Kitobni o'qish: «Baudelaire: His Prose and Poetry»

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

 
Nous devrions pourtant lui porter quelques fleurs;
Les morts, les pauvres morts, ont de grandes douleurs,
Et quand Octobre souffle, émondeur des vieux arbres,
Son vent mélancolique a l'entour de leurs marbres,
Certe, ils doivent trouver les vivants bien ingrats.
 

Les Fleurs du Mal

I

 
Shall I strew on thee rose or rue or laurel,
Brother, on this that was the veil of thee?
Or quiet sea-flower moulded by the sea,
Or simplest growth of meadow-sweet or sorrel,
Such as the summer-sleepy Dryads weave,
Waked up by snow-soft sudden rains at eve?
Or wilt thou rather, as on earth before,
Half-faded fiery blossoms, pale with heat
And full of bitter summer, but more sweet
To thee than gleanings of a northern shore
Trod by no tropic feet?
 

II

 
For always thee the fervid languid glories
Allured of heavier suns in mightier skies;
Thine ears knew all the wandering watery sighs
Where the sea sobs round Lesbian promontories,
The barren kiss of piteous wave to wave
That knows not where is that Leucadian grave
Which hides too deep the supreme head of song.
Ah, salt and sterile as her kisses were,
The wild sea winds her and the green gulfs bear
Hither and thither, and vex and work her wrong,
Blind gods that cannot spare.
 

III

 
Thou sawest, in thine old singing season, brother,
Secrets and sorrows unbeheld of us:
Fierce loves, and lovely leaf-buds poisonous,
Bare to thy subtler eye, but for none other
Blowing by night in some unbreathed-in clime;
The hidden harvest of luxurious time,
Sin without shape, and pleasure without speech;
And where strange dreams in a tumultuous sleep
Make the shut eyes of stricken spirits weep;
And with each face thou sawest the shadow on each,
Seeing as men sow men reap.
 

IV

 
O sleepless heart and sombre soul unsleeping,
That were athirst for sleep and no more life
And no more love, for peace and no more strife!
Now the dim gods of death have in their keeping
Spirit and body and all the springs of song,
Is it well now where love can do not wrong,
Where stingless pleasure has no foam or fang
Behind the unopening closure of her lips?
It is not well where soul from body slips
And flesh from bone divides without a pang
As dew from flower-bell drips.
 

V

 
It is enough; the end and the beginning
Are one thing to thee, who are past the end.
O hand unclasped of unbeholden friend,
For thee no fruits to pluck, no palms for winning,
No triumph and no labor and no lust,
Only dead yew-leaves and a little dust.
O quiet eyes wherein the light saith nought,
Whereto the day is dumb, nor any night
With obscure finger silences your sight,
Nor in your speech the sudden soul speaks thought,
Sleep, and have sleep for light.
 

VI

 
Now all strange hours and all strange loves are over,
Dreams and desires and sombre songs and sweet,
Hast thou found place at the great knees and feet
Of some pale Titan-woman like a lover,
Such as thy vision here solicited,
Under the shadow of her fair vast head,
The deep division of prodigious breasts,
The solemn slope of mighty limbs asleep,
The weight of awful tresses that still keep
The savor and shade of old-world pine-forests
Where the wet hill-winds weep?
 

VII

 
Hast thou found any likeness for thy vision?
O gardener of strange flowers, what bud, what bloom,
Hast thou found sown, what gathered in the gloom?
What of despair, of rapture, of derision,
What of life is there, what of ill or good?
Are the fruits gray like dust or bright like blood?
Does the dim ground grow any seed of ours,
The faint fields quicken any terrene root,
In low lands where the sun and moon are mute
And all the stars keep silence? Are there flowers
At all, or any fruit?
 

VIII

 
Alas, but though my flying song flies after,
O sweet strange elder singer, thy more fleet
Singing, and footprints of thy fleeter feet,
Some dim derision of mysterious laughter
From the blind tongueless warders of the dead,
Some gainless glimpse of Proserpine's veiled head,
Some little sound of unregarded tears
Wept by effaced unprofitable eyes,
And from pale mouths some cadence of dead sighs —
These only, these the hearkening spirit hears,
Sees only such things rise.
 

IX

 
Thou art far too far for wings of words to follow,
Far too far off for thought or any prayer.
What ails us with thee, who art wind and air?
What ails us gazing where all seen is hollow?
Yet with some fancy, yet with some desire,
Dreams pursue death as winds a flying fire,
Our dreams pursue our dead and do not find.
Still, and more swift than they, the thin flame flies,
The low light fails us in elusive skies,
Still the foiled earnest ear is deaf, and blind
Are still the eluded eyes.
 

X

 
Not thee, O never thee, in all time's changes,
Not thee, but this the sound of thy sad soul,
The shadow of thy swift spirit, this shut scroll
I lay my hand on, and not death estranges
My spirit from communion of thy song —
These memories and these melodies that throng
Veiled porches of a Muse funereal —
These I salute, these touch, these clasp and fold
As though a hand were in my hand to hold,
Or through mine ears a mourning musical
Of many mourners rolled.
 

XI

 
I among these, I also, in such station
As when the pyre was charred, and piled the sods,
And offering to the dead made, and their gods,
The old mourners had, standing to make libation,
I stand, and to the gods and to the dead
Do reverence without prayer or praise, and shed
Offering to these unknown, the gods of gloom,
And what of honey and spice my seedlands bear,
And what I may of fruits in this chilled air,
And lay, Orestes-like, across the tomb
A curl of severed hair.
 

XII

 
But by no hand nor any treason stricken,
Not like the low-lying head of Him, the King,
The flame that made of Troy a ruinous thing,
Thou liest and on this dust no tears could quicken
There fall no tears like theirs that all men hear
Fall tear by sweet imperishable tear
Down the opening leaves of holy poet's pages.
Thee not Orestes, not Electra mourns;
But bending us-ward with memorial urns
The most high Muses that fulfil all ages
Weep, and our God's heart yearns.
 

XIII

 
For, sparing of his sacred strength, not often
Among us darkling here the lord of light
Makes manifest his music and his might
In hearts that open and in lips that soften
With the soft flame and heat of songs that shine.
Thy lips indeed he touched with bitter wine,
And nourished them indeed with bitter bread;
Yet surely from his hand thy soul's food came,
The fire that scarred thy spirit at his flame
Was lighted, and thine hungering heart he fed
Who feeds our hearts with fame.
 

XIV

 
Therefore he too now at thy soul's sunsetting,
God of all suns and songs, he too bends down
To mix his laurel with thy cypress crown
And save thy dust from blame and from forgetting.
Therefore he too, seeing all thou wert and art,
Compassionate, with sad and sacred heart,
Mourns thee of many his children the last dead,
And hallows with strange tears and alien sighs
Thine unmelodious mouth and sunless eyes,
And over thine irrevocable head
Sheds light from the under skies.
 

XV

 
And one weeps with him in the ways Lethean,
And stains with tears her changing bosom chill;
That obscure Venus of the hollow hill,
That thing transformed which was the Cytherean,
With lips that lost their Grecian laugh divine
Long since, and face no more called Erycine
A ghost, a bitter and luxurious god.
Thee also with fair flesh and singing spell
Did she, a sad and second prey, compel
Into the footless places once more trod,
And shadows hot from hell.
 

XVI

 
And now no sacred staff shall break in blossom,
No choral salutation lure to light
A spirit with perfume and sweet night
And love's tired eyes and hands and barren bosom.
There is no help for these things; none to mend,
And none to mar; not all our songs, O friend,
Will make death clear or make life durable.
Howbeit with rose and ivy and wild vine
And with wild notes about this dust of thine
At least I fill the place where white dreams dwell
And wreathe an unseen shrine.
 

XVII

 
Sleep; and if life was bitter to thee, pardon,
If sweet, give thanks; thou hast no more to live
And to give thanks is good, and to forgive.
Out of the mystic and the mournful garden
Where all day through thine hands in barren braid
Wove the sick flowers of secrecy and shade,
Green buds of sorrow and sin, and remnants gray,
Sweet-smelling, pale with poison, sanguine-hearted,
Passions that sprang from sleep and thoughts that started,
Shall death not bring us all as thee one day
Among the days departed?
 

XVIII

 
For thee, O now a silent soul, my brother,
Take at my hands this garland, and farewell.
Thin is the leaf, and chill the wintry smell,
And chill the solemn earth, a fatal mother,
With sadder than the Niobean womb,
And in the hollow of her breasts a tomb.
Content thee, howsoe'er, whose days are done:
There lies not any troublous thing before,
Nor sight nor sound to war against thee more,
For whom all winds are quiet as the sun,
All waters as the shore.
 

[From inside-leaf: Charles Pierre Baudelaire was born in Paris, France, on April 9,1821, and died there on August 31, 1867. Flowers of Evil was published in 1857 by Baudelaire's friend Auguste Poulet Malassis, who had inherited a printing business at Alençon. Some of them had already appeared in the Revue des Deux Mondes. The poet, the publisher, and the printer were found guilty of having offended against public morals.]

PREFACE

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:

"The more art would aim at being philosophically clear, the more will it degrade itself and return to the childish hieroglyphic: on the other hand, the more art detaches itself from teaching, the more will it attain to pure disinterested beauty… Poetry, under pain of death or decay, cannot assimilate Herself to science or ethics. She has not Truth for object, she has only Herself." What appears at first glance in the preceding phrases to be a contradiction is really a confirmation of Baudelaire's conception of the highest understanding of æsthetic principle. Baudelaire's ideal beauty is tempered with mystery and sadness, the real too, but never the commonplace.

No poet has brought so many new ideas in sensation into a literary style. Intellectually he is all sensation, though he seldom degenerates into abstract sentimentality. This sum totality of the power of absorbing external sensation is Baudelaire. From the effect of his objectivity his art expresses itself as if solely subjective. This condition of mind and art makes him most difficult to translate into another language, in particular, English.

This collection of his verse and prose is gathered from those experiments in translation which I think will most effectively convey to the English reader those qualities that made Baudelaire what he is. There are numerous translations from Baudelaire in English but most of them may be dismissed as being seldom successful. Mr. Arthur Symons' translation of some of the prose poems is a most beautiful adventure in psychological sensations, effective though not always accurate in interpretation. Mr. F. P. Sturm's effort with the Flowers of Evil and the Prose Poems is always accurate, sometimes inspired, and often a tour de force of translation. Mr. W. J. Robertson's translations from the Flowers of Evil is the most successful of all. He maintains with amazing facility all the subtlety, beauty and one might also say the perfume of Baudelaire's verse. Mr. Shipley does a most meritorious work in his translations from the prose poems, and the reader will be everlastingly grateful to him for his fine painstaking translation of the Intimate Papers from Baudelaire's unpublished novels.

There are few interesting or valuable essays on the mind and art of Baudelaire in English, but the reader will find the following critical appreciations to be of inestimable use in the study of the poet:

"The Influence of Baudelaire": G. Turquet-Milnes (Constable: 1913); "The Baudelaire Legend": James Huneker (Egoists: Scribner's: 1909); and Théophile Gautier's essay on Baudelaire, of which an excellent English translation has been made by Prof. Sumichrast.

I think that this anthology will give the reader an intelligent understanding of the mind and art of a very great French poet.

T. R. SMITH.

June, 1919.

CHARLES BAUDELAIRE:
A STUDY BY F. P. STURM

I

Charles Baudelaire was one of those who take the downward path which leads to salvation. There are men born to be the martyrs of the world and of their own time; men whose imagination carries them beyond all that we know or have learned to think of as law and order; who are so intoxicated with a vision of a beauty beyond the world that the world's beauty seems to them but a little paint above the face of the dead; who love God with a so consuming fire that they must praise evil for God's glory, and blaspheme His name that all sects and creeds may be melted away; who see beneath all there is of mortal loveliness, the invisible worm, feeding upon hopes and desires no less than upon the fair and perishable flesh; who are good and evil at the same time; and because the good and evil in their souls finds a so perfect instrument in the refined and tortured body of modern times, desire keener pleasure and more intolerable anguish than the world contains, and become materialists because the tortured heart cries out in denial of the soul that tortures it. Charles Baudelaire was one of these men; his art is the expression of his decadence; a study of his art is the understanding of that complex movement, that "inquietude of the Veil in the temple," as Mallarmé called it, that has changed the literature of the world; and, especially, made of poetry the subtle and delicate instrument of emotional expression it has become in our own day.

We used to hear a deal about Decadence in the arts, and now we hear as much about Symbolism, which is a flower sprung from the old corruption – but Baudelaire is decadence; his art is not a mere literary affectation, a mask of sorrow to be thrown aside when the curtain falls, but the voice of an imagination plunged into the contemplation of all the perverse and fallen loveliness of the world; that finds beauty most beautiful at the moment of its passing away, and regrets its perishing with a so poignant grief that it must needs follow it even into the narrow grave where those "dark comrades the worms, without ears, without eyes," whisper their secrets of terror and tell of yet another pang —

"Pour ce vieux corps sans âme et mort parmi les morts."

All his life Baudelaire was a victim to an unutterable weariness, that terrible malady of the soul born out of old times to prey upon civilisations that have reached their zenith – weariness, not of life, but of living, of continuing to labour and suffer in a world that has exhausted all its emotions and has no new thing to offer. Being an artist, therefore, he took his revenge upon life by a glorification of all the sorrowful things that it is life's continual desire to forget. His poems speak sweetly of decay and death, and whisper their graveyard secrets into the ears of beauty. His men are men whom the moon has touched with her own phantasy: who love the immense ungovernable sea, the unformed and multitudinous waters; the place where they are not; the woman they will never know; and all his women are enigmatic courtesans whose beauty is a transfiguration of sin; who hide the ugliness of the soul beneath the perfection of the body. He loves them and does not love; they are cruel and indolent and full of strange perversions; they are perfumed with exotic perfumes; they sleep to the sound of viols, or fan themselves languidly in the shadow, and only he sees that it is the shadow of death.

An art like this, rooted in a so tortured perception of the beauty and ugliness of a world where the spirit is mingled indistinguishably with the flesh, almost inevitably concerns itself with material things, with all the subtle raptures the soul feels, not by abstract contemplation, for that would mean content, but through the gateway of the senses; the lust of the flesh, the delight of the eye. Sound, colour, odour, form: to him these are not the symbols that lead the soul towards the infinite: they are the soul; they are the infinite. He writes, always with a weary and laborious grace, about the abstruser and more enigmatic things of the flesh, colours and odours particularly; but, unlike those later writers who have been called realists, he apprehends, to borrow a phrase from Pater, "all those finer conditions wherein material things rise to that subtlety of operation which constitutes them spiritual, where only the finer nerve and the keener touch can follow."

In one of his sonnets he says:

"Je hais la passion et l'esprit me fait mal!"

and, indeed, he is a poet in whom the spirit, as modern thought understands the word, had little or no part. We feel, reading his terrible poems, that the body is indeed acutely conscious of the soul, distressfully and even angrily conscious, but its motions are not yet subdued by the soul's prophetic voice. It was to forget this voice, with its eternal Esto memor, that Baudelaire wrote imperishablÿ of perishable things and their fading glory.

II

Charles Baudelaire was born at Paris, April 21st, 1821, in an old turreted house in the Rue Hautefeuille. His father, a distinguished gentleman of the eighteenth-century school, seems to have passed his old-world manners on to his son, for we learn from Baudelaire's friend and biographer, Théophile Gautier, that the poet "always preserved the forms of an extreme urbanity."

At school, during his childhood, he gained many distinctions, and passed for a kind of infant prodigy; but later on, when he sat for his examination as bachelier ès lettres, his extreme nervousness made him appear almost an idiot. Failing miserably, he made no second attempt. Then his father died, and his mother married General Aupick, afterwards ambassador to Constantinople, an excellent man in every respect, but quite incapable of sympathising with or even of understanding the love for literature that now began to manifest itself in the mind of his stepson. All possible means were tried to turn him from literature to some more lucrative and more respectable profession. Family quarrels arose over this all-important question, and young Baudelaire, who seems to have given some real cause for offence to the step-father whose aspirations and profession he despised, was at length sent away upon a long voyage, in the hopes that the sight of strange lands and new faces would perhaps cause him to forget the ambitions his relatives could but consider as foolish and idealistic. He sailed the Indian Seas; visited the islands of Mauritius, Bourbon, Madagascar, and Ceylon; saw the yellow waters of the sacred Ganges; stored up the memory of tropical sounds and colours and odours for use later on; and returned to Paris shortly after his twenty-first birthday, more than ever determined to be a man of letters.

His parents were in despair; no doubt quite rightly so from their point of view. Théophile Gautier, perhaps remembering the many disappointments and martyrdoms of his own sad life, defends the attitude of General Aupick in a passage where he poignantly describes the hopelessness of the profession of letters. The future author of The Flowers of Evil, however, was now his own master and in a position, so far as monetary matters were concerned, to follow out his own whim. He took apartments in the Hôtel Pimodan, a kind of literary lodging-house where all Bohemia met; and where Gautier and Boissard were also at that period installed. Then began that life of uninterrupted labour and meditation that has given to France her most characteristic literature, for these poems of Baudelaire's are not only original in themselves but have been the cause of originality in others; they are the root of modern French literature and much of the best English literature; they were the origin of that new method in poetry that gave Mallarmé and Verlaine to France; Yeats and some others to England. It was in the Hôtel Pimodan that Baudelaire and Gautier first met and formed one of those unfading friendships not so rare among men of letters as among men of the world; there also the "Hashish-Eaters" held the séances that have since become famous in the history of literature. Hashish and opium, indeed, contribute not a little to the odour of the strange Flowers of Evil; as also, perhaps, they contributed to Baudelaire's death from the terrible malady known as general paralysis, for he was a man who could not resist a so easy path into the world of macabre visions. I shall return to this question again; there is internal evidence in his writings that shows he made good literary use of these opiate-born dreams which in the end dragged him into their own abyss.

It was in 1849, when Baudelaire was twenty-eight years of age, that he made the acquaintance of the already famous Théophile Gautier, from whose admirable essay I shall presently translate a passage giving us an excellent pen-sketch of the famous poet and cynic – for Baudelaire was a cynic: he had not in the least degree the rapt expression and vague personality usually supposed to be characteristic of the poetic mood. "He recalls," wrote M. Dulamon, who knew him well, "one of those beautiful Abbés of the eighteenth century, so correct in their doctrine, so indulgent in their commerce with life – the Abbé de Bernis, for example. At the same time, he writes better verse, and would not have demanded at Rome the destruction of the Order of Jesuits."

That was Baudelaire exactly, suave and polished, filled with sceptical faith, cynical with the terrible cynicism of the scholar who is acutely conscious of all the morbid and gloomy secrets hidden beneath the fair exteriors of the world. Gautier, in the passage I have already mentioned, emphasises both his reserve and his cynicism: "Contrary to the somewhat loose manners of artists generally, Baudelaire prided himself upon observing the most rigid convenances; his courtesy, indeed, was excessive to the point of seeming affected. He measured his sentences, using only the most carefully chosen terms, and pronounced certain words in a particular manner, as though he wished to underline them and give them a mysterious importance. He had italics and capital letters in his voice. Exaggeration, much in honour at Pimodan's, he disdained as being theatrical and gross; though he himself affected paradox and excess. With a very simple, very natural, and perfectly detached air, as though retailing, à la Prudhomme, a newspaper paragraph about the mildness or rigour of the weather, he would advance some satanically monstrous axiom, or uphold with the coolness of ice some theory of a mathematical extravagance; for he always followed a rigorous plan in the development of his follies. His spirit was neither in words nor traits; he saw things from a particular point of view, so that their outlines were changed, as objects when one gets a bird's-eye view of them; he perceived analogies inappreciable to others, and you were struck by their fantastic logic. His rare gestures were slow and sober; he never threw his arms about, for he held southern gesticulation in horror; British coolness seemed to him to be good taste. One might describe him as a dandy who had strayed into Bohemia; though still preserving his rank, and that cult of self which characterises a man imbued with the principles of Brummel." At this time Baudelaire was practically unknown outside his own circle of friends, writers themselves; and it was not until eight years later, in 1857, when he published his Flowers of Evil, that he became famous. Infamous would perhaps be a better word to describe the kind of fame he at first obtained, for every Philistine in France joined in the cry against a poet who dared to remind his readers that the grave awaits even the rich; who dared to choose the materials of his art from among the objects of death and decay; who exposed the mouldering secrecies of the grave, and painted, in the phosphorescent colours of corruption, frescoes of death and horror; who desecrated love in the sonnet entitled "Causerie":

 
"You are a sky of autumn, pale and rose!
But all the sea of sadness in my blood
Surges, and ebbing, leaves my lip morose
Salt with the memory of the bitter flood.
 
 
In vain your hand glides my faint bosom o'er;
That which you seek, beloved, is desecrate
By woman's tooth and talon: ah! no more
Seek in me for a heart which those dogs ate!
 
 
It is a ruin where the jackals rest,
And rend and tear and glut themselves and slay!
– A perfume swims about your naked breast,
Beauty, hard scourge of spirits, have your way!
With flame-like eyes that at bright feasts have flared
Burn up these tatters that the beasts have spared!"
 

We can recall nothing like it in the literary history of our own country; the sensation caused by the appearance of the first series of Mr. Swinburne's Poems and Ballads was mild in comparison; just as Mr. Swinburne's poems were but wan derivatives from Baudelaire – at least as far as ideas are concerned; I say nothing about their beauty of expression or almost absolute mastery of technique – for it is quite obvious that the English poet was indebted to Baudelaire for all the bizarre and Satanic elements in his work; as Baudelaire was indebted to Poe. Mr. Swinburne, however, is wild where Baudelaire is grave; and where Baudelaire compresses some perverse and morbid image into a single unforgettable line, Mr. Swinburne beats it into a froth of many musical lovely words, until we forget the deep sea in the shining foam.

If we call to mind the reception at first given to the black-and-white work of Aubrey Beardsley, it will give some idea of the consternation caused in France by the appearance of the Flowers of Evil. Beardsley, indeed, resembles Baudelaire in many ways, for he achieved in art what the other achieved in literature: the apotheosis of the horrible and grotesque, the perfecting of symbols to shadow forth intellectual sin, the tearing away of the decent veil of forgetfulness that hides our own corruption from our eyes, and his one prose romance, Under the Hill, unhappily incomplete at his death at the age of twenty-four, beats Baudelaire on his own ground. The four or five chapters which alone remain of this incomplete romance stand alone in literature. They are the absolute attainment of what Baudelaire more or less successfully attempted – a testament of sin. Not the sin of the flesh, the gross faults of the body that are vulgarly known as sin; but sin which is a metaphysical corruption, a depravity of pure intellect, the sin of the fallen angels in hell who cover their anguish with the sound of harps and sweet odours; who are incapable of bodily impurity, and for whom spiritual purity is the only terror. And since mortality, which is the shadow of the immortal, can comprehend spiritual and abstract things only by the analogies and correspondences which exist between them and the far reflections of them that we call reality, both Baudelaire and Beardsley, as indeed all artists who speak with tongues of spiritual truth, choose more or less actual human beings to be the shadows of the divine or satanic beings they would invoke, and make them sin delicate sins of the refined bodily sense that we may get a far-off glimpse of the Evil that is not mortal but immortal, the Spiritual Evil that has set up its black throne beside the throne of Spiritual Good, and has equal share in the shaping of the world and man.

I am not sure that Baudelaire, when he wrote this sinister poetry, had any clear idea that it was his vocation to be a prophet either of good or evil. Certainly he had no thought of founding a school of poetry, and if he made any conscious effort to bring a new method into literature, it was merely because he desired to be one of the famous writers of his country. An inspired thinker, however, whether his inspiration be mighty or small, receives his thought from a profounder source than his own physical reason, and writes to the dictation of beings outside of and greater than himself. The famous Eliphas Levi, like all the mystics who came before and after him, from Basilides the Gnostic to Blake the English visionary, taught that the poet and dreamer are the mediums of the Divine Word, and sole instruments through which the gods energise in the world of material things. The writing of a great book is the casting of a pebble into the pool of human thought; it gives rise to ever-widening circles that will reach we know not whither, and begins a chain of circumstances that may end in the destruction of kingdoms and religions and the awakening of new gods. The change wrought, directly or indirectly, by The Flowers of Evil alone is almost too great to be properly understood. There is perhaps not a man in Europe to-day whose outlook on life would not have been different had The Flowers of Evil never been written. The first thing that happens after the publication of such a book is the theft of its ideas and the imitation of its style by the lesser writers who labour for the multitude, and so its teaching goes from book to book, from the greater to the lesser, as the divine hierarchies emanate from Divinity, until ideas that were once paradoxical, or even blasphemous and unholy, have become mere newspaper commonplaces adopted by the numberless thousands who do not think for themselves, and the world's thought is changed completely, though by infinite slow degrees. The immediate result of Baudelaire's work was the Decadent School in French literature. Then the influence spread across the Channel, and the English Æsthetes arose to preach the gospel of imagination to the unimaginative. Both Decadence and Æstheticism, as intellectual movements, have fallen into the nadir of oblivion, and the dust lies heavy upon them, but they left a little leaven to lighten the heavy inertness of correct and academic literature; and now Symbolism, a greater movement than either, is in the ascendant, giving another turn to the wheel, and to all who think deeply about such matters it seems as though Symbolist literature is to be the literature of the future. The Decadents and Æsthetes were weak because they had no banner to fight beneath, no authority to appeal to in defence of their views, no definite gospel to preach. They were by turns morbid, hysterical, foolishly blasphemous, or weakly disgusting, but never anything for long, their one desire being to produce a thrill at any cost. If the hospital failed they went to the brothel, and when even obscenity failed to stimulate the jaded palates of their generation there was still the graveyard left. A more or less successful imitation of Baudelaire's awful verses entitled "The Corpse" has been the beginning of more than one French poet's corrupt flight across the sky of literature. That Baudelaire himself was one of their company is not an accusation, for he had genius, which his imitators, English or French, have not; and his book, even apart from the fact that it made straight the way for better things, must be admitted to be a great and subtly-wrought work of art by whosoever reads it with understanding. And, moreover, his morbidness is not at all an affectation; his poems inevitably prove the writer to have been quite sincere in his perversion and in his decadence.