in the French Academy. Sainte-Beuve dissuaded him from this folly.) Recall Baudelaire's prayer: "Thou, Lord, my God, grant me the grace to produce some fine lines which will prove to myself that I am not the last of men, that I am not inferior to those I contemn." Individualist, egoist, anarchist, his only thought was letters. Jules Laforgue thus described Baudelaire: "Cat, Hindoo, Yankee, Episcopal, Alchemist." Yes, an alchemist who suffocated in the fumes he created. He was of Gothic imagination, and could have said with Rolla: "Ja suis venu trop tard dans un monde trop vieux." He had an unassuaged thirst for the absolute. The human soul was his stage, he its interpreting orchestra.

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