VENUS AND THE FOOL
ALREADY!
THE DOUBLE CHAMBER
AT ONE O’CLOCK IN THE MORNING
THE CONFITEOR OF THE ARTIST
THE THYRSUS
THE MARKSMAN
THE SHOOTING-RANGE AND THE CEMETERY
THE DESIRE TO PAINT
THE GLASS-VENDOR
THE WIDOWS
THE TEMPTATIONS; OR, EROS, PLUTUS, AND GLORY
‘THE FLOWERS OF EVIL’ (Translated by F. P. Sturm)
THE DANCE OF DEATH
THE BEACONS
THE SADNESS OF THE MOON
THE BALCONY
THE SICK MUSE
THE VENAL MUSE
THE EVIL MONK
THE TEMPTATION
THE IRRÉPARABLE
A FORMER LIFE
DON JUAN IN HADES
THE LIVING FLAME
CORRESPONDENCES
THE FLASK
REVERSIBILITY
THE EYES OF BEAUTY
SONNET OF AUTUMN
THE REMORSE OF THE DEAD
THE GHOST
TO A MADONNA
THE SKY
SPLEEN
THE OWLS
BIEN LOIN D’ICI
CONTEMPLATION
TO A BROWN BEGGAR-MAID
THE SWAN
THE SEVEN OLD MEN
THE LITTLE OLD WOMEN
A MADRIGAL OF SORROW
MIST AND RAIN
SUNSET
THE CORPSE
AN ALLEGORY
THE ACCURSED
LA BEATRICE
THE SOUL OF WINE.
THE WINE OF LOVERS
THE DEATH OF LOVERS
THE DEATH OF THE POOR
GYPSIES TRAVELLING
FRANCISCÆ MEÆ LAUDES
A LANDSCAPE
THE VOYAGE
From ‘THE FLOWERS OF EVIL’ (Translated by W. J. Robertson)
BENEDICTION
ILL LUCK
BEAUTY
IDEAL LOVE
HYMN TO BEAUTY
EXOTIC FRAGRANCE
XXVIII SONNET
MUSIC
THE SPIRITUAL DAWN
THE FLAWED BELL
THREE POEMS FROM BAUDELAIRE (Translated by Richard Herne Shepherd)
A CARCASS
WEEPING AND WANDERING
LESBOS
AVE ATQUE VALE. A Poem by A. C. Swinburne
In Memory of Charles Baudelaire
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 ar
t 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 t
otality 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.
Collected Poetical Works of Charles Baudelaire Page 37