No More Learning

Women, as angel of destruction, is the keynote of his poems. Poe
was almost sexless. His aerial creatures never footed the dusty highways
of the world. His lovely lines, "Helen, thy beauty is to me," could
never have been written by Baudelaire; while Poe would never have
pardoned the "fulgurant" grandeur, the Beethoven-like harmonies, the
Dantesque horrors of that "deep wide music of lost souls" in "Femmes
Damnees":

"Descendes, descendes, lamentable victimes. "

Or this, which might serve as a text for one of John Martin's vast
sinister mezzotints:

J'ai vu parfois au fond d'un theatre banal
Qu'enflammait l'orchestre sonore,
Une fee allumer dans un ciel infernal
Une miraculeuse aurore;

J'ai vu parfois au fond d'un theatre banal
Un etre, qui n'etait que lumiere, or et gaze,
Terrasser renorme Satan;
Mais mon coeur que jamais ne visite l'extase,
Est un theatre ou l'on attend
Toujours, toujours en vain l'Etre aux ailes de gaze.

George Saintsbury thus sums up the differences between Poe and
Baudelaire: "Both authors--Poe and De Quincey--fell short of Baudelaire
himself as regards depth and fulness of passion, but both have a
superficial likeness to him in eccentricity of temperameut and affection
for a certain peculiar mixture of grotesque and horror. " Poe is without
passion, except a passion for the macabre; what Huysmans calls "The
October of the sensations"; whereas, there is a gulf of despair and
terror and humanity in Baudelaire, which shakes your nerves, yet
stimulates the imagination. However, profounder as a poet, he was no
match for Poe in what might be termed intellectual prestidigitation. The
mathematical Poe, the Poe of the ingenious detective tales, tales
extraordinary, the Poe of the swift flights into the cosmic blue, the
Poe the prophet and mystic--in these the American was more versatile
than his French translator. That Baudelaire said, "Evil be thou my
good," is doubtless true. He proved all things and found them vanity. He
is the poet of original sin, a worshipper of Satan for the sake of
paradox; his Litanies to Satan ring childish to us--in his heart he was
a believer. His was "an infinite reverse aspiration," and mixed up with
his pose was a disgust for vice, for life itself. He was the last of the
Romanticists; Sainte-Beuve called him the Kamchatka of Romanticism; its
remotest hyperborean peak. Romanticism is dead to-day, as dead as
Naturalism; but Baudelaire is alive, and read. His glistening
phosphorescent trail is over French poetry and he is the begetter of a
school:--Verlaine, Villiers de l'Isle Adam, Carducci, Arthur Rimbaud,
Jules Laforgue, Gabriel D'Annunzio, Aubrey Beardsley, Verhaeren, and
many of the youthful crew. He affected Swinburne, and in Huysmans, who
was not a poet, his splenetic spirit lives. Baudelaire's motto might be
the obverse of Browning's lines: "The Devil is in heaven. All's wrong
with the world. "

When Goethe said of Hugo and the Romanticists that they came
from Chateaubriand, he should have substituted the name of
Rousseau--"Romanticism, it is Rousseau," exclaims Pierre Lasserre. But
there is more of Byron and Petrus Borel--a forgotten half-mad poet--in
Baudelaire; though, for a brief period, in 1848, he became a Rousseau
reactionary, sported the workingman's blouse, cut his hair, shouldered a
musket, went to the barricades, wrote inflammatory editorials calling
the proletarian "Brother! " (oh, Baudelaire! ) and, as the Goncourts
recorded in their diary, had the head of a maniac. How seriously we may
take this swing of the pendulum is to be noted in a speech of the poet's
at the time of the Revolution: "Come," he said, "let us go shoot General
Aupick! " It was his stepfather that he thought of, not the eternal
principles of Liberty. This may be a false anecdote; many such were
foisted upon Baudelaire. For example, his exclamations at cafes or in
public places, such as: "Have you ever eaten a baby? I find it pleasing
to the palate! " or, "The night I killed my father! " Naturally, people
stared and Baudelaire was happy--he had startled a bourgeois. The
cannibalistic idea he may have borrowed from Swift's amusing pamphlet,
for this French poet knew English literature.

Gautier compares the poems to a certain tale of Hawthorne's in which
there is a garden of poisoned flowers. But Hawthorne worked in his
laboratory of evil wearing mask and gloves; he never descended into the
mud and sin of the street. Baudelaire ruined his health, smudged his
soul, yet remained withal, as Anatole France says, "a divine poet. " How
childish, yet how touching is his resolution--he wrote in his diary of
prayer's dynamic force--when he was penniless, in debt, threatened with
imprisonment, sick, nauseated with sin: "To make every morning my prayer
to God, the reservoir of all force, and all justice; to my father, to
Mariette, and to Poe as intercessors. " (Evidently, Maurice Barres
encountered here his theory of Intercessors. ) Baudelaire loved the
memory of his father as much as Stendhal hated his own. He became
reconciled with his mother after the death of General Aupick, in 1857.
He felt in 1862 that his own intellectual eclipse was approaching, for
he wrote: "I have cultivated my hysteria with joy and terror. To-day
imbecility's wing fanned me as it passed. " 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! He never reached peace on the heights. Let us
admit that souls of his kind are encased in sick frames; their steel is
too shrewd for the scabbard; yet the enigma for us is none the less
unfathomable. Existence for such natures is a sort of muffled delirium.
To affiliate him with Poe, De Quincey, Hoffman, James Thomson,
Coleridge, and the rest of the sombre choir does not explain him; he is,
perhaps, nearer Donne and Villon than any of the others--strains of the
metaphysical and sinister and supersubtle are to be discovered in him.
The disharmony of brain and body, the spiritual bilocation, are only too
easy to diagnose; but the remedy? Hypocrite lecteur--mon semblable--mon
frere! When the subtlety, force, grandeur, of his poetic production be
considered, together with its disquieting, nervous, vibrating qualities,
it is not surprising that Victor Hugo wrote to the poet: "You invest the
heaven of art with we know not what deadly rays; you create a new
shudder. " Hugo might have said that he turned Art into an Inferno.
Baudelaire is the evil archangel of poetry. In his heaven of fire, glass
and ebony he is the blazing Lucifer. "A glorious devil, large in heart
and brain, that did love beauty only. . . " once sang Tennyson, though not
of the Frenchman.




II


As long ago as 1869, and in our "barbarous gas-lit country," as
Baudelaire named the land of Poe, an unsigned review appeared in which
this poet was described as "unique and as interesting as Hamlet. He is
that rare and unknown being, a genuine poet--a poet in the midst of
things that have disordered his spirit--a poet excessively developed in
his taste for and by beauty . . . very responsive to the ideal, very
greedy of sensation. " A better description of Baudelaire does not exist
The Hamlet-motive, particularly, is one that sounded throughout the
disordered symphony of the poet's life.

He was, later, revealed--also reviled--to American readers by Henry
James, who completely missed his significance. This was in 1878, when
appeared the first edition of French Poets and Novelists. Previous to
that there had been some desultory discussion, a few essays in the
magazines, and in 1875 a sympathetic paper by Professor James Albert
Harrison of the University of Virginia. He denounced the Frenchman for
his reprehensible taste, though he did not mention his beautiful verse
nor his originality in the matter of criticism. Baudelaire, in his eyes,
was not only immoral, but he had, with the approbation of Sainte-Beuve,
introduced Poe as a great man to the French nation. (See Baudelaire's
letter to Sainte-Beuve in the newly published Letters, 1841-1866. )
Perhaps "Mr. Dick Minim" and his projected Academy of Criticism might
make clear these devious problems.

The Etudes Critiques of Edmond Scherer were collected in 1863. In them
we find this unhappy, uncritical judgment: "Baudelaire, lui, n'a rien,
ni le coeur, ni l'esprit, ni l'idee, ni le mot, ni la raison, ni la
fantaisie, ni la verve, ni meme la facture . . . son unique titre c'est
d'avoir contribue a creer l'esthetique de la debauche. " It is not our
intention to dilate upon the injustice of this criticism. It is
Baudelaire the critic of aesthetics in whom we are interested. Yet I
cannot forbear saying that if all the negations of Scherer had been
transformed into affirmations, only justice would have been accorded
Baudelaire, who was not alone a poet, the most original of his century,
but also a critic of the first rank, one who welcomed Richard Wagner
when Paris hooted him and his fellow composer, Hector Berlioz, played
the role of the envious; one who fought for Edouard Manet, Leconte de
Lisle, Gustave Flaubert, Eugene Delacroix; fought with pen for the
modern etchers, illustrators, Meryon, Daumier, Felicien Rops, Gavarni,
and Constantin Guys. He literally identified himself with De Quincey and
Poe, translating them so wonderfully well that some unpatriotic persons
like the French better than the originals. So much was Baudelaire
absorbed in Poe that a writer of his times asserted that the translator
would meet the same fate as the American poet. A singular, vigorous
spirit is Baudelaire's, whose poetry with its "icy ecstasy" is profound
and harmonious, whose criticism is penetrated by a catholic quality, who
anticipated modern critics in his abhorrence of schools and
environments, preferring to isolate the man and uniquely study him. He
would have subscribed to Swinburne's generous pronouncement: "I have
never been able to see what should attract man to the profession of
criticism but the noble pleasure of praising. " The Frenchman has said
that it would be impossible for a critic to become a poet; and it is
impossible for a poet not to contain a critic.

Theophile Gautier's study prefixed to the definitive edition of Les
Fleurs du Mal is not only the most sympathetic exposition of Baudelaire
as man and genius, but it is also the high-water mark of Gautier's gifts
as a critical essayist. We learn therein how the young Charles, an
incorrigible dandy, came to visit Hotel Pimodan about 1844. In this
Hotel Pimodan a dilettante, Ferdinand Boissard, held high revel. His
fantastically decorated apartments were frequented by the painters,
poets, sculptors, romancers, of the day--that is, carefully selected
ones such as Liszt, George Sand, Merimee, and others whose verve or
genius gave them the privilege of saying Open Sesame! to this cave of
forty Supermen. Balzac has in his Peau de Chagrin pictured the same sort
of scenes which were supposed to occur weekly at the Pimodan. Gautier
eloquently describes the meeting of these kindred artistic souls, where
the beautiful Jewess, Maryx, who had posed for Ary Scheffer's Mignon
and for Paul Delaroche's La Gloire, met the superb Madame Sabatier, the
only woman that Baudelaire loved, and the original of that extraordinary
group of Clesinger's--the sculptor and son-in-law of George Sand--la
Femme au Serpent, a Salammbo a la mode in marble. Hasheesh was eaten, so
Gautier writes, by Boissard and Baudelaire. As for the creator of
Mademoiselle Maupin, he was too robust for such nonsense. He had to work
for his living at journalism, and he died in harness, an irreproachable
father, while the unhappy Baudelaire, the inheritor of an intense,
unstable temperament, soon devoured his patrimony of 75,000 francs, and
for the remaining years of his life was between the devil of his dusky
Jenny Duval and the deep sea of hopeless debt.

It was at these Pimodan gatherings, which were no doubt much less wicked
than the participants would have us believe, that Baudelaire encountered
Emile Deroy, a painter of skill, who made his portrait, and encouraged
the fashionable young fellow to continue his art studies. We have seen
an album containing sketches by the poet. They betray talent of about
the same order as Thackeray's, with a superadded note of the
"horrific"--that favourite epithet of the early Poe critics. Baudelaire
admired Thackeray, and when the Englishman praised the illustrations of
Guys, he was delighted. Deroy taught his pupil the commonplaces of a
painter's technique; also how to compose a palette--a rather meaningless
phrase nowadays. At least, he did not write of the arts without some
technical experience. Delacroix took up his enthusiastic disciple, and
when the Salons of Baudelaire appeared in 1845, 1846, 1855, and 1859,
the praise and blame they evoked were testimonies to the training and
knowledge of their author. A new spirit had been born.

The names of Diderot and Baudelaire were coupled. Neither academic nor
spouting the jargon of the usual critic, the Salons of Baudelaire are
the production of a humanist. Some would put them above Diderot's. Mr.
Saintsbury, after Swinburne the warmest advocate of Baudelaire among the
English, thinks that the French poet in his picture criticism observed
too little and imagined too much. "In other words," he adds, "to read a
criticism of Baudelaire's without the title affixed is by no means a
sure method of recognizing the picture afterward. " Now, word-painting
was the very thing that Baudelaire avoided. It was his friend Gautier,
with the plastic style, who attempted the well-nigh impossible feat of
competing in his verbal descriptions with the certitudes of canvas and
marble. And, if he with his verbal imagination did not entirely succeed,
how could a less adept manipulator of the vocabulary? We do not agree
with Mr. Saintsbury. No one can imagine too much when the imagination is
that of a poet. Baudelaire divined the work of the artist and set it
down scrupulously in a prose of exceeding rectitude. He did not paint
pictures in prose. He did not divagate. He did not overburden his pages
with technical terms. But the spirit of his subject he did disengage in
a few swift phrases. The polemics of historical schools were a cross for
him to bear, and he wore his prejudices lightly. Like a true critic, he
judged more by form than theme. There are no types; there is only life,
he asserted, and long before Jules Laforgue. He was ever art-for-art,
yet, having breadth of comprehension and a Heine-like capacity for
seeing both sides of his own nature with its idiosyncrasies, he could
write: "The puerile utopia of the school of art-for-art, in excluding
morality, and often even passion, was necessarily sterile. All
literature which refuses to advance fraternally between science and
philosophy is a homicidal and a suicidal literature. "

Baudelaire, then, was no less sound a critic of the plastic arts than of
music and literature. Like his friend Flaubert, he had a horror of
democracy, of the democratisation of the arts, of all the sentimental
fuss and fuddle of a pseudo-humanitarianism. During the 1848 agitation
the former dandy of 1840 put on a blouse and spoke of barricades. Those
things were in the air. Wagner rang the alarm-bells during the Dresden
uprising. Chopin wrote for the pianoforte a revolutionary etude. Brave
lads! Poets and musicians fight their battles best in the region of the
ideal. Baudelaire's little attack of the equality-measles soon vanished.
He lectured his brother poets and artists on the folly and injustice of
abusing or despising the bourgeois (being a man of paradox, he dedicated
a volume of his Salons to the bourgeois), but he would not have
contradicted Mr. George Moore for declaring that "in art the democrat
is always reactionary. In 1830 the democrats were against Victor Hugo
and Delacrois. " And Les Fleurs du Mal, that book of opals, blood, and
evil swamp-flowers, will never be savoured by the mob.

In his Souvenirs de Jeunesse, Champfleury speaks of the promenades in
the Louvre he enjoyed the company with Baudelaire. Bronzino was one of
the poet's preferences. He was also attracted by El Greco--not an
unnatural admiration, considering the sombre extravagance of his own
genius. Of Goya he has written in exalted phrases. Velasquez was his
touchstone. Being of a perverse nature, his Derves ruined by abuse of
drink and drugs, the landscapes of his imagination were more beautiful
than Nature herself. The country itself, he declared, was odious. Like
Whistler, whom he often met--see the Hommage a Delacrois by
Fantin-Latour, with its portraits of Whistler, Baudelaire, Manet,
Bracquemond the etcher, Legros, Delacrois, Cordier, Duranty the critic,
and De Balleroy--he could not help showing his aversion to "foolish
sunsets. " In a word, Baudelaire, into whose brain had entered too much
moonlight, was the father of a lunar school of poetry, criticism and
fiction. His Samuel Cramer, in La Fanfarlo, is the literary progenitor
of Jean, Duc d'Esseintes, in Huysmans's _A Rebours_. Huysmans at first
modelled himself upon Baudelaire. His Le Drageoir aux Epices is a
continuation of Petits Poemes en Prose. And to Baudelaire's account must
be laid much artificial morbid writing. Despite his pursuit of
perfection in form, his influence has been too often baneful to
impressionable artists in embryo. A lover of Gallic Byronism, and
high-priest of the Satanic school, there was no extravagance, absurd or
terrible, that he did not commit, from etching a four-part fugue on ice
to skating hymns in honour of Lucifer. In his criticism alone was he the
sane logical Frenchman. And while he did not live to see the success of
the Impressionist group, he surely would have acclaimed their theory and
practice. Was he not an impressionist himself?

As Richard Wagner was his god in music, so Delacroix quite overflowed
his aesthetic consciousness. Read Volume II of his collected works,
_Curiosites Esthetiques_, which contains his Salons; also his essay, _De
l'Essence du Rire_ (worthy to be placed side by side with George
Meredith's essay on Comedy). Caricaturists, French and foreign, are
considered in two chapters at the close of the volume. Baudelaire was as
conscientious as Gautier. He trotted around miles of mediocre canvas,
saying an encouraging word to the less talented, boiling over with holy
indignation or indulging in glacial irony, before the rash usurpers
occupying the seats of the mighty, and pouncing on new genius with
promptitude. Upon Delacroix he lavished the largesse of his admiration.
He smiled at the platitudes of Horace Vernet, and only shook his head
over the Schnetzes and other artisans of the day. He welcomed William
Hausollier, now so little known. He praised Deveria, Chasseriau--who
waited years before he came into his own; his preferred landscapists
were Corot, Rousseau and Troyon. He impolitely spoke of Ary Scheffer and
the "apes of sentiment"; while his discussions of Hogarth, Cruikshank,
Pinelli and Breughel proclaims his versatility of vision. In his essay
Le Peintre de la Vie Moderne he was the first among critics to recognize
the peculiar quality called "modernity," that naked vibration which
informs the novels of Goncourt, Flaubert's L'Education Sentimentale,
and the pictures of Manet, Monet, Degas and Raffaelli with their
evocations of a new, nervous Paris. It is in his Volume III, entitled
L'Art Romantique, that so many things dear to the new century were then
subjects of furious quarrels. This book contains much just and brilliant
writing. It was easy for Nietzsche to praise Wagner in Germany in 1876,
but dangerous at Paris in 1861 to declare war on Wagner's adverse
critics. This Baudelaire did.

The relations of Baudelaire and Edouard Manet were exceedingly cordial.
In a letter to Theophile Thore, the art critic (Letters, p.
361), we
find Baudelaire defending his friend from the accusation that his
pictures were pastiches of Goya. He wrote: "Manet has never seen Goya,
never El Greco; he was never in the Pourtales Gallery. " Which may have
been true at the time, 1864, nevertheless Manet had visited Madrid and
spent much time studying Velasquez and abusing Spanish cookery.
(Consider, too, Goya's Balcony with Girls and Manet's famous Balcony. )
Raging at the charge of imitation, Baudelaire said in this same epistle:
"They accuse even me of imitating Edgar Poe. . . . Do you know why I so
patiently translated Poe? Because he resembled me. " The poet italicized
these words. With stupefaction, therefore, he admired the mysterious
coincidences of Manet's work with that of Goya and El Greco.

He took Manet seriously. He wrote to him in a paternal and severe tone.
Recall his reproof when urging the painter to exhibit his work. "You
complain about attacks, but are you the first to endure them? Have you
more genius than Chateaubriand and Wagner? They were not killed by
derision. And in order not to make you too proud I must tell you that
they are models, each in his way, and in a very rich world, while you
are only the first in the decrepitude of your art. " (Letters, p. 436. )

Would Baudelaire recall these prophetic words if he were able to revisit
the glimpses of the Champs Elysees at the Autumn Salons? What would he
think of Cezanne? Odilon Redon he would understand, for he is the
transposer of Baudelairianism to terms of design and colour. And perhaps
the poet whose verse is saturated with tropical hues--he, when young,
sailed in southern seas--might appreciate the monstrous debauch of form
and colour in the Tahitian canvases of Paul Gauguin.

Baudelaire's preoccupation with pictorial themes may be noted in his
verse. He is par excellence the poet of aesthetics. To Daumier he
inscribed a poem; and to the sculptor Ernest Christophe, to Delacroix
(Sur Tasse en Prison), to Manet, to Guys (Reve Parisien), to an unknown
master (Une Martyre); and Watteau, a Watteau a rebours, is seen in Un
Voyage a Cythere; while in Les Phares this poet of the ideal, spleen
music, and perfume, shows his adoration for Rubens, Leonardo da Vinci,
Michelangelo, Rembrandt, Puget, Goya, Delacroix--"Delacroix, lac de sang
hante des mauvais anges. " And what is more exquisite than his quatrain
to Lola de Valence, a poetic inscription for the picture of Edouard
Manet, with its last line as vaporous, as subtle as Verlaine: "Le charme
inattendu d'un bijou rose et noir! " Heine called himself the last of the
Romantics. The first of the "Moderns" and the last of the Romantics was
the many-sided Charles Baudelaire.




III


He was born at Paris, April 9, 1821 (Flaubert's birth year), and not
April 21, as Gautier has it. His father was Joseph Francis Baudelaire,
or Baudelaire, who occupied a government position. A cultivated art
lover, his taste was apparent in the home he made for his second wife,
Caroline Archimbaut-Dufays, an orphan and the daughter of a military
officer. There was a considerable difference in the years of this pair;
the mother was twenty-seven, the father sixty-two, at the birth of their
only child. By his first marriage the elder Baudelaire had one son,
Claude, who, like his half-brother Charles, died of paralysis, though a
steady man of business. That great modern neurosis, called Commerce, has
its mental wrecks, too, and no one pays attention; but when a poet falls
by the wayside is the chase begun by neurologists and other soul-hunters
seeking victims. After the death of Baudelaire's father, the widow,
within a year, married the handsome, ambitious Aupick, then chef de
bataillon, lieutenant-colonel, decorated with the Legion of Honour, and
later general and ambassador to Madrid, Constantinople, and London.
Charles was a nervous, frail youth, but unlike most children of genius,
he was a scholar and won brilliant honours at school. His stepfather was
proud of him. From the Royal College of Lyons, Charles went to the Lycee
Louis-le-Grand, Paris, but was expelled in 1839, on various
discreditable charges. Troubles soon began at home. He was irascible,
vain, precocious, and given to dissipation. He quarreled with General
Aupick, and disdained his mother. But she was to blame, she has
confessed; she had quite forgotten the boy in the flush of her second
love. He could not forget, or forgive what he called her infidelity to
the memory of his father. Hamlet-like, he was inconsolable. The good
Bishop of Montpellier, who knew the family, said that Charles was a
little crazy--second marriages usually bring woe in their train. "When a
mother has such a son, she doesn't re-marry," said the young poet
Charles signed himself Baudelaire-Dufays, or sometimes Dufais. He wrote
in his journal: "My ancestors, idiots or maniacs . . . all victims of
terrible passions"; which was one of his exaggerations. His grandfather
on the paternal side was a Champenois peasant, his mother's family
presumably Norman, but not much is known of her forbears. Charles
believed himself lost from the time his half-brother was stricken. He
also believed that his instability of temperament--and he studied his
"case" as would a surgeon--was the result of his parents' disparity in
years.

After his return from the East, where he did not learn English as has
been said--his mother taught him as a boy to converse in and write the
language--he came into his little inheritance, about fifteen thousand
dollars. Two years later he was so heavily in debt that his family asked
for a guardian on the ground of incompetency. He had been swindled,
being young and green. How had he squandered his money? Not exactly on
opera-glasses, like Gerard de Nerval, but on clothes, pictures,
furniture, books. The remnant was set aside to pay his debts. Charles
would be both poet and dandy. He dressed expensively but soberly, in the
English fashion; his linen dazzling, the prevailing hue of his
habiliments black. In height he was medium, his eyes brown, searching,
luminous, the eye of a nyctalops, "eyes like ravens"; nostrils
palpitating, cleft chin, mouth expressive, sensual jaw, strong and
square. His hair was black, curly, glossy, his forehead high, square and
white. In the Deroy portrait he wears a beard; he is there what Catulle
Mendes nicknamed him: "His Excellence, Monseigneur Brummel! " Later he
was the elegiac Satan, the author of L'Imitation de N. S. le Diable; or
the Baudelaire of George Moore: "the clean-shaven face of the mock
priest, the slow cold eyes and the sharp cunning sneer of the cynical
libertine who will be tempted that he may better know the worthlessness
of temptation. " In the heyday of his blood he was perverse and
deliberate. Let us credit him with contradicting the Byronic notion that
ennui could best be cured by dissipation; in sin Baudelaire found the
saddest of all consolations. Mendes laughs at the legend of Baudelaire's
violence, of his being given to explosive phrases. Despite Gautier's
stories about the Hotel Pimodan and its club of hasheesh-eaters, M.
Mendes denies that Baudelaire was a victim of the hemp. What the
majority of mankind does not know concerning the habits of literary
workers is this prime fact: men who work hard, writing verse--and there
is no mental toil comparable to it--cannot drink, or indulge in opium,
without inevitable collapse. The old-fashioned ideas of "inspiration,"
spontaneity, easy improvisation, the sudden bolt from heaven, are
delusions still hugged by the world. To be told that Chopin filed
at his music for years, that Beethoven in his smithy forged his
thunderbolts by the sweat of his brow, that Manet toiled like a
labourer on the dock, that Baudelaire was a mechanic in his devotion
to poetic work, that Gautier was a hard-working journalist, are
disillusions for the sentimental. Minerva springing full-fledged from
Jupiter's skull to the desk of the poet is a pretty fancy; but Balsac
and Flaubert did not encourage this fancy. Work literally killed Poe, as
it killed Jules de Goncourt, Flaubert and Daudet. Maupassant went insane
because he would work and he would play the same day. Baudelaire worked
and worried. His debts haunted him his life long. His constitution was
flawed--Sainte-Beuve told him that he had worn out his nerves--from the
start, he was detraque; but that his entire life was one huge debauch is
a nightmare of the moral police in some red cotton nightcap country.

His period of mental production was not brief nor barren. He was a
student. Du Camp's charge that he was an ignorant man is disproved by
the variety and quality of his published work. His range of sympathies
was large. His mistake, in the eyes of his colleagues, was to write so
well about the seven arts. Versatility is seldom given its real
name--which is protracted labour. Baudelaire was one of the elect, an
aristocrat, who dealt with the quintessence of art; his delicate air of
a bishop, his exquisite manners, his modulated voice, aroused unusual
interest and admiration. He was a humanist of distinction; he has left a
hymn to Saint Francis in the Latin of the decadence. Baudelaire, like
Chopin, made more poignant the phrase, raised to a higher intensity the
expressiveness of art.

Women played a commanding role in his life. They always do with any poet
worthy of the name, though few have been so frank in acknowledging this
as Baudelaire. Yet he was in love more with Woman than the individual.
The legend of the beautiful creature he brought from the East resolves
itself into the dismal affair with Jeanne Duval. He met her in Paris,
after he had been in the East. She sang at a cafe concert in Paris. She
was more brown than black. She was not handsome, not intelligent, not
good; yet he idealized her, for she was the source of half his
inspiration. To her were addressed those marvellous evocations of the
Orient, of perfume, tresses, delicious dawns on strange far-away seas
and "superb Byzant," domes that devils built. Baudelaire is the poet of
perfumes; he is also the patron saint of ennui. No one has so chanted
the praise of odours. His soul swims on perfume as do other souls on
music, he has sung. As he grew older he seemed to hunt for more acrid
odours; he often presents an elaborately chased vase the carving of
which transports us, but from which the head is quickly averted. Jeanne,
whom he never loved, no matter what may be said, was a sorceress. But
she was impossible; she robbed, betrayed him; he left her a dozen times
only to return. He was a capital draughtsman with a strong nervous line
and made many pen-and-ink drawings of her. They are not prepossessing.
In her rapid decline she was not allowed to want. Madame Aupick paid her
expenses in the hospital. 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.
The human soul was his stage, he its interpreting orchestra.

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, OEuvres. 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" a la Dostoievsky, 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 Crepet; 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 role of a
listener--this most spiritual 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 aesthetic 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, 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 Felician Rops (March, 1866), he
suffered from an attack of paralysis.