Baudelaire: His Prose and Poetry

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Sturm Frank Pearce. Baudelaire: His Prose and Poetry

FLOWERS OF EVIL. AVE ATQUE VALE. In Memory of Charles Baudelaire. By ALGERNON CHARLES SWINBURNE

PREFACE

CHARLES BAUDELAIRE: A STUDY BY F. P. STURM

I

II

III

IV

POEMS IN PROSE. Translated by Arthur Symons

I. THE FAVOURS OF THE MOON

II. WHICH IS TRUE?

III "L'INVITATION AU VOYAGE"

IV. THE EYES OF THE POOR

V. WINDOWS

VI. CROWDS

VII. THE CAKE

VIII. EVENING TWILIGHT

IX "ANYWHERE OUT OF THE WORLD"

X. A HEROIC DEATH

XI. BE DRUNKEN

XII. EPILOGUE

POEMS IN PROSE. Translated by Joseph T. Shipley

DEDICATION

A JESTER

THE DOG AND THE VIAL

THE WILD WOMAN AND THE COQUETTE

THE OLD MOUNTEBANK

THE CLOCK

A HEMISPHERE IN A TRESS

THE PLAYTHING OF THE POOR

THE GIFTS OF THE FAIRIES

SOLITUDE

PROJECTS

THE LOVELY DOROTHEA

THE COUNTERFEIT MONEY

THE GENEROUS PLAYER

THE ROPE

CALLINGS

A THOROUGHBRED

THE MIRROR

THE HARBOR

MISTRESSES' PORTRAITS

SOUP AND THE CLOUDS

THE LOSS OF A HALO

MLLE. BISTOURY

LET US FLAY THE POOR

GOOD DOGS

LITTLE POEMS IN PROSE. Translated by F. P. Sturm

EVERY MAN HIS CHIMÆRA

VENUS AND THE FOOL

ALREADY!

THE DOUBLE CHAMBER

AT ONE O'CLOCK IN THE MORNING

THE CONFITEOR OF THE ARTIST

THE THYRSUS

THE MARKSMAN

THE SHOOTING-RANGE AND THE CEMETERY

THE DESIRE TO PAINT

THE GLASS-VENDOR

THE WIDOWS

THE TEMPTATIONS; OR, EROS, PLUTUS, AND GLORY

THE FLOWERS OF EVIL. Translated by F. P. Sturm

THE DANCE OF DEATH

THE BEACONS

THE SADNESS OF THE MOON

THE BALCONY

THE SICK MUSE

THE VENAL MUSE

THE EVIL MONK

THE TEMPTATION

THE IRRÉPARABLE

A FORMER LIFE

DON JUAN IN HADES

THE LIVING FLAME

CORRESPONDENCES

THE FLASK

REVERSIBILITY

THE EYES OF BEAUTY

SONNET OF AUTUMN

THE REMORSE OF THE DEAD

THE GHOST

TO A MADONNA

THE SKY

SPLEEN

THE OWLS

BIEN LOIN D'ICI

CONTEMPLATION

TO A BROWN BEGGAR-MAID

THE SWAN

THE SEVEN OLD MEN

THE LITTLE OLD WOMEN

A MADRIGAL OF SORROW

MIST AND RAIN

SUNSET

THE CORPSE

AN ALLEGORY

THE ACCURSED

LA BEATRICE

THE SOUL OF WINE

THE WINE OF LOVERS

THE DEATH OF LOVERS

THE DEATH OF THE POOR

GYPSIES TRAVELLING

FRANCISCÆ MEÆ LAUDES

A LANDSCAPE

THE VOYAGE

FROM THE FLOWERS OF EVIL. Translated by W. J. Robertson

BENEDICTION

ILL LUCK

BEAUTY

IDEAL LOVE

HYMN TO BEAUTY

EXOTIC FRAGRANCE

XXVIII SONNET

MUSIC

THE SPIRITUAL DAWN

THE FLAWED BELL

THREE POEMS FROM BAUDELAIRE. Translated by Richard Herne Shepherd

I. A CARCASS

II. WEEPING AND WANDERING

III. LESBOS

INTIMATE PAPERS FROM THE UNPUBLISHED WORKS OF BAUDELAIRE. Translated by Joseph T. Shipley

ROCKETS. MY HEART LAID BARE

INTIMATE PAPERS. ROCKETS

I

II

III

IV

V

VI

VII

VIII

IX

X

XI

XII

XIII

XIV

XV

XVI

XVII

XVIII

XIX

XX

XXI

XXII

XXIII

XXIV

MY HEART LAID BARE

I

II

III

IV

V

VI

VII

VIII

IX

X

XI

XII

XIII

XIV

XV

XVI

XVII

XVIII

XIX

XX

XXII

XXIII

XXIV

XXV

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XXVII

XXVIII

XXIX

XXX

XXXI

XXXII

XXXIII

XXXV

XXXVI

PRAYER

XXXVII

XXXIX

XL

XLII

XLIV

XLV

XLVI

XLVII

XLVIII

XLIX

L

LI

LII

LIII

LIV

LV

LVI

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LVIII

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LXII

LXIII

LXIV

LXV

LXVI

LXVII

LXVIII

LXIX

LXX

LXXI

LXXII

LXXIII

LXXIV

LXXV

LXXVI

LXXVII

LXXVIII

LXXIX

LXXX

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In presenting to the American public this collection in English of perhaps the most influential French poet of the last seventy years, I consider it essential to explain the conditions under which the work has been done.

Baudelaire has written poems that will, in all likelihood, live while poetry is used as a medium of expression, and the great influence that he has exercised on English and continental literature is mainly due to the particular quality of his style, his way of feeling or his method of thought. He is a master of analytical power, and in his highest ecstasy of emotional expression, this power can readily be recognized. In his own quotation he gave forth his philosophy on this point:

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Thus, with some appearance of logic, he carries his argument a step farther, and this immediately brings him to the bizarre conclusion that the more beautiful a woman naturally is, the more she should hide her natural beauty beneath the artificial charm of rouge and powder. "She performs a duty in attempting to appear magical and supernatural. She is an idol who must adorn herself to be adored." Powder and rouge and kohl, all the little artifices that shock respectability, have for their end "the creation of an abstract unity in the grain and colour of the skin." This unity brings the human being nearer to the condition of a statue – that is to say, "a divine and superior being." Red and black are the symbols of "an excessive and supernatural life." A touch of kohl "lends to the eye a more decided appearance of a window opened upon infinity"; and rouge augments the brilliance of the eye, "and adds to a beautiful feminine face the mysterious passion of the priestess." But artifice cannot make ugliness any the less ugly, nor help age to rival youth. "Who dare assign to art the sterile function of imitating nature?" Deception, if it is to have any charm, must be obvious and unashamed; it must be displayed "if not with affectation, at least with a kind of candour."

Such theories as these, if they are sincerely held, necessarily lead the theorist into the strangest bypaths of literature. Baudelaire, like many another writer whose business is with verse, pondered so long upon the musical and rhythmical value of words that at times words became meaningless to him. He thought his own language too simple to express the complexities of poetic reverie, and dreamed of writing his poems in Latin. Not, however, in the Latin of classical times; that was too robust, too natural, too "brutal and purely epidermic," to use an expression of his own; but in the corrupt Latin of the Byzantine decadence, which he considered as "the supreme sigh of a strong being already transformed and prepared for the spiritual life."

.....