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.
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.
Baudelaire - Poems and Prose Poems
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 tres chere, a la tres-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 Pere 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, O 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: "Je suis venu trop tard
dans un monde trop vieux. " He had an unassuaged thirst for the absolute.
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 tres chere, a la tres-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 Pere 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, O 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: "Je suis venu trop tard
dans un monde trop vieux. " He had an unassuaged thirst for the absolute.
