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Charles Baudelaire
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The Poems and Prose Poems
of Charles Baudelaire: Preface, Page 10

by James Huneker (1919).

In 1857 The Flowers of Evil was published by Poulet-Malassis, who afterward went into bankruptcy — a warning to publishers with a taste for fine literature. The titles contemplated were Limbes, or Lesbiennes. Hippolyte Babou suggested the one we know. These poems were suppressed on account of six, and poet and publisher summoned. As the municipal government had made a particular ass of itself in the prosecution of Gustave Flaubert and his Madame Bovary, the Baudelaire matter was disposed of in haste. He was condemned to a fine of three hundred francs, a fine which was never paid, as the objectionable poems were removed. They were printed in the Belgian edition, and may be read in the new volume, Œuvres. Posthumes.

Baudelaire was infuriated over the judgment, for he knew that his book was dramatic in expression. He had expected, like Flaubert, to emerge from the trial with flying colours; therefore to be classed as one who wrote objectionable literature was a shock. "Flaubert had the Empress back of him," he complained; which was true; the Empress Eugenie, also the Princess Mathilde. But he worked as ever and put forth those polished intaglios called Poems in Prose, for the form of which he had taken a hint from Aloys Bertrand's Gaspard de la Nuit. He filled this form with a new content; not alone pictures, but moods, are to be found in those miniatures. Pity is their keynote, a tenderness for the abject and lowly, a revelation of sensibility that surprised those critics who had discerned in Baudelaire only a sculptor of evil. In one of his poems he described a landscape of metal, of marble and water; a babel of staircases and arcades, a palace of infinity, surrounded by the silence of eternity. This depressing yet magical dream was utilized by Huysmans in his A Rebours. But in the tiny landscapes of the Prose Poems there is nothing rigid or artificial. Indeed, the poet's deliberate attitude of artificiality is dropped. He is human. "Not that the deep fundamental note of humanity is ever absent in his poems; the eternal diapason is there even when least overheard. Baudelaire is more human than Poe. His range of sympathy is wider. In this he transcends him as a poet, though his subject-matter often issues from the very dregs of life. Brother to pitiable wanderers, there are, nevertheless, no traces of cant, no "Russian pity" à la Dostoiëvsky, no humanitarian or socialistic rhapsodies in his work. Baudelaire is an egoist. He hated the sentimental sapping of altruism. His prose-poem, Crowds, with its "bath of multitude," may have been suggested by Poe; but in Charles Lamb we find the idea: "Are there no solitudes out of caves and the desert? or cannot the heart, in the midst of crowds, feel frightfully alone?"

His best critical work is the Richard Wagner and Tannhauser, as significant an essay as Nietzsche's Richard Wagner in Bayreuth. And Baudelaire's polemic appeared at a more critical period in Wagner's career. Wagner sent a brief hearty letter of thanks to the critic, and later made his acquaintance. To Wagner, Baudelaire introduced a young Wagnerian, Villiers de l'Isle Adam. This Wagner letter is included in the volume of Crépet; but there are no letters published from Baudelaire to Franz Liszt, though they were friends. In Weimar I saw at the Liszt Museum several from Baudelaire which should have been included in the Letters. The poet understood Liszt and his reforms as he understood Wagner. The German composer admired the French poet, and his Kundry, in the sultry second act of Parsifal, has a Baudelairian hue, especially in the temptation scene.

The end was at hand. Baudelaire had been steadily, rather, unsteadily, going downhill; a desperate figure, a dandy in shabby attire. He went out only after dark, he haunted the exterior boulevards, associated with birds of nocturnal plumage. He drank without thirst, ate without hunger, as he has said. A woeful decadence for this aristocrat of life and letters. Most sorrowful of sinners, a morose delectation scourged his nerves and extorted the darkest music from his lyre. He fled to Brussels, there to rehabilitate his dwindling fortunes. He gave a few lectures, and met Rops, Lemonnier, drank to forget, and forgot to work. He abused Brussels, Belgium, its people. A country, he cried, where the trees are black, the flowers without odour, and where there is no conversation! He, the brilliant causeur, the chief blaguer of a circle in which young James McNeill Whistler was reduced to the rôle of a listener — this most spirituel among artists, found himself a failure in the Belgian capital. It may not be amiss to remind ourselves that Baudelaire was the creator of many of the paradoxes attributed, not only to Whistler, but to an entire school — if one may employ such a phrase. The frozen imperturbability of the poet, his cutting enunciation, his power of blasphemy, his hatred of Nature, his love of the artificial, have been copied by the æsthetic blades of our day. He it was who first taunted Nature with being an imitator of art, with always being the same. Oh, the imitative sunsets! Oh, the quotidian eating and drinking! And as pessimist, too, he led the mode. Baudelaire, like Flaubert, grasped the murky torch of pessimism once held by Chateaubriand, Benjamin Constant, and Senancour. Doubtless, all this stemmed from Byronism. And now it is as stale as Byronism.

His health failed rapidly, and he lacked money enough to pay for doctor's prescriptions; he even owed for the room in his hotel. At Namur, where he was visiting the father-in-law of Félician Rops (March, 1866), he suffered from an attack of paralysis. He was removed to Brussels. His mother, who lived at Honfleur, in mourning for her husband, came to his aid. Taken to France, he was placed in a sanatorium. Aphasia set in. He could only ejaculate a mild oath, and when he caught sight of himself in the mirror he would bow pleasantly as if to a stranger. His friends rallied, and they were among the most distinguished people in Paris, the elite of souls. Ladies visited him, one or two playing Wagner on the piano — which must have added a fresh nuance to death — and they brought him flowers. He expressed his love for flowers and music to the last. He could not bear the sight of his mother; she revived in him some painful memories, but that passed, and he clamoured for her when she was absent. If anyone mentioned the names of Wagner or Manet, he smiled. And with a fixed stare, as if peering through some invisible window opening upon eternity, he died, August 31, 1867, aged forty-six.

Barbey d'Aurevilly himself a Satanist and dandy (oh, those comical old attitudes of literature), had prophesied that the author of Fleurs du Mal would either blow out his brains or prostrate himself at the foot of the cross. (Later he said the same of Huysmans.) Baudelaire had the alternative course forced upon him by fate after he had attempted spiritual suicide for how many years? (He once tried actual suicide, but the slight cut in his throat looked so ugly to him that he went no farther.) His soul had been a battle-field for the powers of good and evil. That at the end he brought the wreck of both soul and body to his God should not be a subject for comment. He was an extraordinary poet with a bad conscience, who lived miserably and was buried with honours. Then it was that his worth was discovered (funeral orations over a genius are a species of public staircase-wit). His reputation waxes with the years. He is an exotic gem in the crown of French poetry. Of him Swinburne lias chanted Ave Atque Vale:

Shall I strew on thee rose or rue or laurel,
Brother, on this that was the veil of thee?

PAGE 10 OF 10.

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