It was la bas
with him even in the tortures of his wretched love-life.
with him even in the tortures of his wretched love-life.
Baudelaire - Poems and Prose Poems
" The sense of the vertiginous
gulf was abiding with him; read his poem, "Pascal avait son gouffre. "
In preferring the Baudelaire translations of Poe to the original--and
they give the impression of being original works--Stedman agreed with
Asselineau that the French is more concise than the English. The prose
of Poe and Baudelaire is clear, sober, rhythmic; Baudelaire's is more
lapidary, finer in contour, richer coloured, more supple, though without
the "honey and tiger's blood" of Barbey d'Aurevilly. Baudelaire's soul
was patiently built up as a fabulous bird might build its nest--bits of
straw, the sobbing of women, clay, cascades of black stars, rags,
leaves, rotten wood, corroding dreams, a spray of roses, a sparkle of
pebble, a gleam of blue sky, arabesques of incense and verdigris,
despairing hearts and music and the abomination of desolation, for its
ground-tones. But this soul-nest is also a cemetery of the seven
sorrows. He loves the clouds . . . les nuages . . . la bas. . . .
It was la bas
with him even in the tortures of his wretched love-life. Corruption and
death were ever floating in his consciousness. He was like Flaubert, who
saw everywhere the hidden skeleton. Felicien Hops has best interpreted
Baudelaire; the etcher and poet were closely knit spirits. Rodin, too,
is a Baudelarian. If there could be such an anomaly as a native
wood-note wildly evil, it would be the lyric and astringent voice of
this poet. His sensibility was both catholic and morbid, though he could
be frigid in the face of the most disconcerting misfortunes. He was a
man for whom the invisible word existed; if Gautier was pagan,
Baudelaire was a strayed spirit from mediaeval days. The spirit rules,
and, as Paul Bourget said, "he saw God. " A Manichean in his worship of
evil, he nevertheless abased his soul: "Oh! Lord God! Give me the force
and courage to contemplate my heart and my body without disgust," he
prays: but as some one remarked to Rochefoucauld, "Where you end,
Christianity begins. "
Baudelaire built his ivory tower on the borders of a poetic Maremma,
which every miasma of the spirit pervaded, every marsh-light and
glow-worm inhabited. Like Wagner, Baudelaire painted in his sultry music
the profundities of abysms, the vastness of space. He painted, too, the
great nocturnal silences of the soul.
Pacem summum tenent!
gulf was abiding with him; read his poem, "Pascal avait son gouffre. "
In preferring the Baudelaire translations of Poe to the original--and
they give the impression of being original works--Stedman agreed with
Asselineau that the French is more concise than the English. The prose
of Poe and Baudelaire is clear, sober, rhythmic; Baudelaire's is more
lapidary, finer in contour, richer coloured, more supple, though without
the "honey and tiger's blood" of Barbey d'Aurevilly. Baudelaire's soul
was patiently built up as a fabulous bird might build its nest--bits of
straw, the sobbing of women, clay, cascades of black stars, rags,
leaves, rotten wood, corroding dreams, a spray of roses, a sparkle of
pebble, a gleam of blue sky, arabesques of incense and verdigris,
despairing hearts and music and the abomination of desolation, for its
ground-tones. But this soul-nest is also a cemetery of the seven
sorrows. He loves the clouds . . . les nuages . . . la bas. . . .
It was la bas
with him even in the tortures of his wretched love-life. Corruption and
death were ever floating in his consciousness. He was like Flaubert, who
saw everywhere the hidden skeleton. Felicien Hops has best interpreted
Baudelaire; the etcher and poet were closely knit spirits. Rodin, too,
is a Baudelarian. If there could be such an anomaly as a native
wood-note wildly evil, it would be the lyric and astringent voice of
this poet. His sensibility was both catholic and morbid, though he could
be frigid in the face of the most disconcerting misfortunes. He was a
man for whom the invisible word existed; if Gautier was pagan,
Baudelaire was a strayed spirit from mediaeval days. The spirit rules,
and, as Paul Bourget said, "he saw God. " A Manichean in his worship of
evil, he nevertheless abased his soul: "Oh! Lord God! Give me the force
and courage to contemplate my heart and my body without disgust," he
prays: but as some one remarked to Rochefoucauld, "Where you end,
Christianity begins. "
Baudelaire built his ivory tower on the borders of a poetic Maremma,
which every miasma of the spirit pervaded, every marsh-light and
glow-worm inhabited. Like Wagner, Baudelaire painted in his sultry music
the profundities of abysms, the vastness of space. He painted, too, the
great nocturnal silences of the soul.
Pacem summum tenent!
