imagined. He summed up in a brief and poetical form the general idea of the book and indicated its tendencies. Although it was evidently romantic in intention and composition, it was impossible, by even ever so frail a thread, to connect Baudelaire with any one of the great masters of that particular school. His verses, refined and subtle in structure, encasing the subjects dealt with so closely as to resemble armour rather than clothing, at first appeared difficult and obscure. This feeling was caused, not through any fault of the author, but from the novelty of the things he expressed – things that had not before been made vocal. It was part of Baudelaire's doctrine that, to attain his end, a poet must invent language and rhythm for himself. But he could not prevent surprise on the part of the reader when confronted with verse so different from any he had read before. In painting the evils which horrified him, Baudelaire knew how to find the morbidly rich tints of decomposition, the tones of mother-of-pearl which freeze stagnant waters, the roses of consumption, the pallor of chlorosis, the hateful bilious yellows, the leaden grey of pestilential fogs, the poisoned and metallic greens smelling of sulphide of arsenic, the blackness of smoke diluted by the rain on plaster walls, the bitumens baked and browned in the depths of hell; and all that gamut of intensified colours, correspondent to autumn, to the setting of the sun, to over-ripe fruit, and the last hours of civilisation.
The book is opened by a poem to the reader, whom the poet does not attempt to cajole, as is usual, and to whom he tells the absolute truth. He accuses him, in spite of all his hypocrisy, of having the vices for which he blames others, and of nourishing in his own heart that great modern monster, Ennui, who, with his bourgeois cowardice, dreams of the ferocity and debauches of the Romans, of bureaucrat Nero, and shop-keeper Heliogabalus.
One other poem, of great beauty, and entitled, undoubtedly by an ironical antiphrasis, "Benediction," depicts the coming of the poet to the world, an object of astonishment and aversion to his mother as a shameful offspring. We see him pursued by stupidity, envy, and sarcasm, a prey to the perfidious cruelty of some Delilah, happy in delivering him up to the Philistines, naked, disarmed, after having expended on him all the refinements of a ferocious coquetry. Then there is his arrival, after insults, miseries, tortures, purified in the crucible of sorrow, to eternal glory, to the crown of light destined for the heads of the martyrs who have suffered for Truth and Beauty.
One little poem which follows later, and which is entitled "Soleil," closes with a sort of tacit justification of the poet in his vagrant courses. A bright ray shines on the muddy town; the author is going out and runs through the unclean streets, the by-ways where the closed shutters hide indications of secret luxuries; all the black, damp, dirty labyrinths of old streets to the houses of the blind and leprous, where the light shines here and there on some window, on a pot of flowers, or on the head of a young girl. Is not the poet like the sun which alone enters everywhere, in the hospital as in the palace, in the hovel as in the church, always divine, letting his golden radiance fall on the carrion or on the rose?
"Élévation" shows us the poet floating in the sky, beyond the starry spheres; in the luminous ether; on the confines of our universe; disappearing into the depths of infinity like a tiny cloud; intoxicating himself with that rare and salubrious air where there are none of the miasmas pertaining to the earth and only the pure ether breathed by the angels. We must not forget that Baudelaire, although he has often been accused of materialism, and reproached for expending his talent upon doubtful subjects, is, on the contrary, endowed in a large degree with the great gift of spirituality, as Swedenborg said. He also possesses the power of correspondence, to employ a mystical idiom; that is to say, he knows how to discover by secret intuition the unexpressed feelings of others, and how to approach them, by those unexpected analogies that only the far-sighted are able to seize upon. Each poet has this power more or less developed, which is the very essence of his art.
Undoubtedly Baudelaire, in this book dedicated to the painting of depravity and modern perversity, has framed repugnant pictures, where vice is laid bare to wallow in all the ugliness of its shame; but the poet, with supreme contempt, scornful indignation, and a constant recurrence towards the ideal which is so often lacking in satirical writers, stigmatises and marks with an indelible red iron the unhealthy flesh, plastered with unguents and white lead.
In no part is the thirst for pure air, the immaculate whiteness of the Himalayan snows, the azure without blot, the unfading light, more strong and ardent than in the poems that have been termed immoral, as if the flagellation of vice was vice itself, and as if one is a poisoner for having written of the poisonous pharmacy of the Borgia. This method is by no means new, but it thrives always, and certain people pretend to believe that one cannot read the "Flowers of Evil" except with a glass mask, such as Exili wore when he worked at the famous powder of succession.
We have read Baudelaire's poems often, and we are not struck dead with convulsed face and blackened body, as though we had supped with Vanozza in a vineyard of Pope Alexander VI. All such foolishness – unfortunately detrimental, for all the fools enthusiastically adopt that attitude – would make any artist worthy of the name but shrug his shoulders when told that blue is moral and scarlet immoral. It is rather as if one said: "The potato is virtuous, henbane is criminal."
A charming poem on perfumes classifies them, rousing ideas, sensations, and memories. Some are fresh, like the flesh of an infant, green like the fields in spring, recalling the blush of dawn and carrying with them the thoughts of innocence. Others, like musk, amber, benzoin, nard, and incense, are superb, triumphant, worldly, and provoke coquetry, love, luxury, festivities, and splendours. If one transposed them into the sphere of colours, they would represent gold and purple. The poet often recurs to this idea of the significance of perfumes. Surrounding a tawny beauty from the Cape, who seemed to have a mission for sleeping off home sickness, he spoke of this mixed odour "of musk and havana" which transported her soul to the well-loved lands of the Sun, where the leaves of the palm-trees make fans in the blue and tepid air, where the masts of the ships sway harmoniously to the roll of the sea, while the silent slaves try to distract their young master from his languishing melancholy. Further on, wondering what will remain of his work, he compares himself to an old flagon, forgotten amongst the spider-webs, at the bottom of some cupboard in a deserted house.
From the open cupboard comes the mustiness of the past, feeble perfumes of robes, laces, powder-boxes, which revive memories of old loves and antiquated elegance; and, if by chance one uncorks a rancid and sticky phial, an acrid smell of English salts and vinegar escapes, a powerful antidote to the modern pestilence.
In many à passage this preoccupation with aroma appears, surrounding with a subtle cloud all persons and things. In very few of the poets do we find this care. Generally they are content with putting light, colour, and music in their verses; but it is rare that they pour in that drop of pure essence with which Baudelaire's muse never failed to moisten the sponge or the cambric of his handkerchief.
Since we are recounting the individual likings and minor passions of the poet, let us say that he adored cats – like him, amorous of perfumes, and who are thrown into a sort of epileptical ecstasy by the scent of valerian. He loved these charming, tranquil, mysterious, gentle animals, with their electrical shudders, whose favourite attitude is the recumbent pose of the Sphinx, which seems to have passed on to them its secret. They ramble round the house with their velvet footfalls as the genius of the place —genius loci– or come and seat themselves on the table near the writer, keeping company with his thoughts and watching him from the depths of their sanded golden eyes with intelligent tenderness and magical penetration.
It is said that cats divine the thoughts which the brain transmits to the pen, and that, stretching out their paws, they wish to seize the written passage. They are happy in silence, order, and quietude, and no place suits them better than the study of a literary man. They wait patiently until his task is done, all the time purring gently and rhythmically in a sort of sotto voce accompaniment. Sometimes they gloss over with their tongue some disordered fur; for they are clean, careful, coquettish, and will not allow of any irregularity in their toilet, but all is done quietly and discreetly as though they feared to distract or hinder. Their caresses are tender, delicate, silent, feminine, having nothing in common with the clamorous, clumsy petulance that is found in dogs, to whom all the sympathy of the vulgar is given.
All these merits were appreciated by Baudelaire, who has more than once