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 Another Random Document on
Scribd Without Any Related Topics
angrily. One of them, numbered 53, and two paragraphs of another
(the note 17: Tantôt il lui demandait; Minette) are written in pencil;
note 12 is written in blue ink. Certain phrases in the text are used
twice over.
MON CŒUR MIS À NU. A manuscript of 91 pages, containing 197
articles numbered in red ink; the pagination used in the same way
as in the other. Every note is preceded with the autograph mention:
Mon Cœur mis à nu. The text is written rapidly; the notes numbered
26, 31, 44, 48, 51, 54, 60, 68, 69, 72, 75 (the last three in italics),
80 are written with a black pencil, the note 62 with a black pencil on
blue paper, and the note 83 written with a red pencil.

NOTES

Fascinated by sin, Baudelaire, as I have said in these pages, is never

the dupe of his emotions; he sees sin as the original sin; he studies
sin as he studies evil, with a stern logic; he finds in horror a kind of
attractiveness, as Poe had found it; rarely in hideous things, save
when his sense of what I call a moralist makes him moralise, as in
his terrible poem, Une Charogne.
Baudelaire's original manuscript, that is to say, the copy he makes
for his final text, I have recently bought. It covers two and a half
folio pages, folded four times across, as if he had carried it about
with him; it is written on thin, half-yellow paper, yellowed with age,
and on both sides; it is copied at tremendous speed with a quill pen
that blots the dashes he puts under every stanza. The title is
underlined; the only revision is where he obliterates "comme une
vague" (which he had used in the first line) and changes it to "d'un
souffle, vague." He uses a tremendous amount of capital letters; as
in the first stanza: "L'Objet, Mon Cœur, Matin, Doux, Détour, d'un
Sentier, Une Charogne, Cailloux." In the next: "Femme Lubrique, Les
Poisons, D'une Façon Nonchalant et Cynique, Ventre, Exhalations."
At the end of the last stanza but one he writes:
"Quand vous irez sous l'herbe et les floraisons grasses
Vivre parmi les monuments;"
which he changes in the text of his Fleurs du mal into:
"Quand vous irez sous l'herbe et les floraisons grasses
Moisir parmi les ossements."
The change makes an enormous improvement to the stanza.
To possess this manuscript written by Baudelaire is to possess one of
the most magnificent poems he ever wrote: the whole thing is
copied in a kind of unholy rapture, in a kind of evil perversion.

I. AN ADVENTURE IN FIRST EDITIONS AND MANUSCRIPTS

I am, fortunately, the possessor of a copy of the first edition of Les

Fleurs du Mal. The title-page is as follows: LES FLEURS DU MAL || par
Charles Baudelaire. || Paris: || Poulet-Malassis et de Broise: ||
Libraire-Éditeurs. || 4 rue de Buci. || 1857.
This copy is signed, in brown Parisian ink: "à mon ami Champfleury,
Ch. Baudelaire" His signature is fantastic: the B. curled backward like
a snake's tail in an Egyptian hieroglyphic, the straight line like an
enchanter's wand. It is "grand-12; 252 pages." It contains one
hundred poems, the perfect number. It is printed on papier vergé. It
is one of the twenty copies, thus specially printed, that Baudelaire
ordered for himself and for certain of his friends. The rest of the
edition was printed on common white paper. Taken as a whole, this
is certainly one of the most perfectly printed books done in France,
or anywhere, in the past century.
Poulet-Malassis came from Alençon to Paris, and began by printing
the Odes Funambulesques of Théodore de Banville early in 1857,
before he completed the publication of Les Fleurs du Mal in July of
that year. Baudelaire wrote to him, saying that he did not want
popularity, "mais un bel éreintage général qui attirera la curiosité."
He asked him to be sparing in blank spaces on the pages; and to
use certain archaisms and touches of red. These touches of red are
given on the title-page; they have a decorative effect. He said that
he had a natural horror of the over-use of inverted commas, which
have a way of spoiling the text. He must have a unique system of his
own. "I must have," he insists, "in this kind of production, the one
admissible thing, that is, perfection." There one sees his unerring
instinct; his sense of the exact value of words. Yet he writes to his
publisher, underlining the phrase: "You know certain things better
than I do, but whenever there is, on my part, no radical repulsion,
follow your taste." He rages against de Broise's perpetual reproaches
with regard to les surcharges de M. Baudelaire—the "author's
corrections." He points out certain printer's mistakes, page 44 for
page 45, and guères rhyming with vulgaire. There was no time to
correct these errors; they remain so in the printed pages of my copy.
It is interesting, in regard to this question, to find in the first text of
Le Vin de l'Assassin these lines:
"Ma femme est morte, je suis libre!
Je puis donc boire tout mon saoul"
In the second edition one reads "soûl." I find in Brachet's
Dictionnaire Étymologique this definition of the word "soûl, ancien
français, saoul. Latin satallus, d'où l'ancien français saoul." Therefore
Baudelaire was right, traditionally, in using the original form of the
word.
His worst trouble is in getting the famous dedication to Gautier
printed and spaced as it had to be. It must be composed in a certain
solemn style. Then he writes: "The magician has made me
abbreviate the dedication; it must not be a profession of faith, which
might have the fault of attracting people's eyes 'sur le côté scabreux
du volume.'" As it is, strangely enough for him, Baudelaire made a
mistake in syntax, using "au magicien ès-langue française" instead
of "au parfait magicien ès-lettres françaises," which he corrected in
the edition of 1861.
On July 11, 1857, he writes to Malassis: "Quick, hide the edition, the
whole edition. I have saved fifty here. The mistake was in having
sent a copy to Le Figaro! As the edition was sold out in three weeks
we may have the glory of a trial, from which we can easily escape."
The trial came; he was obliged to suppress six poems (supposed to
contain "obscene and immoral passages"). Baudelaire never ceased
to protest against the infamy of this trial. A copy of the second
edition (not nearly so well printed as the first) is before me: LES
FLEURS DU MAL. || Par Charles Baudelaire. || Seconde Edition. ||
Augmentée de trente-cinq poèmes nouveaux || et ornée d'un
portrait de l'auteur dessiné et gravé par Bracquemont. || Paris: ||
Poulet-Malassis et de Broise. || Editeurs. || 97. Rue de Richelieu, et
Beaux-Arts, 56. || 1861. || Tout droits réservés. || Paris: Imp. Simon
Raçon et Comp. || Rue d'Erfurth.
In comparing the text of 1857 with that of 1861 I find several
revisions of certain verses, not always, I think, for the best. For
instance, in the Préface, the first edition is as follows:
"Dans nos cervaux malsains, comme un million
d'helminthes,
Grouille, chante et ripaille un peuple de Démons."
He changes this into "verre fourmillant;" "dans nos cervaux ribote."
On page 22, he writes:
"Sent un froid ténébreux envelopper son âme
A l'aspect du tableau plein d'épouvantement
Des monstruosités, que voile un vêtement;
Des visages masqués et plus laids que des masques."
In the later text he puts a full stop after "épouvantement," and
continues:
"O monstruosités pleurant leur vêtement!
O ridicules troncs! torses dignes des masques."
This reading seems to me infinitely inferior to the reading of the first
version.
Again, there are certain other changes, even less happy, such as
"quadrature" into "nature," "divin élixir" into "comme un élixir," "Mon
âme se balançait comme un ange joyeux," into "Mon cœur, comme
un oiseau, voltigeant tout joyeux." Baudelaire, in sending a copy of
Les fleurs du mal (1861) to Alfred de Vigny, wrote that he had
marked the new poems in pencil in the list at the end of the book. In
my copy—1857—he has marked, with infinite delicacy, in pencil, only
three poems: "Lesbos," "Femmes Damnées," "Les Métamorphoses
du Vampire." He underlines, in "Une Charogne," these words in the
text: "charogne lubrique, cynique, ventre, d'exhalaisons." At one side
of the prose note on "Franciscae meae laudes" he has made, on the
margin, a number of arrows.
In Le Corsaire-Satan, January, 1848, Baudelaire reviewed three
books of short stories by Champfleury. On the first, Chien-Caillou, he
writes: "One day a quite small, quite simple volume, Chien Caillou,
was printed; the history simply, clearly, crudely related, of a poor
engraver, certainly original, but whose poverty was so extreme that
he lived on carrots, between a rabbit and a girl of the town; and he
made masterpieces," I have before me this book: "Chien-Caillou,
fantaisies d'hiver. Par Champfleury. Paris, A la Libraire Pittoresque de
Martinon, Rue du Coq-Saint-Martin, 1847," It is dedicated to Victor
Hugo. "I dedicate to you this work, in spite of the fact that I have an
absolute horror of dedications—because of the expression young
man that it leaves in readers' minds. But you have been the first to
signalize Chien-Caillou to your friends, and your luminous genius has
suddenly recognized the reality of the second title: This is not a
Story."
In the same year came out Le Gâteau des rois. Par M. Jules Janin.
Ouvrage entièrement inédit. Paris. Libraire d'Amyot, 6 rue de la Paix,
1847. I have my own copy of this edition, bound in pale yellow-
paper covers.
On January 26th, 1917, there came to me from Paris an original
manuscript, written by Charles Baudelaire on three pages of note-
paper, concerning these two books of Champfleury and Jules Janin.
Being unfinished, it may have been the beginning of an essay which
he never completed. Certainly I find no trace of this prose in any of
his printed books. From the brown colour of the ink that he used I
think it was written in 1857, as the ink and the handwriting are
absolutely the same as in his signed Fleurs du mal sent to
Champfleury. There are several revisions and corrections in the text
of the MS. that I possess.
At the top of the first page are nearly obliterated the words:
remplacez les blancs. It begins: "Pour donner immédiatement au
lecteur non initié dans les dessous de la littérature, non instruit dans
les préliminaires des réputations, une idée première de l'importance
littéraire réille de ces petits livres, gros d'esprit, de poésie et
d'observations, qu'il sache que le premier d'entre nous, Chien-
Caillou, Fantaisies d'hiver, fut publié en même temps qu'un petit livre
d'un homme très célèbre, qui avait, en même temps que
Champfleury, l'idée de ces publications en trimestrielles." It ends:
"Où est le cœur? Où est l'âme, où est la raison?"
Here is my translation:
"To convey to the reader who has not penetrated into the back-
parlours of literature, who has not been instructed in the
preliminaries of reputations, an immediate idea of the real literary
importance of these little books, fat in wit, poetry, and observations,
it should be stated that the first among them, Chien-Caillou.
Fantaisies d'hiver, was published at the same time as another small
book by a famous man who had, simultaneously with Champfleury,
started these quarterly publications.
"Now, for these people whose intelligence, daily applied to the
elaboration of books, is hardest to please, Champfleury's work
absorbed that of the famous man. All those of whom I speak have
known Le Gâteau des rois. Their profession is to know everything. Le
Gâteau des rois, a kind of Christmas book, or 'Livre de Noël,' showed
above all a clearly asserted pretention to draw from "the language,
by playing infinite variations on the dictionary, all the effects which a
transcendental instrumentalist draws from his chords. Shifting of
forces, error of an unballasted mind! The ideas in this strange book
follow each other in haste, dart with the swiftness of sound, leaning
at random on infinitely tenuous connections. Their association with
one another hangs by a thread according to a method of thought
similar to that of people in Bedlam.
"Vast current of involuntary ideas, wild-goose chase, abnegation of
will! This singular feat of dexterity was accomplished by the man you
know, whose sole and special faculty consists in not being master of
himself, the man of encounters and good fortunes.
"Assuredly there was talent. But what abuse! What debauchery!
And, besides, what fatigue and what pain!
"No doubt some respect is due or, at least, some grateful
compassion, for the tireless writhing of an old dancing girl. But, alas!
worn-out attitudes, weak methods, boresome seductivities!
"The ideas of our man are but old women driven crazy with too
much dancing, too much kicking off the ground. Sustalerunt sæpius
pedes.
"Where is the heart? Where the soul? Where reason?"
Here the manuscript comes to an abrupt end, and one is left to
wonder how much more Baudelaire had written; perhaps only one
more page, as he had a peculiar fashion of writing fragments on bits
of note-paper. Certainly this prose has the refinement, the satire, the
exquisite use of words, the inimitable charm and unerring instinct of
a faultless writer. Not only is there his passion for les danseuses and
for the exotic, but a sinister touch in l'abdication de la volonté which
recurs finally in a letter written February 8, 1865; for, when one
imagines himself capable of an absolute abdication of the will, it
means that something of the man has gone out of him.
 II. AN ADVENTURE IN IMAGES

It is often said, not without a certain kind of truth, that the likeness
is precisely what matters least in a portrait. That is one of the
interesting heresies which Whistler did not learn from Velasquez.
Because a portrait which is a likeness, and nothing more than a
likeness, can often be done by a second-rate artist, by a kind of
sympathetic trick, it need not follow that likeness is in itself an
unimportant quality in a masterly portrait, nor will it be found that
likeness was ever disregarded by the greatest painters. But there are
many kinds of likenesses, among which we have to choose, as we
have to choose in all art which follows nature, between a realism of
outward circumstance and a realism of inner significance. Every
individual face has as many different expressions as the soul behind
it has moods. When we talk, currently, of a "good likeness," we
mean, for the most part, that a single, habitual expression, with
which we are familiar, as we are familiar with a frequently worn suit
of clothes, has been rendered; that we see a man as we imagine
ourselves ordinarily to see him. But, in the first place, most people
see nothing with any sort of precision; they cannot tell you the
position and shape of the ears, or the shape of the cheek-bones, of
their most intimate friends. Their mental vision is so feeble that they
can call up only a blurred image, a vague compromise between
expressions, without any definite form at all. Others have a mental
vision so sharp, retentive, yet without selection, that to think of a
person is to call up a whole series of precise images, each the image
of a particular expression at a particular moment; the whole series
failing to coalesce into one really typical likeness, the likeness of soul
or body. Now it is the artist's business to choose among these
mental pictures; better still, to create on paper, or on his canvas, the
image which was none of these, but which these helped to make in
his own soul.
The Manet portrait of Charles Baudelaire, dated 1862, is exquisite,
ironical, subtle, enigmatical, astonishing; He has arrested the head
and shoulders of the poet in an instant's vision; the outlines are
definite, clear, severe, and simple. One sees the eager head thrust
forward, as if the man were actually walking; the fine and delicate
nose, voluptuously dilated in the nostrils, seems to breathe in vague
perfumes; the mouth, half-seen, has a touch of his malicious irony;
the right eye shines vividly in a fixed glance, those eyes that had the
colour of Spanish tobacco. Over the long, waving hair, that seems to
be swept backward by the wind, is placed, with unerring skill, at the
exact angle, that top-hat that Baudelaire had to have expressly
made to fit the size of his head. Around his long neck is just seen
the white soft collar of his shirt, with a twisted tie in front. In this
picture one sees the inspired poet, with distinct touches of this
strong piece of thinking flesh and blood. And Manet indicates, I
think, that glimpse of the soul which one needs in a perfect likeness.
In the one done in 1865, the pride of youth, the dandy, the vivid
profile, have disappeared. Here, as if in an eternal aspect, Baudelaire
is shown. There is his tragic mask; the glory of the eyes, that seem
to defy life, to defy death, seems enormous, almost monstrous. The
lips are closed tightly together, in their long, sinuous line, almost as
if Leonardo da Vinci had stamped them with his immortality. The
genius of Manet has shown the genius of Baudelaire in a gigantic
shadow; the whole face surging out of that dark shadow; and the
soul is there!
In the portrait by Carjat, his face and his eyes are contorted as if in
a terrible rage; the whole face seems drawn upward and downward
in a kind of convulsion; and the aspect, one confesses, shows a
degraded type, as if all the vices he had never committed looked out
of his eyes in a wild revolt.
It is in the mask of Baudelaire done by Zachari Astruc that I find
almost the ethereal beauty, the sensitive nerves, the drawn lines, of
the death-mask of Keats; only, more tragic. It looks out on one as a
carved image, perfect in outline, implacable, restless, sensual; and,
in that agonized face, what imagination, what enormous vitality,
what strange subtlety, what devouring energy! It might be the face
of a Roman Emperor, refined, century by century, from the ghastly
face of Nero, the dissolute face of Caligula, to this most modern of
poets.
 *** END OF THE PROJECT GUTENBERG EBOOK CHARLES
BAUDELAIRE: A STUDY ***

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