Académique Documents
Professionnel Documents
Culture Documents
The Gascon
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THEOPHILE GAUTIER
49838
'translated and Edited by
PROFESSOR
Department
S.
of
C.
De SUMICHRAST
TJolume XII.
ART AND
CRITICIS
London
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Contents
ART AND CRITICISM
Introduction
-f*^^^
"
Charles Baudelaire
Victor Hugo
Of the
Excellence of Poetry
Of the Utility
of Poetry
....
Hoffmann's Tales
The Barber
In
of Seville
Greece
17
Presented
to the
UNIVERSITY OF TORONTO
LIBRARY
[71/
the
ONTARIO LEGISLATIVE
LIBRARY
1980
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Art AND
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ume
are
own
save the
in
characteristics.
The
mind
series,
linked together
last,
Gautier's
Each
for
The
"
vol-
this
nant thought
its
contained in
articles
all,
by what
series, has
vim
trodu c tiori
various
THE
CriticISM
The
domi-
the love
there
criticism
are
on
Excellence
marked
the articles
on Hugo breathe
of literature
in
modern times
that
no
the drama,
form
fJi* #
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artists
st'll
working.
is
Greek
classicism
it
has
of the
nothing
upward-springing,
of Gothic
art,
the
like
mattered
it
and
It
Greece
Temple of Nike
He at once owned the
Propylaea, the
Renan has
so well termed
it,
complete satisfaction
as in
first
classical architecture of
little
Parthenon, the
his
distinctive
is
lost.
architec-
in the
may seem
to
many
readers, to
most
readers, of
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INTRODUCTION
these volumes that not only
is
it
is
quite reasonable.
the proposition
is
entirely true
but that
this,
man whose
great
taste
is
The
latter part
really cultured,
the time
of
at
art,
resentatives
Gautier,
of
the
brilliant
had been
besides,
principles of
company of
deeply
idealists.
school, though
little, if
anything,
work of
against
less,
in
it
must be owned
common between
there was
revolted.
classical
that
work of French
felt
for
None
the
the really
new movement
or which he so
mmt
timt
mfs
>*
>
mm
the
gladly
accords to the
Of the
ature in France,
it
is
Acropolis.
and even
in
Cor-
work, the more purely classical plays are dis" Don Sancho of
"
Cid,"
regarded by him, and the
neille's
play
not mentioned
at
him with
studied
all.
As
interest or
by him.
is
This
is
all,
for
Polyeucte,"
Racine, he
has
not
apparently unappreciated
There
and the
ers,
Hugo and
his follow-
beauty of Racine's
greatest tragedies.
It
of the
must be borne
in
mind,
in
Hugo dramas
deepest.
The
first
in this
as the
He
it,
and the
To
last
life.
words he
this
subject.
INTRODUCTION
whom
equal, and to
to
Shakespeare's.
in this
estimate,
it
France owed
How
drama
fully
equal
many
years to prove,
the painful
opportunity of
" Marion
witnessing the reaction against the author of
Delorme."
There
two
are
ume, of the
upon Gautier
the
in
Hugo had
who was
Roman-
drama
As he
in
general, and
tells
is
yet
"this same
'
The
startling assertion.
in a
He
or scouted.
was
first
fit
it
make such
and an appreciation of
to see
it
It is
him
when
King's
in
failed
The
engaged
in particular.
Hugo's plays
art,
and
it
was exasperating
Yet
this
to
flouted,
The
A* A* ^S*
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Burgraves
trumpets, only to
dead as a door-nail
fall
of
flourish
and
most
deservedly.
the
to
itself
"
whole, correct appreciation of the
trilogy."
is
"
performed.
The
possible
Burgraves,"
Yet
it
when
when
as containing
situations.
who
dicant,
in,
many superb
That in which,
none
is
else than
the Emperor,
men-
ushered
is
impressive; and
still
in
which,
after
Hatto's
thrilling
insults
to
by the former, the beggar suddenly steps forward, declares himself the
in
reply to
am
the
cross
of
Charlemagne
of tragedy.
opposite
fill
urges
Surely
this
must
the
move
Well, as
it
is
a matter
to
of
laughter,
fact,
for
it
anything
more
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melodrama, more or
is left
and forced.
wildly extravagant
Such
is,
unques-
" The
King's Sport," absolutely revolting in
tionably,
such is " Angelo," which, notwithstandits main idea
;
the
ing
praise
and so excessive
terror that
is
degree,
so unreal,
Such
bores quickly.
it
is
" Lucrezia
Borgia,"
in
to a very
much
less
really
thrilling
It is
and
in its
it,
his
the
see
to
all
"
the characters they grew so enthusiastic over.
Ruy
"
Bias
is a
good example of this, and it may be quoted
all
the
more
play of
Hugo's
Hugo and
when all is
"
loafer,"
who
fancies, but
low ere he
Hernani,"
by
"
Ruy
the only
measure remained
in
is,
more than
said
and
done,
nothing
it is
to stoop pretty
10
Don
Salluste.
dbdb i: i:
:!;
INTRODUCTION
The more
his
name Don
that this
wonderful genius
ing
his
an absolute
is
and
opportunities
is
it
fool, incapable
consequently
new
of see-
of utilising
The
as
drama,
of
real study
he understood
human
striking scenes
and
it,
did
not consist
in
presentation of
gay.
and
Victor
Hugo and
mind
Gautier's
appreciate
his
in
in
order to under-
laudatory
accounts.
definitive
form
literature,
life
come of
all
form, which
It
realised.
It
was
II
to present at
once the
life
was
it
to
to be varied, supple, in a
mingle tears and laughter;
"
The name "drame was selected in
word, life itself.
"
it
is
almost
that follow.
invariably recurs in the articles
It
and mistaken
were destined
for his
articles
them
his
account
Far from
valueless.
is
in
reader
to
upon the
change
taste.
in
It is
public
therefor, but
it
is
that
now
pall
taste
mind by works
and to
discover
the
reasons
an Introduction.
On
a critic
when he
of Hoffmann
in
ingly valuable
laire's
is
This
in his
latter piece
exceed-
of work
!/
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INTRODUCTION
and
at
is
of
heart
the
Gautier's
lieved,
defending his
forth
also
setting
own
preferences.
is
While
doctrine.
poetic
his
own
be-
latter
creed
This aspect
and
will be
which
will
comprise
the
celebrated
It
remarkable
pasticcio
in
of the
old
Devil's Tear," of
is
consists
It
quality.
Miracle
two or three
of
is
plays,
of a clever
entitled
light sketches, of
"The
which
really
be turned out.
knew how
to
He
to turn
reallv
good drama
is
to
if a
line.
is
it
left
work up a
the more
regrettable
"The
13
scene, and
Magic Hat"
is,
of
'
vogue
in
the sixteenth
seventeenth century,
still
at
and which,
fulfils
lively,
its
fact that
it
The
it
spirited,
in
and witty.
modern
dress,
was revived
at
the
It
is
Unpretentious,
it
spectator, and
in
beginning of the
the
bright,
that
and
much
Odeon
is
the
proof sufficient
many
other
constant occurrence of
14
new
subjects
interesting
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Art AND
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Criticism
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CHARLES BAUDELAIRE
FIRST
the
year
at
1849,
Lauzun) where
House (Hotel
Pimodan
lat-
Among
the
dwellers
whom Lauzun
in
still
the
quite
young,
Mignon," and,
"Fame
represented in his
superb
posed to Ary
later, to
Paul Dela-
that
Distributing Wreaths;*' and
"
loved of yore.
Woman
whom
Clesinger
which pain bears the appearance of a parwith an intenoxysm of pleasure and which is imbued
of life which no sculptor had yet attained to and
sity
statuary in
which
will
never be surpassed.
inspiration.
His
thrill
of expectation, and
was
succeeding to the
seemed
ing reputations
manifest themselves,
most promising of
as the
in
which com-
his
was looked
all.
He wore
upon him.
upon
to
his
was impressed by
its
regular points
on
his
brown
dazzlingly
helmet.
outlined
silky
ironical
painted by
delicate,
ty
luptuous,
mustache, had
sinuosity
of the
Leonardo da Vinci.
the
mobile,
mouths of
chin
his
close-shaven
vofaces
seemed to be scenting
His mouth,
faint
palpitating nos-
His
trils,
his aspect.
cheeks,
the
marked
bluish
tone
His
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CHARLES BAUDELAIRE
of feminine
neck,
freely out of a
tie
turned-down
of Madras
shiny,
stockings,
and
collar
showed
whiteness,
and a narrow-check
silk.
lustrous
and
elegance
stuff,
snufF-coloured
shoes
patent-leather
trousers,
;
white
garment
every
English
simplicity,
intended
apparently
to
denote
artist
who have
men.
to
down,
Philistines
his
face
was
it
Thus
preserve.
and so unbear-
to
recalled
it
was
childish
freed
from
a survival of
and bourgeoisall
superfluous
of Laurence Sterne, a
that
his
which
English
forefinger
is
the
attitude,
humourist
his
against
in
as
the
works.
19
is
portrait
known, of the
prefixed
to
his
f*ll*
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at
meeting, by
Flowers of Evil."
"New
In the
Parisian
Cameos," by Theodore de
the poet
must be allowed
prose,
which
give us a
here
to transcribe
it
these lines of
known and
little
were.
They
at
twenty,
at
first
world.
It
uniting in
most
is
a rare
itself
irresistible
long, with
example of a
charms.
soft
broad
lids
The
really
divine face,
sweep,
the
the
warm,
long,
eyes,
The
was writing
which rules the
he
coloured Oriental
around.
shows us
art,
is
fire,
reflect
richly-
black,
pro-
caressing and
every object
CHARLES BAUDELAIRE
tip
one
on scents
borne fluttering
as
'
:
My
is
is
arched and
moment
soul
other
The mouth
once makes
at
of a
still
The
chin
rounded, but
is
powerful as Balzac's.
brown
pallor,
noble
blood.
beard
The whole
is
adorned
Although
seen as
it
is
and poetry,
time.
with
formed brow
rich,
ideal
youthful,
falls
of Paganini, that
that
as
ness enables
be taken
literally,
Charles
Baudelaire
enjoyed
is
warm
of a
ripples
It
is
rarely
face
lofty, superbly
the
modelled, and as
strongly
me
to affirm.
known under
his first
season
poet or an artist
is
but
life,
when
the
of
He
^ ^ 4*4
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leaves behind
aspect,
When
Musset.
its
remembered.
and
it is
own,
that
Alfred
de
quite
fair
this
when
was
as
told that
artists,
Baude-
and
ventionalities,
He
mannered.
was
he
particular
to give
way,
them
and capital
as
if
in a
letters in the
in
contemned by him
used
appear
the
words,
a mysterious importance.
to
as
polite
only
his
weighed
so
He
had
italics
Caricature,
in
22
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CHARLES BAUDELAIRE
In the simplest, most natural, and perfectly easy
exactly as
if
he were
proclaiming a
air,
commonplace on
for
of
his absurdities.
in
happy
hits
lines
in
the
same way
as
odd-
their logical
ity.
wide-armed,
for
He
also
was
way of
gesticulating.
He may
taste.
strayed
into
disliked
to
him
volubility of
a proof of
good
who had
his
istic
of a
man imbued
This, then,
is
how he
appeared to
mind
as
if
it
is
me
memory.
23
our
as fresh
at
in
first
my
Indeed,
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were
in
XIV
style, the
woodwork of which
tarnished,
corbelled
albeit
cornice,
on
worked
the
at
Hotel Lambert,
On
mantelpiece, with
its
had
painted
in
the
The
its
a dial
back a fighting
enamelled with
was
in this
room
that
As
have
said,
was
member.
his gray
eyes sparkling
lips
It
allotted to
24
man.
life
But, alas
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CHARLES BAUDELAIRii
none of us can foresee another's
fate
Boissara,
even
known
who had
vho
not
disease
like
Boissard was an
dowed with
which
that
struck
able
uncommonly
great
breadth
down
fellow
of mind
he
Baudelaire.
-,
he was en^
appreciated
dilettante in
He
yet,
excellent painter, as
is
would
certainly have
made an
won
at
Russia."
arts
Beethoven,
foreign
Meyerbeer,
and Mendelssohn,
He was
com-
a great voluptuary in
it,
25
so deeply.
He
pos-
sessed
clever remarks
all
out as he spoke, like Callot's fantastic figures indulging in graceful and comical contortions.
like
Baudelaire,
were
Enamoured,
"
perilous, he insisted on entering those
if
they
artificial
This
lived
tribute to a
my
youth, with
brilliant
days
whom
fame
left
unknown,
for
whom
of the
he prized
for himself,
is
mutual friend,
On
now
the day of
was present
also
dead.
my
meeting with
Benvenuto
Baudelaire there
Cellinis,
Germain
whose work,
Pilons,
and
the
CHARLES BAUDELAIRE
and well deserved be
men, and
ascribed
to
it
higher
as a matter of fact,
who,
not swindled.
being an
Besides
at
admirable
to
were
sculptor,
He
Pitou,
was the
met
that
at
House,
On
in
first
to die,
time
only
irresistible
the
in
laughter.
am
invented
artists
number,
Feucheres
who were
drawing-room of Pimodan
left.
white
gown
Maryx, wearing
way
to the
without the
least
in
vague
sort
hands
left to
And such
By
the
(it
would not
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tell
her real
little
green
Mme. Baud-
Hocquet or
baths
from
whole
her
come from
the
in
draped
person,
swimmingmuslin,
Gone
recommenced more
erons of poets,
artists,
and
and love,
as
fair
in
when decam-
women met
the
ature,
art,
Time,
days
life
to talk liter-
of Boccaccio.
have dispersed
bound by free sympathy, but the remembrance of them is still dear to those who were fortuthe groups
emotion that
pen these
me
to
bring
friends.
article
He
me
first
it
is
lines.
of which
with involuntary
am
visit in a
literary
28
it.
From
"^^
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JS* > * Sw
CHARLES BAUDELAIRE
between us
of a favourite disciple
friendship in which
the presence of a
sympathetic
in
own and
sprang
from
simply
own
his
Never,
individuality.
which
testified
made
to
The Flowers
absolute expression of
I
do not lay
stress
my
of
one,
whom some
many
He
occasions
of Evil," which
lapidary style, the
in its
on these points
known
to be
should
this
fail
Baudelaire's
show one
character.
side, a little
This
man,
enamoured of
depravation,
evil
and depravation
of course),
of Satan
or admiration.
is
bat-like wings.
of Romanticism,
him
and
that
he
is
Now
that
the char-
incapable of love
so unbearable to
evil
(literary
is
a sight
29
and
in the
adored
fervent days
the
masters
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was
that
and with-
their due,
as
own
It
realm, his
may be
for
own
subjects,
and
his
of Baudelaire
bloom of
in the
his
own
mint.
shown two
portraits
latter years
life,
spiritual
his
that
and more
lips
mysteriously and
secrets
in
their
hand
its
his
seemed to contain
corners.
nose
his
lips
had
sarcastic
The
cheeks.
deur and in
brow,
slightly bald,
solidity, as
it
had gained
and imparted to
Charles
1
821,
in
in
it
Baudelaire
the
His
hair,
gran-
in
Rue
his face, at
was born
in
Paris,
April
21,
Hautefeuille, in one of
those
old
30
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CHARLES BAUDELAIRE
the corner,
at
which our
aediles,
He was
the son
of Baudelaire,
served
the
very well-read
pre-
fine
which the pretentiously rough manners of the Republican era did not do away with as completely as is sup-
This
posed.
trait
won many
found
whose manners
Baudelaire
does
to
have
He
phenomenal boy or
it
Upset,
no doubt, by the
unexpected
questions,
the
of putting forward
least intention
academic
tests.
minded or
While
lazy, or taken
to parents
it
is
very clever;
may win
it
may be
up by other matters,
man
and teachers.
31
merely
the schoolboy
known
be
this
is
absentrather,
the
Baudelaire,
and
died,
father,
his
who
later
Before
long
became ambassador
at
Constantinople.
widow,
The
laire.
fatal
gift
fears
experienced
of poesy manifests
writers
itself in
is
it
of biographies
when
by parents
wrong,
to
the
in
reproach
my
opinion,
fathers
and
monplace views of
parents.
life.
of his
own
called
a literary
enters
free will
life
upon the
From
life.
the
Way
moment
him
sad,
man who
of Sorrows
he does so
he becomes a spectator
has
involuntarily he separates
to
his
be
two
no corpse
If he has
by
how
analysed by
selves,
troubles,
that of the
life is
he
of
They
at
hand, he
table, and,
own
32
heart.
<w* * av<
V1W
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ar*
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mw
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<
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CHARLES BAUDELAIRE
Then what
to grasp as
difficult
form
when constrained
ing only
seized and
knee,
the
is
held
it
robe of style, so
difficult
to
weave, to dye,
When
work
to
this
is
its
train
of mys-
motiveless antipathy,
for
prostration, thirst
healthy food.
am
mad
testify to that.
have
talent,
in
ideal.
least,
still-born
won
3
gained
What would
into the
that
at
who had
And
it
be were
in the
to descend
company of
babes,
33
Desire
is
not
is
Faith
not possession.
gift.
if
In
not
is
literature
suffi-
as
in
grace be wanting.
this hell
of wretchedness,
its
know
for, to
winding
circles,
it
properly,
not led by
Lucien de
they nevertheless
and sorrows of a
to turn
from
it
instinctively
and they
humanly fortunate
strive
whom
position in
life.
Once
revolving round
have a son
him.
in
The
brilliant
make
a poet
of
child
literary
irony of fate
Maid."
which he clung
travelling a long
way
off.
was sent
34
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CHARLES BAUDELAIRE
Ocean,
visited
from
his resolve to
to interest
him
become
in trade
man.
a literary
were
futile
him
All efforts
own
beefsteaks
him
attract
more
powerfully.
All
he
He
death.
constellations
giant
unknown
in
with
vegetation
Europe
its
brown
magnificent,
odours;
penetrating
the
until
which shone
in
the
him
figures
the
swathed in
of
light,
mud
of Paris to
fly
back
to the lands
some of
In
his
most
which
flits
Malabar bearing
for
granted
jar
without
trespassing
35
It
may be taken
beyond reasonable
> ?
"iS"
>
>
>
^^
*^
* **
^ "^ ^ ^
was
bounds upon the
that
dur-
it
On
Venus,
whom
his return
There was no longer any reapecuniary one, for he was rich, for a
son
not even a
time, at least
It
to run
and
it
same
met him
beginning of this
later, as I
article,
have re-
he began the
life
of every
line.
not
man
of
soon
Baudelaire
on the
letters
hither, but
engaged
discovered
Sainte-Beuve,
it
who
it.
seeking his
He
the
own
observed,
Kamschatka, and
in
is
was on
its
Several of the
of Evil
"
poems
that appear in
36
Like
"The
all
Flowers
born poets,
4* 4*
^ ^ 4; 4; 4 4; 4; ^ 4 ^4* 4. 4 4* 4; 4* 4* 4; 4
! ! #
CHARLES BAUDELAIRE
Baudelaire possessed
to himself
made
he
at
out altering
He
it.
a style of his
more polished
stronger and
manner proper^
own, which
with-
going farther
There
whom
are
it
people
who
naturally
of inverted
affectation,
would have
to strive long
The
are
would be nothing
simplicity
simple.
Before
species
mannered,
else than
downright
mannerism.
in
They
order to be
in
tangle, and
subtile, the
curl.
It
is
and fore-
the perspective.
It is
of,
manage
to
that
chiefly
strike
once perceived.
first
work,
effort,
what
That was
critics
took
37
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.TM
VM
*.
MM
** ** ***
was
purpose,
of his
soming out
their exquisitely
in
reality
His
individuality.
poems, with
badly rimed
cost other
commonplaces
Though
was young,
when
as
the
in
dawn of humanity,
stock of
The
great
when
the world
so to speak,
expressed, and
every
still
commonplaces
They
that
then in their
first
flush,
childish.
poetic
in circulation
ness of outline
plex, contains
sufficiently
and have
life
besides,
has
reproduced
in
is
is
lost
their sharp-
ideas,
artificial
cence
like
is
no longer
compositions in-
While
true inno-
_ Now the
nineteenth cen-
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MW MW
CHARLES BAUDELAIRE
is
tury
express
anything but
its
thoughts,
and
artless,
its
needs, in order to
it
dreams, and
its
aspirations, an
Disregarding
all
its
to
night.
dawn
poet's business
is
is
to
reds,
its
dawn
melt
flash
of light, that
which, nathelcss,
that
we
value
highly
But the
Dawn,
Hours
art
that
has
point
is
of maturity
full
simply
It
is
of shades and
39
*^
T* *
MM
MM
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"* * * "
"^
'
/
j
listens,
them, to the subtile confidences of neurosity, to the confessions of aging lust turning into depravity, and to the
This decadent
which
is
is
called
worked
style
may
style
is
upon
for all
it
is
Word
worth.
Lower Empire,
Such, however,
is
wants
till
in this
then unknown.
style, despised
life
It is
though
it
when
inevitable
fictitious life
and developed
in
man
it
unheard.
Contrary to the
classic
style,
it
move
40
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^
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CHARLES BAUDELAIRE
tasms of insomnia, the terrors of night, the monstrous
gloomy
all
in their
reaHsation,
fancies at
undefinably
horrible
the
in
of
depths
uttermost
its
recess.
It will
dred words
in
an author
who
modern
colouring.
in spite
So Baudelaire,
who was
assuredly
at his
Apuleius,
preferred
He
and Cicero.
degree examinations,
St.
Pctronius, Juvenal,
his
ebony black
style,
prose and
the
hymns
in
which rime
a Latin
in
calls
it,
poem rimed
which
is
''
to a
To
modest
this
curious
I
poem
transcribe,
41
is
for
Dantesque
added a
it
no
less
explains and
i^
decadence
" Does
it
transformed
sigh of a robust being already
for spiritual
life
passion in the
/
the
way
modern world
singularly well
is
me, that
strikes
it
the parting
and prepared
fitted
to express
it
Mysticity
felt
by
is
The
tongue seem to
sion that forgets
The
me
all
to render the
and mocks
restraint
words, taken in a
new
carelessness of a pasat
regulations.
charming
Roman
his
flash
beauty.
among
Have
look of child-
"
?
Baudelaire
side
not even
is
far.
When
clear, correct,
nothing in
noticeable in his
it
to blame.
prose, in
which he
42
This
criti-
is
particularly
treats
of matters
Jm ^ w
!l>
MM
"M
r>
afw
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>
*>
CHARLES BAUDELAIRE
more generally current and less abstruse than in his
verse, which is almost always extremely condensed.
His philosophic and
literary beliefs
were the
beliefs held
by Edgar Allan Poe, whose works he had not yet translated, but
whom
for
he
felt
singular
preface to the
Humour,"
"
He
in
human
itself,
dwellings rectangular
He
the eternal,
cruel
the
abominations.
in
'n
no better than
ments
The
affinity.
in
believed
in
and
cicatrices
he enjoyed the
Machiavellian
man through
a pillar of light."
utili-
who
seek
to
inevitable order
in
and
all
those
of society.
He
in
the
He
that
an
good, and he admitted original sin as
43
mU
Sw * S S.
MM
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A #l/*i4**i*i*i**s*f* * * *
t!ft Mw * vr v* > * "wi" i* " tnm
is
do what
to
him and
is
is
an
counsellor urging
evil
it is
man
deadly
of running counter to
any
profit,
just as
slave caught in
wrong-doing
it
in
but he
himself, like a
refrained from
The
short-sighted
critics
it
ever
are
normal
is
always
entirely in the
wrong.
it
for
turpi-
He
hated
despised
as
He
ac-
damnably
who have
No man
He
any charm.
of magnetism to flutter
but
many
down
a time, by a vigorous
44
upward
flight
mouth,
he breaks the
4^ 4; 4;
CHARLES BAUDELAIRE
spell
of
his seal
form the
If
He
spirituality.
it
title
of the
is
with
flowers,
filled
calyxes
part
metallic-leaved
their
first
with
answer
composed of
intoxicating
bitter
that scarce
is
or
tears
strange,
perfumes,
aqua-tofana
of a graveyard, which
tions, in
is
No
the black
and
soil
civilisa-
are dissolving
doubt forget-me-nots,
mud
that
fills
in
cities.
Besides, Baudelaire,
woodland
last to
efflorescence of the
new
in
in
little
trees
for the
the vicinity of
go into
ecstasies, like
leafage, or to be transported
45
What
he likes
is
to
A* ! !
*^/
modern
Paris
to
watch him
anguish, his
He
at
crouching
in their filth, as
gazes
The
under a dunghill.
repels him,
fills
sight,
it
pains
him
attracts
and
which both
is
and
for he
it
will readily be
or any mission to
itself,
exciting
in the
reader's
our day,
when men
he believed
a
certain
it
of
his
the
In
was necessary
effect
commonness.
are
fulfil
to add to
that
sensation
He
^6
CHARLES BAUDELAIRE
reproduction of
truth.
Just
as
In
that
it
fit
These
for that
it
and removing
should
it
principles
by idealising
truth.
trivial
may
metamorphosis
subtle realm,
when
one,
surprise
examined,
it
be horrible
be
will
seen
but
they be care-
if
that
the
horrible
by a Rembrandt-like
manner of
omous
in
reading
certain
fully
from
undergo a
flash,
by
As
is
determined ugliness of
ingredients, Baudelaire
" Fair
foul,
this
The
may
and
foul
Women
Men
"
Pre-
fair."
is
kind, therefore,
Seven Old
all
is
such as "
of
fantastically strange
Macbeth,
effect
is
and "
The
not in
poems
Little
"
Old
of
Evil
"
:
"
You
have
endowed
47
the
heavens
of
^s# *^*
JU
^
!/
*?W
art
shudder."
shadow
luminous touch
the shadow of
but
is
Though
it.
restless,
it
would
it
himself:
be
man
If a
pacem summa
simpler to
apparently
really serene.
is
is
if
talent,
He
tenent.
his
that talent
at
''
you
let
him speak
to
for
examine
own
soul, to
hood remembrances, he
will
no
it
itself;
poem can
be
so
recall
his child-
poem,
so
as
noble, so truly
that
which
has
"
noble manners,
or that
its
final result
What
say
is
that
would
man
plainly be absurd.
is
sought to attain
work
it
will be poor.
CHARLES BAUDELAIRE
Poetry cannot assimilate
itself to
forfeiture.
is
The modes
end.
its
or
Itself,
of demonstrating
morals,
not truth,
truth
make
tend to
songs
its
are
Truth
different,
ible,
science
irresist-
gems and
the
of
flowers
Muse, and
the
is
" Pure
intelligence
aims
beauty, and
two extreme
nected with
the
distinguished
from the
that
difference
some
That
taste
of
truth, taste
at
Aristotle
delicate
its
moral
did
Vice
that
by so
sense
hesitate
exasperates a
it
slight
to
is
class
virtues.
man
of
harmful
is
true
is
is
proportion of
It
us
intimately con-
is
ones, and
not
shows
to
the
just
and
On
a
dissonance,
minds, and
4
it
hurts
more
do not think
49
specially
it
is
certain
scandalous to
poetic
look
and rhythm.
"
It
is
immortal
admirable, this
this
look
us
us as a sort of
as
something
it
offers
corresponding
to
is
to,
for
instinct
upon the
earth
summary
The
heaven.
insa-
of,
It
is
life
at
lie
the
splen-
And when an
ex-
quisite
not
that
upon
this
vealed to
seeks to
earth,
seize
the
exiled within
at
once,
and
that
even
imperwhile
it.
of
the
manifests
soul,
an
Itself
in
enthusiasm,
enthusiasm which
is
in
rapture
wholly inde-
50
For passion
Is
a natural
^^
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CHARLES BAUDELAIRE
thing, too
pleasant,
beauty
indeed
natural
a
not
discordant tone
to
introduce
un-
domain of pure
the
into
an
of the writer
sham
at the
tongue of
who
is
settles
fire
striving
at
will
and
the mysterious
find
in
a very
power of
curious
literary pro-
passage pre-
his
own
American author:
"
after
We
poems.
Here
is
a poet
who
has been
composed
certainly
in
accordance with
if
his poetics.
poem
He
inspiration
inspiration be taken to
mean
51
,#A4 v^v *4* *S* *S* ** *S* *S* < ri* 'i* |**J! *! Vg* VS* *9* ! *g>g>
also fonder
was given
eccentric,
to repeating that
originality
it
is
is
it,
which can be
a thing
Did he claim
to be, through
was
urally
him on purpose
in
I
am
to
make
was
was
it
must
his genius,
Another of
his favourite
'A
Thanks
his
work
is
good author
penning
is
his first.'
to this admirable
at
and
in
fine
frenxy
may perhaps
The
more than he
likes.
and
men
amateurs of a
maxims,
It will
may
always
derive from
52
^
>
L*
>4**4*
*s* &
<M > ic
4> > *w*
JS WS*
nr*
* fa* s* *s* *s* !*!* *a* * 9**s*
> * ^r a^ a^ vS* > MW m *w OT<> aS* r*
CHARLES BAUDELAIRE
required to produce that piece of luxury called poetry.
After
all,
little
genius, and
charlatanism
indeed
is
always allowable
is
not unbecoming to
it
is
Like
it.
woman,
The
latter
sentence
is
attempt to conceal
his
preference
Nor
tions.
To
parison,
illustrate this
shall
and
did
somewhat
fictitious
civilisa-
say that he
to a
he
he took pleasure in
all
in
in
availed herself of
The
penetrat-
who was
purified
for six
to
six
King
He
tensia rouge
upon
53
mouth or
lips
skilful
hand
allurements
He
on with
laid
of a face.
liked
ter
He
and charac-
certainly
from the
state
So unprimitive a
invention.
easily
written "
The
Nor
Flowers of Evil."
readers be surprised
when
will
and
who
is
has
any of
my
little
is
As
Baudelaire was
regards odours,
Eastern nations.
He
endowed with
in
going through
reproduced
when drawing
the
54
poet's
portrait
at
have
the
CHARLES BAUDELAIRE
beginning of
ing
on scents
this article
as other
"
:
My
soul
borne
is
flutter-
fluttering
on music."
He was
partook
although
in his dress
at
he
once of the
himself was
that the
human
will
had corrected
was
in its
to
him
own
fashion the
He
a token
beheld
Depravity^ that
who
direct
breaking away
impossible to animals,
unchanging
is
is,
it,
who
are
instinct.
him with
a species of
work even
into originality.
I
am
complex,
logical,
paradoxical,
The
and
more
subtle,
philosophical
aesthetics
of his
than
art pre-
55
WW
a<*
>
**
v^
* **
**
***
*
!
*! f-l*
** *'*<
a^o
*'*'* **'*
^;v '< *
* **
*f' 1>*
*<
v^ .V**A
'f* n* > Vr
he
In
did.
should be predetermined^
This
much
as
beauties
itself,
like
chosen.
artist
Every
is
set
more or
like
Lope de
less
forgot,
When
consciously or
some
years, had
itself,
when
aspirants.
The
number of poems so
so shrouded in veils
to be understood
and forms of
by readers,
of
lit-
56
JU
CHARLES BAUDELAIRE
and
others
by
replaced
less
eccentric.
dangerously
much
attention
two
or three poets at
most
suffice
food.
But
delaire,
light
piece
at
fortune than
to
all
impart
it
was seen
writer, especially
taste
for greater
hitherto
No
own.
its
good-
unknown
sensation.
"
The
Flowers of Evil
are
titles
happy
believed.
general
more
was
in
brief,
hit
title,
and
upon than
poetic
happy
to
difficult
summed up
It
idea
far
"
is
fashion the
its
tendency.
in its intention
and
very visible bond with any one of the great masters of the
school.
ture,
its
obscure.
This
at the
is
refined
ment, appears
its
clothing
first
a gar-
fault
on the
part of
57
*i 4*
^ 1'* *4*
'4^
*i'* 'i'*
rary means.
was compelled
palette
for
lite-
to
compose
He
himself.
a speech, a
all
rhythm, and a
that
when
perusing
managed
more
or less
overflowing
bile,
the
leaden
grays of plague
in
of
mists,
of arseniate of
down
plastered
the frying-pans
maturity of
fruits, to
The volume
Reader,"
whom
"
opens with a poem addressed
the
To
whom
58
|^.^
CHARLES BAUDELAIRE
having
all
vices
the
Roman
of
ferocity
and debauchery,
monster, Weariidiotically
poem, of the
it
Another
is.
no doubt with
who
his
persecution
fallijig
coming
an object of aversion
is
to his
dreams
womb, and
a prey to a Delilah,
who
rejoices at
his
handing him
having exhausted
in his
favour
the refinements of
all
last, after
insult,
wretched-
short
poem,
and contains
mad wanderings.
the foul city
"
like
whether
it
have died.
entitled
sort
of
"Sunshine," follows
tacit justification
bright
gone
of the poet's
beam of sunshine
this one,
forth and
calling to
lights
up
traverses,
them
as to
59
4* 4* 4*
^ 4 4; ^ 4 4; ^ 4 ^ 4; 4 4 4* 4* 4^ 4* 4; j: ^
!
!;
loathsome
sion,
blinds of the
the black,
houses
at
lanes
windows conceal
damp,
filthy
which
in
the
upon
closed
maze of blank-walled,
light shines
is
squares,
leprous
there, the
For
ever
pleases, into
it
hospitals
and
into
palaces, into
its
vault
beyond
the
starry
In the
very
in
the
spheres,
drinking
in
like a cloudlet
in
For
it
that
of talent
may
He
still
also
to address to
fail
gift
o^
spirituality^ as
to
an eminent
Swedenborg would
use these
mystical terms
that
is,
he
to discover
through a secret intuition relations
6o
men
is
if I
able
invisible
CHARLES BAUDELAIRE
to other people,
which a
analogies,
ently utterly
other.
seer alone
endowed with
is
this
to
each
quality to
is
book devoted
to the representation
a greater or less
degree, for
it
his art.
No
in this
doubt,
of modern
depravity
and
perversity,
Baudelaire
has
shame
lows
in all the
filled
hideousness of
its
ists,
unhealthy
for
if
iron
as
immaculate whiteness,
those
flesh, plastered
Nowhere
der.
is
for
itself
spotless azure,
air,
for in-
in
man were
a poisoner because
The method
is
not a
new
one, but
when
reading
"The
who
it
never
affect
to
fails
to suc-
believe that
6i
4 * *A *X* rL
.
(Xv
(Jtt !/
wear
when engaged
heritance
powder.
all
in-
poems
is
his
make an
artist
worthy
when he
one were
if
All that
is
my
in
of nonsense, which
much
famous
very
his
Baudelaire's
black spots, as if I
read
features
my
La Vanozza
have
worn by ExiU
that
as
compounding of
in the
sort
mask, such
a glass
to
It
is
is
remembrances.
Some
In a delightful
early
in
morn, and
are as
cool
as
child's
laden
with
innocent
flesh,
hues
thoughts.
Transposed
into the
The
of perfumes.
By
62
Cape
!* JU !
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(li*
#* 1 ** iif***i*|**iMU*l # Jk'B*
CHARLES BAUDELAIRE
an
maiden or
Indian bayadere
astray
in
seems
to
talgia,
havana
that bears
away
lull his
who
Paris,
splenetic nos-
"musk
and
beloved
warm
the
blue
air,
endeavour
to rouse their
melancholy.
of
work, he compares
his
up, forgotten
among
it
flagon, corked
From
deserted house.
press, in a
to an old
some
the
from
it
a bitter
vinegar, the
flagon
perfume of
elegance.
be
sal
If by chance
ammoniac and
know
efi^ect
not
into
poets
who
in
pestilence.
in
manv
tenuous cloud.
colour, and
fall
many
and things
Marseilles
it
music into
they seldom
63
let
which
^ ^H^ #B^ ^
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aiira
Baudelaire's
in
to moisten the
fails
sponge
As
and
am on
little
let
hobbies,
me
he adored cats,
add that
like himself,
which,
whom
in
He was
ecstasy.
whose favourite
attitude
is
the
prone
of
pose
the
They prowl
with velvet
or
loci^
come
to
paw through
sit down on
gazing
with
at
gold,
with
It
penetration.
that
is
seems
way.
They
and no place
study.
them
and
tenderness
magical
so well as
it
on
and peace,
literary
man's
accompany
rhythmic purring.
their
tongue some
64:
.>. J
paw they
smooth with
company, and
suits
They
their guttural,
as
the
passing from
intelligent
the
--_
"ir;
his
Now
ruffled
labour with
on
their
CHARLES BAUDELAIRE
they are cleanly, careful of themselves, coquet-
fur, for
tish,
this
a calm, discreet
in
of disturbing or being
afraid
caresses are
of dogs, on
all
way,
have
nevertheless, the
whom,
their
as
Their
the way.
in
common
in
nothing
stowed
all
their appear-
sympathy.
These many merits were duly appreciated by Baudelaire, as was right and proper, and he more than once
dedicated to cats beautiful
"The
Flowers of Evil
them
dogs are
in
as
accessories
to these pretty
the daytime, a
tic
its
creatures,
verse
behaved
well
attraction
for
the poet.
composi-
Baudelaire's
in
fearlessly
his
in
during
with
of their
equivalent to a signature.
is
sincrs
in
numerous
Paolo
which he
in
qualities,
characteristic
Cats are
tions.
as
as
in
"
poems
alchemists,
it
its
it
in
the stead
meets wander-
necromancers, resur-
i'mp^'^-
n^-
cat,
back, moves
65
;f
:^'^l
.^
lovers,
patrols, and
all
by night
murderers,
thieves,
gray-coated
seems
It
only.
to
latest special
lame
Its sere-
leg.
like those
justifies
the repugnance
minds, for
whom
attraction.
But
a cat for a
and
the
felt for
companion
wheedling
mysterious gait,
in
to
difficult
and
it
point,
Erebus have no
with tomes
Baudelaire himself
strong and
tent
will
study
with
cat,
filled
perfidiousness,
his
certain
yells
by practical, daylight
mysteries of
it
to
up
that,
alchemic apparatus.
voluptuous,
accompaniment of
to the
Doctor Faust
kind,
look
devilish
passably
its
velvety
supple, casting
was
manners,
men
on
retain,
but
wholly
from
free
whom
some
veiled, others
be given.
represent
They
the
name
eternal
they
***
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CHARLES BAUDELAIRE
expresses for them
we have
for
passion,
abstract love^
is
and not
concrete love^
and violent.
Among
these
women, some
are symbolical
heavy
helmets of
false hair,
glitter
in
as
wickedness, insatiable as
weariness,
lacking,
bitter,
filled
the
like
Endowed with
with
sterility itself,
hvstcrical,
mad
terrific,
are
They
gloomy
fancies,
power
to
and
love.
life,
thev
2:0
on
in
is
to their
upon hearts
heels.
are
It is
like
narrow high
hatreds,
from
such
loves, that
more
dusky
idol
panther
of Java,
the
rests
cats, that
Parisian
wicked
these
him
to
for
sharp-clawed
with a
his heart as
mouse.
But
is
it
plaster, marble, or
Above
ebony
the darksome
in
away up
attained
far
far,
perversity,
phantom of
of a
ugliness, and
wretchedness,
swarm-
never
form
made of
light,
woman,
etherealised, spiritualised,
a vapour, a
dream, a reflection of
Out of
depths of his
it
celestial
falls, his
flee
and hide
tears,
his
Our
and utter
self-
68
It
is
with
perfect felicity in
fairy-like or
Gainsborough cottage, an
to this
hands as to
able,
cries,
his
is
the
ideally
comfort-
interior of
Gerard
CHARL.es BAUDELAIRE
Dow's,
or, better
He
or Hyderabad.
Are we
dreams.
his
still,
in
real
tic
it
was not
mv
It
would be
roman-
fortune to be admitted
to
little
ideas, very
actions.
And
as
of
ideal love as
and never of
his feelings,
his
of Harpocrates.
much of
It
would be
safest
to consider that
At
it
on which
acts.
are
vine
it
The
Flowers of Evil
Wine
"
and the
"
come
difl^erent
num-
forms of
is
are terrible
They
wm^ S
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** ** *^* **
no
ing needs
inscription,
"
Workingman's Drink."
god of
evil
The
this
at
paint-
"
The
and which
in,
it
Impiety did
God from
which
is
in the
punished
all
in the next.
It is certainly
He
and
is
vice and
Satan and
exhibited
his
all
sees
perversity
him
work everywhere,
at
were not
and crime.
Sin,
as
sufficient to drive
with Baudelaire,
man's native
if
him
to sin, infamy,
invariably followed
is
But
enough on
this
able
is
poems
in
"
The
have
its
own
point
pomp.
to
it
to
is
criticism,
and
all.
not
do.
some of
Don Juan
in
Hades."
with a
70
It
is
a tragically
sober masterliness
of
CHARLES BAUDELAIRE
The
Don Juan
bearing
men.
insulted
and
his train
whom
l^he beggar
room of Charon.
phantom, with
Don
stiff,
man
in
of stone, a
the
wan
now
the
lips
women who
betrayed,
have
loved
trampled under
him, outraged,
foot
like
wound
remains impassible
Heaven,
please,
hell,
blooms,
in their hearts.
Amid
Don Juan
his pride
him, but
The
abandoned,
withered
blast
proud
to
and
he sought to have
athletic vagrant, as
In the stern a
Dona
women
in his
rags as
old
of outraged
it
lightning
may
slumbrousness
of the
poem
71
entitled
"
The Former
v.-
monstrous modern
fact that
by the
Paris, and
dise Breughel's
testify
to
the
side
sombre descrip-
artist's palette,
there
is
in the
like those
pictures,
which
distances in Para-
The
due wholly to
By
alive,
must be understood
in
is
which
en-
splendid,
sombre night-
mezzotints:
"Imagine
that
ex-
"
Dream
Parisian
deavoured to reproduce
is
to this curious
tendency,
as
drew attention
striking instance.
this
art
In an article which
cluded.
was
mentioned
thing
is
rigid,
illumined
towers,
by
stairs,
their
From amid
own
fountains,
moon-
light,
palaces,
colonnades,
A
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M a^k* ^P
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ai^*
CHARLES BAUDELAIRE
fall like
The
crystal curtains.
steel
The
gems.
flow
is
Were
tread
this
poem gleams
Is
is
Queen of Sheba
up her
lift
the
The
the surface.
like polished
of rigid elements
style
of
black marble."
it
fear of
for
gown
to
made up
lives, breathes,
vented by
touched
intact
art
Does
Palmyra or
and erect
in
forms
in-
Palenque
which
has
remained
fictitious
fantastic, anti-natu-
them
to the
my
part
prefer
poems
that
worn-out commonplaces,
sentimental patterns
trite,
trivial,
and
idiotically
73
have what
ready at times to
is
superior to platitude, to
my
be bad, but he
as his
its
Barbarism
am
concerned
he
may
is
qualities,
quite
am
is
is
it
unpleasant,
matured
I
must bring
analysis,
and reasoning.
aesthetics
though
have cut
a few
Women," which
walks the Paris
down
entitled
"
it
startled Victor
streets,
somewhat lengthy
he sees
The
old
Old
Little
As
Hugo.
little
deal, with
good
the poet
women
pass
them
just as if they
in
in
a souvenir
the
wan hand,
is
tion,
it
may
be, a
74
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Af
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CHARLES BAUDELAIRE
He
of age.
new
breathes
spectres, straightens
into
life
these
flesh
upon
their
poor
unhappy
Most
ridiculous, yet
hearts
the
illusions
of bygone
master's
by, at the
prised by the
command,
like
all
who
such nowadays,
monest thing
sume
that
nothing
in
as
they sadly
spectres sur-
dawn.
by
days.
tottering
of youth
and there
most important.
is
It
is
are plenty
the
com-
in
what
metre, disdained
is
is
poetical
common.
The two
poetry.
have
poetical,
are
they
incapable
of writing
verse,
that
even
is
to say,
mediocre
separate verse
that tends to
itself.
find
Sainte-Beuve,
who
from poetry
nothing
in
in
less
is
To
attempt to
modern piece of
folly
by
75
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"<
t;^^
of English
the
Literature,"
following
put in
its
so
still
is
critic
who began
I,
M. Taine
opinion
way
'
:
greater
There
are
schoolboy, and
the
to
in
that he
Boileau
the
smaller
by the
man who
it
'
The
to
clever
I shall
any poet.
in
only, but
I fail
to
art is in
so
abused.
poetry in verse
knew
its
It
;
excel in
would be quicker
but
if this
secrets should be
to
it
should
suppress
all
men who
who
itself,
^6
did
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CHARLES BAUDELAIRE
would be impossible
It
or
more
manner
correctly.
in
which
considerable
]t is
When
his verse
is
poet
is
in
clearly
question, the
wrought is a matter of
importance worth studying, for it conpart the intrinsic value of that verse.
in great
stitutes
more
copper.
or
provements
reforms
introduced
Romanticism,
by
displacement
at
will
and
fulness
casting
of the
in
his
own
verse his
own
his
own
private
own knack,
if
is
always
may
He makes
feet, these
cast
own
own
his
thoughts.
Poems
numerous
77
in
which
divided
in
his
he
into
prefers
to
quatrains or
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in
fond of the
is
will be
first line,
a naturally
faction
first
completed
later
like that
in
in
the
satis-
He
music.
is
may
it
note
last
struck.
Among
his
poems
many which
are
any
prefixed
them.
This
is
no doubt due
an instance of conscientiousness
I
fancy
had
together.
bringing
friends,
account
prosody, of which
in
me
me
he paid to
It
will
article
wherein he
be remembered
volume of
verse, the
to
he
that
was
whom
I
is
the
fact
that
themselves to indulge
these
in
poets too
libertine
my
often
sonnets
atten-
allowed
that
is,
in
CHARLES BAUDELAIRE
sonnets that were unorthodox and in which the law of
the quadruple rime was unhesitatingly neglected."
At
this
libertine
in
orthodox sonnet, as
the
Petrarch,
Felicaja,
Ronsard,
end
as
in
the
two
lines
was composed by
it
Du
fashion
Bellay, and
Sainte-
poet
which
pleases,
distinguishes
the
sonnet
and fourth
is
complete
difficult
this
rimes
in
the
two
write than
to
mute or sonorous,
Boileau
is
thinks, precisely
just as in ceilings,
set
figures.
Not un-
composition,
it
is
79
M* M*
>
so concentrated.
room
find
move about
to
in
The
rising
sonnets, and
libertine
many
me.
disagreeable to
pleases, choose
own
to dispose
a rigorous
and
and
The
note.
sonnet
is
peculiarly
if
he desires
rimes
his
What
he
as
can be more
of correspondence
lack
is
this
should a man,
Why
untrammelled and
to be
very
me
in
in
symmetry
regularity
Every
like a doubtful
or
false
theme
resolved
is
or else,
fashioned,
write
be
he
writer
the laws
that
all.
are the
In
this
Italians
exhausted the
It
may be
subject.
said
old-
should
not
and the
it
sonnet.
must
govern
poets
and
in
way.
consulted
work
the
if
sonnets at
Pleiad,
the regular
submit absolutely to
therefore
it,
in
of him
of the
to read the
professo^
that
he
of
has
A
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CHARLES BAUDELAIRE
But enough on these libertine sonnets which Maynard was the first to make fashionable.
As for sonnets
duplicated, related,
septenary,
and
shaped
be
these
saltire,
pedantic
"
tise
The
in
culties
Rabanus Maurus,
should
exercises, the
in the trea-
Tempo,
which
but
and
diffi-
versified puzzles.
more
form
peculiarly
and that
refrain,
melodious
reappear
in
lines
turns,
as
several
happy examples
verse.
He
in
Count de Gramont's
the
uses this
dream,
in
unfortunate
subjects
love.
The
stanzas,
it
back,
rocked in the
Longfellow
regular
and
volutes
Edgar Allan
it
is,
8i
of the billows.
is
Like
Poe he occasionally
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harmonious
who
Beuve,
effect
which
consonant
certain
sweetness
in practice in his
own
"Sorrento restored to me
my
sweet
Infinite
away on
is
No
to
frivolous
verse
Alliteration
is
frequently met
is
doubt these
utilitarian,
clever,
simply
the
use of
charm of
its
as a sea-gull's feather
in
dream."
infini.")
appreciate the
will
with
Sainte-
said, in a
bear one
produce
line.
Any
to
is
progressive,
men who
childish
minutiae will
think,
and
with
seem very
practical, or
Stendhal, that
who
insist
that
for the
poetry should be
Yet
it
is
good or bad, and that distinguish the true poet from the
sham.
82
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S*S*
CHARLES BAUDELAIRE
Baudelaire
is
To
metre.
apart
noisseur
his
hand
and
in
little
are
that
might do
diamonds,
it
is
when
sapphires,
no small task
to
when
are
words
emeralds,
rubies,
make
thinking over
There
ornament of gems.
and
sorts
the design of an
They
rings.
and
a choice
from among
them.
The
great Alexandrines of
which
was speaking a
ebb away on the
I
mad
fury of spray
overhanging
showers.
clifF,
His
lines
fall
back
in
briny
hypo-
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vr *
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They
compromises.
lend themselves to
also
wood
the thieves
trees.
It is in
which a moon
in
them
of the dead
arctic weariness
under the
drop
its
litter,
that
he describes the
woman who
to the bier,
has passed
in
Canidian incantations
o'er by
sicklied
starts
yew
has
filtered
or again he exhibits
its
it
From
contemptuously, as
him of
the style.
his
let
shameful
lusts.
us pass to the
Baudelaire weaves in
it
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CHARLES BAUDELAIRE
hemp,
of the East,
as in those stuffs
coarse, in
delicate
at
way upon
ground of
The most
sail-cloth.
thrown
side
ities,
with
its
conversations, to
the
vile
its
voluptuously languorous
"The
Helen.
"
Flowers of Evil
delaire's poetic
crown.
them
It is in
gem
that he
in
Bau-
sounded a
note wholly his own, and proved that even after the incalculable
to
number of volumes of
verse,
which seemed
it
was
still
German
fresco.
It
was
file
his translation of
read by
preference, and
it
is
newspaper
articles that
Baudelaire natu-
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among
who
on
seraph
tical
is
the outset
charmed them
the contrary, he
but he upset
all
is
chaste as a maiden or a
preconceived notions,
all
prac-
he could be judged.
the
at
American
cratic
on progress,
ideas
institutions,
perfectibility,
for
demo-
spread-eagle
other continent.
He
Dollar exclusively
did
not
its
own
sake,
which was
gift
zine
every clime.
editor,
friend
of Poe's
it
and
was
kindly
difficult
as
to
disposed
employ
well as others,
CHARLES BAUDELAIRE
way better suited to American
he might have become a money-making author.
his creative
ideas,
in a
power
insisted
subjects
humour
to
New
led
suited
as
on doing
felt
his
he pleased,
as
fancy.
His
vagabond
York, from
New York
Philadelphia to Boston or
to
Philadelphia, from
to
settle
men know
so well, he
Americans, who,
temperance.
He
as all the
did
"The
"What dis-
He
did
not
of hallucination favourable
again to be done with a
life
to
his
that had
work, or perhaps
become
suicide.
on the
fit
street,
8^
intolerable,
One
day,
of delirium tre-
A* cA* ! cJU *!
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^.
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to a hospital
still
young
no respect influenced
habit had in
unhappy
either
last.
although
that
am
not engaged
American author
laire's intellectual
speak of him
at
filled
life
that
some
life,
because
so large a place in
Baude-
in
it
writing his
becomes indispensable
to
Poe certainly
life,
alas
too short.
Humour,"
"
the " Narrative of Arthur Gordon Pym," and " Eureka
were translated by Baudelaire with such close identification of thought and of style, such faithful and supple
which the
Poe,
whom
France, with
its
88
utter lack
of interest
in
aw
ariw
oM Mv If
vf
vr^
ll
auM is*
CHARLES BAUDELAIRE
was deeply ignorant of
He brought to
Baudelaire revealed him to it.
foreign
task,
until
individualities,
outside the
this
utterly
uncommon meta-
keenness of vision.
among
These
means of
which
"
Bug"
riddles
more
difficult to
so
plausible a
dowed with
who seems
by
always
so strange
and lucid
power of divination,
who
Legrand,
all
in
set
manners.
such
comes
in
The Gold
manner became
most
The Murders
in their exposi-
who was
superior,
in
the
They admired
deciphering
in
of
the
JU*i*i
MW f
vl/
vf*
*A l
5i
'"Jw
!/
JU
rft*
->
l9i
iA*|*li**ll*j*f*i*i*l
** * * *
office,
who,
in
"
The
old
key that
Every one
rows of
shown
dots, crosses,
commas, and
figures,
might have
full
"
The
all
Pit
and
the
Pendulum," produced
Anne
suffoca-
and readers became giddy as they gazed down the swiftspinning abyss of the Maelstrom, a colossal funnel on
the walls of
bits
of straw in a whirlpool.
The
like
strongest nerves
were shaken by " The Facts in the Case of M. Val" The Fall of the House of
demar," while
Usher,"
induced deep melancholy.
liarly
Tender
souls
were pecu-
90
t%
ir
vi/*
vA* * *
if* !!
! * *9 i* VS* * 4* 9 j*
CHARLES BAUDELAIRE
transparent, so romantically pale and of almost spectral
beauty,
whom
Lady
Eleonora, but
persists
after
the
death of the
In
indissolubly associated
remembrance.
American
the
were
ideas
really
the
arts,
less
Frenchman's.
in
than
widely divided
when
are close
of painting.
the Salon,
He
among
for,
Poe,
of him, and
I
in
come upon
own Eugene
He
is
Delacroix,
who
sentence:
"Like our
91
make
his
figures
which
How
storm."
of the
true
is
the
As
colouring.
in
this
hot
and
feehng
painter's
was due
the
to
charm
diseased
so
nervous,
oxysmal,
if I
alone renders
inquisitive,
may
my
so
so
exasperated,
par-
thought
correctly,
so
tormented
efforts,
present time.
For
moment
claim Baudelaire.
Some of
ers
and
in
in
any
might
The Flow-
their truthfulness,
tion of hideousness of
it
at the
reproduc-
minds
to
But thev
were
and
that,
Baudelaire
certain
effect, or colour,
extent,
visited the
ideal pictures.
to
him, to a
92
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4:
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CHARLES BAUDELAIRE
and agreed to write about Courbet, the master
painter
of Ornans, an article that never appeared.
However
at
delaire,
in a
ers
and sculptors
whom
he has ranged
in
a curious
Assuredly
Baudelaire
But was he
intellectually
and sympathetically
could
not
In him, as
manifestation and of
horrified
was but
protest,
a species of
and
greatly
"
question whether Courbet's blowzv
Venus," a horrible
exquisite
elegance,
refined
mannerisms, and
skilled
coquetry.
It is
His
philosophical
93
and
metaphysical views,
MW
^v^
<
him from
in the real,
type, he followed
up, studied
it
to
unwind
it,
it
Guys,
whose business
it
was
to
repair to
make
in order to
sketches of
it
illus-
trated press.
Guys,
whom
knew, was
in
his
true humourist.
his pencil
he
keen
At
men and
traveller, a
likeness on
a great
washed
it
in
with a
He was
not an
artist,
ance of things.
At
sightedness, he lighted
anything
that
trait,
upon the
clear-
characteristic trait in
and no other
and
brought
it
94
4*
4< 4* 4* 4* 4< 4* 4* 4* 4*4. 4* 4* ! ! !
a. !
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9^ 4*
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5w aS^ *v
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^ 4*
'IW*!.
wS n
a^
CHARLES BAUDELAIRE
complementary
or a street
turn, the
lady or a
ruffian, a great
he was
class,
Whether he had
parts.
He
personality.
dandy
of the lowei
attitude, the
modern corruption,
girl
marking the
in
unequalled
draw
to
upper and
in the
in
bouquet of flowers of
No
was
mahogany
just as clever
dress
evil in
in
way he made
the
in
fall
a courtesan's
in
the
way
coachman on
Drawing-room with
three footmen
hanging on to the
seems
jects, he
artists
Crafty,
date,
in a
of
/a
to
vie
parisieune^
whose work
and
way
is
so thoroughly
modern, up to
telling.
that
first
flight
95
in
reproducing
t%t%JU
iw am*
vftf
vvl/v
WW
ri !/
*i/
M WM
i>
rl/i ri vsi* !
* air* ? t
Rooms and
of the Argyle
hesitate to
make
his
way
into
light
some of
moon
of the
or the quivering
flicker of a
of pleasure
who wander
don
while,
when he was
in Paris,
in the
Of
looked
was
course
all
that
Guys
That
was something
passion, and he brought out with astonish-
for there
his great
characteristic.
latter
fail
to delight
drawings,
sixty
not
sketches,
them
He
who was
greatly
Baudelaire, and in
I
some
possessed
and water-colours
by
this
gave some to
my
poet
gift
and bore
off jubilantly.
sketches, to which
Guys himself
attached no importance
News
but he
**
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CHARLES BAUDELAIRE
was struck by the
wit, the
What
what
is,
literary
qualities,
he liked
in
antiquity,
"
I shall call
He
dence.
"It
distinctions:
literary
me
presented to
as
is
if
to
nature alone
the other,
remembrance, uniting
her
to
individual
dress,
gait,
as to
reproach
me
with failing
This most
original
way
in
it
my choice would be
who would be sure to
what
my
of looking
at
modern beauty
97
^ a.
.A,
4 A* -^ 4^ 4*
A* A*
4 l*4 4* 4 4* 4* 4* 4* 4* 4* 4* 4
is
opinion, but
paradoxical
no doubt a
maintained.
coquettish Parisian
woman, her
lace
veil
drawn down
way
to
show,
the light
preferred her, I
And
there
is
no doubt
Milo
my
am more
artist
It
Parisian
myself
but that
is
herself.
woman
like the
he
has a
Venus of
because, in con-
sequence of
an
Venus of Milo
that the
hair,
stray
these, Baudelaire
towards the
realistic
felt
But
if
certain
in the direct
drawn
is
the
sides
and non-
98
CHARLES BAUDELAIRE
croix, with
his poetic
'^
his
melancholy,
technique of a decadent
artist,
and
his skilled
chosen master.
his
I
now come
a remarkable
to
work of
Baudelaire's,
dwell, for
it
able to literary
Flowers of Evil
tion
was
in stimulants.
spreading
must
among
the
men, the
"
in
"The
in
This
belief
brain.
It
him powerless
to
communicate
was
said
was due
in
his
to the
had
at first
indulged
by deadly drugs.
As
fatal
attrac-
a matter of fact,
was the
fatigue,
men whose
in
literary
talent does
99
life
in
all
the case of
A* r4*
i'*
v^* vl^
1'* 'i'*
*l *l *! ! !* !
^^
easily
newspaper work,
whose productions
of reviews.
timid editors
Baudelaire was
as
for
ter-
sober, and
nature, since
country,
even
It
is
savages,
in
to be
barbarians as
among
among
seems to be ingrained
he
among
civilised
considered
it
in
man's
every
men, and
proof of
to usurp at
once the
will, virtue,
the beautiful.
He
Adam
and Eve
for
them
in
void
level
weakened
of the brute,
immense, bereft of
all
means of escaping from himself save by having recourse to his poison, the dose of which he is compelled
to
increase gradually.
100
It
is
i* ***
w*
>* '^1'*
<M
** *
w^
ow*
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r
* s**S***r*i*i**r'^A
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M
^
< mm
CHARLES BAUDELAIRE
Baudelaire
probable
that
twice, by
way of
that
for
hascheesh once or
try
did
Besides, he
it.
much
felt
re-
sort
whom
the
induces
it
to
that of a
place of real
furniture
He came
but seldom,
Revue
scribed in the
own
so, I
hurt
des
Pimodan
in
"The
maniac
have de-
the
title
hallucinations.
After tryinoj
me
physically, but
own
because a
natural
it
some
my
ten times or
it
needs no
any
agency whatever.
Balzac came to one of these evenings, and Baudelaire
man
is
at
own
will.
A #*
M
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tfiv
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mU
v^ tw
A
''m
rf/*
9^
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aw*
effects of
listened
ity.
was
will
interested.
The
it.
childish curiosity
and
on
his
itself
The
love of self-dignity
Lambert's
to think of
spiritual
was
at
dislike
won
a striking
And
the day.
the theorist of
twin, consenting
ited
difficult
spite of
without touching
is
in
he
him deeply
he was offered some
he examined it, smelt it, and returned it
himself shocked
dawamesk
will.,
manner.
indeed
of Louis
part with
to
it
precious substance.''
Pimodan House
that night,
and
am
in a
I will
trait
as
he handed
make
have no
effect
upon
it
would be of no use
was sure
that hascheesh
dimmed by
would
his brain.
subtle
to
that
was not
in
with the
the least
102
A* *M%
dE*
</
*<
mU
M%
!/ !/
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MW M MM
cA*
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iiw
CHARLES BAUDELAIRE
Vouvray, might well have been capable of resisting the
Hastransitory intoxication caused by Indian hemp.
cheesh or dawamesk,
I find
is
Ind'ica^
make
Medically speaking,
"
The
laire
it
"
con-
Artificial Paradises
reliable
information
for
Baude-
was
adapted to
it.
He
naturally
anything, but
merely
the
develops
particular
highest power.
rendered
enlarged,
beyond
all
space, of
What
more
is
seen
acutely
reason, outside
the
is
extreme
in
its
intensity,
is
in
to
self,
excited
of time and
in
surround-
are speedily
which every
assumes supernatural
readily
103
own
sensitive,
confines
detail,
one's
it
apprehended by the
4^ VW
VM
!/ (JU
S* "f*
rlk
.Stl
!<
WM
who
perceives
relations
mysterious
by a
celestial orchestra
with
in
comparison
it
because a
is
a distant
organ has cast into the noise of the street some well
known
opera
air.
of
it
light,
because so
is
many
a mirror
diffused
far reaching
and azured,
is
it
because
is
The nymphs,
in
its
fantastic transparencies.
their mythological
The
case
is
that transport
the
ecstasies
104
if
they were
^w
^/mm
VM
vv* *
t/r*
mm
wvw w*
^ mw
tS*
< irV
MW
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CHARLES BAUDELAIRE
censers, scatter the scent of aromatics, and nameless,
that recall the
subtly penetrating odours,
of
lives that
One
remembrance
some dreamland
in
the
Tahiti.
room
a pot
upon
will
It
if
it
is
desired to enjoy
fully the
to be prepared
its
its
disorderly fancies.
dition, to
and such
as
in a
room such
Baude-
as
in his descrip-
mysterious elegance
which
seems
womanly form,
guage
is
to
a retreat concealed
await
the
from
all
and
eyes,
Under
these circumstances
it
able sensations
will
turn
to the material
ecstasy, inexpressible delight, far superior
105
JU fAw
!
> !/
vA* *4* **
K> r
am
t* l ini
^ iJLAir|*i*i*i*f**i*|
t^ "f ""^ * * * * *
ii*
or* >^r
para-
The
green,
pearls
in that
joys promised to the faithful
dise
seraglio.
renewed
virginity,
in
in
ever
com-
fumed
infinite
whom
with starry
liquids
from
he dreams
while wide-awake.
But
may
well turn
to nightmare.
terror
anguish clutches
terrible
at
its
its
tremendous weight,
as if the
or the
and turns him into marble up to the hips, like the king
in the
io6
CHARLES BAUDELAIRE
Baudelaire relates the hallucinations of two or three
men
a
woman
in
room
the
lined with
which
mirrors, over
is
to
in
which
is
To
Pimodan
means.
fictitious
ing as
is
believed.
is
due to the
Then
subject.
destroys the
annihilates
the
mind
incapable of any
another dose.
moment
exertion, and
Baudelaire,
Finally,"
sufficiently strong
that there
and vigorous to
may
be constitutions
effects
must not be
of habit.
to
lost
he takes poison.
will
danger
in
order
unless
What must
be the fate of a
107
man whose
^4**4*^*4*
^^^^^ ^A
i<
* lt
unable to
is
imagination
paralysed
the
"
!
"
Man
that
he
should
is
not so deprived of
There
is
soul in order
sell his
What
houris.
be gained
There
the
at
can
paradise be worth
it
has to
follows a description of an
steep
if
mount of
situated
Olympus
spirituality
where
"
?
upon
Raphael's
or
Mantegna's Muses,
led
artist
who
" Below
"
him," goes on Baudelaire,
at
grimaces of enjoyment
all
by the sting
fasted,
who have
neither
prayed
nor
supernatural state of
power
life.
to
rise all at
once into
CHARLES BAUDELAIRE
makes sham happiness and sham Hght
them, while
we
by
tion,
to
shine upon
who have
of will
and
unchanging
garden of
faith
allows us to perform.'
it
to
difficult
any frequent
the
'*
believe that
Flowers of Evil,"
use a
we have accomplished
God
own
real beauty.
one miracle
re-
in
spite
the
of his
to artificial
visits
paradises.
The
opium
lar
study of hascheesh
;
in this
is
followed by a study of
in
of an Opium-Eater," by
England
Thomas
who
dared,
in
describe
it,
to
acter, his
own
Confessions
de Quincey, a dis-
of mark, an
with
hide-bound
"The
tragic
all
eminently
candour, to
countries,
is
most
its
phases,
its
and struggles,
intermittent char-
his
enthusiasm and
Incredible though
109
it
may
appear,
yet
in a
whom,
his
bequeathed
fit
His vice
in
which there
black idol!"
The
number of
is
nothing to be-
what he himself
author
at last
managed
calls
"
the
lite-
superhuman
thrall,
and
is
rewarded
punished
and crime
De Ouincey
set.
pretends
for eight
ous drug
One
is
"
just, subtle,
brown
liquid
no
who
that to
wounds
that
CHARLES BAUDELAIRE
never heal, and for the pangs of grief that 'tempt
will
opium
quent
that
with thy
rhetoric
potent
pity,
righteous
stealest
hands washed
and
opium
from blood
pure
his infancy,
dreams sum-
thou
cities
false
upon the
and
just
elo-
callest
the
buildest
fantastic
beyond
and
art
the splendours of
'
long-buried beauties, and the blessed household countenances, cleansed from the
Thou
the
'
keys
"
opium
of
Paradise,
just,
man
subtle,
and
mighty
III
them by means of an
digressions
analysis mingled
as
to
with
form
which are
wandering,
wretched, and
in
life
starving
teachers, his
his
the
great
in
formed by the landlord's neglect into an attic, his connection with the semi-idiotic maid of all work and with
Ann,
a poor girl, an
his
family
and
his
a lovely
woman whom,
coming
being forgiven
fortune
into
large
Orestes of opium, he
his
calls
Electra.
There
dreams.
and
grand
The most
magnificence
of
de
Quincey's
12
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CHARLES BAUDELAIRE
lowed by
With hue
like that
His pencil
when some
humanist,
years old,
hostile multitudes
only ten
light,
The
five
when,
in his visions,
low
battlefield with
and dying
cries,
illumined
feet
him
to
contended upon a
thunder of trampling
when
formula.
din
and precocious
Romanus sounded
magical
all-compelling
livid
Latin
eclipse."
by a
a distinguished
an
in the
like
Erebus, to which
may be
**
others
Romanus
On
all
filled
around,
fell,
the
with
swarming mass,
the
like
iMarius in
Decamps'
fateful
" Battle of
gesture decided
the
victory.
At other times,
mingled
in his
8
figures
he
had
beheld
in
reality
like obstinate
4*
v^ *4< *^ (^
!. !/
the year
in
London and
One
no formula of exorcism.
filled
some
striving to reach
seaport or other,
allowed to
Not
rest himself.
seem not
his servants, to
addressed the
in
at
man
in
to understand
Greek
the
charitable
a cigar to
him,deQuincey
The owner
asked to be
of the
impelled by
offer
tasted tobacco
for
the
latter
Malay
swallowed
at a gulp.
people not
man was no
to
doubt accustomed to
kill
it,
seven or eight
for he
He was
in the
went
off
satisfaction.
flesh, at least,
but he
who
held
114
other
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CHARLES BAUDELAIRE
countries that, so far as rest of the world
are
fantastically
and impossibly
distant.
the
in
company of
trated, in the
fabulous
age and
in his Confessions,
this point
but
"
singularity, that
know
man
above what
Asia,
am
it
terrified
live
life
common
in
the?n^
can analyse.
were
China,
and scenery,
to
me
China, over
by the modes of
and
life,
by the man-
between
could sooner
an
myself and
feelings
if I
renewed. ... In
has in
my
filled
he says
not,"
one must
regions of
terror.
one
of the unavoidable
Just as
inexpressible
on
result
concerned,
whom
nevertheless follow, as
is
live
With
him
felt
who
appeared to
115
bells that
tinkled
carved dragons
ing
with
laden
rivers
ceaselessly,
figures that
wagged
The
many
to
sequel
"
Opium-Eater
of
population
grotesque
by
unnumbered
an
and crossed
with junks,
almond-
and
English
title
Suspiria
de profundis.
Greek
"
"
of the second part of
Mothers
Moirae and the
" Faust."
They are the companions of Levana, the
forgettable figures, mysteriously terrible like the
austere goddess
the earth
Even
who
the
new-born one
and
Sorrow
The
were
:
three
Parcae,
but
three,
the equivalents
eldest
of the
from
as there are
Furies,
raises
called
of Darkness
she
is
trio
the
and
mind cannot dwell upon the thought of her without experiencing secret horror.
These woeful spectres
est
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CHARLES BAUDELAIRE
speak not the tongue of
man
in
of lonely
the
human
Man
soul.
secrets that
It will readily
withhold from de
who
his
lesson
from
So
shall
and
he read elder
y uincey
About
treats
this
his tent in
time Baudelaire
Brussels.
It
existence.
in
con-
illustrious
make
sideration
and
the
suffering,
means, but he
to
agonies, the
shall
unutterable.
are
is
truths,
all
" So
It
must learn
to be seen, sights
not
ought
lie in
the
all
despair,
bitterness
dim darkness.
the
He
left
was not
Paris and
politics
pitched
that led
his
him
life
little
in
"7
of.
&% 4*
*lr*
* **
!!
i*5*
it
The
symptoms of the
slowness of speech and more and more marked hesitation in the selection of
often
words
himself
expressed
fashion, dwelling
as Baudelaire,
and
slow
in
on the words
to
give
however,
sententious
them
greater
to slay him,
terrible
The
report
the
itself in
of
his
death
news, which
along
its
seems
to
travel
faster
than electricity
Baudelaire was
guiding wires.
he
he lingered on
paralysis
and thought
his
but
still alive,
ill
brain,
expression
of
could
his
links speech
Thought remained
together.
as
that
plainly
eyes,
but
be
it
in
by
the
prisoner
and
perceived
was
alive
CHARLES BAUDELAIRE
outer world
the
cell
which was
to
way of
dying, but
is
it
painful
more
lonely, a
Besides "
The Flowers
"
Edgar Allan Poe,
and
Charles Baudelaire
stinacy refused to
make
tired
times
of these
first
or
more
literary
prettv
volume
poet,
more venturesome
For the
uninteresting to
left
reviews,
at various
dainty masterpieces
longer time,
to
their youth.
Artificial
literarv criticisms,
survivors
a remarkable talent
life,
comrade of
the
for
very
difficult
to
find,
remembered by
In
posterity.
and prefixed
to the
to
Arsene Houssaye,
#!;
aw AWV
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relates
him
"
have a confession
to
make
to you.
was while
It
Bertrand's
work known
famous
to you, to
'
'
of the
Gaspard
Night
my
(a
friends
thought occurred to
sort,
and to apply
me
to try
to the description
rather to a
abstract
life,
the
life,
or
method
of antiquity.
in
his
ambitious moments,
dreamed of a miraculous prose, poetic, musical, without rhythm or rime, pliant enough yet varied enough
to adapt itself to
the
the fluctuations of
conscience
lyrical
reverie, to
fits
and
starts
of
"
?
It is needless to
say
that there
is
due note of
this accident^
man might
120
CHARLES BAUDELAIRE
mind accustomed
to a
do
for a poet to
Baudelaire,
his will
art
it
of
sort
will
it
what he intended to
exactly
his
govern
to consider
do.
proached
differing
to be, as in
case, a strong
this
He
mathematical method.
infallible
re-
something
if
it
proved
work.
must be owned
It
of the earnest
render
that
efforts
made by
the
it
life
as
when
have
uncommon and
subjects of
narrow
it
persists
in
forcing
its
and
in
in
this
While
very structure
itself
is
peculiarities,
its
"
So the " Short Prose Poems
mod-
does not
to be treated.
and
school to
ductile,
rendering of
new
in spite
this
impo-
ere
art,
it
is
Matsys'
"
scription,
laire
Quentin
right
He
talent.
ible,
more
has
managed
his
This form
is
of nervous
ages to
is
author
of
" The
surprising at
show
The
temperaments.
"
Flowers of Evil
it
soul,
to fanciful
and
man-
now
through the
now with
the sud-
mountain
it,
in
crest, or a
the
clump of
of Baudelaire's glory,
if
trees.
It will
be part
in
effects,
No
it,
to
of style numbers
unnamed by Adam,
122
A* A* 1* i/* A */ *A 4* *s* !! s*
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CHARLES BAUDELAIRE
"
and he who wrote the " Short Prose Poems
praise,
undoubtedly deserves
It is
unless
difficult,
very
command, and
one's
it.
in that case
it
is
of these compositions
somewhat
the
in
pent's backbone.
way
own
still
living,
each possessing
its
towards an unattainable
Before
ideal.
whose
room
in the
talent I
am
volume
for
if
and
must be
the
in
my
depth, and
fancies
in
"
the
structure,
to
in
prose^
in
inten-
the dainty
with quot-
poems
grace,
shall
commentary
concentration,
and friend
satisfied
which,
do not
analysing,
sity,
idea
other
at
volume,
shall
Among
and
draw
the
which
attention
123
fifty
differ
to
"
The Cake,"
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"The
"
Thyrsis,"
"
Paint,"
Portraits
"
Mistresses,"
ings of the
Longing to
" The Blesswhich the
in
expresses
poet
of
iridescent
its
interpenetrated
by beams
silvery atoms.
From
its
its
blue phospho-
pearly grays,
which
in
flutter
endowed by
godmother
forever
fair as
it
it
feel
am
with
its
the
it
in
pale
pretty
living
head
is
mothlike,
moon bends
mistiness
its
my
"
Thou
shalt
love: water
sea, the
wave
art
not,
and
the
or fickle or
lover thou
scents that
still,
the
weaken the
place
will,
124
where thou
and
cats that
writhe
A* *
<>
"
rJ/
vJU
<<
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vm
CHARLES BAUDELAIRE
on
moan
and
pianos
women
like
with
soft
harsh,
voices."
poem of Li-Tai-Pe,
the
save
to this
so
charming poem
well
translated
by
in
When
that wafts
like
its
life
without the
the
in
its
hazy
with
"
his
all
horn, and
the
blue drives
sensation
of appeasing
least
shock
ears.
It
of
Oberon has
just
prolonged
appears clothed
Night's
in
endlessly,
swarming
word
in
in
herself
like
is
A Midsummer
single
fully
distance a strange
blown
first
sleep, a sort
a sigh
so
mysterious speech.
mesmeric
that sparkle
could
alone
lunatic
moon and
listening to
something
moonlight.
understand the
is
trail
this
oddly
way
Poems"
sentence, a word
125
have
calling
4* ! !
aJ/* !<%
i ai^ rlv ! ! ! ! ! ! 1*
-i
*! i
lr
!> i*li*
mer and
distant
far
presence around
me
lives,
remembrance of
and making
me
for-
feel
the
Other sentences,
murmur
consola-
hopeless
despair.
tions
to
unconfessed
Ranz
the
des
music, to
sorrows
and
German
swam
like
ballad,
across
the
who was
stationed
at
in
Strasburg,
126
*!*
i*!*i*ij*i*i**i*iffl ##
IM *
mI
wtw
aiSl.
MM
tttm * * * * *
in
novel
a real Iliad.
is
Everything
is
to be
There
is
met
Hugo
his
name
accuracy in the costumes, lofty, sublime eloquence, genuine, irresistible fun, broad historical views, a pliant and
strong
plot,
art,
Benedictine-like
everything, in a word.
ideal
lovely,
but
as
touching.
less
war harness
as the
fine a figure
who swagger
falcon
on
fist
a masterly hand.
And who
is
It is life
there
under
handsome, dark-complexioned,
leash.
vigour to the
who
and truth
in
is
in
Paolo
and dog
in
painted with
very deed.
all
his
128
fi/*
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m 4
<*
*>i* ri/*
JS < <v
vA*
>
VICTOR HUGO
i*
*b
are
drawn with no
freer
Who
for a shell!
and
ing
Who
concealed
him
leg,
and
chamber,
and
unearthed
And
churches,
somewhat
boar's-tusk
his
in a fiend-like
frame
palaces,
its
bastiles,
Court
the
all
The whole
and resurrected
of
j
Who
against
has not
how mag-
of Old Paris
iVIiracles
dead
city
two thousand
volumes studied,
folio
terrified a
man
And
over
all
its
it
in spite
knock-kneed
Notre-Dame
snail with
Gerthis
as the cathedral
style, as indestructible
"
classic.
129
has even
it
celebrates.
now become
ANGELO
July
Ordinary
dramatists need no
formance.
composed
part
more than
is
to
5,
1835.
a single per-
hours, to collect,
all
in
the
first
in the second,
inevitable
may
so that in
satin
gown
in
which she
it
matic convulsion.
Many
with
oil in
a play has
show
its
Lethe and
is
author himself,
forgotten
who vamps
it
up
six
months
later,
with-
130
VICTOR HUGO
the fact.
dress
It
is
is
which greatly
differentiates
one.
a short
at
cannot act
in
not over
when
called to
the
is
But one
fine book.
All
others
buried.
is
is
What
footlights.
is
of importance to
The
play
may have
"
not a whit.
The
matters so
It
little
is
Hugo's
crowd
matters
that
"The
it
is
now
a well-
King's Sport," so
The
best play.
reading
book has
individual in the
it
King's Sport,"
that shouted
Ho
right.
!
and
Every
Ha
at
/#
#1 4*0
ir>
^w
material
lights,
a^ *w
foot-
away on
his
filled
him with
mighty pinions
his breath,
far
seized
hall
of the
Fran^ais.
Dramas,
stage.
"
goes on
gelo
like
its
better
tropical.
upon the
" Anfates.
preoccupations and
political
fortune
line
temperature almost
in
the
at
doors lengthens
body
acquainted with
is
it,
total
own
art
and
to
style.
lack of lyricism.
that with
It is
is
prose drama.
away
is
that
it
in
is.
"An-
is
shameful to have to
book
"
cause of the complete success of " Angelo
The
Its
but
to
the heavens, so
drawer
132
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<^* **
< * V* *^ * *
flo^
>
<*
VICTOR HUGO
pogrifF, they
fly,
Any
poet, if he
were he
I
prose, but
lent
not
is
By
times
somewhat curious
nearly
at
loftily,
contradiction,
Yet
lyrical.
passages
is
Hugo's character
He
German.
neither
is
neither
is
English,
French, nor
and human
profound
like
He
if
and excessive
self-willed
is
willing
insist
you
enough
on
his
full
to
he
is
admire
He
Homer
it
is
His
fiercely
dulges
he
is
genius
is
bristling.
in
a terrible
and
to time he in-
idlers
only.
He
is fit
for
women
133
JU*A4*
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s* *i^ &
vf* a**
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>>
^ 4*s**l**i*l^*c**lt*a**i*l*
flesh,
There
ious vigour.
are passages in
that
Hugo
might
all
Buonarotti's,
Puget
when
in
felt
hands
wax
men
of
in bronze.
of marble trembled
him drawing
like
is
an exaggeration
they
his
is
But
equally over-developed.
like leaves
thoughts.
his
behooves a primitive
daintiness, as
are to be set
Amid
in this
artist
whose
figures
up on high.
age of ours
when no one
modern
life,
worn edges
is
a regular
have appeared
in
wonder.
he should
*! !
K am* <iw nw
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Jt* <
trr*
l*iAi
# ! *!r**SSS*S**j**^ri**l*#I
*
iT
tw*
<
mSt Sm
VICTOR HUGO
the production of the " Cid."
been greater
that time he
painter,
Exchange
to look
Never has
subject.
an
as
artist
of genius
The
Hugo
else
between
be
is
the quarry
Angelo is a drama
from the shock of the
a
primitive
comprises
"
passion.
It
Cymbeline,"
been looked
is
the
Victor
What
differ-
Ducange and
which
rest
ideas
question
is,
and
does
his business.
"
"
prated on
The whole
the sculptor.
is
is
world
the poet
the
Form
Victor
all
is
upon
either
upon
the
At
sculptor,
Da
poet, like
would have
that he
but he
Not
in
situations
belongs
rather than
to
the
class
from
that
romantic
plays
of Shake-
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now
possible
character,
made
It is
in
scarcely
there
visible
is
nothing on
"The
"
Miser,"
"The
Misanthrope,"
"
The
Liar,"
The Jealous Man," " The Wicked Man," and " The
"
Hypocrite
to
passions and defects are not inexhaustible, and can furnish only a small
left,
therefore,
adventures,
romance,
for the
There
fancy,
the
drama of passion
The
fact that
knowledge
is
are
neither
so wide-spread militates
best
way
tator, but
to succeed
how
is
it
Hugo
on the stage
possible to
136
is
The
VICTOR HUGO
an
historical
drama
How
when he knows
led
perfectly well that the said hero died quietly in his bed
after
thirty years ago,
having made
Church
of a heroine
general
i
can he in-
whom
he knows
from
the
So Hugo
country,
few
its
local
background
he intends to develop.
It
How
to have
touches
and received
his will
he used no names
if
at all,
For my own
names, familiar
the
Prince,
inestimable advantage of
those
learned critics
the
mouths of
all
shutting the
who
never
fail,
at
every
new
drama by Hugo, to ask, with their customary sprightli" Here is indeed Francis I but where is Leoness
:
nardo da Vinci
Pope
Where
Where
is
Luther
is
Caillette
Where
Where
is
is
Charles
the
And where
is
Why, hang
who
people
lived
those days
in
it, it
is
"
in its eternal
shroud, in
Jehoshaphat, where
Time, with
when one
is,
torical character, to
lug in
torical characters.
It
that
drama should be
But,
Dictionary.
he
that
is
has just
all
its
is
And
do not
talking of an his-
of Moreri's
reproduction
of course,
has
critic
been re-reading
to
show
histories
his
and
chroniclers.
I
consider
The
That
scene
is all
is
in
right.
If
it
were
in
sufficiently accurate.
The whole
point
is
name,
this
Anne
would be
it
is
eminent a
as
the
all
power of
if
Angelo's palace
is
such an
as fear-
A
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#A * s:jJj^l%#i ##
9fW^
Vf^
Vf^
VW
*TW ^*
* C^MV
WW
l^W
^^
i^tt
fcJ
^
MP0 ^^ KP#
VICTOR HUGO
There
unknown
another and
is
in
delight in chiselling,
is
and speaks
a door.
were here,
pink
with
poniard.
in
it
his
as
is
sword, but
walls,
took
artists
Hamlet
If
shiver.
armed with
sbirro
Elsinore, or he
at
a secret
where
feel
his
corridor, that
it
is
At
known
perpetually betrays
;
sombre
corri-
incessantly
thing."
dresser, so
come
like
the wainscotting
every
actly
pillars
is
it
Padua
" There
is
Stairs
the tapestries
This
Renaissance
This looks
corridor.
which
carved,
wonderfully
is
it
reality
which
palace, of
of Udolpho.
fully mysterious
some-
about
night,
in the
into
who
is
will
about to
have to
ft*
rfS
! #i*
vl/v
S vf
W^
*JU !
1S
S*
!/
are all
Here
a button
must be pressed
little
to
causes to
like
serpents, and
and the
even
who
misshapen
dragora's
disjointed
most
in his
twists
in
is
stifling terror.
mass
black, a
is
being
instead of
Every room
The
is
sinister
and uninhabitable
drapery
fall
in dainty folds
chairs do
in
its
appear-
a bed, a
ance.
man-
tains,
hideously the
cornices, could
delirious
so
down,
legs
The
keys.
tectural nightmares,
who
secret
in
in vain
and
its
golden threads
floor.
Let the
1/% ;%
traSA
& rA%
f^
MK* # ft^
ft !/
MM
W#
#A r
M9
>!
fS#
* tm* wr*
m# t/M
ft4
ftTw
iw
MW
W*^ 'W
VICTOR HUGO
Rosamond's spangled
a
by
forgotten
dress
is
show
some one
that
plain
delightfully
The
phantom.
walls are
It
is
a
It
room
for
painted
to die there.
is
convenient
is
fit
To
the
tell
went out of
Tisbe
little
is,
it
truth,
quite
alive,
the white.
think
it
is
did
vial
not mix a
with those of
The
be put
again
when
the play
is
to
Is
next performed.
It
fame, which,
was
it
feared,
much
at
the
Theatre-Fran^ais.
I
am
not sure
how
far
it
is
planed board.
sibly
help to
it
is; in
is
way of
for a smoothly
the
tree
may
pos-
cradle, but
It
4* (A*
fsl*
v^v
!!
*^
*i* 4**4**4*4s*ll*l*f*ll:sl
srtl?db
wound
a gaping
scutcheon upon
that
it
in
hideous to look
as
is
an
at as
ulcer.
I
am
not of those
who
idea can be
believe that an
which
it is
of the warp.
out of the
become
it
It is
is
made
whole length
the
If one be cut
two
second which
in the
Every work
is
is
first
is
and so on.
is
is
But
luck.
all
it
does not
of the leg
As
those
is
for
the
way
Hugo's
to
play,
of the Hunting
it
is
make
it
is
seem
stocks
the loveliest
that to
end
has legs
few locks of
upon
handsome
as
all
that has
as
been
too
me
Diana, and
to
up
in
their
142
between the
M 0%* # #A #Jk
vfs* /
tfr
w*
# & 4^
'W
tfJU Jt*
T*
ft^*
VICTOR HUGO
III
RACHEL
IN
"ANGELO"
May
had performed
at the
of which
is
and sculptural,
is
and
just as literary
is
it
I incline to the
prose
like
as verse,
good
it
the rhythm
is
27, 1850.
belief that
as hard to write.
the effects of
all
which
Almost
writing of plays.
repertory
are
in
and
verse,
all
the
rule.
with
when he makes
use
when
of prose,
hurried
it
is
by the
King's commands.
superb
style,
Corneille, and
restored to
its
was
it
is
later
or, to
all
be more accurate,
the same,
pristine
marked by
form.
For
it
has been
143
Ik l* *!* ! vl^
anv ? ?<
JU
Wm
ol/*l'
iv
iHf,
rl*f/*||9*|*r|||i*i*|l*i**|fSi
mU ?? T3 > * vr *vw ax WM
of the Comedie-Fran^aise.
in
were
modern time.
prose,
comparatively
to
first
triumph
it
was
that he wrote
of
skill
Clever, wrought
and of address,
in acoustic tricks, in
unexpected resources,
making
effects
His
as
calumny,
a little
air
for
ways of
flash,
of
skill
is
such that
in
certain
passages
not only
effects
tell,
fruitful
well,
as,
for
instance,
it.
makes use
noting
it,
order to
in
the
tirade
so that Rossini
when
in
and
it
make an admirable
on
far
alliteration,
that he
and very
Prose of this
kind
has
all
144
is
J/
VM
JU
VM
J'*
Ju
'^
VICTOR HUGO
where
could
it
We
iambic
verse
is
a pity, the
We
Latins.
The
verse.
forced
are
and
poets
prodigious metrical
a
caesura
too
is
illusion.
strains
The
it
be
The
when
purpose
of
10
flexible
emphasis.
delivery,
through
still
retains
The
ill-placed
and
spoils the
in the
he
skilful,
after
with
not rime
it
will
the
;
melodious
obtain
flute
many-keyed
and
all
is
Germans enjoy
Shakespeare
starts
the
great
with
its
assonance,
producing
Beaumarchais
its
never
Spaniards
line
it
difficulty has
English
the heroic
skill in
syllabic
more
rendered
verse.
and the
manner.
player
better.
use of
it
it
brilliant
If a
Greeks
the
make
readily felt in
been overcome;
most
of
to
redundancy and
certain
between verse
an
do
efl'ect.
comedy and
which does
Prose,
such
turned
it
as
out,
145
l*i#ivA*A* fit*!/**!*
ii|i**i*|*l*t*lll**l*i*B*|**l*
" *"
VM wS* *K ' "^ ! < * * * <"
me
to be quite
iambic
we
lack.
turned
life
has
am
a poet,
me
and
into a
critic,
certainly
shall
would
that I
way of
remember
that
but
disI
do
more
fully
in
by
I
means.
was sure
that
as
solid
suit
Corneille's
in
home
alexandrines.
on the ideas
like
with a chisel.
In her performance
Henceforth she
in
the realm
The
part of Tisbe, as
is
well
146
known, was
created by
A*
JU
! jU si/*
w
vna * >
>>
!*
*A *i4*ll***i**l*l*l**t*i**l
<! *v * < * ao^ < ws
!/ rjr*
>
ac
al^
VICTOR HUGO
Mile. Mars.
that
performance,
confess
^^ A^*A*
iHb nS <
While
me
to
it
very
my
shame, that
much when
She possessed
she
understood
in the highest
it
is
may be
lacking in a
result of a
It
was
There was
faut.
an
aris-
il
her voice or her gestures, but she did not possess that
easy,
natural
which forgets
itself
sure
is
without ceasing to
of
exist.
itself
and
In a word,
The
part of
instead of bringing
ness of
stylish.
it,
it
out
she slurred
she tamed
down
it
over
the fierce-
been presented
in a
it
H7
* A cJU
rJ/*
I.'*
fiery
and
The whole
picturesque side of
who
and by exaggerating
ing,
style
was
:
for the
dress
it,
to purchase
Her
it.
dress, in short,
Now
hit
at
an evening party.
by realising the
plastic
is
is
way
that
is
else,
at
She
move
one
and no sculptor
No
unmistakable.
quite
In tragedy,
in
drama, she
The
she
illusion
is
first
is
perfect.
She
is
148
artist.
Her
beauty,
%|l^
* ^
i/
>
#1^ 1 pi^
#
fi
9^
wr*
! i^
wr
JU
A* #Ar|l|rl#i^ri !& |1^
w wr wo
* "T* ""^^ ''^ -* * 'w* w^ "-^^
*
SS
VICTOR HUGO
which the bourgeois do not understand, and which they
are apt to
white marble,
She
move.
another
the
is
like a
warm Venetian
surroundings
Marvellously harmonised
Cordova
She
at
with
amazingly varied.
is
sway,
pearls, the
quillings,
is
painting.
which she
is
to
one expects
oak wainscotting.
to see
in that
room,
like
in
is
its
She
at
more
is
radiant,
sparkling,
dress as
whose chain
is
more
is
It
in the
days
when Titian
painted the
brocades.
How
gracefullv inattentive
listens to the
is
149
how
her mother,
husbandless
in
it
was
one of her
there
is
And
one
who
is
How much
lays.
in the rapid,
in the telling, as
ently careless delivery,
as if to fulfil a duty, to
if
appar-
constrained and
unable to understand.
him back
to tell
It
is
of a woman.
is
at
How
between her
the wall!
She
it
teeth,
Her
she does
woman
fury
is
seems that
so
150
is
is
and
implacable.
insult,
and
fl^Mv
^^^0
^010
^m^
^p^
^^p#
0^n#
^r^
^^tf
^'^^
^F'
ft^^0
vvp
^^pp p^wp
VICTOR HUGO
sum of rancour long nursed by
herited race,
herself
practice of virtue
temn
once avenging
for
whom
who
the
nevertheless con-
The
spouse's bed.
accursed
lifts its
its
is
this world, to
so easy, and
is
race
in
and disin-
a proscribed
insulters.
its
It
is
it
is
woman who
has taken
her.
Never have
terrible.
horrible anguish
tigress,
seen anything
watching a
in
round a trembling,
terrified
who
saved
when
you
life
mother's
feel
that
life, at
she
is
Catarina
once her
disarmed.
her
in
gazelle.
loved
her,
how
superbly she
yes, she
was a
It
the
play
part
it
stamped
no one
affirmed that
boldly
Rachel
ever
will
she has
Every actress
has
summed up
in tragedy,
see
she
all
be seen
and Tisbe
is
in.
her talent.
in
drama.
Now
is
it
these
Mary Tudor,
ties for
in
parts she
must
upon Hugo's
Lucrezia Borgia and
"
two
desires to
one
If any
Phaedra
find
The
opportuni-
superb female
drama by
Auguste Vacquerie, recently accepted by the ComedieFran^aise, is also very well cut out for her, and she
would unquestionably be splendid in it.
part in
Warwick,
or the
King Maker,"
IV
Hugo
whom
is
he
ridge
a painter also,
and one
is
17, 1838.
for
their
When
sire.
hill,
broken
horizon-line,
152
he
The
strangely
4* S*
Ir* I'* !!
*l*
i'* 't'*
i via
1 1 9*f4
VICTOR HUGO
formed cloud, a curious
detail
on
a door or
window,
he notes
then
at
evening,
in
ens
it,
lected.
brings out an
Thus
that
effect
is
ferry-boat
rolling,
become
amount
etching, with an
carriage
a
jolting or
is
much
drawing
the
an
like
The drawing
trip
It
title
me
shows
have before
which
clouds
heaped
up
one
fol-
drizzling.
swoln
souvenir of a
is
through
lowing
effect
above
is
partly
of storm-
another,
like
belfry of prodigious
brow, on which
box turrets
tail,
whirls
it
its
a vane, in
round
at
the form of a
comet with
153
t-
iff
its
on the
aHW
)<
Ma
<
caw
if
of*
><*
<
<>
on* *
>>>
<
The
spire.
tion only.
wind
action of the
which
is
on which
is
one direc-
lights
up
and ornamental
skill.
The
in white,
dial,
on massive
whereon the
by scratching through
in
sunbeam
accurately rep-
swept along
lustreless
tawny,
is
pillars, a
At the
foot of the
market-hall, quaintly
Brilliant
tresses.
rays of
light
pillars,
that
sparkle
seem
unexpectedly
to
have been
This
or Homodais.
is
styles
fill
the chapter
Dame
"
and
in the
It is
Delight-
Flemish
easy to recog-
Bird's-eye
de Paris."
154
Paris,"
VICTOR HUGO
PERFORMANCE OF "RUY BLAS" AT
THE THEATRE DE LA RENAISSANCE
FIRST
November
Never
12,
1838.
it
first
performance
of "
the
to
be finally settled
would succeed
in
the
stripping
hideous
off the
"
Ruy
Macaire
become
Bias
is
flesh
Strange indeed
is
be separated from
"
has
solved
the
problem.
Robert
the real
his
his creation,
long, has
who cannot
rags of
is
to
move with
grand
tears,
gifts
to
Frederick,
thunder
in
of voice, glance,
155
am* (iv
vtu
v<>*
VM
af*
>r*
al**!**!*
Ajrl#icll^*illi#l
w WW
* *
f* >* * "^ "* v*^
**< "<
>< >*
modern
wish
all
It
times.
new
which
theatre,
and which,
There was
by
Mery and
but above
all
drama by Hugo.
give us no prose.
is
Excellent
Give us
Prose should be
Employ
is
to the
in this Paris
for
corner in
France,
intellectual country in
why.
Boule-
stall
style, wit,
verse, verse,
to the
left
so go on,
mere playwrights,
poets, not
a speech
really
do not
itself
know
melodrama and
vaudeville.
156
4*
vl!* vl-^ 4 !
!
w* tir r vfv M
*iii*l4*l44rU*iJUil*lli
w Mw r vr* << vt * mw tn "if* WS* ^
!'
**>
VICTOR HUGO
VI
As
"
had been
"
Ruy
Bias
at
the
present at
first
1872.
28,
performance of
in this
est
it
In "
the
jailer
Gilbert
when
man
become
has
gray-haired, he
of
should
not
at
twenty.
as
the
women
Both the
women
he
strike
was
him
women,
is
This
The
at
They
over the
years, as they pass
bronze
me
time
beautiful even.
157
saw
it,
if
not more
AA*#A
>! fit*
m WW* an*
T><
away, as when
passion
was desperately
German
in
grandee of Spain,
terror,
experienced
in
anew
me
Don
me
with
up again, ready
filled
little
Bazan, excited
tles
brist-
jolly
Queen,
the
spikes in order to
myself carried
felt
blue
to enter
ever
"
once more on " Hernani
bat-
no longer need.
is
is
my youth,
in me woke
title
No
one
to be a dramatic poet,
now
and
No
first
excited
interior
more ardent
curiosity.
must be
were
is
seats for
them.
iAA*
MW
ciSw
*!>
WW
!
aS*
|<*i*J*iS**i*l*i*a*9M
!
av *
IM OT* a^ %~ Ma MM MW d
WM
MW
!*
MM *
aSSi Sb 4Jt^
vft*
VICTOR HUGO
It
dainful of success
won
number of
as
commonplaces,
it
that
moment
into the
felt
first
lines
his
one
of
admirers.
poet had
of
stroke
realities
The
it
is
was
la
Renaissance.
had
159
to
Cid,*'
no longer allowable.
earlier
In the
Thirty-four years
I
some
other recognised
rival
listened
of Aragon," or any
of the
between two
play
his
art.
performance, caused
first
Don Sancho
the
been spoken
The
from the
far
it
lofty spheres
"
few
to
always timely,
and with
public,
anxiety
are
there
does
"
Bias
Ruy
lines
than
"
by allusions,
dis-
contain a
turn to
It is true that,
pations.
looked
in
have
vain in the
known of yore.
could
Mi*
w<v
tftv
Wm mw m mw
wiw iU
* * xw or* *
mw
m vmt
>
>
<>
make
at
at
meeting again
such a feast
"
they formed a public of posterity for
Ruy
Bias."
It
bered, created
the part of
which seemed
shirt
Macaire.
But
Ruy
The
effect,
Ruy
Don
Bias crushes
crushes
Archangel
memory of
Frederick
still
youth rather.
lives,
The
Bias
in
which,
in
under
Fiend,
is
who saw
it.
overcame
quickly
needless
Salluste
the
those
all
to
of Nessus.
Robert
Bias,
in
Ruy
yet
to
his
fresh
old lion
is
still
out
the
steps
of the throne.
Don
at
Never-
compare
his chest
theless,
the
capable of shaking
can
the
in
he
Salluste, but
was
heel, as the
say,
his
still
remem-
as will be
is
What
with Frederick.
1
60
magnificent Job,
I/*
* M/
fR.
/t\
*J/%
mU
Mw
/ jr*
a^ or-
<'5
Sf
Mw
J,
T^
VICTOR HUGO
what
would
he
Barbarossa
superb
4 M aim rti
^^
make
^J -.gj
;;;,
How
Of
is
all
phantom Emperor.
Ruy
Note
that
which
just as
best
like
best.
parts of the
with an accuracy
junction to
The
like
in
be
perceived, for
subject
is
its
fit
that
spite of
work
the plot
suddenly
the points
moves
of
easily
from obscurity by
seems
towards
heart in
ideal,
on earth
magic, and
like
piece
to
omnipotence, which
god
say
admire
that I
intensely, and
that
"
much.
The component
along,
Bias
in
is
the
fly
;
nearest
word, to be
of good
swiftly
fortune
upwards
thing to being a
the
lover
of the
Queen.
The
sequent
on
reaching
such
heights
are
mingled with
which seems
II
to conceal
i6i
In the
A%
Jt* *J/*
(X*
<B>iv*v MM<*
.A* *v
Mw Mw
w^
Sm
vTo
Wm
open
opening
placable as Hatred
man's shoulder,
what
a tragical,
of one's
spite
leaves
self,
demon
its
fusedly
gloom
for the
in
his
on
moving
the
Don
presence
situation!
be
secret
im-
Don
unfortunate
the
lackey's
livery.
To
Caesar
of the
What
help
in
formidable
complications working
in
the
icy-cold,
him
silent,
hand
his
Queen
From
strips off
Bazan and
de
or
who, putting
Salluste,
victim will
darksome abyss.
into a
precipitated
the
portrait
is
attitudes
one
away.
and
How
feeling of
often
have
mastery,
a grandeur in
the times
that carry
seen that
Marquis
either
his race, in a
frame with a
have
in
his
Many
an hour
162
VICTOR HUGO
women
life, in
turned phantoms,
more
The whole
the
in
Don
the
sparkling
he
elegant
in
is
his
how
and
of mind
in
well
loyal,
scrupulous, and
Count de Garofa,
proud, amid
later
de Villal-
Gulatembra
Don
Guritan, grotesque
Ruy
fine
type
of
old
come
rival
Spanish
to
Dulcinea de Toboso
to
gallantry
Court, with
the
let
me draw
was dramatic
life
Bias
He
Queen
And
what a
is
for
Don
his
he
poverty, and
Quixote
How
Shakespeare's.
rags,
loftiness
all
amazing character of
in
is
of picaresque
How
in
What
terrific
prosperity
even
is
wears them
what
Mercutio
lips
attention
to
is
so well
known
poet
may
ease,
express every-
minute
details
163
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i>Jt
from
sublime
the
riskiest
to the
pleasantry,
grotesque without
grandeur, and
Corneille's
speaking,
plain
Hugo, amalgamate
superior to
considers
that
comedies,
bound
Odeon was
far as
superior,
the
setting, to
is
other metals.
all
Although an old
and
revival of
as
"
regards
Ruy
Bias
acting,
"
at
am
the
and
finish
first
Frederick
in
dramas
and
tragedies,
concerned, for he
is
be
cannot
re-
nor avoided
was
perilous
him
in
from the
Ruy
remembrances, and
unexpected outbursts,
heart, accents
that
were
act,
Queen,
when he
his
delivery
tells
that
came
true in spite of
Zafari of
cries
gave what
his
j
love
for
the
he was magnifi-
164
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VICTOR HUGO
tive against
timidity of adoration
while
passion,
the
the
in
well rendered
really
at
the end
way he
avenged
As
The
for
Geoffroy, he
is
the
poet could
imagina-
tion
more
icy,
Satanic, in a
Every one of
nobleman.
his
words cut
Muzon was
The
far
part of
irresistibly for
pummel
the
beaver.
Don
Caesar de Bazan
into
holes on
feather
Who
is
is
his
call
meant
there that
hose wrinkling
the
made
is
to
his
hand
upon
his
better
than
he,
could,
down
to
flutter
neck and
seems to
drooping
Alexander
Melingue
an axe
like
his cloak
his legs
up
And
his
all
dles against a
dark sky
like
Roman
Melingue had no
can-
diflS.culty
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in
Don
still
original
who
Atala Beauchene,
the Renaissance,
at
Neubourg
Sarah Bernhardt
what an
is
hers
is
stifling for
at
poetic
the
in
it,
remembered the
Odeon.
What
languid sadness
air
in the
gloomy
gilded cage wherein she is shut up by the mummified
Never
incarnation of etiquette, the camerara-mayor
!
when owning
How
who
and
her love
truly the
loves
how
Queen
How
clearly the
in her
truly she
little
made
silver-lace
to be worshipped,
like the
Madonna of
love
Don
Guritan, the
old
Fabien showed us
woman
fighting
tall,
thin,
that of a
stiff,
all
longitudinal figure,
young heron.
which
over
with
recalled
Ridiculous as he looks, he
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VICTOR HUGO
Queen and would
loves the
die for
her.
<^
Ruy
tSm
Bias
in that.
is
And
while
buquerque,
bodice,
is
am on
let
me
flight
every
of some
Mme. Lambquin
least coquetry,
her nose.
She seems to
have looked for her costume and the type she was to
represent
in
you
for
in
young one.
167
REVIVAL OF "MARION
D ELORME"
November
1839.
9,
It
Comedie-Fran^aise.
is
run of eighty
panegyric.
itself the
in
mad
spirit
in
infinitely varied
in
its
lords
How
vivacity.
who
most
delightful
admirably
their wit,
in
is
Scaramouch, and
the author of "
delet," could
and
those handsome
all
vividly.
it
Pray,
their
How
truly
comic an
take Taillebras,
pray
Scarron himself,
"
and of " JoJaphet of Armenia
Gracioso.
Don
not
flash
is
and Castilian
It
have
Why,
And Marion's
tears
How
768
What
limpidly
all
those
charming Mar-
VICTOR HUGO
And
Gaspard de Saverny
what a manly, severe, foredoomed face is that of
"Marion Delorme" is
Didier, sprung from nothing!
quis
is
most pleasure.
in
poem,
It
is
lyre
is
struck in turn.
VIII
1851.
i,
la
That
Republique.
the
at
that
first
taken
it
a tragi-comedy
was
its
when
it
was
drama,
it
has
Though
produced.
as
still
living
Theatre-Fran^ais
generations.
presents
was
It
to
study
listened to with
both
by those
who were
those
who were
not.
an actress better
for
the younger
religious respect
it
and by
It is scarcely possible to
imagine
fitted for
acquainted
the part of
169
with
Marion Delorme,
Mile. Judith.
She
tS
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and
tears,
the smiles
brings out
up
Mme.
other
it
calls
pathetic
for.
some
in
If,
does
passages she
points in
the
part
and
lights
differently.
it
he
is
Louis XIII
duced ennui to an
ness,
art,
in
It
is
his
crown from
impossible
to
re-
the
brow
be more lack-
lustre,
lining the
who
of Melancholy.
regally
over-
a leaden cope
felt
at Saint Just.
and
Maillard
woe-begone,
all
reproduced
and
foredoomed
the Antonys.
170
satisfactorily
aspect
the
of
VICTOR HUGO
IX
13, 1843.
at the
Odeon,
it
first
it,
interpreted
more beauty, wit, and youthfulwas Mile. Volet who was charged to draw into
gracefully, with
ness.
the
was
Negroni been
more
custom-
ary effect.
as usual,
its
It
it
lowed
her.
Strange indeed
is
Lucrezia's fate
Celebrated by
all
who
set
her up as a model of
fair,
Lord Byron
I forget
Which
She was
all
is
an angel
of these have
lied
relates that he
whether
in
found
Ravenna or
171
in a library in
Italy,
Ferrara, a collection of
;|ft*i4*
"^ fir*
*4*
*^
* * *s**4*s*i^*s*a*ss9!s* 9*<s*s
iif
letters
autograph
Borgia's,
between the
The
ness
letters
;
the hair
was
soft, pale,
and
beams
of an angel's halo.
The
just
as,
repellent, the
which
Now
woman
it,
that
wickedness,
Dido, the
most
will live
X
"LUCREZIA BORGIA" AT THE
PORTE-SAINT-MARTIN
February
In
1833
was present
" Lucrezia
Borgia,"
the
at
a fact I have
first
7,
1870.
performance of
no intention of con-
am.
I will
deputation
school,
we
sent
to
Victor
which objected
concession
for
it
Hugo
by the Romanticist
drama,
fanatics,
who may
172
appear
ridiculous
to
a
;
the
VICTOR HUGO
present generation, were proud of art and had a genuine
The
which produced
swept away
reading of
tremendous
effect,
all
" Lucrezia
pledged themselves to stand by
Borgia
although, as
''
;
it
So
and Lucrezia
maitre,
You
advantage of
my
by
interpreted
;
am
lauded the
remembrances, and
I shall
men
much
as I
public that
zia Borgia,"
Perhaps
better
I
am,
was present
new, so
to the greater
spirit
much
who
The
avoid as
mean
Georges.
Mile.
far
at
drivel.
as seeing
number, was
filled
173
It
it
performed went,
I shall
in
art ques-
which
self
from
aside
if I
my
interested
my
I tried to
isolate
my-
put
were seeing
Well,
most, but
it
it
many
many
on me
as great
an
eff'ect as at
At
mad about
the drama
itself
and
first
in
its
its
prose
drama
construction.
tions, fully
superbly
performance, and
scenic situations
now,
play
is, it
of the poet
Delorme."
is
who wrote
Powerfully
It consists
Dead Drunk.
quaint,
dis-
drawn and
ineffaceable
is
it
first
tinguish the
the
Outrage
upon
Outrage
These
are the
titles, at
The
once
They
make
Couple
sinister
is
and
174
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SU (Sv
VICTOR HUGO
grim and sombre
Palace in Venice,
Don
What
their splendour.
in
upon the
when Maffio
can be
Orsini,
Beppo Loveretto,
in
each and
off,
is
mourn some
face?
all
fling
her
an astounding crescendo of
name
in
her
No
insults.
" hideous
trump of curse."
in
that
scene.
life
of a pair of
They have
tigers.
exactly the
and
that
which
palace
all
filled
that
is
with
traps,
necessary
is
to
one
is
175
terror.
These
jU
***
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oA
fft*
felines, that
When,
sweetness,
after
vain
having in
and
uttered
been
all
hypocritical
run
shivers
up
Lucrezia
sighs,
in
her
in
again
and
and
smiles
down
one's
back, and one dreads seeing the tigress spring from the
Van
Amhy's
or Caster's.
She
is
of
of
Dead Drunk
Locusta
art
husband.
in
the
of attracting
the
who
rose-crowned victims
had the
to
these
them
How
sinister
is
monks
how
when
as
fully
the
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VICTOR HUGO
threshold, her arms crossed,
with
filled
satisfied pride at
which
the
in
Italian
every
my
in
honour
in
Venice
"
art
You gave
a ball in
century would
sixteenth
sum up
the whole
play.
The
other
But
lanes
with statues,
porch
Even
work.
my
it
was
opinion,
stage machinery
curiously
balcony
in
and
is
it
are
traceried
to
open
turret,
interesting iron-
is
merely a question of
scenes ought not to
present, and
at
would
play
lead
and
The
tricks,
with
some of these
be detached, as they
scene.
at
ever present, as
In
is
always
little
lanes that
like
out
carried
a simple
made
into
change of drop-
be benefited
by
this,
and
more important
not be
stitious horror
rendered
of such changes
in
177
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the
first
came
performance
much
and the
fact that
because of
it is
firmness,
its
does not
view of the
in
cleanness,
am
it
of
were placed on
thirty-seven years
still,
No more
conflict
in
need,
later,
artistic value
its
to the conclusion
magnificent lan-
stage.
has aged.
few of the
No
doubt
veil,
mysterious depth.
It is
known
woman, whom
Mme. Marie
ruddy gold.
this tradition.
It
is
is
love
to
her maternal
There
Lord Byron
which had been
fair.
her con-
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aiv*
VICTOR HUGO
often assumes the appearance of love
deceive
the
Gennaro
that
the
are
They
is
more
difficult to
no monologue
knows
they
know
Tiber by
the
accents
they deceive
the secret
in
man on
Its
Mw mw
Gennaro
well that
itself.
Grand Duke of
the spectators.
full
for
is
told
by Beppo Loveretto
This
play.
subtle distinction
purpose
one
of stating
at
is
in
what she
makes use of
when
at the
end,
when
she
avenging
lips
grief arising
fine
in
by
that
Gennaro.
Her wheedling
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much
stress
on her
When
secret designs.
she
fuses,
makes
it
is
against injustice.
third act with
amazing depth of
ironies in the
fierce
satisfied hatred,
and
in
making one
Why
did
Taillade,
who
so as to look like
Kemble
cannot understand
in
the part of
Hamlet
this
jumpy
manner; he
way, now
scarcely indulges
in
Taillade,
too nervous,
affects a cold
in
a gesture,
and
and
"Do
It
is
true that
" tear a
hand," and that he forbids them
passion to
tatters, to
"Be
the
word
to the action."
If Taillade,
whose
talent
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VICTOR HUGO
much
appreciate,
be
the better.
all
would
Gennaro,
in spite
of his mysterious
to
destiny, ought
let
than
he makes him.
Duke
is
Melingue
Don
Alfonso d'Este,
He
has a
lordly
says,
of bearing
there
plainly
Under
himself.
it
is
his
He
is
man of
brought forth
arts, a gallant
politician,
XI
Of
cliffs
13, 1843.
that bristle
on the
inhabited
Homeric
robbers,
by
burgraves,
bandit-noblemen,
passers-by,
A* (A* *4
'ii* *ii*
4*
' *fr
^* ^* *s*
and then
convoys,
open by
assaults,
fast
returned
in
their
to
their
eyries
Smashed
talons.
tall
ments.
The
it
is
the hotel-keepers
cunning
who now
rob travellers.
Hugo, with
his unequalled
the
which he
with their
cellars
staircases,
is
the
lairs,
every
the guard-rooms,
acquainted with
secret
elliptical
passages
cut
the
in
thickness
men's
the cone-topped
bones,
on the crenellations
look-outs,
hung
he showed
room and
hall,
No
doubt
it
curred to
the
illustrious poet.
182
The
"
Burgraves
First,
oc-
he must have
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VICTOR HUGO
reconstituted
in
fallen stones
back
his
in their places
parts
set
the
down
two
panes
in
in the
setting;
there in the
window
Then when
he saw
and
witch
of
recall
to
come
then
rearranged
must
its
Endor, a poet
Magnus,
chairs.
the fancy
manor,
lordly
make them
ghosts and
first,
everything was
that
right in the
set
wood
speak.
his
is
able to call
up
father, then
Job,
the
through
time.
It
this
is
vision
realised
cent
being
verse,
the
result
of vanished
and cast
the
in
years
magnifi-
of "
trilogy
The
Burgraves."
When
dazzling
seen
the
scarped,
the
rock
line
of
fire
called
the
with
talons
real
footlights,
of
by the
there
is
those lofty,
feudal
of
spectators
from the
the
granite, clusters
^8^
of towers
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by looking
cliffs
idea
at
hawk
in
Clouds
its
swoop
of a
torrent, and
rest
les
upon
tears
its
the moats
bluish haze
is
it
courting
There
is
no communication with
outer
the
air,
puts
over
the
iron
aside.
is
on
a sort
of centenarian Goetz
to
scaling-ladder
in
is
set
up against
his
down
walls,
The
vast dilapidated
hall,
over which
the dust of
is
cast,
184
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trim
VICTOR HUGO
the
is
mouldings,
^s
of the
tw
iiw
Keep
of HeppenhefF.
Romanesque
The
of sunset.
capitals
in
with fan-
more
Through
pillars
closely together.
are seen
from the
gleaming
Lights are
castle.
barbicans,
whence come
drinking-songs.
The
lasting
and
the
most
feasting with
his
com-
morning,
looks
revel,
good
is
in
begun
deal
the
longer, for
Amid
the
revel
is
the
heard at
brushed aside.
It
is
Assuredly
if
ever a
in
man might
hand.
may do
The
portcul-
/*
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at
ing
posts
Count's
the
door
its
chamber,
wards,
itself
is
fortress
known
save
Naught,
down from
Yet
foe
Do
all
Prometheus
vulture,
to
sent
by
on
fear
What,
rock
this
swooping
Jupiter,
the heavens.
well defended
tries.
has
to
managed
manor,
in
within
of ramparts and
spite
old,
penetrate
worn woman,
sad
the
sen-
beyond
walks
like
Commander,
she
is
ways
who
who
that ply
and
changing
existence,
forests
poor
ever
between Ostia
masters
terrifying
is
ing
She
.''
Guanhumara,
slave
climes,
her harsh,
tigers
many
she has
sufferings
learned
life.
and
In
wondrous
secrets
786
life
or in-
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VICTOR HUGO
death
flict
Polar
stars
meditated
she has
and
philters, she
upon the
months
six
when
at
the
a time
conversed
has
nights,
with
the spirits
of
that
is
castle, every
surprising
certain
amount
in
companions
a great void
surly,
silent,
of
around
and
inspires
and ever
sombre,
as
Now
her.
in
for, in
return for
is
allowed
liberty.
terror,
subterranean
worked, she
misfortune, she
and superstitious
is
improve upon.
vague dread
whisper
which
terrifies
Guanhumara
the
very echo
of
them.
has
been seen
in
light has
down which
in
the
window with
torrent.
It
trance to
which
is
window
that
lights
now unknown.
is
en-
cellar the
In that mysterious
and
events.
with strange
filled
rage unchecked.
Ah
rossa.
how
It
is
Everything
in
live
tottering
into ruin.
falling
we
the times
are
was not
were he only
alive
But he
There
'
:
Twice
is
not
is
shall
Barbarossa be
come
to
life
again.'
Count
Max Edmund
in the
He was
chair
and
his beard,
came down
Max Edmund
Count
opened
his eyes
Sire,'
folly, a
rossa
and asked
if
to sleep again.
he was leaning.
approached,
Barbarossa
Emperor went
to his cheeks,
When
No,
cave
seated on a brazen
'
in a
All that
is
but a piece of
was drowned
in
Barba-
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''^
WIU p*
knows
*!2^
^H^
Who
body was never found, though.
says another one of the company, less scepti-
why
nobleman
The
comrades.
should
in
it
who
come
not
true a second
told
who was
During
his
household of Barbarossa's
in the
had
that
him
at
shut up as being
father,
time
called Sfrondati,
insane, and
made
vp*
VICTOR HUGO
vp*
His
army.
once
ttlb
been
to another
Duke
'
This
the
is
his
legitimate
your brother.'
son
to
him, he
When
they
were both
in
merely said
whom
lest
when he
confided
Fred-
a Corsican
The
love.
maid with
elder brother
he
had
killed
them.
On
the
at
least
banks
he believed
of a
torrent,
They
were
still
^
X
M
MM
!
vHt
r^
<n*
^ ^
MW
r>
UU 4*
4* 4* 4* 4* 4* 4 4* 4* ! 4* 4<
* * < "^ * ""^ " ""^
.i.
l,
''
<S1
tened to take
Donato back
was hushed up
to his
As
No
very
fled to
many
affair
Brittany,
years later.
keeping the
Duke
only.
affair
quiet,
had
Frederick, de-
him shut
who
was on
upon
his
old
that
never.
is,
No
Donato
Such, roughly,
tween the
man
an
tions
When
he
his brother
each
girl,
and
up.
his
in
till
The
father.
is
slaves,
the
Frederick,
Emperor Barbarossa."
putting in a
word and
rime with a
skill
and
Hugo
writes
in
the
When
the captives
:i^*
???.
stories, the
*J
*>|r
fM c^*
* * * vtv
'il'*
'' ir*
ar>
>
*^ ^^ vlr* ^1 4
*^ (^
JU ^<
Mw <* M<* *i^ t^ ri* #1* !
M
>
or*
^'**
w<w
*$
vi* T*
VICTOR HUGO
him, for
my
Hatto and
lord
his
castle,
are
company
coming
this
direction, for
it
Within
inhabit.
side holding
his
may
dits,
for
be,
and
his
son
in
the
state
Magnus
at
and
silent
They keep
it
sits
Job
They remain
lance.
at a
stair leads to
there.
that
The darksome
rooms they
here
is
if
at
bottom
downright
ban-
the effeminate
vices
they are
from
their full
share of the
but iron
live
steel
in
their
clinks
men
are
dressing-gown
their panoplies,
the other
silks
They
and
and clashes.
hand, find
it
as
work
to
they
they
move about
his
more convenient
a coat of mail
Hatto and
ing, to
is
lives in
the
friends,
to
on
dress in
prolonged feast-
flowers, to indulge in
and to
t-
liS
!/
! #4*
*!'*
** *4*
*!'*
* * ^v ! ! !* *s* * 4* ^* i*
*1* **
trieve the
They
prey.
perhaps,
notwithstanding
The
comes on
scene a
An
wrong.
white-clad
pallid,
she
Is
figure.
the
vision
She leans
with one hand upon her maid, and rests the other upon
the
arm of the
free archer
fellow of twenty
She
sits
down, or
who
loves her
lets
herself
and
fall,
loved by her.
is
rather, in
an arm-
window, which
consumption.
it
The tomb
may
is
dying of
and the angels are calling her pure and gentle soul.
Millevoye made himself famous by writing a few
of verse on
this
subject, but
these
lines
disappear in
the
No
poetry
more
ravishing,
more
more
tender,
air exhales
from
its
human
of
that
ear.
in-
192
*l!* *^
*^
^ rl?
* *^
*
*i*
VICTOR HUGO
ardour
comparable
live
the
"
he exclaims
young
in
girl
and
too
much
shalt
when
accents of love,
in passionate
" Thou
tenderness.
life is
life
and death
her hands
in
the sinister
for
none
old
else
age,
when
Besides,
shall
when he was
patriarch he
Regina.
the fulfilment of a
for
up
is
Guanhumara
and she
life
is.
The
past
fourscore,
devilish
old
like
in
the
his
true
child
it
it
were merely
Of course,
in whom the
it,
for
Guanhumara
pharmacy of poisons
193
hen-
But that
the upas-tree.
sort
Corsican enough.
"
Can you save Regina's
Otbert says to her,
"I can
" As
my
for
but what do
me,
made up
Then
one drop of
But
if
to slay,
its
when
The
her
look at this
sash
where
I will,
"
bargain
is
to
faint
I will,
struck, and
life,
health,
It is
is
barrels of scarlet
whom
live.
shall
I will,
with-
an assassin or an
like
do so."
and bloom.
liquor
is
the
Really, Otbert
it.
Every man
in
That blackish
Their conversation
two
Is
of
it
at the price
vial.
slay
swear
small vial.
quintessence of
mercy,
executioner."
"
it."
out pity or
is
would have
soul, if Satan
back
life
"
?
"
life
is
freely
194
4* jU 4; 4; 4; 4; 4* 4; 4; 4* 4^ 4* 4* 4* 4* ! ! 4* 4* 4* 4* 4* ^ !
VICTOR HUGO
the
successes with the
fair
his
The one
takes time.
telling
Gospels, and
But while
sort.
and a sight
meets the
First
gaze.
comes Magnus,
wolf-skin thrown
helmet.
is
On
are unconquered.
Angelo's Moses.
By
his
side stand
It
muscles
his
temples, and
and
though
is
as
Job, formerly
down
that of
known
like
Michael
as Fosco.
own
much engaged
with their
one of
Magnus
nificent apostrophes,
common
195
in
Then
mag-
Ii*
>
>
*w
>!*
** Mi%
aw
wt*
tf
tni*
4 vJU
rl>
art
mm
<*
OM
>l!>l< ! * & *S * # r^ 1 l
* > ^w* a^* "< <"* ^^ *"* M *v vi aS* w<m viv
old
German
loyalty,
merly
all
were
and imitation
steel,
clothes
now
nothing but
they are
The young
Homeric
**
Cold
is
**
Myself
The
priest
But
let
Outside with
let
my
all his
is
us love.
mother's dead
preachings
So
let
we
us love.
door knocks,
friends he 's waiting;
While Lupus
let
Satan himself at
But
my
me
ever at
So
'm damned
is
allocu-
On
the
song
heed to
but scant
burgraves pay
starts a
silk
So
let
we
us love."
out of
singing, the others, bending
196
aw*
< air*
Mw
(>
m>
fv
VICTOR HUGO
Magnus, emerging from
cries
to receive a
way
God
we
himself?
that the
is
when
a poor
helmet was
filled
with
money and
"
his torpor,
way
who went on
" Silence
young man,"
"
In my
Magnus the centenarian burgrave.
when we sang louder than even you, and when we
says to
day,
feasted
upon golden
came
platters,
we proceeded
Stand back
And
if a
beggar
forth to
meet
man was
given
ye children
Squires,
king!
of the
in
stairs, a
and
beard that
waist.
The
curtain
falls
upon
this
falls
blast,
to
his
and the
197
^ a ^ JU ^ J^ JU
!. cl .i. 44
4* 4* 4* 4 4 ! 4* 4* 4* ! !
which there
no
is
on the
parallel
and to
stage,
sublimity of concep-
" Lucrezia
Borgia."
part, the
mendi-
old
Hugo sums
w^hich Victor
lines,
up,
in
some threescore
He
an age.
excels
views, in which
in
the
making of these
and
bird's-eye
When
is
maze of
plication
To
spair.
at
which
his
it
com-
a labyrinth,
one must be
Barbarossa.
And
forms
real
broken
in
person.
couched
is
in
verse
upon
of Corneillian
beauty,
is
politics,
joyously
bloom
her
lips
Guanhumara's
VICTOR HUGO
worked, and the
has
philter
pallid
girl,
so white, so
that
was
to be put
returned to
life
statue
Otbert
radiant with
so
is
happiness
that
he
his
else,
into the
As
Guan-
humara.
keep
has
for Job, he
is
been so blind, as he
from
the smiling
it.
He
sees
draws
clean, proud
him
to
George, stolen
smiles.
that the
he resolves to
sympathy
in their
in early
sacrificed by the
feasts.
who were
in the
is
own works?
that
riot
gained.
tern of
way
So time must be
shall flee
by a secret pos-
which Job hands them the keys, and the old man
The
filled
eyes
in their hearts;
lovers are
ready to
difficulty in the
betrothed to Hatto.
is
Regina
The
and
its
is
teeth
Guanhumara,
clinging
its
is
away
Hatto dashes
his
archer
Spardacelli.
you are
called
Yorghi
your
in
this
part,
contempt for
"
my
You
have
shall
kennel grooms.
then
I will
The
mendicant,
"
out,
in,
shall
who
has
200
4* 4; 4; 4;
^ 4* ^ ^ 4; 4 4* ^4*
! 4 4
^ U
4* t^ 4* 4*
VICTOR HUGO
buffoonery
Who
cant.
ward
"
?
are
is
the
the mendi-
that
you
"I am
and here
we tumble on
for-
fills
terror.
"
I shall
true
soon recognise
there
is
the
"
Magnus
Barbarossa," says
me
Let
it.
mark of
the
is
in
The Emperor,
his
triangular
My
steel
It
is
with
identity
if
tells
reproaches
him
plainly
he takes each
what he
is,
with
tremble and
bow
so
much
their heads
his hatred
by
his
is
The
at
Alone Magnus
burgraves, emboldened
in
upon Frederick
bold-
The
The
in
an
giant
who
so far
puts his
Magnus,
hand on
his shoulder
" Frederick
is
and
says, as he
right
he
alone
Let us yield."
condemns
others to re-
among
guiltiest
and wait
for
"
the burgraves.
me
in the place to
And now,
which you
Fosco, go
repair every
who
him
by that name,
all
knew
it
calls
lying within
the tomb.
and lugubrious
and depths
place,
of darkness.
full
is
with
troublous
echoes,
Through an opening
lamp that
on
sputters
shroud-white mark.
a large stone,
in
moonbeam
that casts
Job
is
by a small, flickering
202
4*
4* 4* 4* 4* 4 4* 4< 4*
44 4* 4* -i* 4 4* 4* 4* ri* 3 4>
^ 4*
a^ 4
V WW* W MV* MW^ VW^ WM
V* Wr* * VfV* ** ttWM v^w* ^ ^ W 4*
**
4>
>
VICTOR HUGO
make
more
the blackness
over his
fall
for he,
He
intense.
mourning
He
is
Do-
he thinks of
To
sombre lamentations
his
" Cain
"
The
rible, for
front
long
known
him
to
which she
In a short,
that
was
"And
now,
listen:
was who
stole
fratricide
surely
fair.
Regina
would
I
I
point
can take
will
knows
is
he
he
that
Otbert's resolve
that
the
secret
Regina
203
to
put to
life
this
slay
It
my
a parricide
recalled
remain firm."
about
to serve
Otbert
The
back, and
is
should
out.
cell.
lives.
still
George
:
his
circumstances of the
Is
in
in
the course of
on condition
victim
tale, in
time
first
within
perpetrated
The
vengeance.
for
broken
crime
quietly ter-
life,
is
She surges up
assured.
is
echo
death
I restored
to
the
to
makes me sure
"And
his
Otbert
"
father
No
remain veiled
that
is
you."
Staggering steps are heard in the depths of the under-
ground room
it is
Then
occurs an admirable
tured,
Dame
and
embraced
who
is
boy
he pulls
arms of Otbert,
is
die.
to be venerated, but I
"
fatherly caresses.
own
his
Job
am
Shadows."
am
strike
Slay
me
Besides,
a guilty
you may
you think
man,
without fear
a Satan.
slew
my
"
!
Still,
Guanhumara, seeing
approaches
and
that
"
says
his
Regina
purpose
is
wavering,
cannot wait
longer
204
-*^
-*-*
tb^^^tlrtlrtlr^
.i^^-i--i
!---
-I-
VICTOR HUGO
forward knife
rossa,
who
in
is
seized by Barba-
am
tomb
for thee
feet
moaning
raises him and
and
for
me
hell
for
pity
and
him
And
when
down
falls
she
is
woman
right
has
rather,
is
now
disarmed, fully
for
what doth
become
old
when
it
advantage
and repulsive, to
she was twenty
membrance
reality
falls at his
What
The
gone
'
:
ear
Barbarossa
forgiveness.
resuscitates
is
Fosco
my
me
to his heart.
Guanhumara, or Ginevra
pose
"
'
in
could hear
soul
living
presses
Donato
useless.
he.
and bloom by
a hideous
is,
all
the
was an
very incomplete.
effort
traits
beyond
my
it
205
^M
vrit
MX
KT*
Or " tT*
? >
** vwv
t^
.^<
>*
)<>
illustrations
nelius
for
story
doubtful whether
am
of the
painter Cor-
Nibelungen.
capable of praising as
It
is
even
deserves
it
the firm, clean, robust, familiar, yet grandiose versification that betrays the sovereign
At every
instant
poet, as
Dante hath
it.
lines that
It
is
marked by
On
this
that
before
it.
It
its
greatest poet,
comparative oddity.
And
listen
to
man's work.
way of
in
there.
206
VICTOR HUGO
were represented.
renowned
guest.
Victor
able or hostile to
Whether people
sion
is
make
and
invariably excel
part, I like the
in
tain
even,
taste,
poet prick
power.
out
it
is
there will be
to fall foul of
For
fault-finding.
little
lines
me on
that
ears as the
Victor
do.
and the
least
sharply
Under
defined
207
his
my
am
oddity, barbarism,
these lead
superb
the
an entrance or an
detail,
to
often
cer-
make every
blare of
Hugo
Whatever he touches
come
if
his
up
up with
art
little
take
unexpected and
true
some
such petty
and bad
drama from
quarrels
literary
works.
his
are favour-
he alone can
no one but
compelled to make
feel
him, they
pen
is
one
least
his
at
bugles
possesses one
met with
in
acquires vigour,
there
is
nothing
vague,
i* !
^ !./ X
4* vl^
^ i% ^v 4* 4* s*s* * = ==
*!;
soft,
chance.
to
left
nothing
He
has
the
Angelo
his
is
a virile genius,
neille
No
manly one.
feminine
Cor-
part that
geniuses
in
" Prometheus
Bound."
all
calls
one of the
filled
in
finest passages
our literature
they are
from the
classical tragedy
is
a very different
thing
And
My
thou, which in
chain's
I call
**
Ye
ye
worn
all to
life"" s
link
exile I ne' er
and comrade
witness now!
Ye
have dropped,
true,
walls, ye citadels,
all
bestowing,
What
as thou,
'*
208
melted away
VICTOR HUGO
into the night of the doubtful past, to reconstruct a world
by stone, as patiently as
mediaeval
architect
might
walls
cellars
its
sages,
pierced
family portraits,
full
its
of mystery and
panoplies
that
terror,
out
give
its
old
strange
seem
to be
protected
still
by the
inspired
What power
spirits
of those they
and
of them
worthy
maintain
the
epic
Hugo
alone
tone, the
three acts.
14
209
could
lyric
flight
at
this
day
throughout
i:i:'i::k^:k:k
whomsoever knocks
sanctu-
its
at
That
is
why
a great
make
suffice to
arts
artist
an
of him.
artist
they re-
in
and which
of,
As
would
admire a
beautiful
woman
God
alone
can
general rule,
but
feel
the
admire him as
or
not to be
is
happy
trinity,
man.
magnifi-
beyond the generosity of kings and which the most persistent efforts of
truth
human
which prose-writers
in
vain endeavour to
The
211
poet, on the
whenever he chooses
it
is
out in a
to
won-
>l| mM/t 4m fl
M^ aw* w* ^#
vp*
^w
m^ tfM #1
#1 1^
rM rl^ # #*
! <iA4
MM ftv* ^* * tji*
Mr 4^ c
r*
*^
p* *
*M
iw
>
can approach.
and
spirited
Birds both
not sing.
no prose writer
that
fly
proud their
and walk
gait,
horses,
however
come
up to an eagle's
flight.
The
is
or in flight
his flight
that
the
no creature on
him
pinions
is
in
running
greater and
fable,
In proof of
this, I
name an
illustrious
name, a name
name of
Unquestionably,
dowed with
if
ever any
man on
earth
was en-
movement,
and of
all
attributes, that
man
is
the
author of "
The
Never
did
poet, and
as
"
"
Martyrs," of Atala," and of Rene."
The
212
would be easy
they lack
to turn
rime.
is
who
utilitarian bathos,
believe themselves
accurate
sterile
Whenever
compose news-
paper paragraphs far superior in range and style to anything the aforesaid gentlemen have
astounding
produced of most
politics
without having
to
lit
fail
verse, although
what
The
better a
put together
man can do
in
is
pack of scribblers
poets' strophes
their
contempt
lost
its
is
tail.
And
really I
do
towards poets.
It is true that a
upon
its
213
is
so like
it
may
The waves of
it.
make one
Homer's mouth,
in
The
But
book
to be quite a
alone
is still
letters,
is
two even,
it ?
and
rests
falls
end of each
line
they
at the
Andre
as
poem and
wanted.
three
Not much,
Siamese twin
his
lines of
verse
week
readily
write six
Biblical,
Homeric,
just as
hundred.
and royal
his
all
talent, has
his sentences,
and has
tried in vain to
from
written badly
inexact,
letters
rimed
grandiloquent,
In
many
end
his silver
bow,
like
Chateaubriand has,
verse, hard,
pretentiously
"
to the
flabby,
artless,
Moses,"
recalls
Baour-
"
Lormian's " Omasis
and Ducis' " Abufar," and not-
214
^ 4: 4: 4: i: 4: 4: 4: ^4? sb 4: 4: tb dr 44
OF THE EXCELLENCE OF POETRY
4: 4: 4:
tl:
tl:
!*: :!:
and palms,
name
in
Biblical
is
Verse
only.
none the
Yet the
if
Phoebus or
splendid
God Himself
may be
it
great
his
is
is
had written
with
said,
renown and
briand, the
the sun
less
believe
to
is
all
it
so that I
due respect
is
poetic prose-writer,
his
Chateau-
talent, that
mighty
to
an execrable
else
men
with a single
line
verse
asked
his
at
least
of verse from
(ew stanzas
He
friends
for
for
one of
them
am
his
his
has never
unacquainted
When
pen.
whose prose
diapered with
of a poet, but
pierced and
is
he
novels, he simply
Frederic
Soulie,
Janin,
his
to write
needed
of
less
been able
is
the
Yet Jules
every requisite
freely
golden thread.
215
are
not
rhythm's
<
am* * vr
mm
vp*
<
<*
^P>
* <
<ii*
highly poetical,
which
a grand
is
which,
ode, a
hymn
Planche, but
this
is
as
It is attributed
simply detestable.
Inno Ebrioso^
"
language, means
Drinking
in less pretentious
Song."
entitled
by some
to
is
Gustave
Gustave Planche,
and severity,
critic
of very
how bad
too,
fair taste,
verse
how good
is
is
verse
written.
Quinet,
order to
singer
make
Examples
the poet
man who
he does not
great
mysticist,
has
Edgar
his aureole
has written
"
know
complete.
who
Orientals,"
if
"Odes
and Ballads,"
Hugo,
"The
" Marion
Hernani," and
Delorme," the
come
who
is
un-
is
pen, from
the
216
facility
pen to the
lyre.
from
His
^M
** am*
MM
> >
>
* *
"T* <
<
V*
MW
MM
* |U >
made
being
for
make an
on diamond, although
impres-
apparently of as fine a
is
it
Diamond
crystal.
known
for
his
is
easily in prose
and "Consolations"
quite
the
is
carefully
trenchant sentences.
Mars," which
"
good
" Eloa."
as
"CinqMusset's
with
I
might carry
and quote
sufficient,
this
Even granting
which
deny,
is
plenty of people
but
sufficient.
is
as
good as
fine verse,
who
am
yet
way of
fancifulness
" Tales of
Spain and Italy."
what
is art, if it
obstacles nature
the crystallisation
of thought
217
be not the
puts in the
And
if
it
is
w*
aSw
^i*
W5
Mw ^>
Wfw
!>
* * twi* aRi *
Si
^ "^
the
An
sible
and
So
Olympus
absolute poet
superiorities
who
of
human
thought.
may be
that
God
is
the world.
218
i:i:i:dhi::k
S/ft
WW
si*
trJ/tt
vj/*
/W
*%
vr*
0^% 9^ J^ r
W \*
VT*
W^
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A-V*
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tfJ/tt
ft^<
J| #>9
"^ 4^
*jU r #^ '
WTt* ^
VV V>*
>*
ft7<
<^>B
'J^
tfX*
WM*
vIq
r^
>%#
members of
the
sale;
books which
volumes, stained
greasy
counter
smelling of the
or obscene remarks of
It
officer.
or
the
with
or
oil
tallow,
kitchen, every
police
their
when
gloves
is
some would-be
perfectly
page
stupid
wit or literary
shameful.
Beautiful,
with rosy
nails,
or rough, fearlessly
anything coarse
Of
truth,
it
is
it
ladies'
ing libraries
down
have
if
table a
bought.
betters
their
disgrace tables
No
and
want
name and
In
have
Eng-
one of the
single
dinner.
to
the publisher's
it
latest novels.
vilely
filthy
the
volumes that
drawing-rooms.
This
state
of things
is
220
it
can-
libraries, the
!<
^
*J^ *1
Vlv> > ^K
f/
MW
who form
lating
the greater
is
cooks
circu-
It
libraries,
janitors'
is,
as
rule,
much
cannot bear
"
young
Blasphemous
who
it,
poet,
it
in
because
who
may
love
it;
speaks
it
is
are
like
it
is
the
beyond
for in this
way ex-
not saleable,
respect
less
'tis
it
is
ness
this
my own
For
lacks coherency.
ion of a
If verse
influence.
now
is
all 1
low that
To
love.
mad-
that
't is
God-given,
it
not."
And whether
number of
poets
always be poets.
in
The
rhythmic manner
literature
verse
has
is
may be
said or
need of expressing
ingrained in
come
his
man, and
thoughts
in
every
221
dB*
aiSw
tfW
vw
Ww M
MW
<
<>
* * f *w r* *>
<
p* i *
process
The
in
inflexible
which may be
form
altered
memory and
what was
faithfully
passed from
mouth
intrusted
to
mouth
to
preserved more
it.
distich
was
no matter how
composed.
and very
jargon,
all
it
artistically
may howl
comes
to choosing
things,
it
is
very
great.
much
is
to choose
all
never pre-
When
best after
is
Homer
poets.
as
it
foolish
Watt, the
The
Chi-
lacquer,
who,
the rhapsodist.
old
222
vr^ vn
.w
^'^a
iT
mfT*
i-v<
Jtw
t^xte
t^*
^ U
n.^*
^S*
oS"i
tt^w
quisite
steamers, on
and
indecent
steamer
guns
the ground
that
these
are
invention.
And
they
are
right,
is
fire
at
barbarous
for a
not
Is
poetry.
without
furnace and
its
smoke,
far
going
not
iron
its
and
carrying a large
fast,
little
by
water, and
sailors,
at,
amount of
but
freight
manned by blacksmiths
like
exactly
always
that
pipes
with
the breeze,
in
is
and drawing
and
so gracefully
swell
that
wings
or
pendant
which
prose,
you
please,
is
wher-
And
is
from on high
order
in
to
with
canvas
some
giant
festoon
poetry
the
.?
start,
carried
high
not
is
and
low,
swan, and
of silvery
The
steamer,
paddles,
looks
the
sailing-ship
the
breasting
binding
foam,
sailing-ship,
the
looks
to
its
sea
shining
perfect
like
covered
like
sides
symbol
flying
bird
drowning dog
away on top of
flood.
223
As
of
;
its
or a wind-mill
I
am
naturally
<iv
Ww
in
vr0
#l
JUi*lAlk#l*JU*%#l<*#l%
ViVW 4
W 'W ? *< v*^* pWi tfP* ^T* vk'* wVw s*
drummers
so
is
precious,
idiocy
to another as
rapidly as
streams, through
by the bank of
us,
stroll
now
to
we
Write prose
please.
as
much
as
you like, but let others write verse plant potatoes, but
do not pull up tulips fatten geese, but do not wring
;
the
that
stout
not wine,
You
is
In spite of
can
all
your pretensions
man
only.
erly
laws.
enough
God
has
That
is
world's nudity.
224
is
art,
not
must
the garment
to
cover the
OF
Unhappily
this
is
this
is
not the
may
of colour.
15
225
:h:ki:':ki:i:i:'i:i:i:i:'ki:i:i:^i::k^4:4:^^A
CIVILISATION
acted
Civilisation
fa
as does
complex
to the simple,
The
Economy
mammoth
lines, that is
To make much
out of
antiquity, with
polytheism, possessed
the
in
its
art.
anthropomorphis-
the gods
positive
wor-
shame of progress be
it
may be
step for
There
are
it
many who go
so
years.
far as
to believe that
it
has retrograded.
Now,
is it
Beautiful
tiquity, as
true that
modern times
is
The
to
me
227
set
up
was the
conceptions.
And, indeed,
more
form than
perfect
ideal regulator
the
that
of
artistic
tecture, ceramics,
poet
could
bloomed "
The
say
were inspired by
of the
Propylaea
pillars
its
and the
lines,
that
archi-
their
outline
of a human smile."
amphorae
raised
recall, in
arms of
women
basket.
The
tended to this
ideal, the
easily attained to
human
proportions.
is
As they
all,
they
Christianity,
doctrines,
proscribe
images
The Hebrews,
that
is
as
is
well
known,
under
the
228
A*
WK
I'vs*
! #
v^
*'r WW
!/
*iw
CIVILISATION
element
is
more powerful
far
The
generally believed.
in
Christianity than
early Christians
is
were almost
all
Venus
or an
Apollo.
Yet,
in
render the
new symbols
the
stifFer
to
is
be
noted that
This
Catholicism.
is
Christianity, and
say
not
In the
a necessary distinction.
becomes an enemy.
it
ideal,
glorifying
It
was
it,
it
a palace
is
is
now
The
now
is
restless
within
it
it
ofFas
though
it
were to be speedily
punished
229
ugliness
invaded
the
11#A*
o>
!/ li*
! aSv
conceptions of the
such a
arts, if
name may be
became merely
that
crystallisations
obeyed
Deep
night
settled
This
bitter
war waged
blow
the
at
plastic
arts.
The traditions
The
forms to worship.
strict
conditions,
occurred
that
was
great
lent
its
of
graceful
relieved
of
curse, and
its
movement of
the
then
Renaissance,
which was immediately counterbalanced by the Reformation, which revived the old Jewish spirit, the hatred of
images, of beauty, and of luxury.
The
the
henceforth sure of
matter
men
itself,
for art.
no longer
felt
The
spirit,
timid hatred of
230
CIVILISATION
tail
God
tree.
the
Christ
Mary, standing upon her azure globe, with the crescent of the moon under her feet, became lovelier and more
gin
associated
soul
Never were
Venus.
attractive than
in
happier
to
this
trades
Once
proportions.
they
in
All
developed prodigiously.
exquisite taste
became
and
arts poesy.
this
of the
human
blossoming
race.
ing
now
to the one,
now
and produc-
have
at all
There
loving, over-scrupulous
shocks, and
who
their personal
representatives
foes.
in
if
they were
its
may be symbolised
in
every
age,
231
cA*
!/
>
** *4* *S*
!! 'I'*
a very intelligible
a Protestant
worn by
sober coat
Quaker's
a Venetian
patrician
by Paolo
Veronese.
is
Protestant
spirit
has
that
prevailed
among
us.
That
fits
in well
The
ity
fear of critical
We
civilisation.
for
more
store
effect.
is
set
Mon-
Out of
a loose overcoat.
The
atrabilious
fools, a big
word,
232
it
the
the
to
have pro-
civilisation
has not
art
very young
use of;
its
it
uncovered
tions in a skeleton or
makes
Our
within to be seen.
it
is still
embryonic
among
inven-
state.
all
be more horrible
Well,
Could anything
from the plastic
such a spectacle;
it
has
the
skin are
All
wanting, and
ugly
elbows,
consequently form
sharp angles,
toothed
to
civilisation,
network of
flesh, their
cogs,
one as
if
stifF,
absent.
is
awkward
automatic
lines,
motions,
icy
move.
Art has to provide
civilisation
with an
epidermis,
no objection
to beauty
it
is
waiting
233
!r.
A*
anw
MM
nM 1 !/
5 iw
*!
vi* 9* 9* * *S* *S*
" *
* * ^ * "* * **
its
The
It
thing
is
in the conceptions
civilisation
to
fall
The
it is
taste
of the tailoring
milliners
who
settle
the
title
What
"
propose
to
under
accomplish,
is
work
disdained
tion just
as
machines,
its
pots,
and
it
is,
with
its
railways,
English researches,
all its
its
accept civilisaits
steamers,
stoves,
its
its
chimney-
may
must beg
preamble which
234
Although
it
was
it
indis-
CIVILISATION
pensable.
of antiquity,
sphere of time by a
gas, as beautiful
may be
new world
balanced on the
brilliant
with
and
steel
other was in
its
serene reverie.
Admirable materials
hand, and
require
results.
ready to
lie
taking
bilities,
now
am
stir
in the vast
I shall
under-
artists,
the
ideal, to
truth.
I shall criticise,
rect
shall
form
deny and
but
shall affirm
I shall
take to task
shall
for their
the palace as
ugliness both the hat and the locomotive,
well as the trousers with straps, and
a thing that requires to be
is
done
in
shall
prove
these thrifty
235
times
JU Av 0f
**** "^ "
fj|
j^
'f^
JL
*
^
t^r
1 A *! ! #!
fcT**
F
r*
**
**
VT*
**
Ai
r% JU #1 JU
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*#
HOFFMANN'S TALES
devil as to feel the shudder that ran
down Hoffmann's
in
pany
the devil
come
Paris
to
who
other people
are far
he would be taken
He
would have
ecarte
himself,
he
more
devils than
he
is,
and
country bumpkin.
money swindled
he were not
if
would
out
of him
on
be
to
whose behalf
the
to
and
evil skill,
such trouble
who
is
with
provided
sent
Goethe went
and
for?
in as readily as a
his
would
devil
at
company, and
papers,
what the
that
jail.
in
in truth
Mephistophcles
Wolfgang von
great
the
proper
way of
rascality
He
rather childish.
Our
spectres
by
German
opera
airs as
then comes
ghosts,
they
it
stroll
that
moans
Tor-
uttered
hum comic
How
were so
readily
Hoffmann's
tales
common-
237
4k4*
(I* !
^ 3^;^
his
plained
and
attributing
It
year.
of Hoffmann
the
erroneous, like
is
of
effects
ex-
novelty
is
because
is
cannot be
It
the
to
it
surprise,
year by
fancies
idea
have
people
generally received
all
ideas.
Gently buttonhole a
literary
man, or
window
man
of the
recess or under
Hoffmann by
member of
a provincial
May
be a cab-horse or
Academy,
if
he does not
cellar
in
Berlin.
Then
at
pipe
he will
a great
is
number of
most improbable.
bogies,
smoking
work,
a big pipe,
The
pile
of
flibbertigibbets, small
^38
a^ >& ft ! ri
*^
*l^ ^ 4 !* vi* vli* *
* ai*^ ^ <* wR* *
VV* MW ! xv* * to
'*<
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iw
nm
HOFFMANN'S TALES
I
Hoffmann
smoke
a great
German
deal, that
did
little
It is desirable
means of exciting
when drunk
else,
for
all,
inspiration.
a great
man
vehement
company of
tirades
and
it.
It
does
I
do
a carafe of water.
lies
unquestion-
ably in a direction
ing for
it
The
man
in the
on the
lies
in
Hoffmann,
in
truth,
is
among
writers one
of the
At once
painter, a
poet,
239
<*
Ml*
aiib
<
*^
* ** *
S*a* M* 9A*
> as*
* > trm ^i* ?*
mU &*
* w* a^* *>
>
and
He
feelings.
His touch
is
sharp
and sympathetic; he has the knack of drawing silhouand sportively cuts out innumerable mysterious
ettes,
and striking
profiles
which
it
is
seen before.
is
ramble
at
haphazard through
He
terior
walls,
begins his
;
There
tale.
is
seen a
windows framed
in
in-
whitewashed
German
one
in
moan
the
of a
woman, and
resonant
case.
the
The
sound long
reader's peace
vibrates
in
of mind
is
and honest
interior.
Hoffmann may
a string
drawn too
tight
is
really
affirm as
nothing
else
much
than
240
I.
mm
>
&
<
J'
diw
an*
HOFFMANN'S TALES
Meanwhile the water
bubble and
hiss
is
heating
Hoffmann, who
is
uneasy
getting
ming of
self
is
hum-
is
something about
which
it
nary
There
happening.
enters
maiden,
fair
and
Aulic Councillor,
itation
in
On
whole he has a
in.
On
in
with
looking closer
carmine of her
consonant
if
lips
waxen
the
reader
jolly, entertaining
the
tinge
the maiden, he
at
her eyes
in
the
of
when
slender lizard's
tail
her mouth.
undefinable
apparent
The
is
ironical
faces
good-naturedness,
most alarming
the
reader
begins
to
conjectures concerning
is
241
man
not noticed a
makes
certain
mistrusts
entertain
his
is
his
the
nocturnal
deep in the
< (
! iS* WS* Mw a*^ w ** !* vtw WW * xM i mTm vio > v>
mysterious
much
From
horn-book.
of the
secrets
scrawled pages of a
moment
that
suffocating
terror
freely
until
The
end
the
of the tale
has
been
reached.
mask
Hoffmann
is
endowed with
are concerned
and laughable
peculiarities
side of forms,
who
portion.
and
in this
caricaturist
at
circumstances
vation, especially
like
slight probable
too
is
little
it
singularly
like
effects
story-teller.
may be
all
is
Goya, a Spanish
known, and whose works,
terrible,
German
he
depends on
the
execution.
tales,
have
"
The Entail "
subjects more readily admissible than
and " The Cremona Violin." Then one is
that, artistically speaking,
agreeably
242
ii
<
iMi*
tJL*
vil*
<^t
0% L%
MM
!>
>
1 j<**!:*Jii*ijUiift#i
("^
tmm >< t^m mw !< Mw
kaJk
vr* wp* *
mK*
HOFFMANN'S TALES
surprised to
of feeling, passages
upon the
arts,
German who
to
word
all
meet with
in a
hypochondriacal
importance to French
in a
full
readers,
node
the
is
skilfully
Further,
keeps
does one
mond
it
in fairy tales
come
reality,
is
not
he always
and
rarely
turrets
and
in
One
his
Nights."
The
supernatural elements
evil.
mann's
tales should
be called
It
tales
and
It is
in truth
Hoff-
of caprice or fancy
243
the posi-
to
him,
<
5i# Ms*
a/r*
/ #/ r|t rft*
Ws*
|^ ATM v^ c^
^^
<
ip
vf
*>*
tfl^
^^ >^ %v v ?
w*
*f9
*r *
as
only.
absolutely Italian
warmth of
eyes,
in
good judge
cosm.
tric
sees the
This deep
him
far
many
working of
is
form
heaven or
of
this
sort,
said
that
of a camera obscura
in
life,
The moment
attained, for
desired
mournful pallor of
more
realistic
in this
and probable
steadiness.
is
most
to the
effect
than
his
feeling for
and depraved,
placing
for the
matters
which one
fit
winter moonlight.
edly
heavy and
it
is
the
hell the
life
shows
in a
work, success
important thing
fire
that
is
is
to snatch
from
it
been done.
There
is
explainable in
244
the
his
in
simplest
i/*
#*!
*xl/
JU ri^
!/
MV
A el* * 4*rl***4*t*i%l*i**l ! fA
cw MM iW * * "^ * wfc C* ^
N Vf*
Wb
HOFFMANN'S TALES
way, and they are those of
unquestionably do him most honour.
Hoffmann was
well
the
life,
He
much.
much of
seen
actresses.
filled
lived
works which
his
possible
and poor
one time
off at
life
another
at
he was
he was
activity
in
a word, he led
the
life
Indeed, even
number of
as
his
biography
much from
from
the
life,
acquaintance
with
subject.
much enthusiasm
in
every
strikingly unconventional
close
mankind manifest
his
testify to his
No
one
has
knowledge and so
He
alone, being
245
I*A JL9
mS *nw
mU !<
tw wfw
*i* l
*
J^
ar*
** j*i**|!irABi*A***'U ! !
* < " *"* " am wr* or* > *w
>
*>
Hoffmann
for
is
Chapel-Master Kreisler,
endowed with
his
simple-minded heroes
lay a
good deal of
stress
ordi-
to
at
in a
all
that
become
a fantastic
On
it
is
common-sense,
some
a pretext of
work
will be
is
say that
so
little
Hoffmann won
and
it
is
is,
mere
will not
difficult
which the
of
else the
air
the
fullest
more
no small praise
to
246
J/
vw*
! X
fc/pi*
ftTt*
JU
#1*
vr
9i
i !
*# WT
rl/
i* lj^i#i^l*l*leJUA#irl
..^>
*** wr* *wv Mvt f.-** .:',* wn
a^m
e^i*
m^
!r*
#lJU|t
S^ **
mmt tm
or*
>
ff
* >?* >!
V^
a^ Mm A* ok* 2*j
< > * mr
i* otK
He
indeed a genuine,
is
As
liere's
man unused
to
Basilio's
name
become
has
he
is
Mo-
the equal of
Arnolphe, and
with the
his passion
away by
byword
while
said,
of
that
like
TartufFe.
When
in Seville, not
must
be.
as
it
do not
know why
la
patio,
it
it
sure
it
always
Serpie, at
the
one fancies
feel
point where
It
a fine
is
the
corner where
now
Nuevo.
Arab
tiles,
It
fashion,
must
and
with gratings at
starred
dark
of the
front
in
lamp
Madonna
within the
set
is
in
this
sort
of
aerial
to
valuable in
moment
small foot, in
burning
The
intercept
tip
of her
its
From time
is
heard a
strange rustling;
like the
wing of
What
secret.
lashes
lovely
What
eyes
it
has,
and
what long
What
Bartolo
I
is
jealous
confess that
never had
fair
time
is
women
she
to
small,
What
No wonder
like Bartolo,
play.
He
is
and that
think he has
it
It
is
true that
Moliere says that " bolts and bars are but poor safe-
249
Rosina
fire
vv^ith
presented
if
the
wretched of
of
but
be
should
Women,
is
is
that
is
it
follow that
balcony key
men
What
no.
is
it
under
virtue
fates to
at
guardians of maidens,
who
all
all
For
and daintily
tenderly
for
one's
self,
to
not
is
it
most
surround her
scamp
that chances to
than that he
come
Barber of Seville,"
who
who
is
first
hip.
Figaro,
by the
is
Almaviva,
off
in
is
at a
performance of"
The
a gallows-bird,
against
say
it ?
who
is
enjoying her
250
first
love
affair.
when
that youth
all
and done,
said
is
comparison with
in
analysis of
your tortures.
Who
that prowling
well
it
is
is
down over
am now
down
in
Count Almaviva's
valet,
hand
his
who
sombrero pulled
wrapped
in a
Why,
is
you
there, a
as best
it
mantle,
Fiorello,
performers of serenades, brutes most deservedly abhorred of guardians, husbands, and jealous people of
Now
every kidney.
Almaviva,
women, even
the cleverest, in
all
song, which
cause meaningless.
are
dawn's
it
full
Yet
all
countries and in
all
is
with
vellous melodies
to hurt the
that
want
singing a
Italian
is
his
the
dawn
is
breaking and
feelings, for
any one
who knows
251
girl,
come on
lilt
of a serenade under
and
press her pretty face against the cross bars of the reja,
and pe/ar
not
la
in
engaged
And
novio.
describing an
Italian
indeed, were
could
opera,
is
Count
So
would almost
his
quality to
even
Almaviva cannot
were
despair,
doubt
for
He
moment
many
row, as do
all
musicians
man
own
his
night and
who
when
are
attendance
a day.
a terrific
making
down under
of
powers,
many
and
it,
possible for a
he has
though
It
understand
window,
moment
partly to see if
to
be strolling around.
Suddenly,
in
making
his
appearance
Figaro
252
in
his
when Phoebus
It
is
Figaro
spangled
and
^*
*^* *
t^*
^*
W*^ ^W W^*
"
%W
MW
> ***
punto breeches,
were
still
worn
in
gent that
to
so catching and
mouth,
it
mistaken
for
it
Mambrino's helmet.
air,
have
irresistible.
hum
it
cook their
as they
breakfast of shell-fish.
Figaro
is
happy
gay rascal he
like the
He
is.
having
endowed him
an
with
He
letters,
he
aro
is
the
all
heard
out
of Seville, and
for
without him
no
life
of
on the other
young
little
carries
love-
made
hearts
to
need Figaro.
call
lot
he
together
brings
are,
he curls hair, he
ous people,
conscience,
easy
He
Heayen
en-
Here, Figaro
city over.
the
Hi, Fig-
Take
Figaro
affairs
or
253
intrigues
are
possible,
!>
VM
afo
>
<
or*
*AX*il*
# aj^ ! {
>* * f" 'r* ^t* wt<* arwa %/r vTs >. < >
{>2
WTw >!
What would
their parents
little
suppers
would there be
gipsy
is
intended
eldest sons
Who
it
with
to bring to quiet
golden
complexion, an
who knows
if
Figaro
getting the
of the eyes,
fools, for
he
owner thereof
in spite
is
In addition to
is
way of
it
of grim
will
find a
owners
fathers
all
Why!
says the
unless
Count.
You
What
are
Shaving
I
mistake,
it
my
is
Figaro!
lad.
lord.
rascal.
A thousand
greatly
You
Hard work, my
-
all
my
thanks,
in Seville
you doing
people.
lord.
And your
at
lordship
the Prado, a
wonder of
254
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TW
tffw
fir*
XT"
<
XtW fc
>
Mi*
V> B
M* MW
Wri*
ward.
his
better.
to her for
What
off,
dor
some time
Almaviva
a fellow that
name
name of Lindor.
Right
so
among
to be sure
is,
name
Nothing
could be better
little
maid.
happen to be the
well
money,
opening
the
balcony
let
If you
Figaro.
But silence
be well.
will
all
have
some one
withdraw
us
man of
under
is
the
arcades.
is
her
at
is
What
state
cannot
he
fathom the
is
that
of the weather.
you have
The
:
for
heels,
handsome Lindor.
cerning the
now
Bartolo
reason
little
"
words of an
The
Useless
in
your hand
What
is
air
that
is
Precaution."
255
Oh
such
4*
*ii
*4 *4 *i*
*|r*
3? ****y*
pick
You know,
which has
single
It
for
me.
fallen
much
The
know
wit to
Bartolo cannot
make
Useless Precaution."
aro
quickly and
the
Pray run
pity
much.
that
to
it
the
Fig-
Count.
upstairs again,
While
up.
back
his
is
My
Your
assiduous
turned,
it
is
attentions
me know, by some
condition,
as
break
may
my
And
be sure that
my
soon as he
is
interest.
gone, try
us hasten to read
have awakened
to let
let
am
my
prepared
inseparable tyrant,
to
do anything
to
fetters."
that
girl is led to
is
write to the
first
256
who
Almaviva,
Then
fine thing to
It is a
at
hand
to be clever
to the car
of one*s
fancy or passion.
Heaps,
In case
says Figaro.
that
cano,
ferment
boil,
Dress yourself as
As
a soldier
A regiment
The
When
my
a soldier.
?
What
so
it
come
has just
colonel,
for
happens,
is
town
into the
of
friend
mine.
You
you are
shall
will
be
billeted
time to whisper
in
so
Pretend to be
suspicious of a
of wine.
In
man whose
all
busy that
Rosina's
ear
drunk
brain
is
and
Bartolo,
expects.
on
the
For
you
there
my
part
will
have
four words
people
are
not
she
so
And now,
257
to work.
l^vA*
aiiw
vlw
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?
M>% fJ/* !/ !%
aw
aiiw
t!fm
<!f
"*
'<**
*** ***
"**
**
But
shop
where
shall
find
you
Where
is
your
My
know.
is
shop
It
is
on the
in
number
right,
world to
the
a
four,
splendid
Can't mistake
a lamp.
it.
is
on
his disguise,
to Rosina's
and
She
the balcony.
hand, and
and
us repair
let
a piano, a desk,
poco fa^
off to put
is
a grating erected
carefully
is
alone,
the
singing
holding
lovely
in
her
Una
voce
letter
cavatina,
round
blooming and
trustful
its
as
The
cavatina done,
for
Figaro talking
with the Count
is
assist
the square
Figaro
may
our loves.
Talk of the
the wolf, and
devil,
you
see
his
__
tail
his
horns
talk of
talk of
Figaro, and
vt /*\#
v* ^U
f9m
cr*
vr*
a^t*
iw vr* vr*
>vn
;;^
;^
J^ ^^
m> S
He
his net.
common
to
and
cats
plotters,
who
Why,
are
am bored
There something should
And
something
to death.
's
there
silence
What
hear
Bartolo
to
I 'd like
's
my
Wait
guardian's step.
enters, coughing,
But
you.
a
little.
grumbling, and
spitting,
because she
tell
is
always talking
talk to
tells
me
ever so
Yes,
much
but what
burned my
There
I
is
made
Marceline.
No,
ing
me
own
me
do
like to
laugh, and
nonsense.
is
the meaning
of that stain of
and dipped
in the ink-bottle.
finger
a sheet of
it
paper wanting.
What
have
it r
a paper
Does
bag of
it
that satisfy
you
259
little
tales
You
are tell-
the quarrel
gawky
proceeding, enters
is
Don
with low,
Basilio,
brow, thin
flat
forked
lips,
a rascal
tongue,
who
spies, inquisitors
villain
tongued
for
ready
always
which
a soft-
and
sinister
evil
undertakings.
He
unknown
is
cony
who
who
gallant
none
else than
come
has recently
The
is
the
to
Seville.
what way
It
is
By means of
comes
here that
off,
a nice
little
but quietly.
piece of slander.
the wonderful
in
In
air, in
which
is
written by a
one
human pen
Calumny
at
most
of the
first
things ever
brilliant
faint
poisoned darts.
drops
it
260
it
dropping
its
The harm
is
done,
it
vt
iff*
WV^
Sir*
MM
it
it
crawls,
know
grow
hiss, swell,
makes
it
goes
its
like the
Then
devil.
whirls, envelops,
drags
it
starts,
its
spreads
out, carries
pinions,
reviled,
overwhelmed,
falls,
cration.
That
edified
all
is
it ?
but there
of
is
a surer
way
yet.
wed
shall
Let
says Basilio,
same doctrines
as
who,
in
Figaro, and
Whereupon
room.
So,
old
that
is
the
way you go
place.
You
are a
nice
fellow with
who
fancies he
morsel
is
is
airs.
to
from
261
hiding-
And
his
toothless
old
That
dainty
gums
not
1*
iw v^is
wr
^r#
!/
vw* ^im
fr
#A vA*
^w
w^
s^ ^r* *9 S* ** lU *S**S*
* wr^ ** tt'^* vw v^p* ^ > ^ vv* 90mm v^
m ll*4s**i!
'^'^
if I
time.
it.
must
closeted together.
news
for
To-morrow, without
you.
He
are
they
Senorita,
the
in
is
wed
you
fail,
in
gaged
to
try
in
music master.
Figaro,
shall
But,
by the
marriage
way, who is
to just now on
the
the
.?
He
hearted chap.
make
that
warm-
is
his fortune.
He
He
will certainly
is
madly
in
love.
the
is
he
in
is
love with
is
eyes
it
letter
first
Rosi
of her name
is
she
is
called
Ro
It
is
I,
heaven of happiness.
Come,
let
me have
was
girl
right
a couple
in
the seventh
262
mt
*
k% L
t^
i> *>
$i
!
*
^tfi*
&
!>
i * A
|< | |< i
> >|%
MM 4|
! > ly
>< afiw aSw dli>
<
JL ill
JBb WR>
down
Sit
at
A
^M
the
desk there.
time
never dare
shall
from
drawing
bosom
her
same
to,
folded
delicately
note.
She
am
women
exclaims Figaro
who
women
Well,
The
note
is
Count Alma-
the
sprung
stratagem
from
Figaro's
brain.
fruitful
grumpy
zags, and
drunken
with
man.
the gestures
I
leave
sort
of
who
invading
is
when he beholds
his
house.
Rosina, ever
in at
alert,
the sound
am
Be
I
263
ever
w w
>
1^
M* MW M M
aw*
<
>*<
a^
a*> (^a t*
t^
mm
Let
it
pick
note, and
this
up, goes
tator,
from lodging
his
arguments, and
draws
The
The Count
soldiers.
his bilbo
is
exempted
pays no heed to
gentleman,
row becomes
air.
so great that
The
march
Lindor off
alguazils with a
it,
bows
to
full
Rossini alone
Although
jail
who
of a finale
to
The
of
life,
to
himself withdraws
to
jealousy
Bartolo
is
men
in the
to
swing
compose.
is
his
knows how
Don
signs
apt to
make even
as very sus-
264
# !
MU*
JU
a^Iif
tiS,
Ta
li*
,i, |/
<
^y,
beards clear-sighted.
to
if
you
name of Alonzo,
of Basilio's, to take
lesson he
latter's
a supposed pupil
place
at
the music
is
really as
ill
as
is
Alonzo
hard to
pretends.
the
to
fact,
under
in
is
the
about
Lindor, or Count
Almaviva,
is
The Count
himself.
him with
fooling
by
this
Reassured
a lynx
parison with a
girl
new
is
teacher.
in love;
is
piano
is
is
it.
What
we sing
This rondo by Buranello.
too
answers Rosina.
It is
mole
in
com-
it
she
no better than
who
a glance
The
Rosina's note.
in-
old,
265
the
Count glances
j|
*l* ! ^k
*"" " <
mW
Ti* <
This
miauled
bolero
It is
is
it
A Venetian
That
"
night
for
foolish
asleep,
woke
which
enough
maid
took.
The
and on
my arm
the
Rosina
to
singers
sing
who
take
in
my
The
words are
little
pieces.
golden-haired
I
sets
wearisome show
very
delightful
Count
the
melody
charming
and
barcarole
will do.
Whereupon
window;
lay dozing.
From
fell
time to time
sleep again."
The
clever Figaro
nobleman,
come
to
Count Almaviva's
not a per-
day on which he
is
monkey
abstracts the
more
^66
He
plans.
the
blinds
old
At midnight Almaviva
to be
is
a rope-ladder, everything
is
to be in readiness,
and the
But
rolled
ill
fortune
in a strip
up
Here the
tall
yellow
wax
evil
candle
omen,
lie
the
when he makes
Of
fable
his
appearance, there
is
course
a general shout
of:
pale
are
like a
fever
to
Basilio,
at
all this
who
is
slips
He
ill
is
astounded
he
is
bony hand,
very poorly
They
his
acolyte with an
abundance of
267
arrangments
m*mmJL
JM ms
Mw
rii* (JU
* iw
ffi^
is
him
that he
is
Then
that
of the Count's.
Or
the
Count himself;
Now
make Rosina
me
think of
it,
we must
exclaims Bartolo,
Alonzo handed
Of course
Bartolo's dirty
is
indignant
little
when
his.
she sees in
such
it
on.
It
is
difficulties,
sort
The
of suicide.
wed
Bartolo.
graybeard, transported
for help
At
first
at
268
%m t
'S*
!
wK.
flv ff v* ^ av*
*^
v*
jr*
i*
!*
r
!* 4 9^ ! !
^W
M^
vvU
W7
Ia
aw
real
never
name and
difficult to
is
It
is
some.
when
At
Who goes
Master
there
Basilio,
By Jove
here
is
It
am
pair, says
You
if
you
please,
and
let
Don
lady.
window
Mr. Notary,
the affianced
insert their
that I
ought
prefer to be
us sign quickly.
Basilio for the
No, no indeed
it
is
too unhealthy.
prefer to
sign.
And
gone
Bartolo,
for the
who
after taking
away the
ladder, had
Figaro arrested
on
He wants
a
to
269
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<>
MW
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OM
OVW
MW
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<
WW
Ml*
!>
j*
*
and
Count
states
who
he
is,
as, all
his
Before
close, let
me
vicissitudes
"The
Barber of Seville"
Theatre.
An
Rome
for the
Argento
been written
in
century, by
The
sensation
coldly
in
received at
considered a
sort
first,
of
and
Rossini's
sacrilege
very
attempt
much
as
was
if
on re-writing Racine's
to venture
" Andromache."
The
first
tended to be
ill
at the
a great tumult,
saw the
270
ii^
*s*
M* wi/* *
!^ JU
numberless steps
maestro, trembling
in
The
poor
him
stairs.
Romans proposed
to
make
cutting
turned,
success, and
were coming
it
shining
was an ovation,
to give
to Rossini,
271
a serenade
which they
henceforth recognised
:ki:i::k'&':h:ki:i:'ki:'ki:i:i:^^i:i:^i:4:^^
A* !* ! vA*
! ! A
<|
*i*|*|*iI*i#i|a||i| {jil
GREECE
IN
Thus
of
all
was
it
pagan fanes,
antiquity lavished
The
its
highest efforts.
existing Parthenon
overthrown
is
the
during
Persian
debris
and
invasion,
the
date.
made
so
ous man,
The
it
Time seems
perfect that
radiantly
it,
ages,
for art
how
humanity
impossible
For
marvel.
upon
to have
it
was
golden tripod
choir of the
for
as
in
it
sculptural
Beauty.
mighty ruins,
spurn
all
tattooing,
noses,
we
i8
else
still
We
as barbaric.
we have
have
pulled
the
exchanged
273
our
have got
of our
from
our
hatchets
for
fish-bones
stone
rid
** *K*
* *S*
'il*
*S* *
MM ! av* * * < WW -f ^a
<!
In the presence of
all.
is
this
human
strides
it
one comes
the conclusion
to
of inventions of
religions,
compass, the
all
printing-press,
that, in
spite of
sorts,
the
the
and
new
mariner's
steam-engine,
the
express
The
ancients
is
strive,
as
more
we
to the right.
do, to attain
The
rigorous,
The
road
debris of
followed,
right.
between
blocks
the
marble,
of
primitive
away down
path
to the
itself,
living rock.
274
monument,
Ictinus, Callicrates,
A* 44*
*>JU *!'*
*S* VS* **
GREECE
IN
Phidias and
men who
those great
all
ought to
his
kiss,
living
life,
divine feet
now
are
that
artist
every
dust of
ages.
The
on three
steps,
ing could be
a
geometrical
dreams
shadows
that
in
rays
its
one
few
would
paper
appearance
yet
the
and
to
suffice
impression
clouds
part,
the
serene
in
the
ruled
on
give
the
it
pro-
All
irresistible.
the
sov'ran
lines
dreamed vanish
had
Noth-
triangular pediment.
Is
vain
of white
piece
duces
and of
like
fleeting
golden
reality
the
beam
appears
the imagination.
their rosy
has
acquired
extraordinarily
vigorous
tones.
It
and
looks as
275
powerful
if it
which does
afflict
The
of unhealthy vegetation.
become golden,
The
stains
is
gilt.
in
is
were
gorism
few crude
and cannon-balls,
to shells
admissible
Athenian severity,
it
in
might be
if
Spanish gon-
of
presence
said
scars,
this
noble
man's
bestial barbarity.
The
like those
base,
to
harmoniously swelling
capitals, diminishing
and, like
at
all
curves
a secret
of their
the
in
by
for a
rhythm towards an
ideal
building,
as they
point placed
Minerva's
are
in
brain, or the
276
ii
tl: db tl:
db
mayhap
architect's,
the
t!?
radiant
thought
towards
in
company of youthful
icily
fact,
It
and
another,
minds
their
Callicrates,
of these columns.
the
only
as
it
architects, have
is
filled
beheld, drew
mathematical straight
is
loveliness
profiles
like a
Ictinus
to be skin
cessions
The
human.
line,
shortest
the
only the
from
our
by
one
to
point
pseudo-classical
susceptible.
pure
which, as a matter of
way
employed
with the
The
Chamber
of
pene-
Deputies
and
is
the
27//
wooden
blocks, ready
on
New
them
Year's Day.
Unfortunately
the
of the pediment
tympanum
is
A
damaged, but time is not to be blamed for this.
drawing made in 1600 represents the masterpiece of
Greek sculpture
but to
us in
make
its
glorious integrity.
The
more
It
had
it
had
to reach
tines
not touched
its
of the cannon-balls
fired
was
civilised
torn from
being,
It
to be
shells.
He
and as awkwardly
did
as a
it
with Vandal-
drunken
porter,
^uod
at
Barberini in
in
imi-
Rome, who
built
278
^>*
* av*
WW
Sm
<w>
>
Mw MW MM
GREECE
IN
of the Coliseum
^od
by the
Museum, where
on
visitor
his
they
non
It is true that
9t W^
now
may
be admired
the
Tower and
warm
London
fog,
air
and pine
setting
for the
send the
to
beams of the
rosy
purple
of
life
of a
man and
the body of a
woman,
and
mutilated,
survived
but
their
every
lines
modern
These
isolated
itself
felt
as to drive to
so exquisite
sculptor.
has
beauty
imperishable
and
their absent
frieze
fifteen
I
triglyphs, rests
upon the
of.
279
eight
Doric columns
^^
^%4*
si rJ/
A*
!/
subject
almost
now, unfortu-
undecipherable
to the heat of
Time, which
cold of winter.
summer and
occasionally improves a
its
The
reliefs.
made out
plainly
it
frieze
can be
front of the
the
pronaos and
bears
with
laden
frieze
in
men, women,
ing a carved
horses, and
Panathenea, with
horsemen perform-
ar-
draperies, that in
served
suffered
to
by the
much
none of
outer
less
its
frieze,
hieratic
these
of the archi-
lines
gravity.
bassi-relievi
am
more
Pre-
have
indebted
profaners
closely.
right
280
GREECE
IN
first
two columns of
shell
of an old ruined
row
are engaged.
It is
The
of the temple.
places
the
is
By keeping
reached, and
spiral
many
is left.
seen close
crown the
but one
is
of the
the level
may be
it
broken
in
itself
stair
lost
in
if
frieze
is
building.
work more
in
then
detail,
ecstasy or step
artistic
fifty-
ground.
The
which
stand in
still
part,
away, are
easily
made
the
that
logical
prolonged of themselves.
rectangular
The
broken
lines are
the
appear
to
be
monoliths.
of Greek architecture
of
The
the
workmanship
distinctive
best period
finish
is
of the
28^
*=******
fr* *
>w ** *4*
> a^ ** anw
^
or*
ci* ss*
*T* *x* ^<>i**j*s*s*4i**ss*9*
* *
or*
fw
a^
MM m>
make them
wood clamp
fastened
fit
perfectly,
them
like mill-stones,
together.
number of
Neither
served.
bolts,
explosions,
earthquakes,
lightning
set
as
into
mark of
ment
a square
spot
a different colour
this
was the
statue of Pallas
in her severe
and virginal
By
this statue
his in the
Parthenon
this
am
not
ivory
sufficiently
in
GREECE
IN
grieve
me
to
name
of Phidias and
Round
tal
interior order
of the
most probable
it
scattered
would seem
It
temple.
pillars,
number of
superimposed Ionic
among
to
be
but there
is
nothing
left
of
nowadavs.
The Opisthodomos,
of the
real
outline
is
make
hard to
out
columns.
The
roof
is
Of
shows
Parthenon when
it
in
is
the fifteen
of the
six
columns
parallelogram
broken
at different
from
distance.
These
so
ruin and
make
The warm
it
for
lighter.
^8^
principal
>*
MM A% vJ/* *J/
aMi> Jgm
iw
9l% !/
MW MW
l/
~!?
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ait*
^^* "T* TV
Jr
1 1 #1 < 4* A aA*
* C 9> dVb
i* !>
ART AN D CRITICISM
to the other parts of the temple,
facade has not spread
its
pristine whiteness,
The
which might be
trast,
first,
down by
being toned
ern pediment
On
startling,
con-
at
is
frieze, portions
of the courses
among which,
pillars,
so drv
is
nettles,
One would
in
ivy,
ferns,
scattered
in
monument.
in pro-
Botan-
local plant
which
specimen of
in the
carefully put
it
away
in
vellum, but
it
is
284
is
more
arid
a^
anw
air*
wiw
><
!>
GREECE
IN
11
On
steps,
which
its
broken, disjointed
leads
to
the facade of the Propylaea, and on reaching, amid excavations, rubbish mixed with
seen on the
with the
The
skulls,
a point
left
Temple
terrace, the
was reached by
my
a small
when
the ground
side
Temple of Nike
Apteros,
iVInesicles' majestic
it
porch.
architectural
logic
this
in-
The
Acro-
to Athens), the
Yet,
spite
visit
point
present
is
now
is
285
exists
at
vA*
4**^
C* !
*A
mU
mB* aS>
were reconstructed
ist
Romans
the
still
ex-
course of a restoration by
in the
in the
of fifteen
shall not
mere
though
tourist,
think
my
is
it
business
is
that of a
right.
two
are
recesses
of the Turks
separated by a pilaster
this
filled
in the
Pnyx
belief
deep
to
enough
hold
statue,
though
"
"
Lysistrata
recently
somewhat
the right
The
no
in
Mother Earth
of antique
series
some have
Temple
is
and
replaced,
about twenty-
of Victory, situated
which
spoils
less elegant
because small
the Greeks
it
is
knew how
286
^ aA* J/ *Jl
*** *1^
rJt
JU (X* i *! A ! ** rl% 1 A A 1 J^
GREECE
IN
to impart the
lines,
and
a
eurhythmy of
this
bodily
upon
the
formidable
and the
Parthenon.
The
telicus
miniature temple
marble
throughout of Pen-
the
built
is
seems to have been created purposely to furnish immortal flesh for gods and columns for temples.
form.
The
steps,
It
of two
and
tetrastyle
porticoes,
of the Ionic
order, the
at
the
opposite end.
The
which
facade,
rather
is
tower
irregularly orientated,
which
little
stress, as
monuments
are
metrically.
It
trating a large
seen
is
of absolute symmetry,
laid
is first
a point
may be
may also be
number of
287
of regularity.
The columns
in
tunic
like drapery
with flutings
a lovely
woman.
of a fine
They
of a statue.
lines
look
erosions
appearance of
Ovid,
of
stories
his
in
byssus cloth.
soft
"
Metamorphoses,"
nymphs transformed
their
in
warm
bark.
gracefulness,
tells
into
good many
trees
and
still
These columns, so
make one think of
capitals
rounded volutes
As one
gems
in the hair.
The
it
takes
from them.
It
may be
more
to build-
that
the
did not at
first
A* f* *A
vJ/w
! ! ll ! A* ! l | ! *| # cA*
rl/v !<
GREECE
IN
such
possess
suavity
when
and incomparable
morbide'z.xa^
exquisite
have
produced so favourable an
of softening of
well, for, if
it
effect.
reliefs suits
it
fully
the use of a
The
young man.
robust
tified
woman
adorned
more
now,
Two
is
shafts
is
explained by the
for the
left.
still
the sanctuary
which the
faithful
goddess placed
terior
is
The
no
It
There
a grating, through
was of wood,
for the
whole of the
like
almost
cella.
masked
in-
statue
figures.
at
some-
it
all
its
archaic
great age,
tfvs*
^90
r^
nw
#M
*i^ #*# rjU s* fi*nh
w* vms ^l*
M>*
Mw / n
w w
W* #|r* 's*4*'^*4*
>*
i^^
9*9*
&
aiV**
more
more
beautiful and
among
respect that
a superstitious
skilful
modern work
far
Madonnas on
felt
just
gilt
The
The
ancients placed
it,
figure, in the
The Minerva
potence.
in the
she held
in
or
fly
ivory palm
No
the falcon.
doubt,
when
and
the
statue excited
was. lighted
explanation
ingenious
to
fly
away from
the
the temple.
It
chained figure of
is
Mars
said
that
there
was
in
Sparta a
same
idea by
The
the portico
still
stands, and
it
is
in,
but that of
yet possible to
make
290
GREECE
IN
Round
ments.
which
is
than
is
brutality, have
generally believed,
heads or arms
lost
or legs.
What
a singular instinct
which has
sion
its
of imbecile perversity
it
is
upon the
soil
mutilate the
monuments,
bodies of heroes
to scar the
It
is
impossible to
refrain
from
for
one and
is
all
have
when
down
intact to our
shells,
all
and explosions,
own
for
upon the
'_
291
__
M !
IM
A* tf^ E
EU fW* ^'V
'V'
0^%
9Mj%
C^^
frV.
^1% #1^
9^
M^
0s%
pS>%
*=^''
fcy%
''^V
e.**^
|U #1% #! ^f%
ci^
At^
Vl^
W*
A^"*
{>
#{
V t^*
the
ever,
casts,
it
in
What
The
London.
frieze
most keenly
on two of the
it
were used
up, and
faces,
Turkish powder-magazine.
tion of part of a
The
regret
how-
was found
Victory
has survived,
make one
so beautiful as to
now
of the Wingless
suffered.
Temple
and
at
is
even
now
has long
mean-
The most
is
ingenious,
marble keeps
Nor
its
secret
and reveals
its
be an apotheosis or a judgment, an
an historical event
In
figure
the
beauty alone.
it
whether
unknown myth
it
or
armed with
On
292
IN
left,
seated, the
two
are
throne,
GREECE
in
the
attitude attributed
divinities,
group of
position
there
is
is
Outside
symmetrical
this central
com-
to
rise
conjectures.
to
innumerable
bas-relief, a
two women
at
women seem
to
Such
is
that
inflicted
upon
so
many
a delicate
made
all
have
of barbarism
centuries
the
everlasting
destroyer.
The
those
in
in
the
damaged, but
heads and
entire,
figures
parts
marble draperies.
It is possible
in the folds
of the
free,
way
in
which they
cling
undulatingly to
293
the bodies,
A* aJ*
mm
<M
JU
sslU ri/%
< *!/ Jt
^i * OTw (^ *
VM
*X oi^****i****S**SX*9**a*B* * l9
M^ irt M wiw Mr* ** mw aw* wm > mw ot*
an atmosphere than
like
and rhythmical
The
like vestments.
attitudes,
and
were so fond
human
of,
in a
The
other sides,
more
name and
date
of which
The names
definitively.
of
them
it
History bites
title.
its
groups so
is
full
of
life, at
Greek
settles
are
Medes
nails,
begun,
fix
victories rise
upon the
its
frieze,
finger
the
the beautiful
so thoroughly sculptural.
enemy
the
impossible to
its
desired
all
is
it
which
the
by their chlamys, their pleated trews, their almost feminine head-dress, so that
Amazons.
that
is
on
The Greek
at
first
and there
would be
less
difficult
It
294
GREECE
IN
pus.
but
is
more
it
new and
avoiding
famous
This
commonplaces.
existence
it
when
moment
conscious of
is
Beauty
is,
its
is
when
go
becomes
is
the attempt
attained,
is
successful,
no human
effx)rt
can
farther.
It
edge of the
terrace towards
the
steps
was adorned
railing.
hassi-
number of
the slabs have been placed within the cella, where they
may be admired.
One
of them represents a
woman
companions
is
walking
in
front
of or running away
known
There
dalled
Victory.
Greek
art
parent
is
nothing
more
as the
San-
perfect
in
295
lips
might do.
It
f2^
^ttf
sO/* rX*
9^ #.
'tv
ir^*
'
f|
vJy* rl/ !;
vfw
^^ 0^
; # rl # J rS f^ #% r e # #h
? mW m?* wm MM S
v9* 'f t* 'W vr* AW
ir*
a^
t^w*
it
woven
Is
weft of wind
air, a
that
warm
voluptuousness.
unfastens
natural
the
sandal
The
strap
action
is
wonderfully
easy
and
body
like
From what
golden
or azure
this
ness of which
time
anonymous Victory be
has
respected
Phidias'
Muse
it
not
May
this
poising itself
wings
its
on
flight to
Ill
The
plateau
museum.
of
Upon
the
that
formed
Acropolis
narrow
plot of
perfect
ground encum-
these
am
to
restore
and reconstitute
296
it
were,
made of
one
all
single
all
<*
>
aw
Mt.
iS>
many
cases
that
all
a^ xw
MW WM aM
a^*
OT<>
aOI*
tSm
GREECE
IN
in
^r
<i3>
of them
is left
is
fragment
sometimes
capital,
not
less,
of former foundations.
To make
one's
way
intelligently
this
through
me
of that
How many
how many
Beule,
rapid
life
previous
and negligent
in
His book
that the
is
it
"
might have written the
Voyage
stead
quarry
the historian
fills
M.
which he
in
Greece,"
tourist,
author
in
the
Pausanias.
Antiquity,
endowed
in
the highest degree with the artistic sense, had not the
gift
and
it
many
would now
trustworthy pages.
in
a very great
is
Admirable
is
He
a difficult text
in
the
297
way
a course
is
clamped,
A af*
>w
>! vl/*
or* vr
l*i**f*
! ! i ! JU*l!*iM|l*i*i*i*l*#l
aiiw * alCi i* atM ? v! * * * * * vM <w* *
more or
depth of a fluting,
in a
its
them
less attentive
into a
and
up and resumes
pieces by
less
mass of convincing
to
col-
nothing to
tell
the
in
He
bits
form of a character,
less archaic
the
smashed
is
formed anew,
as
by
pieces past which the visitor walked from the five gates
for he
the
was
bronze
sculptor ere he
Lioness
the courtesan,
Socrates'
who
erected
three
a philosopher;
honour
of
Leaena
the
Venus
offered
the bronze
the
Draped Graces,
became
in
with arrows
statue
who
by
by
fell
Minerva
298
life,
the
work of
GREECE
IN
upon the
visible
whereon Silenus
Nesiotes,
the
feet
being
still
rival
down
of Phidias;
the
Child bearing a
Myron
trian colossus, a
horse,
from the
the
Hoplites
the
moycus
race,
pancratiast
all
the gigantic
ram, the
Epicharinus victorious
Her-
Menestheus,Teucer,
made
in their
proper posi-
probability,
partly
stone, turning
and forcing
which
is
them
them
often
reveal
the ancient
299
The
inscription,
statues
were
<<
nv v?*
*!:*
*s* * s* s* **^ s*
vM MM
<^w
MM
apt
*^ ^
*' tx
s<^ * '' oiv 1^ X #a
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* iw Mr* T *Sm
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ra
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tiiw
carried
Golden House, or
them buried
in
at least
The
the debris.
little
it
however,
pedestals,
were
Pliny.
servility
Roman
number of
tors,
mation,
placing on
this
Greek
rule,
spelling
these pedestals,
them the
means
this
By
made by
left
is
At
re-
practice that so
unknown
until
many
the
it
is
had
thanks
present
day,
have
been
recovered.
It is
upon these
archaeologist
read
the
names of Strongylion,
Sthenis,
Strange
is
the mingling
on
300
GREECE
IN
I shall
vestigations
him
learned
restore the
to
figures
in-
swarm
sort
of
little
Dunkirk
of
masterpieces.
where
it
was
should
order to
in
Minerva
strik-
man
with
the
nails, the
silver
is
naught
worn
patience
portions in the
to
recognise the
museum
takes
it
mutilated
an
and
of fragments, a sort of
is
situated
On
the
left
in a different style
for
of architecture.
301
symmetry,
They
are
ft*
nk # *i* !*
!* 4**l**l!**i9*lil4*s**i*l i* *A*
ment
is
not lay as
moderns
it
much
stress
upon absolute
we
they avoided
by the non-continuity of
They
of intersequence, and
laws
regularity as
in order
lines.
Pandroseium.
in this respect
they often
ornament.
may be
It
into ceramics
investigation
that
in
was due
to local super-
stitions
Neptune caused
of
his dispute
of Athens.
the spring
face,
to well
at the
time
still
visible
on the rock-
blow with
a gigantic
trident.
In
all
made by
a violent
ages superstition
is
shown the
302
cut
now
in
made by Roland's
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GREECE
IN
sword, and
in the island
foot.
The Temple
the City) had
its
portico
it
upon the
was
sort
geometrical
letter
T.
side
Protectress of
of the Erech-
placed, so that
The
formed a
is,
it
could be
Pandroseium, which
Temple of Minerva,
outline
Polias, the
Erech-
tion
is
known.
this
agglomera-
Erechtheus had
would be
a very
difficult
to
ideas.
it
if
compromised.
Erech-
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put the
speaks.
mother.
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In Minerva's sanctuary
One
and Pandrosos.
look
the
into
basket.
who was
arm, and
were
tell
less discreet,
the tale to
let it fall in
Lycabetus, which
was dropped,
The mountain
may be
heavens
became
sisters
all
Min-
it
and
its
is
where
summit
Pandrosos
the other
two
Acropolis.
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tem-
festival, raised
soil
Thus around
grouped,
if
of the Acropolis.
Temple of Athena
the
were
Polias
in
connec-
The Greeks
in the
Aga
used
for
it
Turkish
under the
his
harem.
rule,
These
the
beautiful
when
in their
by the cannon-balls
It is
impossible
some
in
Temple of Athena
adorned with a
monuments;
Polias,
some
the jambs
which
still
fallen to the
fillet
which
closely, arc
305
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modern work
vastly different
is
this
It
was
bronze
in
this
palm
tree,
lamp chased by
capital,
and that
Hermes who,
the home of the
Calli-
virgin goddess.
The Pandroseium
forth
of Jupiter Herceus.
The
upon columns,
its
vicinity,
but upon
caryatids,
306
living
pillars,
whose
GREECE
IN
of the architrave.
way of an
rich in
the
on
their heads,
manages the
The
transition
young
girls
when he saw
The arms
Venus
The
in
each case.
fall
draperies
One
of a
pillar,
in
broad, symmetrical
The Pandroseium
produced by Greek
itself in this
by the
It
full
the
is
art, so
was between
of the
this
aigrette
noble that
it
seldom indulged
ideal perfection
armed with
a copy.
shield
trio
details.
statue of
its
Athena Promachus,
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from Cape
im
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her city.
308
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CHARACTERS
The
G^RONTE
Valere
Champagne
Frontin
Marinette
scene
in
is
Inez
SCENE
Frontin, Marinette
f/^rj.
nette
here
(./f/^^).
{also
aside).
{aside).
Marinette
Mari-
Marinette
FRONTIN
Who
Frontin
What!
The wretch
The
rascal
{aside').
3'i
it
Frontin
A* !* ! eJ/ 1* *i
!<
tfS*
aiiw
Vm
rl ri* 1
*!/
Jm
JUi*lMU*A*4^
vlvr***!:* j*5*i*
f* * * * < < * " "
have
show
Frontin
self.
She
has
me.
seen
to
shall
(^aside^.
myGood morning,
(^Jloud.)
Marinette.
Marinette.
good
friend
Frontin.
is
the country, on
Good
back
I
Frontin.
got back
You
my
my estate.
Marinette.
Why, I
penitentiary.
So
Frontin.
morning,
flatter
thought
you were
But
me.
was
yesterday only.
seem
the
in
to
in
have
summer
spend, you
months
six
it
such a thing
while
did
away
may happen
to
the best,
same day
Frontin.
He was
'
Alas, yes
worthy man.
Heaven envied
sire.
What
is
is
Let
us
drop
dangerous
312
if
trifles
subjects.
Everybody
MW
nw vM Mv
**
> ?
mw vm
^S* *
<
!
aib
we count some
is
not the
way between
Frontin.
You
What
change.
Marinette.
No
it ?
that
friends.
are
Let
right.
now
Don't you
Marinette. am merely
believe
subject
Nothing contrary
Frontin.
the
us
to virtue.
it.
advising a
young lady
Where
Marinette. You
Frontin.
F^RONTiN.
joking.
Come,
insolent fellow!
Frontin.
am
confound him.
of hard work.
if
present
in the
I
valet.
we
It
was only
I
is
swear
me
chafF.
What
service of a gentleman in
my
little profit
hand
to be
and plenty
Ah
to anything.
It is a
my
hard trade
a hero
is
get very
have to turn
of servant,
Marinette.
love,
did
many
Masters
vJU
li4
Jta m Jf (^
MM
VM am
iK
know what
That
all
the brutes.
Marinette.
some one were
Frontin.
is
He would only
He
laugh.
me;
likes
have vices.
Marinette.
Frontin.
love,
Which
Marinette.
simple-minded
Frontin.
Marinette.
is
clever, but he
in
is
the
is
be to
am
timid
my
for
of
too
maid were
You
And
by the way,
should like to
know
hour, to
roam around
Marinette.
position
Why
faults
it.
That
what
own
this place.
Like
yourself, Frontin, I
commit an
to
do you, dear
rascal,
indiscretion.
am
in
commit
a
it.
Frontin.
You
answer yours.
Marinette.
from
me
answer
You know
question,
that
am
3H
and
my
woman
'11
of principles.
A*A* M- A L% *
aw* <
OTW
rM/%
MW
conceited fellow.
are
You
Marinette. You
Frontin.
upon me.
are hard
are indiscreet.
And you
Marinette. Sh some one comes.
Frontin. Why,
Champagne, Geronte's
Frontin.
inquisitive.
't is
What
valet.
a fool he looks.
Marinette.
And
ugly
SCENE
The
II
Same, Champagne
Hallo Champagne.
Frontin.
Champagne. Hallo
Frontin. How
Mr. Geronte
of
Champagne. In
Frontin.
is
the best
.?
health,
Marinette.
He
is
still
quite a lusty
A
Marinette. Well preserved.
Champagne. Full of
Champagne.
little
will
dusty.
preserves.
and unless
never
man.
die.
4: 4: db 4: i:
:!:
& &:S
Very
Champagne
lively.
and no
his stick
gout.
Marinette.
taste than
my
Frontin.
about
now
ward
sav
he
is
more
What
to
side.
that
is
Putting under
very pretty
so
what
stick to
many
Champagne.
safe
that, in
jealous
girl
a youthful
Miss
spite
of
and
with
angel
whom
he
is
his closefistedness,
he
is
Inez, of
sake.
Champagne.
And he successful
Champagne. Not
Frontin.
is
particularly.
out to bewitch
too
much
He
girls.
is,
to
much of an
He
win so
is
not cut
fair a
maid,
ass,
and, above
did
not create
all,
of a miser.
Frontin.
Heaven
evidently
him
Champagne.
No
ronte.
316
Mr. Ge-
** *>
Mw
Mw
OT*
<^ Mw Mw vm
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<S 9>
< 1
Not even
Champagne.
His
At
Champagne. Mr.
you
Frontin. What
Frontin.
wife
his
wife
Not much.
Geronte was,
in
polite
can
assure
is
called
language
" deceived."
Champagne.
He was
She
to the lady.
is
dead
God
my
pile,
which
perhaps, for he
is
naturally
money, though he
the rest, he feeds
ducts from
on
of
the hands of
in
is
Frontin.
If
it,
saved a
Mr. Geronte,
keeps
me
too
disinclined to return
enough
quick
to take
For
it.
de-
me
dresses
take
in
to flight.
most niggardly
you choose
And
Champagne. No,
Marinette.
much
me worse
my wages
my back, and
me the crows
you a rich
is
handsome
Ah
her soul.
rest
Curse
my
at sight
luck
star.
to serve
me,
I shall
make
thank you.
am
a virtuous
the
did he
man
will
happen
to kick
to hear of
me
So you
Champagne. Yes,
Frontin.
Frontin
lout
Here
at
you
is
Frontin.
just
cash.
my
say no.
You
How
is
rascal,
do you
like
you! you
being licked
Champagne.
Marinette
refuse
(thrashing him).
you dunderhead
's
Mr. Geronte
it,
Help!
Help!
Murder!
me
Fall in with
my
Pass
it
roll
of gold.
over.
Serve me
Champagne. What do you
Frontin. You
Frontin.
Champagne.
Help!
first.
scoundrel
me for.?
You mean
take
Here you
(He
thrashes
to
be
are, then
him again.)
SCENE HI
The
Geronte.
ing
Same, Geronte
What
Champagne
for
's
that
What
are
you thrash-
Mw
*!
* * r*
a^tb
Ww
iP*
wish
had
laid
all
gets,
only
on harder.
An
point.
after all,
it
servant
idle
is
that
is
just
undeserving of respect,
is
is
the
for,
Geronte.
You
My
man
Ah!
idle?
wretch!
the
swindle me.
Champagne.
Sir, I
Do
Frontin.
Geronte.
it
have finished
my
work.
at a
Marinette.
See
for yourself,
sir.
The
written
in
liquor
red has
Drunkard.
Champagne.
If I
am
in
the river.
Geronte.
that
Is
it
to
fill
yourself up with
Champagne.
am
still
fasting.
The
liquor
is
on board
a skiflf in
A% Mi* aX*
R* Wi^
VM *
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>
(>
v^
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M
ar*
dance on a tight-rope.
not
Champagne.
could
certainly
Shall I fetch
You
You loathsome
Marinette. And while he
round
Geronte.
sot
beast
for
it
would be the
in that
staggers
beastly state,
you a
world
swallow of love, a
spark, light
make
his
to
way
Geronte.
ward
My
crazy.
Heaven
treasure
What
do
Lovers, robbers
Champagne.
hear
shall
Geronte.
money
or
You
keep
to
pay
no
the
for
Away
Police
'11
brain you.
cost
(running
of
320
your
keeping
it.
Champagne
Help
away).
back.
So
witnesses.
all hustle
( TTjey
Champagne
least give
have
go
My
out,')
Help
Well,
Geronte.
paced rascal
I
will give
if
He may
am
protest as
thrifty, save
Frontin.
such a
for
sum when
that
thorough-
much
as he pleases
how
Marinette.
Frontin.
of
rid
you.
It is plain as a pike-staff.
The
fellow's
money
is
yours.
less
foot
fifteen
Marinette.
To
Geronte.
am
sufficiently
money, and
It
is
trustful.
avenged since
would
have
just as lief he
GfeRONTE.
What
no
Without
rank ill-fortune
valet
ZI
It is
it
a
is
valet,
for a
man
positively shameful.
321
as
you
like
truly
me
to
say.
have
4* * 4*
*4^
*if*
own
beat your
own garments
No,
Geronte.
laugh at me.
your curls
all
Heaven
In
morn
Geronte.
the neighbours.
to
is
grease,
at
night,
have
fallen,
Marinette.
fire at
who
all
limp
Geronte.
of
in sight
of course;
And
Marinette.
Ah
with your
sir,
And who
to
is
come and
light
your
Sadness oppresses
me.
am
done.
Champagne, my good, my
faithful
Champagne,
Frontin.
He was
Marinette.
Frontin.
Geronte.
a fool.
drunkard.
thief.
Frontin.
kicked
him
Geronte.
woe
is
me
fruits
It
is
of
most
out, think
But
his
it
is
in
was
savings.
sad,
but
since
you have
who
is
322
.?
Ah,
rl
>'* *
9^
ww r*
aiv* otw >>
Frontin.
Marinette.
Geronte.
I shall.
I shall.
make
It is difficult to
a choice
between
Frontin.
Marinette.
of attentions.
I
am
Sir, I
And
I
I, for
warm
his
Frontin.
me
You
If
my
bed and
little,
engage you.
Marinette.
sir,
my
full
Let
dear.
sir,
it
is
Fifteen
his
am
slippers too
serve you,
GfeRONTE.
his
master,
offer to
less.
put in a word.
my
pains.
Geronte.
I'
faith,
she
is
alluring
pretty
like
her
engage you.
will
be enough for
me.
Geronte.
Then
Marinette.
Not
take you.
so
fast,
sir.
care
for
the
and
am
Frontin. Hold
at
me
so give
five
crowns
your service.
at
Geronte.
nothing
It is settled,
on,
then, Marinette.
will
please.
serve
for
man
for
all.
In
Geronte.
case
that
you
the
're
me.
Marinette.
shall
hundred
You
you a
will give
pistoles a year.
Geronte.
That
is
much
better plan.
Come
along, Marinette.
Frontin.
Marinette.
Frontin.
Marinette.
Geronte
pect
am
willing to give
And
I
two hundred.
three hundred.
And
So
I
much
(aside).
something.
persistency
What
can
be
zeal
the
makes me
object
sus-
of such
Marinette.
Don't
yourself with
such
load
ne'er-do-weel.
My
Marinette. That
Frontin.
feelings
if
324
will
Frontin.
more
besides.
Geronte.
The
truth
is
bad one.
Frontin.
That
Marinette.
is
All
a regular cut-throat
Geronte.
shows
it
Marinette
other.
hesitate to choose
am
which he generally
him
still
Champagne,
prefer
in the
believe you
between you
and
over him.
and Frontin,
both, and
I
all
low pot-house to
resorts.
SCENE V
Frontin, Marinette
Frontin.
The
devil
is
in
it
The
Marinette.
Frontin.
Was
Marinette.
driving
at.
such a fool
tongue-tied, Marinette.?
*p* * r *
**
vi* wv
VT*
W^^*
??
* 'PC vr
^^^
vr#
^^^^
t^ *
*<
* *
We
to an
understanding.
Marinette.
And
Marinette. We
Frontin.
other up.
Frontin.
The
trouble
have
to
ought
is
too
many
backed
each
rascals spoil
the broth.
Marinette.
And
is
fair
dupe
or the other.
Frontin.
Let
without guile.
Marinette.
Frontin.
us play
Marinette.
Yes
Frontin
Exactly.
and you
You were
Marinette. And you
Frontin. Enough
for
said
The coincidence
Frontin.
You were
Marinette.
a love intrigue
Inez
is
singular.
for Valere
i
326
let
us
kiss, join
forces,
* #4
fii*
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a^*
But
Frontin.
Same, Valere
my new
see
stay, I
master,
Mr.
him
Valere, approaching.
Marinette.
with the
girls
He has everything
he
is
handsome, young,
Everything,
money.
quality
Frontin.
essential
Valere.
(To
By
the powers
Speak more
Frontin.
hateful
resolutely
who
lets
Then what
is
the use
respectfully of Gcronte.
scruples, to be sure.
Jews look
after you,
A
and
refuses to die.
He has
Frontin. That
Valere.
him
the
What touching
uncle
Have you
Valere.^
a red.
Valere.
Not
Frontin.
in
disinherited me.
is
another story;
in that
case
let
live.
Valere.
for
fail
subtle trick,
which cannot
part
to succeed.
JL% ! vA*
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m*
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aJ/* rM *!(* mU *> r * 1 > 1 #* ^ .C
m vtw wr *<* mw uw ftrm *w*
wB* MM ! Mw r*
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!r
it.
if I
means much
it
The
Frontin.
direction
this
cast
heavens
indeed
Dawn
morning, eh
has
come
out
on the balcony
And makes
Valere.
itself.
Frontin.
metaphorical.
of rhetoric
beg pardon,
You
sir,
are wasting
now, opportunity
is
your time
a
is
too
in flowers
woman, and
will
not wait.
at the foot
you
with
sash
panes.
Frontin.
with
in
Valere. Dawn
this
sir,
on the Balcony
Inez appearing.
The
bottle-green
my
VII
Same, Inez
Pray,
Marinette.
Valere.
Secrecy
to you.
SCENE
It is
am dumb.
in
glance.
it.
your
fair.
sir,
lift
to help
v^
vJ^
!/
A *1 j>i:*Ci*l*j^*^ *{ Jt%
Valere.
ever repay
Frontin.
Come,
One, two
Valere. And up
no
lose
time;
in funds.
with
up
you.
back^
railing.
rise
{to Inez).
would need
Inez, one
level,
Frontin.
All
you need
is
back.
Val^ire.
plunged
attract
feel
am
have nothing,
naught
am
you.
and
in
once
at
adorable
Take
poverty
and
shields.
Be not angered
which these glances chance to strike.
by my audacious hopes, and deign to accept a heart
which
is
wholly yours.
Inez.
It is
easy to pardon
when
the offence
is
so
sweet.
Be
Valere.
a start
'
"
I
'
sure
my
very nearly
fell.
--
,,,.
love
,...-
,1
I.I
Hang
it!
..
What
pa
/ **
ftf*^
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^^
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M
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wie m ^ 9 f mm
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'V*
5w
Sir,
Finish up,
as lead.
Valere,
Valere, and
straint
do confess
which
in
others.^
less
longer.
It
all
an
avowal,
would
have
excuses
live
watched,
carefully
is
it
love you,
which
delayed
to
Valere.
-Your
spect.
Marinette.
picious monster
rise
Look
e'en
is
Quick!
Frontin.
you
and
Inez.
now showing
It
Look
is
my
re-
sus-
in the distance.
fair
fingers.
Geronte.
alive
Frontin.
change of
Marinette.
Frontin.
Now,
air
let
and scene.
Within what
SCENE
VIII
Geronte
alone
ditch, or against
33
what
mine
wall,
sleeping
Champagne,
you dead
Have you
among
servants,
You model
tiquity,
shall I replace
Why
you
suppose
How
serve
to
slaves of an-
specially for
without you
tried
of valets,
live
me, how
That
myself?
hand when
down
do that
ha
valet fooling
I
trump.
So, then,
my
at
it
with sound of
shall
poor
ward, to wife.
spells,
shivering
death
under
clear moonlight.
And when
ardour
espy,
I
'11
with
cool.
She
gallants,
to
over to
And
shall read.
shall
fortune, freezing
mine
myself
it
this
my
coughing
you,
you catch
all,
take Inez,
have always
if
my
No
my
behaved honourably.
Ha
me.
that
two or three
seekers
the
nurse
in
shall laugh
of amorous
balcony in the
precious
pails
me
nephew of
of water
his
A*
J;*
l* vs*
tM* V*
^M
til*
What
Valere.
Geronte. Your
Geronte.
mud.
You
and you
't is
I.
feet
will
Valere.
the
in
the
in
same
spot,
came
to
ofF.
Begging of no
Uncle, must embrace you.
GtRONTE.
Valere.
Geronte.
use.
is
^-No, thank
you
you
Uncle, have
Geronte.
Valere. But uncle
have
Geronte. May
Valere.
nose
you
off;
if I listen
what
's
make
my
a confession to
a boil
on the very
more,
Valere.
-I love
Geronte.
You
curse you
tip
of
have cut
indecent youth
shame on
wig blush.
Val^re.
lasciviousness
(As Val^re
my
see
my
gold-topped cane
goes out
knowing
makes
sir.
place
exchanges a
Inez
I love
Enough,
Do you
G^RONTE.
in this
Your
whom
he
look.^
are
violent.
you
My
Val^re.
fate
my
Keep cool
'm
And now
off.
hangs
SCENE X
G^ronte, Frontin
Frontin
is
(^aside^.
There
trick
Sir,
you
what
move
you,
shall
the matter
GERONTE.
Frontin.
You
am choking
For what
GfeRONTE.
What
is
man, since
in rare fashion.
is
nothing can
is
with anger.
reason
.?
333
aJ*
^a
Frontin.
he claims to be
my
me beyond
Happy,
Frontin.
has
happy he that no
thrice
Geronte.
Under
Frontin.
are
grows
him
is
In
come
trick devising.
China
vases, daisies
in
the
iris
the
the
some
plan,
seemliest in
woods,
but
relations
of flower
kind
a lover.
that
best
under a window
that
may be
It
Geronte.
the ground.
catch cold
if
Frontin.
Well and
truly shall
If I were to
I 'd
put
you
will
on
my
hat
I 'd dis-
be eclipsed.
in
Geronte.
What nonsense
Frontin.
No
my
in the street.
hat, Frontin
Geronte.
Pray look
nonsense
at
a flash.
are
you talking
all,
but
solid
truth.
hat.
334
Geronte.
It is
fairly
colour.
You
Frontin.
in, filthy,
bare
I '11
may add
it
faded, bashed
is
allow
Yet never on
it.
Geronte.
dirty.
Frontin.
wore
it
tread,
hats,
be, bandless
it
shapeless though
first
made
we
this earth
when men
any so
that
this.
Whence comes
From the
Frontin. Fie upon
Geronte.
think you
it,
gutter, by
you
its
'T
looks.
the
is
hat
of
Fortunatus.
That
Frontin. That
Geronte.
wearer
of incredible chances,
improbable.
Geronte.
You
It is
came
It
invisible.
into
my
makes the
hands by a
mean
to
tell
me
that
when you
Frontin.
Yes
Geronte.
believe you
series
such
have trust
is
in
its
virtue.
you
but
find
it
hard to
335
Nw
(^
4i
at*
<>
*>
aM w>
wfw wr wo*
mw
At once
Geronte.
Yes
Geronte. Yes,
Frontin.
tail
of his
see
now
make
it
am
What
works.
the
do you
Where
behind him).
{still
gone?
can-
Geronte.
Frontin
(^as
Geronte.
am bound
before).
Frontin
got
There's
eyesight.
I 've
trick
to
out.
Frontin
1
The
Anything
Geronte.
not
yes.
coat').
Frontin
(as before).
him by
the
tail
to find you.
He
of
'11
his coat.
Sir,
my
it
Geronte.
is
The
there in front of
the
life
of
my
left
me
Frontin
thing
me, speaking
see him.
{as before).
Geronte.
is
wonderful indeed!
to
Where are
me, and
cannot for
you, Frontin
No, on your
This way
right.
He
On
(as be/ore).
No,
Go
there.
on,
'11
lock
G^RONTE.
all
satisfied
convinced
fully
Quite.
Frontin. Well, then,
GfeRONTE.
see
you
reappear.
round
(//<? slips
Geronte.
Of course you
GERONTE.
amazing
It is
am
Frontin.
but upon
my
wonder
good
it
is
me
Let
have that
word,
my home, my
Geronte.
do.
asleep or awake.
front of Geronte.^
now.
plainly
Frontin.
in
cellar,
And
That
cannot.
kitchen
my
so greasy.
it
to you, sir,
hat,
stewpan,
your
hat.
see,
dare say.
Is
you
make
is
No
in
it
Frontin.
You
beaver
down over
some cook-shop,
"
it,
the
invisible to
one, nobble
When
follow me.
do not
and devour
it,
337
all.
pick
out
my
feet
the
best-done
on the hearth,
Then
disturbs me.
to
shot.
my
paying
Wonderful
Geronte.
With second-hand-clothes
Frontin.
as with the
for
my
eyes,
you may
for
my
Geronte.
me
to
Frontin.
easy for
up
But
call for
deal
it
ask
wife, nay,
would be
so
my ward
are
to a guardian, in
age
Valere and
to.
It
is
true
and
vain.
at
You may
my skin, my
for my hat.
know what
men
that
my
With such
bars.
hat
is
a treasure
the crucial
all
tricks
are
arise, terrible,
like a
buy
Frontin. No, you
Geronte.
That
hat of
it
from you.
Geronte.
it?
You
don't.
Will
me
you take
hundred crowns
for
#A* tfM #* # #1 !y
MM
flM
w ^w
#M #X ^1% *
#A #1 #!> s|< fsl^ J/ ^J* #& fJU #
'vw wr* vrw
J/*
afv ttV^
v^
a^v
a^*
9^rm
% wr*
* ^w v#
aiv*
Frontin.
much,
Geronte. should
handing over
but
It isn't
I
cash, to try
Why,
certainly.
Geronte
(aside, as
he puts on the
it,
Frontin
thief.
(aside).
atrocious.
every corner
Ah
shower
arm
yell
my
'11
him
Geronte
let
'm sure
hit
'11
way
me
(aside).
hit
in
thrash the
him with
venture.
Here
's
Oh, my
Oh, my
leg!
!
every step.
break the
'11
'11
Oh, my shoulder
on so with this wand of mine
sure.
me
it
catch
to
at a
off.
Ah!
lay
at
out
and
Up
Oh!
and groan
stick
costing
make
all
you
him
'11
Oh, my back
Frontin.
is
it
sir,
He
in
for
Geronte.
to
taken
of
'm up
am
some of my blows.
a
air
its
the
(Aloud.)
poor man.
hat').
He
penny.
it.
before
Frontin.
a bolt of
is
like,
(Aside.)
am
339
a crack
spell.
(He
I
With
all
over.
JU !
.!
*JU L% aJU
!/
rl
ti/%
l**4<s*<4ii*lis**a**9* l**s*e
really
for
worried
by your
I
you everywhere.
No.
Frontin. am
aside
lay
eclipsing
I did
hope
looked
yourself.
was
Geronte.
afraid
on you.
Geronte.
to thrash you,
Frontin
Geronte
pocket.')
tough.
go the hat.
I '11 let
You
Now
let
man
us close
There you
happy mortal;
You
lump
Frontin.
raised a
you brute.
We
go the purse,
all
am
(^offering
the bargain.
yours,
may have
{He
air,
slips
now
let
are.
the world's
the purse
you can go
in
into
his
and out
Here
Vanish, and
is
Marinette coming
I
shall
in the
confess her
before you.
340
v^ l*4**4*S**9S*i***i*l^^i*'4
l*i*9
WW
<<>
M*
iM
^ VW ^v
^ v^
A* ! #4*
JB* (HW
*^'
^'V
WSt
* "
*<
a>
What
Frontin.
Marinette
Nothing.
you look
is
the matter,
not
in brilliant smiles,
as if
you had
Marinette
have not got.
not
(pretending
That's
Frontin.
wreathed
Same, Marinette
(^as
your
girl,
face, usually
as a funeral,
and
lover.
You cannot
good
Geronte').
Your
gloomy
just lost
be/ore).
am
is
see
to
true.
dear
my
lose
what you
G^ronte
such virtue
'd
Then why do
you look
Marinette
I
Who
Frontin.
down
(aside).
too soon
For
(as be/ore).
might be
how
things
fell
Geronte
out,
(aside).
all
her.
341
jjgimm<m^^i^^
Well, you
know
why I am so sad.
am sorry now I did not engage
and that
work.
is
dB* *
air*
<
?>
"Sw
aiw
* * * * *
Who
dresses
his cravat
before).
and curls
and find
his
Now
his hair
gloves
has
Who
is
no
one.
there to
tie
he
these cares
all
(as
after
him
as
GeRONTE
(aside),
Marinette.
He
I failed
such a gentle,
is
polite, attrac-
man.
tive
Frontin.
ing
What
he
is
am
an aged
Geronte
(aside to Frontin).
Ugly,
way of
think-
What?
You scoundrel
Geronte
Frontin).
Frontin. Sour-tempered
Villain
Geronte
Frontin).
Frontin. Filthy old
break every bone
Geronte
Frontin).
your body,
Frontin.
(^aside
stupid,
to
aside to
beast.
{aside
in
to
'11
if
Frontin
(aside
to
Geronte).
Marinette.
him
so
do
saying
all
that
(7!? Marinette).
there
is
about
something
Oh how
!
I'm
342
him
JU i
*!/
* VIM
m*
aiiv
!/ fi^ rl ! M/ l rjt* !
Mtf Jf tU * * atw a^w
! tl% 1 A #! # !
Mw M Mw M*
ling
The
{aside).
and
my eyes moisten
in my nose.
kind-hearted
vat
>
lass!
my
(^He sneezes.^
Marinette.
can
see no one.
Geronte.
What
Marinette.
ghost
who
It is I
phantom
is
Why,
Marinette. Who you
Geronte. Geronte.
Marinette. But where
no,
it
{taking
off
Geronte.
fears
on or
your body
hat).
in
.?
beg
your
order to be seen
hat.
your
!
what
dreadful
fright
you
sir.
Be
with a word.
have to do
is
forget that
Oh
Marinette.
off Geronte' s
but you
sir,
it
is I.
pardon,
Is
Geronte.
Frontin
in order
reassured.
You
shall
to vanish or reappear
dispel
your
Well,
all
to put
it
is
off.
Marinette
(^^/W^).
Let
pretend to be embarrassed.
343
me
affect
timidity
and
It ! JLt
*m
MM
ffJ/* Jiy%
or
ri*
!/ !/ !>
M MwWr>
Geronte.
shall
The
you
desire,
my
girl,
be yuurs.
Marinette.
You
situation
heard
me
You were
I feel
there
the time,
all
Oh
do not
sir
look.
learned
how devoted
While we are
Frontin.
about
we
suppose
it,
try
Geronte.
Frontin.
know
Frontin.
What
would be the
straight
Do
out to you
Geronte.
of that,
Marinette.
good
you
expect
she
that
But
if
Hearts areclosed
is
in
girl
love
in
them.
to
blurt
with you
my hand
a score
of times.
Frontin.
The
And
real
Marinette.
Sir,
Geronte.
into
Here
house and
my
's
agree
th"i'J%':
Frontin.
Miss
certain.
my keys, Marinette.
induce my ward to come
are
344
with
Go
out.
XII
Geronte, Frontin
Frontin.
as a
Thanks
Geronte.
large.
Frontin.
fops
to
as
dread
Girls
But
he.
dear
in that
not
care
for
in
letters
such
feeble
On
proudly
girl's heart.
Valere's
reading
do
will
with your
hat.
SCENE
The
Marinette
The
weather
is
XIII
(to Inez).
Let us
so fine.
Willingly go out
Marinette. Valere may be round somewhere.
Valere
Inez.
me, he
sought
Inez.
If
so
might care
Marinette.
till
now
to
really
women who
little.
You
There
please
for him.
surprise
me. Miss,
in
for
him.
345
had
^.1
l/lf9 si rJ/
>
OT<*
>*
** *A
wve anw
OK*
if
>>
*> 5* <*
favour, for
did accept
attentions
his
should a
why
1 ri i !* #1 t* ! %M*fl^
"> or* vr* vt* <
bridle
girl
with apparent
Geronte
(aside).
Frontin
(aside').
Inez.
Geronte
Inez.
Inez.
better,
Frontin).
{to
ere
Frontin
turned.
it
And
Geronte.
that
am
his
dead
attentions
breathe again.
when
to
Geronte).
got
What
Shame upon
to
A man
(to
saw
(aside
Frontin
perceived,
Marinette.
Inez.
Support me,
long
(aside).
that
sir.
false
Geronte.
so loud,
But
were but
True.
Do not shout
another
am
love
Now
my
listening.
's
alone.
346
after.
did I
listen.
know him
tell
you
the fortune-hunter.
Geronte).
to
thoughts
have
1JU 4* vi^ #*
"
>
>
^
mS
M'*
aSw
* MM
* >
* Mv ssvi*
* !
Inez.
Geronte. am
dare not
Come
Marinette.
Geronte.
Inez.
It Is
Geronte.
Frontin.
all
blushing
!
tremble.
Geronte.
I
am
in the
Is that plain
seventh heaven
Now
Geronte.
Frontin
over.
Frontin, my
do you think
my
my only friend
tell
my master it
truest,
shall
{asidey
go
is
Inez.
be,
who
now
reigns in
little
Where
Well
It is
put,
ducky, you.
is
my
lass.
no
is
threescore.
is
But stay
who
cool.
is
What
What
make me mad.
347
my ward
to talk to
that
Geronte.
he
and that
At school
Keep
Geronte. But he
going
Frontin.
Well, what of
Frontin.
sure,
before
Geronte.
comes
love
to
enlightened heart.
my
You dear
Marinette. One thing
Geronte.
husband to
my
of
that
You
will
Frontin.
The
the lover.
when you
are
SCENE XIV
The
Inez.
Valere,
Valere
Same, Valere
Be
same, and
longer the
you
of
My
love.
my
not
afraid;
am no
has
got
rid
tell
of such
frivolity.
Your speech,
Valere. do not mean
Inez.
sir,
delights me.
to strive against an uncle
so adorable.
Inez.
Adored
Frontin
Valere.
(to Geronte^,
Much
You
see.
to be preferred to his
nephew
That
is
true.
his
as
rolls
on.
Geronte
Frontin
(to
{to
Frontin).
Geronte).
A of sense,
Let us keep up the
girl
348
that.
test.
Valere.
to
wed Geronte
am.
am
widow whose
acquainted with a
consist.
could indifferent be
advise
you
to
marry
her.
Geronte.
The
world
mean
dutiful
to turn
coming
will
account
to
it
's
in
an end
to
make me
rich^
my
and
Geronte.
Inez.
That
Can
woman make
Valere.
noble of him.
is
Assuredly.
Then
Geronte. What
Frontin. Mighty
Inez. My two farms
Inez.
give to Geronte
a fine deed
fine
Geronte.
my
all I
have.
in Brie,
my
my
stocks,
clothes,
my
real
349
both
house on the
my
jewels
estate,
>
S* aS*
JU
WW !/
MM
mw ^m
Mir w
Inez.
Valere.
Geronte.
Inez.
mean
You
dear lad.
If my guardian
his wife,
once
to give.
have
my
me worthy
thinks
of being
my
Geronte.
Inez.
What
And
nobleness of mind
shall
Don't
Geronte.
enough.
You
Frontin.
me
shall
for love.
be afraid;
will find
it
I'll
hard to
marry you
make up
fast
to her
Inez.
Shall
Valere.
form,
it
In
is
the
that
gift
may be
in
due
up, and
now accompany
us to the
Better send
Geronte.
Frontin.
where you
Not
much
shall sign.
public square.
They are
Frontin. That may be
Geronte.
in plays.
;
but this
is
no
play.
{They go
out.)
Geronte.
The
uncle
Valere
Frontin
was
right
wins
the
nephew
over
They bestow
Red
With
a bottle of wine,
never
am
tell if
That makes
(^putting
Geronte.
Good
see
me
may
you see
sundown
pallid
light.
be,
gown
hat).
it
be
He
is
drunk
as a
Good
sir.
morning?
then, fellow
Rather
Yet
's
on his
What?
Champagne.
Thanks
the colour
it
You
able
it
Or morn's
strange.
the table,
a reason sound, as
To
Geronte.
new
When
Champagne.
me
beats
I sit at
For
Geronte
on
their wealth
she loves.
is
't
Champagne
Geronte
Champagne
then
Geronte,
think
have
my
351
do.
hat on.
That
is
Ii*4
aw V
^-^
<W
x^ ^
VM
1^
MW
'^
at*
MfM
(fit*
'f* ^'M ** *
*>
to see
that
man
a vv^ell-known
's
fact.
Geronte.
Champagne.
God
anxious.
one
but
created
sun;
wine
makes two.
Geronte.
them.
You
virtue of
my
That
Geronte.
Champagne.
should think
Here
Oh
Champagne. Was
Geronte. No.
Champagne.
Geronte.
invisible,
in
is
your back
feel that
I did.
that big
's
this
paunch of yours
It
is it
am
hat.
magic
Champagne.
out
is
your head
n't
have kicked,
.?
Geronte.
fool
've
No
been
No
am
Heavens
Great
tricked,
what
babe.
Champagne
{^asidey
What
352
is
he
uttering such
^%i
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have
been
robbed
of
my ward
hundred
Murder
SCENE XVI
The
What
Same, Frontin
Frontin.
the use of
is
He saw
you,
Geronte.
you
You
poisoner
dare say.
May
heaven
fall
on
and crush
vou
you
forger,
you
Frontin.
Quite
honour me.
There,
number of
look,
Inez
is
sir;
titles,
returning
SCENE XVII
The Same, Valere, Marinette
Geronte.
*3
353
place.
you
with
#>t
*
vx
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up by the notary.
the deed of
Valere. No, contract of marriage.
Geronte. What
Valere. A contract of marriage between
Geronte.
I see,
gift.
this lady
and myself.
am bursting with
the conclusion
Valere. We came
Geronte.
rage.
to
Geronte.
Marinette.
It
was
Your
Geronte.
'11
hand.
she loved.
Frailty, thy
Frontin.
in
that love
now
part
name
is
woman.
more
sarcasm.
Valere
Geronte. You vixen You strumpet
Champagne. Take me back,
Marinette.
so nice
is
sir.
Geronte.
slap
What
Champagne.
Geronte.
want
my
(He slaps
situation or
his
face.)
my money.
How
did
you get
that
money
354
By what
crimes
4**mU ! *S !
MW ! atw nv WM MW
earned
Sir,
deceived.
Geronte. All
it
the days
in
when
you were
right
Champagne.
Oh!
if
only
Madam
had
lived
longer
Silence
Marinette. Do not be
Geronte.
a hard-hearted uncle,
and
good grace.
Geronte. Never.
love you
Inez. Dear guardian, we
Geronte. won't.
the
Frontin. Forgive the means
shall
so.
for
sake of
the end.
Uncle
Geronte. Nephew mine, you
Val^re.
am
give you
All.
the
all
must.
but
I for-
Thank you.
(To
and
part
scamp
all.
Frontin.
and to
my
are a
this trifle
times
it
the public).
forgive us
Now
it is
your turn to
It
fj* {/
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and
chatter
gay,
Authors
for
without
being
us
Birds are
but different
in
and
prose
whistled
to
we of plumage
from
verse
we
birds
do
bright
in
cage.
write,
our
learn
but
tunes.
treat
us
too
cavalierly
you
know
us,
356
we
fear.
old
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Contents
Introduction
33
A Study
I
II
of
Hands
II
III
38
42
Imperia
46
Lacenaire
49
37
On
On
the Street
52
the Lagoons
54
Carnival
56
IV
Moonlight
Symphony in White Major
Coquetry in Death
Heart's Diamond
58
60
64
66
68
Contralto
Eyes of Blue
70
74
The
The
11
:
Obelisk in Paris
Obelisk
in
Luxor
VII
80
84
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Vt
CONTENTS
Veterans of the Old Guard, December 15
Page
Sea-Gloom
To
Rose-coloured
The World
's
Gown
Malicious
To Petra Camara
Smoke
Apollonia
Winter Fantasies
The Brook
Tombs and Funeral Pyres
Bjorn's Banquet
The Watch
The Mermaids
Two
Love-Locks
The Tea-Rose
Carmen
What
An Autumn Song
Christmas
The Dead
Child's Playthings
The Castle
of Remembrance
Camellia and
The
Meadow Daisy
Fellah A
Water-Colour by
Princess
Mathilde
The Garret
The Cloud
Vlll
ta
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CONTENTS
The Blackbird
The Flower that makes the Springtlme
A Last Wish
The Dove
Pleasant Evening
Art
P^g^ i68
**
.
170
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Introduction
divine gift of verse having been denied
to the translator and editor of this English
THE
edition of
of
task, of
his
and carried
To
it
translate
author
any
his
when
matter
to the
when
is,
skill.
satisfactorily,
literary
in all
shall
quality
is,
in
become
conscience, a sufficiently
prose alone
obstacles to be
that
in question.
is
overcome
are
But
added the
verse in
general
fair
it
may be
approach to
it
the
more
strik-
M> Mb
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JR>
& Mw WW
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**
tw *ll
*
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!
the style.
never can be an
It
more
case,
The
endowed with
a literary
and
easy
times the
at
is
artistic
partic-
conscience.
itself
overcome.
The
total
Then, with
all
poetry,
however
a version,
skilful
is
it
impossible to retain in
on
impossible, or wellnigh
It is
melody of another.
that peculiar
warmth of
which charm
in
while
it
with the
may
the
instant
to
so,
it
is
touched.
reproduce
flushing of hue
and the
loss
of which,
language in
perforce
the
one
sweet,
which the
original
is
written,
in
impossible to preserve
colour, that
original,
down
unfaithful.
world, with
the
With
liveliest
the
best
desire
to
makes
intentions
reproduce
in
in
> vA*
vA* *
J/
/ rl/
INTRODUCTION
the
English
of the
characteristics
who
artist
seeks to
into
the other
but
excellent,
however accurate
especially
must
confess that
however
is
it
after all
must
paraphrase
that has
been
produced.
More
Gautier's
work
An
in verse.
letters or
syllables,
meaning attached
to
own
a believer in and an
not
mere aggregations
all
definite
They had
municating ideas.
of their
was
of Theophile
true
artist
Words were
apostle of form.
of
be
this
qualities
and properties
own
which
of signs.
They were
they were
full
full
^ JM wjLw ^ii
>BPp^p^^^ipjui jm
ray serene
^ Mifr
ii^^f.i ^n fP t^ii
p' '
'^ -i*8- w
they were
silk
and
they were
No
resplendent.
was
orient but
metal, no
precious
pearl
among them.
to be found
of
finest
Every shade
They had
was
to
destroy, and
could
laire,
whose
and
so
"
well
the
poet's
them
to
own
business
it
Baude-
use.
talent
said
described,
Correspondences
his
in
poem
"
**
properties of their
entitled
as night's self
and vast
man
feeling
for
and
far
"
in
gift
his
correspondences," without
Words
belief,
his
of which, he maintained, no
of their own, in
own
did possess a
was he
they had
it.
But
it
music
utilised
sono-
knew how
to
|U A
!>
INTRODUCTION
he used words in the
way
in
he did
artistic
eye and
ear.
It
which
them
to the
vision
which
training in
line
when he
studied painting.
no one has
was
stead.
his
of
in his descriptions
He
reproduce.
full
Here again
it.
him
and
of " bits."
called
" intense
words
to
having seen to
of admirable examples
He
impressions of
has
art
what
"
;
he
to
skill
unhas
own
dis-
his
in perfection
Now these
poems
paints in
One
come down
ciples,
of vast
Brunetiere
it
such good
in
He
to
Leconte de
Lisle,
one of
his
make
It is
exceedingly
difficult
S* *
<w
"
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d^
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km tUs *< >> % aS* !
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rl vX* (J* !
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!*
French.
effects
ferent
from
It
not
is
Gautier's
reproduce the
to
possible
it
not
that
mother-tongue
so dif-
is
the
he
in
which he
" Form
is
And
to the cult of
to the
French
verse.
It
of, for
he holds
it
possibly
repulsive.
in
He
is
finding
He
always
superior to
heaven.
in
succeeds
is
it
holds
beauty he
else
all
admires
on earth
Baudelaire
and
largely
even
that
in
the
beauty
is
horrible
and the
an end
in itself,
search
in
is
literary
a practical or at least a
moral purpose.
Poetry,
to
in
used
morals, in science,
8
in
as
aught
i
* *S 'S* ** S* VS*
*lr*
^* ^f ijf
INTRODUCTION
was
that
was
It
workaday, commonplace.
positive, utilitarian,
a
divine
tongue
said
a tongue
were to be
which
in
beauteous
things
whom
all in
He was
**
It
't is
to madness.
it
is
speaks
it
He
above
love
blasphemy, so
It
it
than
If a
.
me
the language
low
it
whisper
immortal.
:
love
it
comes
to us
that the
from
God,
world hears
it,
but
not."
who
man
will
itself;
truly
worthy of being
poem.
**
I do not mean
manners,
final result
is
great, so noble, so
that
master
all
let
that
f (
latter
that
fire.
verse
is
Perchance
it
at
exclaimed
to
I desire to
poem can be
called
poem,
so
as
pleasure of writing
man above
or that
its
sordid interests
I>
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that
would be
and
it is
Poetry
poor.
The
say
is
cannot assimilate
What
plainly absurd.
principle
forfeiture.
of poetry
is
or morals,
itself to
science
Itself,
not truth,
strictly
is its
end.
of the soul,
an
enthusiasm which
and of
truth, the
food of reason.
For passion
natural
is
too famihar
gracious
Poems of
work.
He
met with
in Gautier's
ten
some
love
Romanticists
all
poems
did, in
he
has
addresses
He
indulged,
to
fair
has writas
young
female forms,
it
has
in
10
was
little
INTRODUCTION
room
women
its
various forms
as
ciple, but
much
as the beauty
Music
the
was of secondary
herself
artist
was subordinate
to the
woman
So he never sang
that incomparable
performance
as
itself.
woman
he has written
"The Poem
poem:
of
Woman,"
He
Marble of Paros."
preferred,
more
and therefore,
This he dwells on
fact.
**
idealised,
Baudelaire
itself,
est
mind
more
the
perfect,
of beauty,
it
was
account of Baudelaire
to the
ideal
in his
in his
or any mission to
the reader's
we know,
He
banished from
poetry,
II
Just as one
in
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v^* w
That
by
idealising
admirer and
Art's
is
own
own
his
is
and removing
creed,
it
trivial
that
truth."
by an
practice
for
It
Leconte de
"
Hypatia
"Sleep,
for
it
of Art
follower.
inspired
"
from
into
put
It
the
is
that
of
it
fit
Wrapped
fair victim,
in
cult
it
is
the thought
when he sang
the
poet,
wondrous song
Sleep!
And
*'
The gods
No
the earth
is
mute
shall e'er
be heard.
Of sacred Beauty
**
For
it
the melodious
hymn.
may
But
her revives
forth doth
feet
This conception,
still
this
all in
be
12
in face
of the reproach,
JU ii#i*ri*Jt*liri4*#i**i
"* *
** "* * * ** ** |1*|
"
JU
'
INTRODUCTION
him even during
addressed to
sight
moral
of great
a moralist, a student
possibilities
lifetime, that he
his
He
notions.
disclaimed
lost
being
of elevating the
human
race by spreading
as fully as he
might in
all his
admirably
and
colour
number
works.
feelingly, of
power of expressing
imparting
melody, of communicating
the
to
make
or
was
it
wrote.
It
monplace or
real
is
more than
it
was
but
the
test
Form
susceptible.
theory of poetry.
the very
this in real
bringing
of perfection
subject the fullest measure
which
of each line
original
It
is
and
not enough
It is
There
rhythm
of
sense
phrase, or,
poetry, and
the
is
out
for
comof the
of form of
indispensable, in his
of existence.
13
The
careful
working out
with
or
it,
form
out the
man
as a poet.
with
perfect
of
poetaster
a true singer.
This view
Whether
is
poetical
common.
in
is
The two
poetry.
have nothing
Rousseau, Ber-
Fenelon, Jean-Jacques
they are
not poets
that
is
to say, they
are incapable
possessed
special
gift
To
from poetry
is
attempt to sepa-
modern piece of
folly that
Boileau, had
become, by the
time
he
penned these
critic's
or at
least
which Boileau
ot
itself."
laid
most
stress
verse
satisfied
14
his
been attained.
exacting taste
INTRODUCTION
it
care,
for
not given
is
it
lines
superb, perfect
he
verse of a
first
cast
attained
than
higher quality
This meant
perfection.
average verse of
the
much
again,
a
in
poet
which
is
in
question," he says
his verse
is
of
it
constitutes
his verse.
It
is
in
great
intrinsic
That amounts
value of the
the writer
which
work.
will
is
dispense with
seeking
to constitute a great
"
No
seem very
doubt," he
value
in
in
its
saying
form,
the talent,
no case can
excellence of form,
part of the
continues,
frivolous to
to
poem, outside
is
part the
wrought
worth study-
whom
"When
lays stress.
and
naturally
verse
as
produce
effort, as
them
uttered
as easily as he breathed.
his
every one to
to
without an
who
infinite
worth of
" these
minutiae
utilitarians, progressive
15
his
and
A* *
'*
^S* * *S*
v^ *4^
*S* S* ** * * ! 9 *& !* s* * *
is
who
be written
Yet
sense.
it
is
insist that
poetry should
prose, as
in
minutiae
these
precisely
that
cause
The
capabilities,
was therefore
matter of importance
to
bestowed
infinite
word
that could be
these ways.
to
whom
It
made
He
the separation
to
if
attain
effect
effect in
differed
any one of
from Boileau,
a matter of
an
was herein he
to yield
To
moment.
Gautier
accuracy
in
expression
he sought, and
it.
Hence
to
not another,
his
vocabulary
j/*
wvtf
f**0
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INTRODUCTION
" Enamels and
Cameos," though the reader un-
this in
And
stilted
mode of
may
not
attract
by
mile
attention.
In
one of
conversations,
:
et
work
in enriching the
language
"
modest praise of
poetry, and claimed the
of French
He
being a philologist."
the poets
reported
Bergerat,
nirs
his
him, a remarkable
after
He
and melody.
necessity
a
which
dilated
for thought to
exists
So soon
as
it
finds
in
is
a poet fastens to
takes
its
flight
its
it
fidy
received
to itself:
words
;
and
be possessed of
garment
if the
fitted
to
it,
it
words be elegant of
into
feet
the
better
society.
Then
if so
17
be
it
^* fi/*
**
: vfr*
"
and
interesting
Reply
to
an
**
Then,
which he
a brigand I,
came
shouted
the
the old
Academy,
in
blew
squares, I
crowned
with
upon the
a blast
of
bound
pulled
founded,
down
the
The
...
did
Why
to
shelter
of alexandrines
dictionary
and de-
stormed
should
Then, upon
old
more
skirts
battalions
revolt.
entitled
relates the
be?
in
Hugo
poem
personal
highly
Indictment," in
part he played
by Victor
forth
smashed every
drew
forth
from
laid flat
for well
knew
the
that
restores
its
liberty."
Gautier had
that
same conversation
revolution
the
this in
was
company.
dug up
"
:
My
plainly indicated.
I
in
further, in
that
literary
without.
foraged on
share
said
lovely, even
man cannot do
mind when he
all
hands
in the
of the subscribers to
^v
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vA* rJU 1^ !
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af*
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MM > * < * Sl
MW mo
* a*
INTRODUCTION
the
of members
Theatre-Fran^ais,
of
French
the
geois, as
full,
with
and
sheaves
political wire-pullers
when
and
major,
upon the
put
the writers of
after
me
saw
that
chairs,
splendours.
tint
my
that
kith
the
in
of
formulated
white
was good,
result
basket
my
returned with
sunset
it.
my famous axiom
'
:
in
their
He whom
a thought,
it
it,
is
not
writer.'
And
the
goats
were
separated
from the
disciples
sides.
Such was
Never was
Never
command
be
of
in
whom
genius re-
the conquest."
surprised
the
all
right
without
word.
expression to pro-
Two
or of form.
in
part
Gautier
effect
ume, may
my
he lack just
did
duce the
of Hugo,
cited as
examples
language, his
of
his
in
this vol-
marvellous
19
absolute
the
impossibility
of
rendering
made
The
marks them.
of
perfection
exigencies
form
of English
which
verse are
must
stanzas, the
to
deHcate
yet
reproduce exactly
fashioning
of
the
wondrous
intensest
the glow of
The rhythm
fail
is
of each poem
in
"
Luxor"
Je
De
veille,
En
unique sentinelle
la solitude eternelle,
face de Timmensite.
Sterile,
Le
Dans
"
Take
marvellous.
muet,
infini,
Au-dessus de
Le
ciel,
Ou
jamais ne
la terre
nue,
une nue,
20
f/%
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J/* !/*
!/ rl/*
A*
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INTRODUCTION
" Le
D'une
pellicule de
plomb,
Thippopotame,
Et
les
Sur
le
d' aplomb
crocodiles rapaces,
sable en feu des ilots,
"Immobile
L'ibis,
le
Le cartouche
How
sacre de
Thot."
is it
be,
skilful
is
treatment and
vanishes
is
plain
that
it
as
summer.
own
was impossible
is
to
to court
One
defeat at the
present an edition of
the im-
idea,
pression of tremendous
may
in
it
some
part,
of his verse.
advantage the translation possesses:
21
it
proves
Gautier
that
hostile critics,
mayhap deaf
The poems
as
charm of
to the singular
have maintained.
his verse,
ideas
in their
Eng-
lost.
subjects that
is
it
Further,
would never
to note
interesting
mind
the average
strike
how
as
all
"
The Watch,"
" Love
"
Locks," After Writing my Dramatic Review,"
and "
cal
subjects, yet, in
is
at
least,
there
is
an un-
deniable
each
French
a splendid
Gautier's production
to
verse
"
Poetry
is
comparatively limited.
The
talent, the
his
time and
in
of lessening,
his career as a
journalist,
left
him no
leisure
22
These
earlier
pro-
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INTRODUCTION
ductions were necessarily in
taste,
Romanticist
purest
evident in this
great artist
part
that
of his work.
The
wrought out
subjects are drawn from the
infinite beauty,
new
storehouse of the
plethoric
numerous passages of
are
the
school
landscapes,
much
recollections, sunsets
and
and
dreams
then,
just
orgies, ghastly
reveries,
and picturesque
in
sentimental
effects,
shudders
contemplations of skeletons
and
in
word,
all
The
Preface
scribed in
is
interesting,
part, for
already, in
is
which any
familiar.
theory of Art for Art's sake, and maintains the usefulness of Beauty
**
To
economists, Saint-Simonists
and others
all,
answer
Is
sufficient
It is beautiful, like
like
everything
and
to deprave.
man
flowers,
and
scents,
not that
and birds
23
he will
own
use
M ! 9( *A
vli*
cf
useful,
it
As
be beautiful.
ceases to
it
moment
It
becomes merged
slave,
that
efflorescence
is
art,
is
it
all
becomes
a thing
art
having been
is
life
positive
free,
Art
really.
in
becomes
it
liberty,
luxury,
Gems
ever.
carefully
trifles,
who would
orna-
deliberately
least
do
paintings of Ingres
suffering,
Boulanger and
uncommon
Yet
superfluities.
of the indispensable
There
cut, unique
artistic souls to
whom
the
Decamps
will
and steamships."
He
manner
turesque, so attractive a
is
present day
announced
'*
There
peaceful
are, to
small
effects,
home
little
begin with,
landscapes
after
scenes, sweet
and
manner of
the
the
winds
a path
the
the water-lilies
smoke from
a cot
hills
lowly
24
up which
an ox-eye
4^ WW
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INTRODUCTION
daisy quivering dew-laden
a passing
stork
That
donjon.
all
is
ing
itself in a
as
were
it
a purely childlike
The poems
with
verse,
sonority,
and garnering,
in
Here and
a longing, a
love, a chaste
the
which
feeling
is
to
for
colour,
become
The
"The
the
picturesqueness,
characteristic of
opening
of the brief
immature,
the
the remembrances
piece,
"
Theo-
Meditation,"
full
that
Gautier.
phile
to the
poetry,
muscles do not as
is
few words of
tear, a
life
of imparting
a lizard
a bee buzzing
hedgerow,
on roof of Gothic
settling
way
then, by
through
sunbeam,
a lark upspringing
life
of
all
things
on
still
earth.
period
had
taken
upon
the imagination
"
of the
"
Landscape
is
marked by the qualities of vividness and accurate description which are to be still more evident in the
Spanish poems.
is
almost
overpowering, and
25
Hugo
jU*!^ L% 9% l% ! 9L9 4%
Jt
" The
Nightmare
and powerful
brilliant
"
literature
great
line.
example of the
interesting as an
is
in this
" Daniel
Jovard,"
his
in
it
who
made
has
which he
in
used by
"The
"I'CEuvre;" and
in the
poems
tive
same
order,
an admirable
pict
and
truly
strikingly
peculiar, but
is
scenes
bit
of descrip-
who was
to de-
in
lands.
many
very Romanticist.
It
Punch,"
justifi-
It is
different
itself
at least, a palette
poetry
hues
something
complete.
It
is
clear,
colour,
people:
something
in
"
!
in
the
repeat
"
:
am
quite
ready
^6
at
times to
have what
is
fA% ffJU #%
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INTRODUCTION
rare at the cost of
its
exaggerated."
The
most important of
"
The
or
Albertus,
Legend," written
It is a
year.
and
Soul
Sin;
"
is
entitled
Theological
imaginative, and
purely
story,
in
works
same
the
in
of
line
"
Vampire," which has appeared
thought as the famous
An
in this edition.
compounder
devil,
wood-
admirably painted
in
verse by Gautier.
senility,
Thus
lighted
love
in
with
whose
den
to
life
Renaissance, which
portraying and
a
portrait
genuinely
is
referring to.
Romanticist
thus limned
27
this
and restores
loveliness of youth.
sans of the
Within
superb.
descrip-
night, with an
mark of
all
is
The
town
for
She
hero,
falls
in
Albertus,
the reader
ei?*
itr*
<
T*
wf
* "f*
'>
****
Foreign suns had shone upon his brow and gilded with a
rumpled by
his
fingers,
fell
on either side
felt for six
less
His
skin.
a
which
forehead
artist's, a poet's,
and of
itself
It
in
which,
was
made up
hair,
inspi-
seemed
to
mock
effect
This combination
the upper.
demon
said a
Although he had
hell
as
that
made one
the
crawls a snake, a
glance, the fiery
depths of those
The
orbs,
boldest
smile at times
flitted
but
his
mocking
deep disdain."
28
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INTRODUCTION
It
is
in
desperately
and though
at
calcitrant,
He
love,
he proves re-
first
him
her
to
house.
strikes, the
midnight
him
"God
!
fails
bless
devil,
man,
Rome
his
is left
in
demons, sorcerers
witches,
on the Appian
the early
back broken,
morn
And
But the
peasants repair-
find the
dead body of a
It is alT
had
poet has
vanish
Way
neck twisted.
his
Devil sneezes.
straightway
ing to
The
Satan in person.
under the
in
that
mocking
is
his
he has
introduced ex-
much
beautiful
reader
is
not
verse
no
"
Namouna," he
and
matter.
he
The
is
has written
satisfied.
object of
If
the
poetry
is
Philistine.
29
vA*
I*
WR* t/K0
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L% v^*
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f*
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parts
been
had
it
There was
composed
to
prefixed
" Life
Death" appeared
of
the
it
" Death
Death," and
in
as
1831.
"
The
piece entitled
early
two
divided into
itself is
poem
as
1838, but
in
in
parts,
The
Life."
poet
worm
devour her
proceeds
of
art
the
into
woman
flesh.
to him,
Returning
depths,
and the
Gautier then
tells
him
on
having
Don
Juan,
save
earth
who
has
love.
known
all
There then
is
that love
seek knowledge
the poet
is left
Here again
is
if
man
is
his
conclu-
life.
Thus
in uncertainty.
larly striking.
appears
should rather
worth
is
that
is
the
The main
The
mode of treatment
subject
particu-
succeeds.
30
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INTRODUCTION
The
may
many
in
the
and contour,
in
the
of
line
number of poems
followed by a
intervals
pieces,
splendour of colour,
faithful
superb
glow and
the
in
tions,
poems contain
Spanish
effects.
They
written at
different
And
are
every
finally
come
This
first
is
appeared
in
several editions.
work
fashioning each
wrought out
"Progress
states the
**
The
It
is
on which
that
a perfect
form.
Poetry since
1830," he
enamel upon
indicates
my
be
set in
a plate of gold or
finger
to
be
fit
worn on
31
copper,
as agate,
medallion
something
intention
sometimes with
thus
he had
most pains,
he has bestowed
poem with
of French
title,
It
to
the
medals one
9f%
ow
aJ^
#x #A
0^
wr* vr*
l
"*
!/
tf^
rft
#^
T ^
a^ ^
vr
w^ mm ^
r 7
sees in
But
did not
intend
the
dressing
hair
clean
modern
profile, or of
of Parisian
gems
at a recent
The Alexandrine
of Syracusan medals.
with
chiselled
new
all
which
possible care.
made
one,
when he
was
patiently
became
for a
attain
task,
poets."
It
been found
has
impossible
the
to preserve in
that the
Nor was
work
possible
French
so
of Gautier as an
artist.
in
it
that
it
it
is
in
this
should be judged.
F. C. DE SUMICHRAST.
32
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life
and death
Of silver from
#{>
m #f
#^ Jt% m*
w^ viw ^
fre
he drew^
dew,
morning^ s mirth^
the sea^ a girth
To fulness^ and
it
grew
the
birth.
With
it to
^hat down
it
the cycles
an**
And
And from
The
tfA* if
THEOPHILE GAUTIER
TO
And
<
ri/
Gray
tfJ/*
perfect finish
.^
gem
to
gloWy
beauty such
shall
gleam
to
man.,
Agnes Les.
*
Ma <^
w >
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PREFACE
When
Fared Goethe
at battle time's
thunder
wonder.
As Goethe
at
Weimar
And dreamed
And, questing
in
delayed
in the fair
sun or
garden closes,
in shade.
redolent roses,
My
window with
fury impassioned,
my
nook,
A A^
Dreams
lay
dreaming
By
Two
Moorish
light illumed,
a fountain
By
Where
domes of Venice
the
rise,
Two
!
Mil
pale doves
^ - M i- i^t_wi jim -L Jt i^
i
from azure
iM Muuii-ijrw imimiwKj|y^jLi
skies.
j' y."
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AFFINITY
All things vanish Into wonder,
pearl, dove, rose
Marble,
on
tree,
Flower
Not
shall fade
and bird
shall flee
Through
Where
all
Then
as gradual
Marbles melt
Roses red
discloses
to whitest skin,
to lips of roses.
And anew
And
Time
Ocean
Thus
By
affinity
its
comes welling
beauty everywhere
Or
As
a zephyr sunny,
a perfume, subtlewise,
Atom
unto atom
And remembered
down
In the temple,
And
flies.
the blue,
Near
And
Love
forgotten
For the
And
past
wakes imperious.
is
never dead.
Marble on the
Feels
Knows
With
its
flesh
own
lips
of red.
of maiden
the dove a
murmur
the echo of
its
laden
plaint,
40
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AFFINITY
Till resistance giveth over,
And
And
the stranger
And
You
the barriers
affinity
is
hath
fall
the lover.
won
Say
what
past
undone,
tremble,
we know
not of
41
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whose
Minded
The poem
poem
fair,
First stately
Of nacarat
Thus
When
And
the air
had her
The
every song
Then
at the
From
all
made her
art
ascend.
fair praise
in its place
Of every
line her
42
L%
tMfl
tA JU X L%
^pttf
W#
To
nestle in the
She posed
wonder of her
feet.
womanhood
Upon
Under
Were
What
the gleaming
all
moon
Of
of many moods,
art antique.
hymn
again
plastic strain
43
Upon
The
With
lip.
One
And,
hip,
foot
like to Ingres'
Odalisque, supine.
Wonder
in
line.
idle
Odalisque
Hath now
own
fair picture to
display
its
The diamond
Beauty
in
for life
its
blossom
rife.
Down
44
fast.
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Upon
Her
Deck
lit
upward
rise
infinite.
Of death-flowers
Who
And
lies
Her bed of
Long
When
white.
There
let
dead.
tomb
45
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IMPERIA
SCULPTOR showed
to
me one
As
snowy
and
fair
like whitest
poem
there
Bright in
its
pallor lustreless.
Reposing on
Its fingers,
little
a velvet bed.
Of jewels,
kiss,
pure.
in
lily
Of dawn,
Its
day
delicately spread.
line.
Of its
^6
STUDY OF HANDS
Strange hand
wonder
In silken locks of
Or on
To
if
Don
it
toyed
Juan,
Whether,
Within
some soldan
as courtesan or queen.
its
fingers fair
and
slight
Upon
its
it
must have
lain
Of some
chimera caught
in air.
And
Impossible dream-flutterings
Romances
Of hasheech
Beneath Bohemia's
On
free.
brilliant
unrestrained and
sky
maddened
steeds
47
W- i^'^Kumvmv^mf^^matmm^^amn^imm^m^STSr^nfWrSnrT.
Of
it,
48
to behold.
>
SS*
mfm
A STUDY OF
HANDS
II
LACENAIRE
Strange contrast was the severed hand
Of
Soaked
in a
Near by upon
Letting
I
The
cushion spread.
touched, despite
my
loathing sane,
Not
yet
stain.
Like
And
to a Pharaoh's
stretched
its
hand
it
lay,
As though
Lured them
Teasing
4
as of old,
their immobility.
49
*e*
'i*
Had seamed
With
That headsmen
There
I
sin
Wherein
There was
Of
whim
and
fell,
soil,
fiery hell
Like ennui of
Supple and
Of grace
Some
old emperors.
fierce,
it
The
Had
50
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STUDY OF Hz^NDS
The hand
Therein
of Lacenaire
No
clue
The Manfred
51
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MO*
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*
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*^
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ON TH E STREET
There
Is
That every
To
The
Its
'Tis
household bird;
Grandmother learned
The
it
as a child.
clarinet,
Blow
In
And
it
shrill,
unlovely resonance.
of a Sunday
Under
swarm
the folk
The
52
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,irm
mm
>9w
S>
The
man
blind
wry bassoon
plays, the porch beneath.
And
The
its
teeth.
Decked with
With
Through
coffee-houses fling
Great Paganini
One
little
it
broidered
Till up and
bow
divine
antiquated theme.
And, threading
He
wail.
at a sign.
The
its
it
down
Ran golden
arabesques of
53
light.
B* Sw v^>
tSw
ofM
am mm
- xfo *xv
>
ON THE LAGOONS
Tra
Knows
Or
Our mothers
loved
The Carnival of
Adown canals
Till, wafted
on
Venice
it
well.
Long
came.
Its
phrase I hear,
gondola to view.
With prow
see, her
With
The
it
or true.
a zephyr's song.
seem, whene'er
To
mock
sad or light or
The
who
bosom covered
pearls, her
Adriatic
On
water blue
o*er
body suave,
Venus
soar
54
9f
mm
M^
M^
(Mw tm
A* 4* s* 'w*
iM* vn* * *
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t/ft
v^ i>
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i # ji*
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that
My
And
rosy-pale facade at
Upon
Oh
sigh.
all
Her
a marble stair.
Her sweet
Throbs
The
ancient tune.
Rebuild
The
last,
in subtle
way
Of
Canaletto's day
55
and
!
light
III
ARNI VAL
ball
bright,
Multi-coloured Carnival
Teems
with laughter
light.
His Cassander
Flapping loose
Like
Through
true.
his long,
white sleeve,
penguin spread.
a subtle semibreve
Maundering on
a bass.
Ouaver on
his face.
5^
>*
MW
mIW
WM
(XW
MW
On
trill
Scaramouch
fine,
intent,
to
Columbine
lent.
One
mark
While through
satin lashes
dark
Tender
little
edge of lace.
An
And
is
her
As
dear face
"
!
arpeggio saith.
Bloom of
And
own
rosy
know
lips,
she by
me
57
trips
viz* *i 4* irii*>i*i*l*4ll4*4*44444*|4
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MOONLIGHT
Amid
Saint
Like
to
in that air
That shakes
Regret, a
in a
moon.
little stifled
Mingles
And
As
But
Mark
mad
sob audibly.
its frail
mist of
bird.
memory
clad.
The
sweet Beloved,
Of
Ah,
We
is
My
view
and sad.
pale she
An
fair
knew.
soul in tears
And
in the
grass
^8
*9* **
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*^ ^9^
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aw ^1% *
^i
<1
r** # { S* ^'^
^
my
heart,
With
all
So sweetly,
So
the anguish of
falsely,
doth
dart.
steal,
So cold, so burning,
It
its
that I feel
me
through
Until
my bosom
in silence
Where
How
weep
drip by drip.
Carnival of Venice
So chilling
lip.
theme
warm
59
me
SYMPHONY IN WHITE
MAJOR
In the Northern
From
tales
of eld,
Swan-women
Or, leaving
On
their
plumage bright
bough
that
Of all
White
On
Her
as the
is
pallidest,
moonbeam's
shivering ray
boreal
Our
On
she
And
6^
S*
< aiw
*M KM
pi
SYMPHONY
Her rounded
Of snow,
With
IN
< MW
" !>
<IM
<
(^^ *
insolent
war
Of whiteness
nebular.
Leave
and seem
On
Whose
As through
fair,
What beaming
What pith a
What
snow,
reed within,
virgin
The
of a milky drop
of a winter heaven
The foam
WHITE MAJOR
wage
mm
of the sea
at
even
marble
Wherein
Of
fires
of mystic
Like
Of the
kisses
fingers oft
butterflies
With
spell
Her winged
flit
over these,
pending
soft.
Whose
On
and cold,
Faint
Or
still
white,
warm
touches
fall
Of the
phantom flowers of
Enscrolled on the
Of the fountain
An Undine's
frost
window
drop
clear
frozen tear
pallor of grief
and gloom
ft*
#A
/*\0
#J/
w*^ v*
9M
&
'r*
a^ttf
mfr^
#J/ rft
vTo t0^
SYMPHONY
Of the
c^
'F*
IN
wv*
T*
*l>o
Of slow
r>
w#
With
Is she
Seraphita forth
Madonna
of the
Snows
The
Whose
What
magic of what
far
who
This
name
Ah
!>
m^ w ^
WHITE MAJOR
And snow on
Came
Jl* #ftt
v*^ e^ ft^
63
ni
ww
?*
Mw *? "f
&
S* *>^
'^''^
^ M^
'*
'''
COQUETRY
Dear pillow
Often did
DEATH
IN
mark,
it
And,
all
kisses infinite.
my waxen
hands supine.
About
Folded
My
in
prayer at
life's
deep gloam,
'11
finger
Where
His
unlit,
lips
it,
when bedded
never one
upon
my
Rome.
cold
shall rise.
lips
have told
65
How
oft
slv *\t/
wi!*
<M Jl^
!/ !/
ar*
a^ M BM
Some
In
its
One
hope or
Its
regret.
its
hiding mystical,
Memory's
reliquary sweet.
Gloves with
And
fingers
another yet
may
list
faded, kissed.
'
66
!/
* 1 cA J^ i
^ ^
Jt
! clvrJL* JL ! ! ri ! ! 1
HEART'S DIAMOND
Here
One
a breath
Ve
no slipper to revere,
But
tress
nor flower;
dower
In the chalice of
To
my
love.
Beams,
gem
of Orient worth.
Diamond of
a sapphire blue,
Steadfast, lustreful
Tear
that
On
song
From an
fell
and deep
unhoped, unsought.
my
67
^S*
M#l;*4*
*4^
A iw wv
^
*^ A^ 's^ *** ^ fi^fi*#*ri#i*itli#A* !# # 0mm vj^
w v MM wr* WW Jm w ot fr* < ww
vom ^V* ww wlw * am*'
m.'w*
And
glides soft
amid the
cresses,
In silver dresses.
He
Deep
And
When
When,
On
And
roving fingers,
sunshine lingers.
April's threshold
from
The woods
"
Come, Spring
are waiting
69
"
!
for see.
!/
i *i tX*
*lr*
fi* v^*
!! 'I'*
*i
^|>
CONTRALTO
There
lies
Upon
hall,
stone,
With some
And
is it
youth or
is
Love
maiden sweet,
it
goddess or a god
own.
come down
to
sway
Nor any
Sideways
it
Stretching
Unto
its
Lighting
its
For fashioning of
The
Man
its evil
beauty brought
whispers
And woman
its
magic dower.
"
"
in his thought,
Aphrodite
" Eros "
wondering at its power.
!
To
Waters
And
that
whelm
merge, and
is
^s tt^ r
9^% #1
w wvv
ttw wM
^^^^ *^
v^ S*&
CONTRALTO
Ardent chimera,
Of Art
effort
and Pleasure
venturesome
figure fanciful
come,
Though
How
may never
often have
close to thee
my
draw nigh,
Fast
at the
is
it
molten into
My
Till
tone divine,
The
girl
silver
sound.
one
are
in
cadence warm.
The
Thou
voice's
own Hermaphrodite
art
Thou
thou
and
tree,
mellow
Romeo
one note.
fair.
71
in
warm
throat.
Jm ! L l/i
9(%
aJ*
|<t
t* ri *i # ^l
Thou
art the
tower.
spiral flights
One
The
The
angel
Of
flitting
bell in
whose
alloy of
mighty mould
Song with
its
Matched unto
To
Or
true
force,
silver blent
art thou,
thou
Her
Deep
art Cinderella
to spend
in a conversation
The
doomed
fire,
72
!/
vA* Jt%
J/*
mm
i Jt
JS
!/ 4
* cT*
> J 1* !* ! )U *i ! '
< *>
Mw wb
ot* r* wr*
> < *
<
CONTRALTO
Or
Waging
Or Tancred
realm,
Or Desdemona
Zerlina laughing
Malcolm,
Thee,
his plaid
O
The
fair
at
upon
art,
his
shoulder strong.
I
adore
Kaled of a Lara,
Thou
Mazetto, or
woman's
And
virile
73
! \K *J/*
^A*
#M t^b tfit i ni*
ri/% !/ rt/v
>
Mv
mystic, sweet.
beauty draws
And
Her
singing waters
my
soul,
fleet
roll.
Of
With
Within
Smiles sadness
infinite.
And
Like
from
sea-gulls
aloft
Upon
an azure
As slumbering
sea.
treasures
Send shimmers
drowned
lightly up.
The King
free,
tide
profound
of Thule's cup.
n
4: db 4: 4:
db 4: ^ 4: 4? 4: ^
EYES OF
:l::l: tl:
^ tb
tl:
db tfc db Jb d? db
BLUE
swirl
waves upon,
Brilliant, the
And
ring of Solomon.
The crown
That
Still
to
ocean
Schiller
cast,
showed
Beams
clear
magic
in that
to us.
fast.
and luminous.
gaze
Drew Harold
And
Haarfager.
my soul unquelled
Adown the gulf betrayed
all
Of some
The
elusive shade.
siren fitfully
Her
MM*
*B !* M/%
S* (M* * >
mi*
at/%
or*
>
tif*
>?
>*
m*
Mo
aM f4
falls,
The
To
Come
to
My
pearly bed !
my
About thee
salt shall
To honey on thy Up
Oh^
let
slip
spread
Above us
Thou
shalt,
warm,
Thus
"
From
Till heart
down
treacherous deeps
76
Whom
airs imperial,
thou hatest,
come
my
There,
I shall
Till thy
With
Let no
me
foot
I shall
Mine
Let the
He
Who
first
my
courage brave.
howl
his love
and rave
11
A* !; 1
* *
MX
r^
(i*
Come!
Who
my
dagger
lie.
who'll venture
would wear
its
rebuff?
For
Night
it
is
its
veins
yearns to be displayed.
ominous with
rains.
On
Let
and with
me
my
write
dagger's point
Firm of
For thy
foot I bide
my
mass
place.
Would
I slit
Snowy feet
By the Rood
With
in
clear.
shall be defiled,
!
a bridge I
'11
rear
f vA*
Mw w
Mw
rf/%
!
#!
Ml*
an
v *
aow
wfi*
apt
ii%
illi * 1 ! #1 *I ai* ! !
< ^ *> ^ >/*w
<rw
r*
aip*
Ml*
>
would
Any
foe, yea,
wear,
even proud
Sightless
shroud.
my
wounded
Maddening
Drive
For
at least a
Where my
want
With
its
it
bull I roar.
poor
heart
nail then,
inert.
may hang
not again.
madness and
hurt
its
79
f
'
'-'
-U-i.
)$/% rfifl
affw
A*
PARIS
IN
native land,
Lonely monolith
I stand.
And my
shaft,
frost
and
rain.
Taketh on
In
Oh,
this
a pallor dead
never azure
air.
Grim
My
Oh,
Colossi
be once more
Where
of old
my
With my shadow
peak upwon,
-.''
'
,1
I
!
S* * ^'^ ** v*^
S*
B* aiw >< <>S>
w*
MM
<>
<>
Rameses
Not the
But
fell
it
my
tall
mass
Paris took
Now my
down
it
like grass.
for a toy.
Twixt
And
On
the spot
where Louis
Died, they
With my
set
secret
Seize
me, meaningless,
which outweighs
Sparrows lean
Where
And
the
defile
ibis
my
head,
used to
light,
And
Unclean
Now
befouls
Which
_
mine ancient
the Nile
feet.
was wont
to kiss
J/*
1^ *>^
^'^ >>^
f*
!>
*^ ** *S* *S*
** * *9*
that,
crowned and
To
its
lotus-laden shores
From
its
stern,
Of the
Pharaohs' pageanting
Grazed my
side the
By my
cab-wheels
last
hit,
poor king.
And
Emblemed and
magnificent.
From
I
the
first
of year to
pride.
last
"
82
skeletons abhorred,
this race
coffin's place.
Never hypogeum
kind.
Never
hall
where century-lined
Generations disappear
Sacred
And
Where
soil
of hieroglyph.
of sacerdotal laws.
the Sphinx
is
waiting
Soil
its
claws,
Where
All
stiff.
my
being,
all
my
83
heart,
for thee
LUXOR
IN
I,
In eternal solitude
Facing
Dumb,
To
all
infinity.
While above
it,
is
never seen.
And
pellicle
Gleameth dead,
unlustreful.
By
isles,
Swoon and
S*
<M
^i*
tw
r^'*
* * * tl * rl% * #i ! S
* <v* * * *"* * < mW <> vS* aS* B* aK
av* ! *r
From
of classic fame.
cry.
spin.
the sky.
Where
the sphinxes
yawn and
doze,
Weary
And
Is there
ennui
like to thine.
Thou
To
Thou
it
was
satiety
of yore
of kings.
hast crushed
With
"
!
Wipes
Time
Naught
this
still.
shall
Of this
changing universe,
When
Ve
And
I
the fellahs,
Of the
mummies,
friends,
dynasties of old.
Or
Watch
Up
Oh,
to seek
my
afloat.
brother's side,
With
fill.
On
In
sea
his stately
form to
bide.
86
a^W*
iS* Ki
F'or
And
By an
To
be read by vision-thought.
Fountains
On
fair as
amethyst
pour
He
Ah
is
yet he and
From
But
He
keep
is
had birth
my
living.
spot of earth.
I
87
am
dead.
S* ** VS*
S*
m* *9*
*
MM
vl^
'''*
W M Of
irm
WM
r*
><
'T was
A
And
in
there
saw
From
Dim,
Yet
't is
By
On
German moonbeams
cast
That ghosts
It is
let free.
pallid
are
wont
by night's effulgent
to
wander
past.
star
To
*^ * v^ *
S* !* *S !* 9* Va* 9* * "ll* *^
** *
*
*" MW * *
a** 19*
his fatigue.
""
88
15)
& s* 9^%
<v
t>w
Jf
0m
>v* )
* VT*
MW M*
>! aSb
JBa <Mb S
Jr
The
great review
Wherein
the
Numbered
of
ballad writs
And
With
yea,
too.
And mossy
Paris
skull
Montmartre behold
Death
in the
it
press,
Of the
Two
The
lithograph,
Wherein one
The
down upon
That
8^
"
Napoleon
"
!
whom
rouse to battle
May
nightly
fires that
drum
burn,
To
epic rags
tatters light.
Of ridicule,
More
Limp
Heroic things
dolmans dim.
As
90
A * *4* *
'^
** ** !<* * *M i r*% * * | * *
Squeezed
tight in tether
jest to
fat,
labour-donned,
chuckle
jeer,
my
at
!
lad.
That Homer's
Respect these
men
Of
down
Their locks
And
if
Ah
And
if
they limp
From
wind was
cold.
91
told.
long,
If*
^*>
"I*
* li*
aM
! i | A|:*i*JU|*|4l*i**l^ l*i*l
vl*
fl* *i*
tmt
* <&
*< * **< > "* * 'W ^ > <> M*
Jf
<>
<
stiff?
For sheet
And
is
Mock
At
whom
They were
The
we
are
Remembering if we forget
Red lancer, grenadier in
With faces to the Column
As
warm.
if
'T
but a flag
They'd
blue.
set.
And
They
feel
The
And
that reappears.
after midnight's ball.
92
i{
I* ! ! !<* fl* ! !
>m vst * < a anv
v^
vrs i*i*4l*4*i*j*l^*i*i*^#ll*|*|*
*w m*
vr* * tw ? i* ! < wR*
?<
Above
their dear
93
vAli
#1 i Jt* *g* i JU y *g* g* i^ g* y 1^ vf^ ^l^^fr
4^ a^ r tt^ vw %
w* Mw i^ *5m mm0 *
MP* vr* -vp* ^wh* t^w ^ r t> aT* mw*
sea-gulls restless
The mad
Of
And
The
toss their
day
The
is
manes
ending.
in
stormy strength.
Raindrops choke
sunset furnaces.
The gloom
And
And
I,
beating
down
its
And
How
right
eagerly
now would
found
pierce
The
salt
In
pity
its
unhopeful breast.
94
A*
* M%
J/
*!/
SEA-GLOOM
Let be
Let be
And
fell
One
Away
supreme
leap
The
To make
Away
them weep
whose crimson
regret,
lie,
heart
Each ghostly
And
To
grief sinks
down
the vast,
close about
Drown
it
it,
and
at last
Sink
and
we
'11
life's
hand.
'11
rest
me
95
vJ/i
** *
!/ Mi%
b*^*^^
woman,
as I gaze.
darker nook,
Who
Of
all
sea-gulls restless
The mad
Of Ocean
And
The
me
smileth to
dusk with
outstretched arms,
Green
sea,
away
as they rear
toss their
and prance
manes
96
in
stormy strength.
(M*
e>a>w*(**aMav>iiSBa|i>aM<*
Mw
mw m
aCi*
tSb aab
TO A ROSE-COLOURED GOWN
TO A ROSE-COLOURED GOWN
How
That
Your
And your
Frail as frailest
wing of bee,
And
the rosy
gown have
shed
Whence
Made
flesh
of you,
With your
Did you take
glorious body's
it
Of the dawn
From
From Venus'
a breast-flower nigh to
From
hue
97
bud
?
shell
?
its
dye
No your
Down
you
cast
shall guess
your garment
fair,
Ah
fire
folly
With
of desire.
a weft of kisses
98
warm
I*
M * C
OV*
It says that in
A
Yet
With
is
beating.
swelling
all
power
Beneath thy
Ah,
It
And
little
flesh in life's
is
young hour.
spiteful
From
faithful,
Yet on thy
An
charm
delightful
diplomatic schooling.
That no
Ah,
It
little
That
verse,
no
spirit's
favour.
a Sanskrit savour.
99
thee,
4*
HS^ ^ ^^ 0^
mm Wr r
tiir*
'tw
arr*
a**^
%%
to thy
crimson
lips inviting,
At every
flash
of wit alighting,
Ah,
little
Thou
one, I
lovest
know
me.
" What
heart,
the trouble
The
its
what
world,
it
guesses.
praises bubble
spirit,
100
she possesses !
"
4o al* 4* A ** !
^^
^^^vl**!*^^*!**!**!**!**!*
A Afj}*
Three
PETRA CAMARA
as Nodier's
officers in night's
Came on
true
Anne
With
Now
By
mid hours
RadclifFe type
was.
it
And windows
Of
told,
With sunken
pen has
That many
moonbeam's
pallid
hue
in view.
abandon
hied.
dipped,
mood
brief.
At every
start a
Dropped
in the
tomb
there a spangle's
foil.
faded bloom
As of
Like
a knife.
Of teeth,
rattle chill
awed and
sad of grace
The
curved
Had
lips in
still.
spell.
102
vi:*
& fi*
4
M#sl#i*lJUtl !# aR^cJ*
s^
^* v'i* VIM a^r^
w
T'*
an<w
w>^ G^ wr tw* '# vr vfm %^ J^ %^ e^< *T- S^ *i5# *> 'W*
Upon
Her
kirtle's
swinging cadences
And
a mist
of gyres,
Was
a wraith or
it
desires.
in a bright
woman
bouquet.
seen,
The
Of beauty's
It
was
It
undulating mesh?
phantom of the
past.
Who,
at the
sound of cheer
Upbounded from
at last
The
kirtle's
gleam
103
! #.1*
* * l>i*AljU*iiri*ii#tl
!
r *s|*
viu iw > anw tw lirt vf* >!< wr* *< vm * si* t*i^
S* vm* !
The
Unto
silently
a generation dead
By
saw
this self-same
phantom
fleet,
When
La
soft,
Petra
Camara
held
its
gaze,
And,
like the
Dancing,
art.
murdered Ines
fair.
104
m M tfA* M
ffJU * !/ & >* M * V! {: r vj^ cJi* #
ttm* vw vr* MP* ^ MM Mr* wm m ^ ^n* v fw 'r*
wt # ^ a^* S
v>
tttvi*
ODELET
ODELET
ANACREON
After
Poet of her
Curb
face divine,
this over-zeal
of thine
And
her passion
is
a dove.
Mute
By
as marble
Hermes wait
Thou
wings expand.
hand.
She
On
Something
Or
like a breath
know
of snow,
And
the dove,
grown venturesome.
Shall
From
105
lip.
#s^
afii* ^ wp#
JK r9^ vJi
B* ff
<w>
rJ/* i/%
w i^
l%
>*
MM
rlrt
<!f
rM l J[l
! * l ! rl* vm e^ w^^
aw* <*
* fix T* >* > * vr vra
MM
!>
><
lifi*
SMOKE
Beneath yon
squalid,
With
tree sits
humble
hunchbacked house,
roof precipitous.
And mossy
But from
its
Like breath of
Comes
lips in cold,
respiration scanty.
06
jU {> vJU
ri/*
fl
ifl !/
*JU
I* aj* 1 ! 1 Ic !
A fi|
APOLLONIA
APOLLON
Thee
And
in
At such
The
a classic
sound as
this.
down
their
elves plunge
Pythia
when
in her
priestess white
German
lake.
flowing dress
And,
fire.
feet
unshod.
and prophetess.
107
t/%
1* * al* #>
vfi*
t vjo
yet perchance
when
The
tomb-bred
life's last
spark
eternal night,
109
Is
Her
smiles,
Her
now
now
tendering
fearful to disclose
In June, a
And
little
full at
She hideth
in the
yellow corn,
to respire.
Her bosom
And on
in
Autumn
shapes,
Draws
And
bares to
December,
shrivelled, old,
foot to head,
That
10
# fo ^t A*
w^i* /s
#f/
v*w vt^
vJ^ #1/%
wt>^
vtM
h**^ ^ *^
J/ # % **
vj* * *
wr* wStf AfW yaw * wr *rr wv mv %^0
^ m
* !
^
4^ ^
flR
af%*
WINTER FANTASIES
WINTER FANTASIES
I
Red
Bent
his
Winter doth
his
theme
retrace
With
And
as Haendel's
wig sublime
Trembling shook
its
powder,
Snow-flakes
in a flurry soft.
Ill
oft
Meets the
As
in land
of
ice,
and
fairies
the trees.
wan,
Flowers of
all
filigrees.
frost in vases
low
And we
trace
Where
Now
"
Clodion's " Chilly Maiden
112
set.
jj|
!{ j 2* ^o**!*
* M *> W W* M^ ^.V <r M
WINTER FANTASIES
III
Women
And
forth,
fluff.
And
fur.
in
her muff.
Of
light
have wound
1^3
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W* tm at* mm*
As
o'er fair
Athenian shape
Over
Everywhere we
With
From
statues,
"--.vv;
;
...
.-.'
where
fair
^
,'
/.* **'-
114
i!
I/*
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* ^^
*4
!;
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^w
P *P
wp* P
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WW* w
WINTER FANTASIES
V
If
With
Snow
On
your
feet
frame
On
name
Thus were
To
Where
his
Were
beheld
in
Love's embrace.
8"S
115
af**S**4*
>
aff*
dw
'I'*
* *
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wM
am*
^^
S
viw
via #lJUrl
M* ! Ari*vil
MAM*
r> M ra * vfw r* !#
* >)
atpr
aif*
THE BROOK
Near
Came
bubbling up
As though
It
"
sang
in haste,
to travel far.
What
joy to rise
mirror
Forget-me-nots
Beseech
Wings
And
"
me
And
river
be
how
fair
as they pass.
who knows
?
winding down.
greeting as
'11
me
graze
Valley and
I
I yet shall
'
the skies.
My
"
now
it
cliff
broider with
flows
and town.
my
spray
And
Unto
away
*Mi%
n v
tfJ/v
vr
vJi*
*iw
>
!/
rft*
<
v*
l cA**.!* #! rl/* #1
anw ow vr *^
<1
THE BROOK
So planiTid
As water
Within
To
it,
babbling by,
boiling fast
a basin high.
top
its
brim
Cradle by tomb
is
at last.
crossed.
Within
* f
a lake's
117
deep bed.
lost
*tijl|
Mw aS*
V^
^ *^
*S* v^ ^S* *i^ ** ^S^ !* S^ 'S* ^f^ #* ** *&
a^ *^
vr w* b^ 'V^ *^ *v^ *i^ ^ *^ ^^ 'vw ^P* wvw
feV
grim cadaver
And man,
bit
by
away,
And
fall
drifted by
Showed naked
lay,
Lay
soft,
The
fire,
iT8
S^
i mm
Mv
mU
* !*
*
i^
Jt Avosli 1 rl* rl #1 A
i'*
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Mw
! lrfj K* ,
MW
tift
f!r* !*
of
Of the
All that
that earth
all
of spended flame
is left
Upon
may claim
Between acanthus
leaves
last.
and flowers
all
the hours,
At most,
a little
Trampled
And
art's
Upon
As bed of
With many
Then
joy of
life
death concealed
Whose
And
gloom,
The
Genius wild
its
visage gaunt.
railing
mouth our
spirits
haunt.
119
tifl J/ i/%
am* r *w iw
!/
Mw
monster
Hid deep
And
in flesh
its
raiment clad
spectral
form uncouth,
Twas
only
little
at
Trimalchio's board
skeleton
made
sign.
whom
Olympus
yields to Calvary,
Dusk deepeneth
On
dead
within, without.
The
It
is
now;
And
And
signs
it
Upon
120
^W
vmt aw
^M
i^
i* W W 1W nw fw
><*
The musty
air,
Displays a ring of
Forever with
It
ribs,
its
and laughs
awful grin.
fleet
dance
the King,
to prance.
steals up.
Above
in the miser's
the team
With bone
it
for
golden mass.
goad to hurry
it.
And
It
pit.
And
Her
little
silken garter
121
fair.
*f **
*^1*
ss V't
^*
*i^
t< vt\
#f>
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c^^ vi
*St*
v<v
'i>#
^f ^f/ Jf/%
J'*
^JIU ari^ viN tfk^ /iw
#- A*
#l #% rf # 9M * o vjU
t/Tv wn '^ ' wiw *
The
swells
the old,
irresistible
Compelleth
the
saraband
all
humanity.
ungainly fright,
tall,
As Holbein drew
Or
if
it
horror-sad
;
Then
like a
Where
Weary
hips:
Cupid mischievous.
And
its
marchionesses
it
it
skips,
flies,
rest
demure,
Worm-eaten
In death's
Thou
actor
at last.
Long enough
wan melodrama cast,
'st
122
/*>
v# vr*
vw
nw
aivw
rfv
v*
Vff
VffW
ww
wv *vv
-w^w
c^^
tn'-*
^r*
vr
v^w
*^9^
back,
Each
Consume, ye flames of
If
man
fire
part
supreme
own
image, to aspire.
shattered
fade,
Immortal form
Again
fire
to beauty's fount of
bloom
The
In God's
When
ancient Art
degradation of the
123
tomb
JL% tfM
^M
0^ #/ ^9/%
^
vm*
virvid
mi^ !/D
a;^
c^
#J/t
rJM
.t**
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Jto
t^
r A* J
wv*
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vi>
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#1 #A% X^ #X>%
i'/^ vi
^T* v7 W7
a^T*
vT t
BANQUET
BJORN'S
No modern
thought
may
violate
And
When
hall.
his postern-gate.
He from
Still
sight,
in a castle
his
mouldering parapet
Where
set.
His retrospective
The pendulum
Was
Waking
spirit lone.
Beneath
clear.
A Mlt
wtv 7W
aflv
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M r
MV
'V*
MW
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r|
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BJORN'S BANQUET
Nor
priests
Nor
But
A
And
parley with
The
whim.
Forth stepping
at
To
With
joints that
panoply
grumble
in revolt
all at
Rude
once the
coffin
suit
of mail.
of an absent bulk.
its
125
*<*
v>
ts*
m#
\l
4i
vl^ # ri
'l^
'^V
!>%
>*
fAv #1^
vr*
^U
ffXtt 9t/%
ft'i^J
fcj*
f*
!
VTW 4^
Ai^*
stout,
from
spell.
On
crest
lights glare
to the
helms of heraldries,
That
Seated
is
livid
gleams
In the vast
hall, at
Bjorn's behest,
And
The
Take on
The
suspicious purples.
Grow
lurid
and
fantastical.
126
All
hell,
A* *
^M
tfJ^
yj^
sE Jt* !/
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Mv
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sft X X X9
J A 1<* #1 ? f fa
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>>
BANQUET
BJORN'S
Sometimes a breastplate
A
A
morion speeds
its
glitters bright,
flashes wroth,
Heard
Of
the cloth.
unseen
The shimmer
bats.
flicks
The
stiffly
And, creaking,
Pour bumpers
Or
full
of Rhenish wine;
The
corridor's
plates of gold.
uncanny shade
The
One
For when
What wrong
if
he carouse a
127
bit
it
With
wine-cascade
Each
The
running down
neck the
to the
They
One
is
full
And
're
foot
Some
river
idly wields
on
their shields
mounts.
drown
still
Max playfully
Of thirteen
intones a song
And
and
left a
As once he drubbed
war
fist
intense.
and foot.
the Saracens.
128
tfXt
Jf* w!
nw
Mw
!!!
iS*
<
BANQUET
BJORN'S
And
Ah
'T
Where
Where
is
roll
a hideous battle-ground,
pots and
every dead
Doth vomit
And
victuals
up for blood.
And
The
creeping stealthily,
prostrate
At
The
last
the stirrup-cup of
Once more
doom.
And
Upon
down
lay
129
*9f*
tfr*
'"'^ *^
*^ ^''^
M
/9\s
'ffv*
's
^^^ 9^^
cA^
^'K#
^^
jr*
***
T* fc^ ^^
*^
*=^
^s^
""^ *''*
'*^
*^
*=^ *^ *^ *i* *^ ^ ^ ^^
"'^ '*^ ^""^ ^^
*^ ^* ^ !
-''*
THE WATCH
Now
twice
And
twice as
The hand
To
The
taken,
and
it 's
The
one
The
And
watch have
my
path that
its
steeple ironically
The
belfry bell
And
taunts
Ah, dead
is
makes
me
ruby circle
Its
Of
No
with accents
the wretch
Last night, to
!
my
I
tally
sought not,
reverie sold,
thought not
longer
The
free.
with pleasure
Flit hither
Like a
and there
butterfly
at
measure,
form of
130
steel.
^9>* ^'
*r- **
AvJUl
S*
<
A* 1
aw M
xw
THE WATCH
When
Through
My
soul-reft
Wherever
Eternity
Its
Time
the steed
still is
giving
at
followed within
well
its
is
my
life's full
the watch
brother
is
breast
ocean
Who
Who
wound
beating ever.
forgetteth never,
it
at rest.
By One
heart
By wave-beats of
But
veer.
Was
Ah
may
His ear
That
the while
131
I slept.
tpth
&
THE MERMAIDS
There's
a sketch
By an artist of degree
Rime and metre quarrel over
Theophile Kniatowski.
On
the
snowy foam
that fringes
Three mermaidens
Like the drowned
Turn
Buoys
softly shine.
lilies
dancing
wave
As they
From
and flowers
And
the wave,
its
to
gem.
wealth according,
to them.
THE MERMAIDS
Borne above the
crest of
ocean
And
Tapered
Ah
When
behold
modern day
in
Oh, mingled
a vessel proud
Toward
it
it
and
its
ftag
is
plied.
stable,
Tricoloured
And
Comes
Cool from
And
tail.
Would
Look
shimmering
flaunted.
Till the
nymphs
133
J/*
! JL% rA JL% #i
Jms
Jt *!/
JS*<lagbSMMa*i>iiil*i***Mfwr*
Triremes immemorial,
And
Waited
This of
old.
Would
With
her
fair,
Farewell myth
Thinks
Where
to see
nude
The
on
tail
and arms.
silver bar,
134
*ef *9*
'**B*
aMi aw
*
1M
XT*
v^ l*#J!l#*i*4**t*I*
MM Vll**!**^
>'
*
MT* <
vm
mm
>
>
MM UM
!>
-yii*
TWO LOVE-LOCKS
TWO LOVE-LOCKS
Reviving languorous dreaming
Of
Upon
Two
them
see
Of
Like
little
From
let
car of
Or bows
To
softly nesting,
Mab
the
Oueen
of Cupid ready
the arrows
fly.
One
heart have
of passion.
brow of
Whose
are thine
fickle fashion
heart
is
35
<<
>
>
OM
&
i$>
Jft
iw
Jfc <
THE TEA-ROSE
Most
beautiful of
all
the roses
whose
bare,
Of
I
carmine very
wonder, was
it
and
faint
fair.
once a white
rose.
and
language
soft,
warmer
shyer,
tint
awoke
Of
maketh
duller
For
as
some
So masquerade
Gay
sisters
And
raise
it
as rustic creatures
for
its
sweet perfume.
'T
shall press
136
it.
bloom.
it,
S* f^v v*^ *
> *
>
a^W
*> ir* *
MM
MM
M>
a^* * *
<ii*
MW m *
THE TEA-ROSE
No
rose in
all
That gloweth
But
shall
its
face hath
more than
sweet.
years,
my
petal's
power
O'er youth's
nobility,
is
flower
137
rose.
I* *S*
wi> * '"'
^
^
( 4*
>
air*
vi'* *|r* *
wr* wT* *"*
M fir*
T* *^
MM ii*lJUl**l*i^*^l*^*4**^4*4*
or* t^ *< r t cw* r tT* vra # ai
&
CARMEN
Slender
Her
Dark
Carmen, of lissome
is
hair
is
Her swarthy
skin
will
is
mock
the devil's
at her
art.
Tones
mass
his
circles are
The women
guise,
at
!)
To
coil, till
it
down
Her
Then
Her
delicate
to
crown.
Her mouth
is
a mystical poison-flower
The
she fling
its
in hell.
When
For Carmen
rules,
(A*
MM M MM
ar*
flt
ap*
MM
* p
CARMEN
Wild, graceless Carmen
Though
>
Of
Provoked a Venus
to rise
139
salt
young sea
and tempt.
AN
The
brown
dry,
And
lie
The wind
is
grass.
and morn.
The
For
The
Its
Rain
latter treasures
dahlia dons
its
autumn
now
alas
stayed
unfold.
gay cockade,
stirs
The
repair,
And
feel the
winter in the
one
Upon
little
to
air.
vow
" 'T
the
SAY
is
fair in
Athens now,
sun-warm battlements
140
M Av
tfA* 9M 0M
i
M M vw <r 9^
mSm
^Sw 5
vw
#f> !/ f/
a^
wv ^p*
ef rX {* "S^ *!'*
w/w vtw
go to take
my
SAY
nap
Upon
My cornice nest
A cannon-ball
"A
And one:
Within
is
in the
made
gap
meets
ceiling
my
needs
Smyrna cofFee-house,
Where Hadjis tell their amber beads
the threshold luminous.
Upon
"
While
I
their
And
*T
is
silver
smoke,
Another
On
folk,
" There
's
my wing."
a triglyph gray
there
Above my
Another
to brood
go
little
calleth,
Is settled
'
:
"
all
day
family."
My
address
'11
make
141
*K*
*" *
vA*
iM v^*
a^ i^
vM Mw
<^ ft
vlr*
(ir* ri
ax* vito
vw M
w !*
!'
On
sixth
Up
A
'11
for flight,"
rest at
even
" In Cairo
twig or two, a
last
is
my home,
:
of loam
bit
"
:
Shall
in a minaret's retreat
My
A
"
fifth
slow
Where
me
The Second
mark my
place
Cataract
Within the
And
all
together sing
To-morrow
Our
fleeing
Snow
With
of his crown."
circle
What
miles
shall
swarm
"
:
remembered
isles.
calls
and
cries
"
!
To
come.
I
142
4: i: d: vb 4: 4: 4: 4: 4: 4:
WHA
And
understand them
is
a bird,
all,
thrall
heavenward.
is
H3
O
The
is
ring, ye bells,
Child
Beams
No
o'er
silken
Keeps
is
born
Him
woof of
love profound
costly
face.
show
from Him.
To
Now
The
To warm Him
Upon Him
Snow hangs
The roof
in
its
'*
!
144
i:
THE DEAD
CHILD'S PLAYTHINGS
PLAY-
THINGS
Marie comes no more
at call.
Ah, how
Was
See
pitifully
small
away
floor
All her
Rubber
little
ball
heritage
and battledore,
Poor forsaken
doll
in vain
She
Stopped forever
And
is
And what
At the
lo
will not
the train,
the music-box
Where
m^
!
it
is
dumb.
soft, apart.
the silence
is
her name.
145
came
come.
We
146
left.
JU
vJU
* # #i
f^* tt^
wr
tir*
fl^'<
WM
f^ M% % *s*J
vj* ^l^
# vf* *i^ v^* S il^ *S*
*tt^
wt v* v^
^nv vr
^tv
JLv #4*
vw vr* t^^
vr*
''v
?>
,r
-v-*^
^'
>
AFTER WRITING MY
DRAMATIC REVIEW
My
The newspaper
And my review is
Now
for a
My
door
Thou
Till
No
ready.
week, poetaster.
bolted.
is
Away,
still-born masterpiece,
Monday
melodrama
My
pediment.
am my
shall
aye,
master.
whiten
The warp
that
my
fancy weaves
With
Brief
moment my
Ye
I
Nor
'11
spirit's
warder.
147
deep in
my
glass regaining
The
Old
visions for
The bloom
of
my
company
vintage draining,
From my
heart at
my
life,
that flow
heart's
148
measure.
own
pleasure
THE
REMEMBRANCE
CASTLE OF
THE CASTLE OF
REMEMBRANCE
Before my hearth with head low-bowed
I
dream, and
Where
tree
And
it
may,
Now
Of all
press
And
light
limbo of forgetfulness.
Memory
in
Thrusting her
my
stands.
and spread.
hands
little
ball
149
of thread.
^nS
/*
(M
a^
(M
wr
!<
* "T*
* *
* * * ' * '^* **
The
And
is all
secure.
I see
The
leayes
down-poured
lengthens far
Still
its
narrow cord.
Have wrought
The
a net to daunt
stubborn branch
Swings
fiercely
force
me now.
away
back to lash
my
brow.
To
touch with
life
And
And
Moats
still,
The
are
crevices and
fill
4****
^!* *S^ *S^
w
vr* *^* a^
A/VN*
W*&
Time
And
to suit his
many
door
The
it
My
The
sculptures
rains
is
dim.
open eagerly.
The musty
The
whim.
me
The
weed
By
Upon two
in
Sudden the
my
stone,
And
challenge
But
me
151
!,=
I pass.
But
My
old
dog menaceth,
falls
Crouched echoes
in their
Of
glass a ray
Where
corners hid.
down
the hall
Fair tree-bound
Daphne
still
with grace
But
in the
She
fades, a formless
phantom
seen.
Herdsman
The Muses
Upon
While
to acarus-riddled sheep,
a faded Pindus
Solitude in scanty
"
"
Traces
Desertion
Upon
air
weep
gown
in
the dust
she sifteth
a marble stand
august.
152
down
<"
aw* v*
>
iw
r>
If
r*
>*<
*>
ra S>
sleepers manifold.
bedimmed, dark
Pastels
Young
My
With
picturings,
faltering fingers
And
lo,
lift
a crape,
my
Cidalise a la
forgotten things,
Pompadour
Whose
snowy, azure-veined
breast.
Upon
Death's
She
own
cosmetic hue
deceives.
And
fixeth soft
on me her
eyes,
Reproachfully forevermore.
Yet with
Yet on
Thou
me from
my
thee at
heart thy
Its will,
name
is
laid,
Envious of Art,
To
fair
The
With
Nature wrought
From Andalusia
still.
rare exotic
cloud.
charm's increase
Warm
Her
Her
There shimmers
Between her
Her beauty
filter
fine a pearly
gleam
flashes forth
bright south
through.
supreme
summer pomegranate.
154
>
tt^*
i^
W7 tw
Mn*
w^
MM
#jl #
* 'T* M
! #1 # vl^ 1% #1 #f #2 {
^'V**
aiT-*
a-*^
^a * >
ft^V
%^
.#
Long
I
song and
glass.
And
all
Farther
With
my room Alhambra
was.
Are
set
Her ennui
An
is
a weary queen's,
Upon
a casket's jewelled
Her sensuous
lips their
As crimson with
With
brutal,
crimes confess.
mad voluptuousness
lid.
a challenge darts.
cruel
Venus
ruled a race,
155
Wm
*l^
'*
"SS*
"^
^*
'^
'* ''
*"*
'* ''^*
***
**^
*"*
*^* ^^ *
This Venus
my
thou,
all
imperative
bitter joy
Farewell forever
Within
The
its
frame
child,
and wild,
J forgive
in
shadow
earliest of
my
fine,
endures
still
The
portraitures.
Of vanished
Dim mirror of
Gay
doublet satin-rose,
in his
Coloured
He
seems
in
as if about to pose
Like mane of
King's
in royal guise,
lion, or sinister
hair, fall
heavy to
^56
his thighs.
^ w# v r wv*
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a^fia
^r* "^m wr
w*
ww
<v
*^m Jmm 5w
Knight of an
He
which
Night
The
With many
its
feet,
The Unknown
Sets up
anew,
erst
falls.
strives
Drama's
hurled himself at
When
art
tall.
grini stage-carpenter
darksome
frights o'er
all.
With
The room
With
Down
is
ruddy-litten
Where
in
the hall.
wood
blazes suddenly.
figures wrested
Have
The
company
The
the
gradual glow of
The
frozen mien,
life
illumes
157
R*
Mw
>
tw r*
fr
Tf
1 ** #t el* f* *l*a*
l^e*ir*lil
"^^ "* "f* "* ** * * * "> >
As
Friends
I
in
whom my
shall
never
Now
eightecn-thirty
And one
Curls
Under
An
me
we
his reddish
Like Barbarossa
Another
to
Otranto's pirates,
like
Who
shows
fail,
Its great
(Ah,
thought
his
!)
mustachio stout
at the
ever unrevealed
Petrus a cigarette
Naming
it
"
ill,
now smokes,
"
papelito
Another cometh,
His visions and
still.
fain to tell
his
hopes supreme.
Where
lie all
fell.
~"
7^
rl^
w^
Wr
/M
Vin>
!/ #J/* ^ sl
vr* af* ^ f
CM MtfA*
* ***
*i^ JU i^ i^ *S^ *S^ *J^ ^2* ^l'*
'v* ^'v* ^^^ ^v '** ^v *^^ *** *^* ^^* *'*^
*
^
'tv
freak,
Tom,
late
Love's Labour
And
's
makes
Fritz to Cidalise
clear
free.
The
objects of reality
The
The
Upon
the hearth.
Farewell,
December gray
The
The
glass of
No
of
castle
my dream
shall turn
Time,
present enters at
And
vainly bids
me
once more
for all
my
we
door,
to forget.
159
fret
v#
>
vi*
#f/
#^ vJ/
vts*
*fr*
ffJU !/ #!/
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wr vr*
a^ffw
1 vX*
WSU
A^ s*l
s* *s* 9^ 9^^ #1 #S rl * >S
vr^ vr* wv w ww vw>s wo* 'w 4W >* iw
!**
Far from
The
flaring
glass displayed.
They have
On
and shade,
With never
loom
and
their birth
live
and die
For whomsoever
idly scans.
Like
fair
They
at
golden price.
Or
Upon
till
them
each droops
broken stem.
a limp or
i6o
Jiw*mwWSMWP>M<NMW
And
silence
repose
little
butterfly
To
all
in
And you
Within
its
it
openeth.
Spreading
For
And
proud camellias
Red
Are
its
its
tall
and white.
tulips in a flaming
all at
God.
mass.
II
i6i
grass.
*l
.!/
!/ !/
! ! ! ! ! | ! *i* l r| *i*
>!(
THE FELLAH
On
Water- Colour
seeing a
Caprice of brush
And of
Your
by Princess
fantastical,
imperial idleness,
fellah-sphinx presents us
Mathilde
all
the guess.
This mask,
this
Intriguing with
The
Isis
veil
of old
But through
Two
Two
mystery
bequeathed her
To
of radiance
two
soft,
Resolve the
Lo,
this
stars
stars,
The
"
its
eyes,
beam and
two poems
voluptuous
fires
smile,
that spring,
whereof
murmuring
"
am Beauty
Be thou Love
riddle,
162
1^
4^
^w
>
Jtf
WK
<ilb
> <
my
garret
is
no
feint.
The window
with
its
nibbled paint
Alike for
artist
and
grisette,
garret
Is
save
to
music
set
Of old,
That
To
With cushioned
And
deemed
bliss
it
bliss.
about
and out.
This evening,
to
Mount Breda
fled
And Margery,
No
164
fair.
>
*<
MM
oSi*
a^ mm
M^ M vM
S* > T WT* ib
THE GARRET
The
Upon
A
And
betimes
in the
An
And
left
window
this
is all
That
165
! L
tJLt rJ/
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ir*
THE CLOUD
Lightly
in the
azure air
Like
from the
a virgin
fair
Blue sea;
Or
an Aphrodite sweet,
In the
shell,
about
its
feet
Foam-curled.
Undulating overhead,
Slumbering Antiope
Of
mist
of the woman-soul,
It
shines
^66
THE CLOUD
Till
my
On
And
heart
flies
yearn to gather
Its
Reason
warm,
fast
form.
saith
" Mere
vapour thing
Bursting bubble
Holds
forth at last
Yet,
we deem.
Our dream."
Faith declareth
Like
Or
"
Beauty seen.
a cloud,
but a thought.
is
" Have
thy
Love
Build
vision.
woman
But love
it
proud.
full thereof.
love a cloud
"
!
167
'
aA* A* M
Wm !
(W
* MM
I/*
*
i<>>
!/ !/ ! x%
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al* a*J< 1
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vTt VN nb
vii* /*
><
THE BLACKBIRD
A
at
dawn
Or
is
Little of calendar
Whose
soul, with
knows
he.
sunbeams luminous,
Rain sweeps
in torrents
The
unrepressed.
dull the
Rhone with
its
The
A
The
fire.
Each one
And
guest
mighty magistrate.
Winter
lasting late.
and long,
upon
roll,
his little
song.
^68
mire.
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^*
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^
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Tw w a^
THE BLACKBIRD
He
slumberous morn
And
Be
its
head
Even
When
The
He
as
God.
Who
Dear
blackbird,
is
less
169
1% 4 ^l*
i/
At
fair Saint
^ean^ the
villa
dipped
The
little
Pressed
Have
And
The
The
And
To
show
light.
still
Like some
The
fill
faint blush
of
first
desire.
And
laughs in
all its
fresh attire.
170
aSi
Mm 1^
&
af*
IM
#*# #ftl*i*iijk*i**i*'s*
>* mm < * MM
tr'
>
The
Nature
And
Yet
must
Then
Your
tall,
a fear
splendour's pride.
With golden
circlets
luminous.
Your
delicate
Like lovely
Limns
Your
Ye
boughs
saw again,
lightly
on the window-pane.
every garment
have known.
Save one to
Of young
me you
've never
green fabric
171
first
shown.
and
soft.
i*ii*|*ii#i#i
< * mm mw m * i^
<
<
A*|
>!
must go
There
is
another flower
That makes
know,
Let
That flower
And
sufficeth for
And
It
mine
it
its
eyes,
heart.
waits.
dome
The
precious violet of
172
my home
be.
MW
VVC * * fW
MM MW
*!
mW
OTH
MM M
A LAST WISH
LAST WISH
A
How
long
my
It is full
a year agone.
many
Thy
spring
White
thereof,
lilacs
My
withered brow.
my
And
hill-top,
Then from
Upon my
thy rosy
That
in
My
my
heart
lips a
waits
my
last
abode.
tardy kiss.
call.
may
this.
rest,
remembering
173
!;
vX^
rsj
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4 i
!/
vAsv^* i* !:* !; 4 !* * * * l*
ENAMELS ANDCAMEOS
>!*
'l*
!/
iw*
J^
!
*1 *% *! i
THE DOVE
Then
seek again
my
breast,
175
uww. ^
"
'
'
% * T *
>t
tw
nl
M/%
/ #>?/
wMm rl *1 #A
aSw
>
!>
t5i>
tii*
<M
* <> *
<
iw
tgj
EVENING
A PLEASANT
What
Now
In fur and
ire
Oh,
Sits petrified.
To
it
The
fire
Assumes
I
most persuasive
its
seem
air.
to see
Beseeching
its
voice to hear,
"Ah,
were right
Its
snows!
stay with
me
"
!
Like a
fair breast
And
beneath a guimpe,
drowsily
The shimmer
of
its
light ascends.
The
ceiling high.
176
iJU ija
W w
mk% 1
*<i*
Mi*
aS*
>:
PLEASANT EVENING
The
Save
for the
Its
golden disk,
Or
's
My
My
dance and
ball-night at the
frisk.
Embassy.
To
raising high
To
me
dress anon.
My
waistcoat yawns.
Seems
that
To
It
that swings
pendulum
its
shirt
obtuse
wristbands loose,
be put on.
Have
A
A
glove's
flat
Then must
To
begs a knot.
forth
To
2
forgot
And
fall in line
177
i 1
i>>
fjl*
mSw
1 *i vl^
!/
*M vM M Mw
M^
M*
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* *** ** *
"
And haughty
Superb and
To
fine
And
mass
inside
Old
and young.
A
And
motley swarm
With
Aerial,
With
At
What
The
fashion's call.
Try
To
undeterred
And
whisper
name of my
Love's
little
word
^^8
dear.
t 4 A* *
<fiw
#M
vtw JS
li*
*JU !
i#ii*i*!l*i|*>*2#|*M{l/if
r> S* * mm JSt vfv * * M <* 9* > <
nM 3w
PLEASANT EVENING
Nay, but
'11
not
Her eye
No
Let Parma
now
ball-room
violets
'11
shall
heed
speed.
!
make good
They
hold
my vow.
Or,
if I like,
The
I
'11
shall stir
She
'11
come,
179
know.
a*
NM
^w
Wiv
lb
Xi
Jlw
<
< * * * **
i/ra
at* *( #*
fair
the work,
more
in resistance long,
Stamped
strong,
Yet
bid thy
The
A
A
Muse
to
wear
That any
foot
may
take.
That
Though
Contend
listless
till
heart
command.
The
With
And
That guard
i8o
ART
Borrow from Syracuse
The
Wherein
And
The
transient.
The
colour furnace-tried.
Limn
Be thy
And
pride
sea,
beasts of heraldry.
Transcendently uphold
The
Things
perish.
Gods have
-_
passed.
Turned by
An
emperor may
The
is
reveal.
great
The crown
the potentate.
But
fix
182
JUJ
mm Mi*
Selected Poems
yy <w* >!*
r^f/
*X* vA*
v^ X
Selected Poems
M
*< rJ/ *X
<fi< * M M
!/
MM
! *
vr*
>*<
MW
!)
MM *
a^ Mhi
follow
my
fancy away,
Where tower
And crowned
sky.
I
The window-panes
lead,
The
their
networks
summons
to
air,
files.
The
The
Grazed
The
of
Whose
I
with
Under
The
crossed
oft
tiles.
clings.
With
^5
9* S* 4* I'* *S*
4M*
CM
* SfW
*
^
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*!*
>
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l**l-*l**l#I*i*i*il*i**ji
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SELECTED POEMS
The
The
Where
Where
And
wander
at will,
i86
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1 A #A* rJ/* fJ^ / Xv #1^ aJU #A # #j^ #
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^^
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t^
tt^^
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**^
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#!.
i*>
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'T*
;>
tpivw
-*
K*
And
let
Touch
Over
But
The
with
Its
little
if,
to
hill,
its
trailing
home.
garments long,
thou
memory bound,
The
Amid
And,
know, dear
But
rain,
cloud-bathed roofs.
Of Winter
bird,
Gray threads
little
still
regret,
to forget
The brimming
its
golden crop,
in
one
fate.
4*
*lr*
** 4* *s* s* s* jr*a*g*Jk*|ftyg>ii*>t*g*fgir
* 9**9
SELECTED POEMS
My
is
And
fain
Itself
it
beats
its
wings,
spell,
And
Or
shall
i88
sun
4: 4: ^ 4: ^ 4:4?^db:l:db4:^db:fcdb i: dbtl?
ON A THOUGHT OF WORDSWORTH'S
dbdb:!: 4:
ON A THOUGHT OF WORDSWORTH'S
I
'vE read
Of
no
line of
Byron hath
Save
this I
Wordsworth whom
the Steven
came upon,
fragment small
From Apuleius
filched,
Of thought impure
How well the flash
The
"
"Louisa,"
down
recall.
And
leaven
Prospero
over
all
is
in
to
heaven
"
some
foul
nook.
tires.
of Ariel unobeyed,
the margin of
my book
189
JU1
<i vst/*
aM MW MM MW
SELECTED POEMS
CARYATIDES
I
And
as I looked
my
wonder
spirit
folk,
in
me woke.
attitude,
With
No
But
all
their sinews to
Meseemed
What,
their tensioned
some
task
were
steeled.
power revealed
And
thought
Their shoulders
to
190
!/ 9^/9
X* ri^ #/
nv
l/
4*
>!
asEv A Jrl #
>* "rm
! ! ! & r|f !
THE CHIMERA
THE CHIMERA
A YOUNG
Gave
chimera
Her
I
haunches slim
fell.
plunged
my
With
Then
"
goblet's brim
And toward me
I
my
Emerald her
The
at
iron knees
softly
but
clung, austere.
came her
Beyond the
But weary
things,
ere the
For I would
see
my
vision
191
face
of space.
ivings,
to
face
'*
ft*
#i JU A *i* ! (A
am* ?
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!!
vft*
JU !
li*i*l*I*ivli*l !*iU
tm
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w 1^
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SELECTED POEMS
On
it
was
beheld as
The
dreamed
it
seemed
And
From
bucklers.
The
imbricate
brassarts
were
bright
With
Reeled
down
was you,
mad
It
tall
my
girt
them about.
brim
frighted steed,
thoughts,
my
desires
battling well
And your
Engulfed
in the
fell,
192
VERSAILLES
VERSAILLES
To
Like Venus
Thy
Under
her Adriatic,
in
paralytic
how
a carven mantle's
sumptuous weight
About thy
To
And
veil thy
No
portico upspringing
nudeness
wan and
fallen state,
now
unelate.
Thou
Now
slumbers.
And
Mute
hours.
193
fills
thy bowers.
ft*
A*
eX/ J/i
am* fn* *
*Mf cA* ^
A*
(J/i
1 * *! ! vl a^ ri ttf sj*
BARCAROLLE
Tell me, beautiful maiden,
To
Through
"
To
the
Where
"
she
Ah, take me
!
sighs.
Hath
no place
Under any
and
no being,
love skies !
195
SELECTED POEMS
THE PORTAL
O
Alas
all
Before
it
monument
raise its
The skyward
a gate to see
fatally unfold
tower hath
felt
its
feet
Above,
Where
The
lilies in
Knights
rigid
tall,
With
sunbeams warm
on
elliptical.
And oozing
drips
upward gaze.
fall.
v<w
MW
arp>
v* * * r* or*
araw
> <
Wm m
mw ww wm
Jr
THE PORTAL
book
My
Of
God
The
many
a sign,
fill.
Its
ghostly dead
With
in
at
a curtain
work's unskill.
shades,
my Campo-Santo
Inhere watcheth
To make
its
patience have
And
couched you
still.
his
wing
for you.
fold.
A
A
an
And
My
is
fair
in stone,
and aureoled.
From
197
tomb
enscrolled.
!/
&% Jt>
\f>*
# * S^
*Jr*
SELECTED POEMS
Upon
Of
As
And
the dark
With
flutter circlewise,
all this
And
tomb appears
gladsome thing,
fair
The
The
consorts
lie
upon
Their love
marble pure
198
lure.
t/A%
e*
<
THE PORTAL
The tomb becomes
a thing
of bright parade,
For
But
it
if,
wish
is
fulfilled
of sight at
last.
by
Your hand
Under
You
still
The
would
stiff
in the pictures
Between her
Tomb.
Scarce
at the
Judgment Hour
When
at the
And
fast.
a ray without.
of the Holy
Them
mouldering grave,
a strange
MW
*i/*
am* T
i/
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vJU ! i
VM M WW
Jft
#!/
MW
i L Avrl* i 1 i t% ri *
<? kf* VT* XT* >* * VT* wr ^> WW VX*
SELECTED POEMS
An
in his quest,
angel shall discern them
Upon
For they
And
if
shall sleep
them
to bid
My
stand.
And
As unto Lazarus,
The
and
breaks
poems
sculpture
leaf
mine
is
my
verse.
and thyrse.
weeping heart
are graves of
Where many
When
its
fetter strong.
its
to
seem a song.
illusions dead.
form
bed
life
can
feel.
Her copper-sheathed
200
f*^*!**!!*
!* l* t*
'^
iy
THE PORTAL
How many
With
have
Never
to cleave the
my
heart's children
The
The
The
faces sweet,
swarming
to the
fleet,
decks
names
fair
taint
the wrecks.
Dashes from
stark and
My
drowned dreams
travellers distant-bound,
Curve
Then
rise in
mine Art
fire.
And
fix
your peak
in
201
av wvU
aJK*
I'v
JL%
!/
a^ Wm a^
#
r*
Jt*
SELECTED POEMS
Ye
little
Light softly on
And
my
gables argentine.
My
My
The
Ve
I 've
rifts
you
in
martydom
spice
Of
The
in.
reared
And
her robe,
The
radiant priest
The
church
is
builded,
Lord
Then
wilt
Thou come
202
>!
>
*1 ! t* ' *f m*
f|A
!
iMw
*
"f
MO
v* vrm
<
vT*
THE ESCORIAL
THE ESCORIAL
Set
in defiance
There
Like
crest,
The
Upon
by a mountain
its
huge elephant,
The
granite
Never
did
Make
for his
whim
a massive
dome.
of Spain's Tiberius.
mummy
cliffs
Long
desert
The mould
where no thing of
and
were dead,
all
the vast.
life resorts.
Priests, friars,
And
in
loom
flatterers
if
There
fluttered not a
swarm of swallows
free.
To
flick
The
its
203
drowse
M*
>
tnw
viv viw
WM Mw
(jt*
**
w am
tSf*
ww wS>
wM
SELECTED POEMS
A KING'S SOLITUDE
Encloistered
I live in a
tenebrous place
friend,
For grandeur
is
solitude
Superhuman and
The
cold in
my
castle I stay.
Crown of
my
hand.
hair.
Under weight of my
And
terrible
splendour
bow.
wear;
my
brow.
come
Prometheus chained to
To the
Was
bear on
tearing
his
my
side.
mountain and
cast
made
fast.
note
Unto summit
tide,
204
my
B*S* *4* *S
to* *
IW
ft*
MM
ii*
*
^ wi 4Alililalalf.l
a^aii^
* '* " * MM
aiVI*
?*
And
"
The
've
tell
power
me,
life in its
might
"
is
it
in their fear,
High peaks
never a
warmth
On
people upswarm,
and moan
flood
And
Ah, would
Feel
my
MM
SOLITUDE
A KING'S
If wild with oppression
<
in
my bosom
one
in its circle
feast
in
my
heart,
of stone.
have a part
must go.
summer can
soften the
snow
205
***
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B >!)* aP* Wfw * VM *f Mw v^-e iy* aiT* WTW (TV Mw < v*w M ? T* tw w
SELECTED POEMS
THE LAUREL
THE GENE
RALIFE GARDEN
In the Generalife
Hides
a lovely laurel,
as victory
its
in
Gay
Bathes
IN
boughs
a pearl within
And
Like a blushing
Tint of
flesh
Like an odalisk
girl elate
and slender,
it
in
Ready
Beauteous laurel
Have
Sealed
I rested
my
lips
me
upon
it
give
me
a mystic
Many
beside
its
form.
precious flower
and,
back
its
hour
thrilling to its
my
206
kisses
warm.
power,
? ?*
<
WB
aM
9t<
KM * "T-
< ">
* *
""w.
M mM
<
au*
FAREWELL TO POETRY
FAREWELL TO POETRY
fallen angel, fold thy
Come,
wings of
rose.
star,
And
let
to prose.
feet unclose
is
not to-day.
moment now
thy lyre a
fall
repose.
Nor
could
it
Go
seek
me
And on
out
her
my
lips
fair
spell.
angel mine,
207
anv W
^ Wm
MW
JUt
OM
<M
r<* TW <>
** *KW
MW
x^* <
MM
SELECTED POEMS
TH E TULIP
I
choicest flower.
such my
Pays for
Than
Like
my
Lordly lineage
proud Yolande
her
in
is
my
The
my
dower.
young hour
diamond.
to a
loveliness
dress
fess,
power.
And
To make
liquid depths
for
me
iridescent noon,
Peerless I stand
yet grieve
208
in
that
my
Nature boon
shining cup
WW
tint.
**
* or*
<
WW Wm mw
iw *a
Jv i
love a statue, so
Some
subtle
From
An
intimacy
The
dream of
for he
it
be
Tall and
Phidias.
man
there
may
still,
distil
And
She seems
to smile,
fascinate and
fiery
Straightway
touch
it
14
is
may
cries
thou
'*
?
all-indulgent
god's desire
art
trembles
Well knoweth
kill,
divinity.
" Immortal
one, a woman, then,
is chill.
Venus how
209
man
il
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WM
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oo "iw n>*
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f w
Ww M
vf>
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am
W!* w
<
mv *
J L B E R T U
or
Theological Legend
THE COMEDT
OF DEATH
Translated into English Prose
By F.
C.
DE
>4 A* * l" * *
^* ir
vr* a^ iX > ! J** MM
SUMICHFAST
|r
<*
"s* * ! * * ! !
B*i*
^ MO vT* * v* Jfm 'vw ^Ito >* rffm
Albertus^ or
T'heologic al
Legend
1^
fi* ! !/
!
*
vlf*
< **
>"
!
"M
M 4*l>l*l4*|i*i>f*|JUl*||*
Dfw *r * sS* Wm aS* mm aib <fi aw Ma Wr
A L
B E R T U S
rHE SOUL AND SIN
or
A
1^
Theological Legend
#4* l^
"jU
4* I*
> ^09^ 0m*
li*
> ftW*
l;* lr^ **
wr* ^* AT* ^^
I**!*
4
4 l
>** *** **w
**
*^^
v^i*
9^
>*
<''
!>
A#A
vrm v
<iS 9fw9
POEM
You
shall see
anon
'tis a
Hamietf
2.
///*,
By
the side
tide
is
covered,
silent
rises,
with
which storks
with topers
their nests
filled,
stands
shoulders
loves to paint.
there
the willow,
its
dull
pond, where
all
Look,
green leaves on
truth,
know?
the
from to hang
bravely
is
on the wall.
215
as
duck armadas do
picture lacks
it
its
girl
its
frame and
disport.
nail
In
where-
JU | JU
MW
MW < IW
*! I* ! |^*il*ll*i*i*t*l*tK
* MW
MW a*^ * *
*
f* mr
< <
mT*
(W
iW
fJUj*
)
Comfort and
and
far
niente
to
thither
go and
Flemish
own
to
well-
tankard
Drawer's
grasp.
And
pints
to
such as
hold,
night, close
at
by the
some
to
idly
a health, within
old
refrain,
to drink
interiors
to light
up
Ill
and
oft
her
to
where the
freshly
Wilhelm
citron ripens,
Berghem
these
would come
painter,
to
make you
mossy-green walls
willing to
exchange, for
between which
216
Rembrandt,
tJ/*
!/ !/ Jt (JU (J^ J/A#1*#!*AA1JIUJ ! ! !
|il*l<t
^**
MW < >!
t< vf tny ir
i<a t viw * mw tow < (< i^ mm >iv m
SELECTED POEMS
within the dun darkness, brings gleaming forth Faust
dress of olden
in
their
white
dark-hued
the
colonnades,
the
women,
all
IV
Of yore
woman
dwelt a
tells,
all,
and
it
Feared
evil
then unheard by
till
that
arise,
there
there in
human
ears, like
awaked
faint plaints
rumours, songs,
terrifying howls.
V
One
her
own
fiend
on lightning-bolt
astride,
who
down head
217
whence sudden
first
with hideous
J/
B*
#>l^ f\i/%
vw
OTW
t A al^ *&
>
Si*
!>
!> <i[>l
(Xi ! A > 1 !/ ki !
w ap* !
am
% Wto
e(S
MM
w affW
yell.
an
avalanche
And
workers.
of
fire,
in
crushed to death
its
fall,
four of the
VI
The
loathsome
hair,
it
dead.
'T was
and
in
truth to
justified
fingers
tell,
spell.
these
reports.
And
more than
green,
knotty,
some
mouth
on the
said that
tinuously
foul,
woman
all
foot
her
brow, her
misshapen
and her legs yet worse, harsh her voice, and her soul
more
repulsive
even
than
her
frame.
218
The
Devil
Ki/ tfli*
! ! ! *A
nmm
IM v p 1^* i^M
#!/ i**l'i^lft#lclcl|%l||#i|^<|i]k
i^v i^ a>pa *^^* mt* i^ ** * ^"* ^i <*
^^
SELECT ED POEMS
VII
This ancient witch
foot of a barren
at the
mound, exposed,
in
summer's
The
long-prickled
around
its
in
in
swaying
roof and
it
through cracks
in
rifts
hindered, with
did flood.
the nettle
thistle,
obstacles un-
its
be closed.
fast
VIII
the
the
walls,
plaster
the
stones of
Lizards green and gray within the holes did lodge, and
when
night
of the
fell
leaping
hoarsely groan.
high, piercing
frog,
while
Thus
fallen,
it
the
was
dun-eyed
that,
on winter nights,
of vapour, no one
not
toads did
moon
in
mass
219
>Jt*4* kivvtiu !
^M viw aM
>;<
aiiw
JU
WM
vIl* I/
OTw
dared
to
pass
in
front
fear.
IX
The
was
row
were
articles.
clinging
jumbled
together
There were
the
to
innumerable
fantastic
with their
walls
four
slight
claws
broken-necked
bottles,
serpents
stuffed,
rare
diles,
plants,
alembics, twisted
open lying
X
was
It
forms, amid
sides,
vial
loomed
which
the
paunchy
like a river-horse,
seemed to be an Egyptian
jar,
with
its
huge
ibis
Magi
king.
It
was
a vision
like
unto a
220
in
madman's
which
re-
SELECTED POEMS
"
11
ceivers,
like
...I--.
'
'
or twisted
like
syphons, and
matrasses,
phallus
pumps, long-drawn
assumed the
trumps,
in
which the
brows
their
name
in
XI
medley, a chaos
in
in
title
its
snape
posed
red
turned
Smarra more
realising of fantastic
visions queer,
a mirror reversed,
for all
was
trans-
became, and
black
turn.
hideous
white
dun,
phantoms
tales, the
Hoffmann
crowd
living
it
did
was the
embodiment of
at
XII
To make
shelves
there
grinned whitened
skulls,
with
polished
which seemed
to glare with
hungry look.
221
skeleton
its
arms
hanging
that streamed
scarce deserted by
shadow
limp,
willed the
as
ribs
its
the
in straight lines
upon the
Had
wall.
its
Satan's
terror
cast,
fallen
that,
like a
good
XIII
Yet
Teniers
thence
many
his
all
that
'Twas
a paradise.
Goethe got
is
"
Temptation."
which Mephistopheles
scene in
Callot
to
The
illustrious
baronet.
Sir
XIV
The
skirt
and the
coif.
222
that
is
Then
all.
"The
ing
touch.
swear that he
who
would almost
the
to
And
when one
this very
seem
to
XV
The
cat,
of which
have spoken
in the
preceding
stanza, was the great grandsire of Miirr, the philosopher, whose story, intertwined with that of Kreissler,
My
was
died
fire
striking,
were
down,
and that
it
the
whitest
have
life
so sorely
mourned
that
since
223
m* ** vJU
#l
M
JU ft^
^U
tfr#
9m%
fw
t^fv
rM
r
#ft
&
qw
#
# # rl #i^ tfw #1 rl ^'V !
^m ^r* !!
vr* *' > vr vis* *>a < *-*> w> * vt
>*
*
ALBERTUS, OR
SIN
XVI
For the matter of
that, this
whom
may be
Veronica
that he alone in
all
Those we
us.
and
flickers
red
light
The
cat, curled
who
It
gleams
night
all is
gaze, the
hastes
to
for,
would
else
it
that
silence
is
up on the broken-legged
And
any love.
felt
have done so
-,
chair,
woman who
old
prepare
watches
some shameful
mystery.
XVII
Or
smooths
of
his
on
else,
his
his
whiskers
coat, lustrous
as
stiff
his
paw
rubbing,
without
still
Meanwhile
its
the
tail,
wind
strident sounds of
The
screams.
roof
the flames
224
Il
*.t,
rht 1 rt%
XM MM VM M !/
MM
Vn
*!
r|r
*
MMOTiwM>^wf>
SELECTED POEMS
foam of
sound
its
accompanying the
and the
kettle
boils,
feline's
purr.
XVIII
the hour appointed for the evil deed.
is
Midnight
Forthwith
Meanwhile the
fierce
the
ear
as
in
the
shadow
reveals.
speaks
cries,
sunbeam
sledge-hammers wielded
like
in
and
forge,
potions evil.
XIX
But
this
is
To
not enough.
A terrifying
naked stands.
swaying
in
large
by
folds, its
its
sight
whitened skeleton
the crows,
comparison with
breasts,
15
to
fulfil
this
is
carcass
for
six
cheerful
with
its
arms
red
as
225
lobsters.
" Horror
hor-
^
4 4* 4* 4* 4* 4* 4< 4*
4* 4 4< 4< 4* 4* 4*4* 4* 4
4*
a 4*
ALBERTUS, OR THE SOUL AND SIN
^i.
i*
JSb * 0w-
ror
horror
Si*
"
"f
"r*
>
!
* " * * * <* *"
as
!!
a nameless
grim.
XX
Within her palm the water dark she takes and
her
bosom with
breasts, that
Now, no human
befell
The flaccid
it
tell
what then
hung
thrice
form and
courses in
that
them
in
fair
azure veins,
even a maid of
the
life
The
tint.
them
in
gleams
blood
so
more blooming
be.
XXI
Her
eyes
when
smallest
the breeze
doth
brilliant
no longer bowed
she
would
peril
is
light,
her hair
beauteous
Many
mouth with
her
a fiery
is
jet,
now
a gallant
diamond,
her frame
so fair that
swain
226
Roses
tips,
his
life
and no
^m^ %m0 * vp
tm
9fm*
*>9
<>#
'*
a.^ wr
5s
>
^9*
SELECTED POEMS
one would dream, on seeing the lovely head, the body
fair,
XXII
German
most
times
at
their sweetness
in
of
jet that
whole
life
long.
nightingale's lay
note doth
two
glorious mirrors
voice's tone
and
thrill
to
tender, at
in the
heart
awake
a secret note;
mingling plays
a miracle, a
dream of Heaven
XXIII
Reader, hyperbole apart, she was truly beautiful
most beautiful
same thing
That
is,
Enough
is.
is
as if
mathematics proved
by love
happiness due to
ever
it
fancy
is
For what
true.
the
is
it
same
happi-
prayer to
God
For
faith
that
here below
227
it
A*l*l
MM
*>!/ ri/%
<^
am* iw
aJ/*
? aSw
rL*
lJt% ! laf
<
mw
viv
>
and
this desert
nothingness
of the world,
based as on reality
is
in
which
felicity
on
woe.
is
XXIV
The
once more.
from the
circle
Upon
Forth
slips
on,
and a mirror
sets,
and
within
sees.
with
in
smiles
pleasure
the
at
sight
she
The moon
just
upon her
cast
her fond,
clouds,
chaste
The
light.
within
and,
had
haply,
any
strayed along
at
this
made
time
sure he
dreamed awake.
XXV
Veronica, with the
tip
rolls
at
spins around,
her
feet,
its
back curling.
makes mystic
cabalistic words.
Then
is
cat,
signs,
In place of the
Thrice she
cat,
makes the
appears a hand-
J 1
i/*
cX* vA* h*
'i'*
SELECTED POEMS
some youth,
black mousnose, forehead
youth such maidens
dreams
aquiline
tache,
is
see in their
as
His mantle
of love.
his
high,
red
is
and
his
a sparkling hilt,
doublet of
silk,
he undoubtedly
a sprightly lad.
XXVI
" 'T
hand
is
to
silence
bowed.
"Whither
The
or two.
said
he
forth.
lady
may
take
Don Juan
understood.
in a loud, ringing
Take
madame ? "
in his ear a
syllable
light
" Her
ladyship goes
her on her way."
up the carriage."
They enter
Juan
voice.
and
torch
you,
hip, in
it,
" Bring
're off.
XXVII
That
is
in
way
The moon
of blue
lest
they
profound mystery.
so dark a place
No
who
one, for
all
were
its
eyes
indiscreet
229
should
prove.
So
the
db 4: 4:
:!:
4:
:!:
:!?
4: 4: 4?
^ J?
db dtdb
suspecting
mud
whom
it
its
contained.
the wheels,
made no mark,
that they
XXVIII
For the nonce, the scene
That
petticoated
and
beautiful,
incarnate
Leyden
monkey,
to
poetry,
treasure
shifted.
is
enough to
now young
of
graces,
Venuses
Von
Empty
at the
are the
full
there
halls
is
of the
no sign of
young
a crush
Landgravine of Gotha's.
XXIX
Young and
ding around
old,
lawyers
in
officers
in
gay
P.%%
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^^ ^ ^ ^
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SELECTED POEMS
uniforms dragging their swords across
floors, painters
rooms
and musicians,
and, although
it
was
all
far
crowd
the
to the stranger's
from proper,
sounding
all
as
vinegary
men
to one's
self, especially
a piquant face
men
kept
running there.
sole topic
less
of talk in
The
fre-
spoken.
XXX
When she appeared
it
was impossible
Never
did dilettanti
more abundant
donna than
at
praise,
every step
fair
Veronica
at
the dance, at
The
in their
rivalry.
XXXI
She gave the tone, the keynote of fashion.
adored like an
idol.
She was
231
M/*
*S*
/
Jf anU ;m
mi^
l/ #l/
aSw aT*
MH
ALBERTUS, OR
The
her to contradict.
of sleeves
which
which was
the
especially
she
most
becoming,
lady
old
scarce
which the
important matter
Duke's daughter
dress
The
rouge or not,
of the
right jewels,
the
SIN
in
it
vain
protested by
was there
to be seen
all.
their
heretical
XXXII
Young would have become
weeper, wiping his
eyes,
than Democritus
the
made by
at
cheerful.
Heraclites the
comical
sight
of the efforts
the slimmest of
whom
stout Irises,
her grace.
Maidens,
of rich
tissues,
gauze,
masquerade
velvet and
great
fleece-like
stuflF.
232
wearing
in-
Ye
gods,
what
JL*
fA* !
>
J<
SELECTED POEMS
XXXIII
But
as for
The
to
folds
when
and
flutter
make
to
tered
its
ought
hang
chatter
or
kept
the breeze
hand her
laces
the
it
in-
up
to
about to take to
birds
life.
they ought
to
like
visible
when
understand
they
hushed
silk
telligent
to
appeared
In short, in every-
had
she
way everything
feathers
flight,
and
separated
flut-
while an in-
played
within
maze.
their
XXXIV
Her
wore,
be
of
bit
;
hair
a
ribbon,
every
flower,
at
fairylike
seemed
to
Whatever her
was
noticed.
grow
pale
satin lost
its
her
teeth
were
gloss
when
233
fairer
than
pearls,
With
and
her port
A*
M* *M
^fi*
<
a^
rA 1
vf* or* * Mw
^
XT*
* * S*i* * *i rl
or* **
>
MM
anw
t/r*
*^
1
an ^Sv
*T* fu
! ! !
Manon
arch,
Lescaut, Philine,
XXXV
Hans, Aulic counsellor, and Master Philip
sake their gin, their pipe renounced.
jolly
It
was
positively
to see these
her
for
their
of their
tulips,
at
blooming
transform them-
last,
diva.
bitter
Wives
remarks,
empty
talk,
homage and
welcomed
the cash of
each.
XXXVI
Two
months have
queen,
Veronica a
have.
Her door
is
headache
closed.
which amber
every
pastiles
On
passed.
this
boasts
Her
or
day, like
pretends
courtiers in
Within
a
to
numbers
rich boudoir
in
footfall
noiseless as
234
*jr>
*<
* a^^ I* M
> >M
>
>
M*
*<
i* ta A Jba uimt&tmit
(^
WHO wr* i* w vw ><*
SELECTED POEMS
hand.
XXXVII
She
when
Ye
sulks.
she sulks
softly pressing
one knee
like a
willowy bending,
o'er full.
Her
how bewitching
gods,
hair
her body
dew
moment shows,
in a
zephy through
restless fingers
it
gardens the
woman
transparent, the
undone, that
through
is
it
or
blows, or the
brow azure-veined;
just as
in great
fair that
summer
shade.
XXXVIII
Whence,
and
hair
Did she
when
morn
or less fair to be
When
silvery thread, or
on her dazzling
ALBERTUS, OR
frame
stouter
Has
Lady Wilmot,
on
its
way
has
Is
dress
to
take
she
on
and
expected
or crushed
torn
it
SIN
Or,
after three nights at the dance, has fever paled the pure
lips
XXXIX
Is her glance less bright, her
youth
greater
more heads
at
less
pure
diamonds
or
richer
is.
Nay,
sake did
adversary
's
a great success
then,
himself
is
filled
all
turned
as ever,
with empty
Rhine
the
duel
wounded.
Leyden is
her gloomy brow ?
;
in
dead
still,
finding
form
rival,
rejoicing,
despair on
Why,
Has some
neck
for her
his
fight;
Surely this
talking about
it
is
now.
XL
Why
as,
half closed,
236
Why
do
between them
SELECTED POEMS
now
tears
brown
paints
slip,
flutter
velvety shade
aureole, a
Why
do
her troubled
such as Lawrence
like
face
dreamy an
imparts so
thought
Is
it
the
fair
air
Is
and
rise
What
to
remembrance of her
her
storm
the
within their
breasts
her
fall,
strange
lightsome
first
love and
it
is
it
dread
XLI
Nay,
it
is
not that.
Too
is
thoroughly corrupt
is
she
Besides,
she
may
less
waters black.
loved.
She
is
ball, a supper, a
be given, pleasure,
party, an
entertainment to
things that
take
237
flA^tfM
^R*
/>
vM r^
J^
w *** i*
is
The
the trouble.
butterflies
All
women
else
peacock
its tail
let fall
laughed aloud,
to behold.
made
rich
its
enamel
her
off,
and
flash
gleam.
XLIII
In vain the actors wrought with might and main,
out
spun
their
finest
notes.
They made no
boots,
in
the
vain
Commander
Zerlina warbled
Donna Anna
wept.
Don Juan
thundered
playing with
They might
the
were
inattentive.
another way.
They
Through
in
with
his
and
notes,
have kept
gain.
walked
it
up for
The
stalls
^38
all
i^
aM* w* iM
ww tAM
arfv
T *
^T*
'^r* v'lv
***
wfw
v>
wr* a^* # |w
aiP*
SELECTED POEMS
desires in the
The
same
Veronica smiled.
direction turned.
made her
more
ten times
beauteous yet.
XLIV
Alone
man, by
pillar
great,
from
the
forgotten
Thy
unconscious was.
heart as
it
Of
wings borne
its
it
all
meaning caught.
XLV
At most, between the
glanced
against
acts,
upon the
wall.
Yet,
like
if
fair
he coldly
bullet,
swift-sped, that
and unconscious
deadly
corner slain,
all,
wound.
all
a grievous
So
falls
gloryless, laid
239
wound on
the
her inflicted
brave,
by
bosky
at
#1/9
A*
#si
1^ vX*
#!/% rl^
**^ "^^
*% *^
^S^ M^ iw *>^
WW
ffJUt
**^
^''^
***
*'<^
****
**
or
killed
as he to
by fever,
by
home
his
slate,
falling
or taken
returns.
XLVI
She who,
cold amid
the salamander
then, like
till
made
woman's
damn
pleasure,
who
she
child with
its
the
suffering
made men
who
pitiless
trifles,
wearies,
now
and
she
it
such
and
in
last
was bowed.
far
loved,
and
She
she
Her
last
at
for
and souls to
forgetting
yesterday she
that
love her,
captured at
it
trifled
so soon as
pains
haughty heart
hearts to torture
plaything
it
away casting
her delight
it
XLVII
That
fatal
is
dial
a day put
flee
or
fate
or
just the
way of
strikes
the
off.
stay,
No
all
Two
celestial.
hour,
matter
must
yield
things
When
fate.
none may
how
and love.
sweet pain
of
life,
to
his
on the
end
for
power, infernal
unavoidable
are,
one's
240
*ff/
< jr*
w>
/!%
^^ **
w
vra
vA/V #!/
! wr*
$
'
M/
fM %# SjS
4* M4 4 ^ % el^ 9^ #1*
*m*s a^ i5w mv WW*
^ wr av* P* vw 'r* > * ^ c^* i^ #
SELECTED POEMS
Laughter and
seek
tears
paradise, a hell
on earth prolonged
lovely care
pallid,
that
ill,
an enchantment mysterious
all
XLVIII
Pleasure which, mayOh, voluptuousness intense
Who would not
hap, of man God's equal makes
!
know
you,
if
unknown, moments
yet
whole
of happiness
eternity
life
them would
in
gladly
heaven.
Oh,
sea of felicity,
convey the
whether
bliss,
Oh, hours of
trysting
in
Oh,
Kisses
ye
!
mad and
sleepless
glorious
wild desires
XLIX
Love, thou
hell for
thee.
In
art
In vain
vain
in
his
within
sermons the
her
priest
arm-chair,
Orgon
his
to
windows
place.
In
i6
bars
spectacles on
thee.
his
condemns
doth
241
in
still-
#A J/ fJU
^ 0gm
*/W# tt^ 4^ fl^ vw
!/ <^i^ rE sl
*;^ fw ^f^ >fw
ft*
ALBERTUS, OR
SIN
doth
handsome
old,
When
flout.
cross.
thou
Young
or
once
art
at
least
in life.
L
As
for
me, 'twas
upon me.
last
Good-bye then
to
poetry.
I 'd
fell
not time
in
listen to
read
her
her sleeping face note her dreams, and from her rosy
lips
a kiss.
LI
But
for that
in eighteen nine
I
have
verse
said, I
like
the world
and twenty
had not
pearls
string.
242
poem
leisure to
upon
this
string
words upon a
With
her
was
SELECTED POEMS
wont
to
go into the
thrushes sing,
a
butterflies
through
ankles wet
her
spring.
She, like
the
dew
quest
as
in
of
its
was
scampered
child,
great,
LII
Within the
when
crimson, and
would
me
arm
seized her
Then
not.
but
May
two
that
first
she
to
whose cage
At
my
flight
With one
is
opened, she
'd
take to
bush.
LIII
Next
tricked
I 'd
me
thus.
a bell, a lizard, a
springing,
Some
busy
grasshopper on
caterpillar
caught
243
bee
its
emerging
from
upon
! vA* A*
vA* i
ri/
!/ *!/
ALBERTUS, OR
she
dreadful
uttering
'd
my
*
Vr
SIN
Then
shrieks.
Her
when
bling
back
her
brought
^^
and fluttered
like
and which
nest,
two
little
flutter their
wings
lightly in
the hands
of the fowler.
LIV
While
would
ster I
love
"
him
now
me
gone, she
turn
'd
on me anew, laugh at
" Ye
how I
as she said,
Then when
heavens,
dreamy
if
sleep
pressing
The
to
nightingale sang
fumed breeze
its
pearly
softly breathed
trills,
LV
Never
did
seem,
served
if
On
ruddy
lips
the words
244
we
stayed
the
SELECI'ED POEMS
thoughts
We
we knew.
other
hearts in
than
it
were, in Paradise in
we
locked,
Our
harmony pulsed
in the
not
could
dream
our
veins,
ravishment of ecstasy
nor before
LVI
Gone
Each
it ?
to the other
way of men,
months' span
now
whose Ever
Our
My
whither.
Who
that happiness.
is all
have believed
'd
't is
the
six
a stranger
is
is,
for
Heaven knows
flies
and leaves but bloom of red and white upon the finger
tips,
her
flight
my
heart naught
fair
in
Love
loved, and
is
now
a strange thing.
I
set
my
loves
wretched verse.
L VII
Thus, gentle
faithfully
to
reader,
is
you, so far
245
I*
4%AA A L t% sJU JL% 1 cA* 1 j cl* !% aft*
Jtt Sy> Maw wMi> w< WB.*!!*"*****!*..*.-****-.*, K. aS* v*
for they
much,
at
can recall to
them.
my
make up
Forgive
trifles
thoughts
love, and by
this
bubble
Even
so,
when
me
so
took
air,
gor-
fires,
mean
and by we laugh
The
pause.
that
it
it
met
my
glorious
for
I love.
LVIII
Except love
loud
in
for thee,
chosen souls
Poesy, that
Poesy
white form
sister.
Painting,
God
And
rivalling,
farewell.
246
flight
tip
of
thou. Poesy's
His equal,
and
imposture, that
fear
ours for
the
without
by contact with
twin
golden-haloed angel,
to another
moment, within
dost stay
speakest ever
life
re-
do not bid
SELECTED POEMS
LIX
Let
a
me
to
handsome
my theme
cavalier
The young
return.
was
enthusiast
in
But before
felt.
go farther
it
for
him
might be
well to sketch his portrait, for the outer form helps one
know what
to
is
within.
have
His
tan
hair, wildered
Italian
his
by
skin,
dozen
treatises.
LX
An
imperial
brow of
artist
and poet
inspiration
which
each
in
that of itself
Broad and
under
full,
wrinkle
bending
untimely
The
yet
corresponded with
though
it
in
it
it
noble brow,
The
this
it,
247
'i'*
*S* ** !!* * ! * * * ! !
demon
under angel's
heaven opened.
tread
Though
writhing
It
;
was
like
under
hell
skin
and the
shot
at
times
from
down
his
The
before that
that
eyes
all.
fatal flash
seem.
LXII
On
shadowed
at
at
times
plain betray.
In vain the
all
fair,
having again
feet.
To
in
society
may do
to
all
failed,
and
248
utterly.
^ V MM
mr
Irt
4^ ^i,
*i%*i|A|||l^^^lI|*i4^
# <w mi wm mw S> ? !
< (M
| .i* !
*
atp*
SELECTED POEMS
LXIII
He was
not the
Veronica
nets
man
to
tried
him.
for
set
great
eagle
The
holds.
the
web
foolish
fly is
the whole
with
her bears
wasp
Yet
so fine a prey
every
art.
"
I love
still,
for, so, if
she
on her bestowed
no thought.
LXIV
This was the reason why her door to comers all was
closed.
For, indeed, what cared her anxious heart for
her courtier train
dies,
who
These handsome
now
before
delighted
her,
seemed
at
this
Noise and
light to her
limp.
brow
Poor
her.
brought pain
On
all
things
girl
just
249
ALBERTUS, OR
SIN
LXV
The
with
fair,
mien,
anguished
know
all
about
is
it.
Yet
v/oman.
Is
it,
of
The
now
write
spot
tell
own
latter fact
finger tip,
LXVI
Suddenly, bird-like looking up, and throwing back a
curl
"
I will
fit
within the
if afraid
not send
wax
Low
to go."
it.
It
250
is
to seal
and begins,
her note, to
her voice.
was very
it
"
ill,"
It is
she
only
-^ "^
* * db
irdb
i:
"" i:
"
^ '^
!l?
*
4*
444.44444444*
r M<a WM M
4'^4
WW r
so
!
"Sfc
SELECTED POEMS
were
up
The
hot.
damned
in hell, flashed
in blaze of blue,
LXVII
And
disappeared.
While the
moment
Her hand,
She
words undried
first
With uncovered
Veronica
"This
who
same
that
head,
note to
with
of the
Don
Juan
her eyes
burning
"The
"
Monkey Green
at
scarce
Newmarket,
Albeitus."
lord
my
is.
Don Juan
agitated,
being consumed,
filled
's
is
as swift as race-horse at
ink of the
sheet
farthest,
Don
bright
painter
"The
Juan, see
LXVIII
Albertus, I need not
I
Ve
just described
have
told,
had
would rather
him
full
God
be,
as well as
as
tell
you,
is
the
handsome swain
An
much
as
fanatical
music.
Mozart
or Dante.
he did himself,
251
artist
painting
Nor
and
could he
him, which he
But
who knew
better perhaps,
4* vs* %
fii*
* *s*
*ir*
<ga
For, of these
was
and
his
LXIX
He
What
woman
he believed about
Hamlet thought,
for the pair.
an
he would
Womankind
infamous pot-house.
and
delighted
him
not, save in
why and
oldest of men
wherefore, he was
might be
the
as
wise.
quite young,
had
pessimistic
still
still,
none.
him
to
although
Thus
in
it
he
moved many
hours of weariness.
LXX
All the same, his
ills
he patient bore.
man
it
makes.
when
is
sure to be
At the very
is
nothing
is
burdensome
all
new
252
is
a child into
outset of
existence
Great knowl-
life,
in
what one
is
already
savourless.
an
novice
feels
known
To
the
SELECTED POEMS
sick
nostrils scarce
spasm
tasteless
glory an
empty phrase
the much-tried
squeezed lemon
like a
Don Juan
Behind Werther
becomes.
is
ever stalks.
LXXI
Our
hero, like
Eve
When
be.
full
by the ser-
god he desired to
in
failed
courage
Now,
new
world of
his
up the
veil
road to discover.
dreams
Hfted
of treading the
tires
outworn.
doubt
He
it,
had
At twenty he
of
all
illusions
bereft.
LXXII
Woe Woe
!
unto him
who
Too
oft
mud
If
could
live
up but
another
253
life
foul
and stinking
again,
certes
MM
am*
Jitm
mv
mw
VS*
*r>
m^ ^
* >
^"^ "*
^^ '* * "*
"^
What
done.
sad,
let
it
all
matters after
if
us outwardly be happy.
snatch
it
Let us be merry
handsome mask
Then why,
ter
all,
have
is
bet-
poor fools, do
we
off?
LXXIII
If he had
sure that
many
you may be
his fate
would have
most
foolish tale.
doubt,
or
deny, believe,
seek
answer, like
down wind-driven
on
as
chance
him
As
still less.
even
at
little
death
in
he
The
let
affairs
the
his
to
riddle's
life
drift
of the world
went,
must
tell
you,
not believe in
its
LXXIV
That was
the
and
What
have gained
if hell
a nature strange
which he disbelieved
-,
in,
nothing would he
254
was pure.
strange
* * * *
"
"
fa * wr* i*
<M(>
>
WS*
SELECTED POEMS
man
indeed
He
in his
anathema withheld.
For
fatal
page.
fallen
tear the
blasphemy
LXXV
Now,
at
the
for a
change of scene.
At
present
tempered
aspect strange.
from above
It
In
under the
the
brilliant
shadow and
lord
falling gives
is ?
everything an
by Rembrandt, in
beam
reflection
studio
painter's
centre of the
my
are
like a picture
is
of
we
in
room by
the easel,
phantom
be.
Everything half
is.
LXXVI
The shadows grow
255
It
is
a world,
fantastic
live
in;
doth
eyes
modern
speak
art shines
everything
is
poetic
which
in
old.
Beautiful
a sample page,
Cimabue, Ghirlandajo,
Reynolds by Hemskerk's side,
and
know
not
whom
LXXVII
Lacquered ware and vases of Japan, monsters and
porcelain ware, pagodas golden with
glorious Chinese fans
knives,
Spanish
it
Malay
creeses,
with wavy
blades
rusted, stained;
but
glorious
mediaeval
a den, a
to
damaged,
Oriental
helms
in holes,
for nothing,
caftans,
doublets
museum, and
a boudoir in
256
one
sheaths; lin-
and
hung,
Mw
**
vp*
wSw
vi
MM
wft*
a^**
*i^
&w r* i^ vr
Wm
^ wvm
SELECTED POEMS
LXXVIII
Around the walls many canvases hanging, untouched
for the
most
Leonora
young
and sparkles
to call
light
girl,
it,
whether
delicate being
a chaos of colours
prayer
children. Marguerite
sketches of portraits,
a
begun
a graceful,
its
flying
away.
LXXIX
With
Mater Dei^
after
Masaccio,
yet
it
The
beauty's husband,
the
portrait,
257
which he
after
finished
of her spoke.
i>v
9e*
*w
' 'i'* *1 ft i
wfM vr ((TV vr* *
^4* * i*
<?>
viw vK*
#
#iU #> S ^f
#! ri
* rS*
aw **
*S( Jft mfa ^^ Jf, yf^
indifferent glances
by
curtain
gleamed
in
thick, a
them.
furtive
A sigh
from
out his breast softly rose, his brows he bent, but ne'er
a
word
an offer
piece to
il
did say.
;
own, but
Santo Rit7'atto
that
and
to profane
to
LXXXI
Albertus was painting.
tor
it
was
It
Salva-
a landscape.
Selve selvagge.
Rocks
in
the
sea,
under
hell.
up
in
its
red light
and
lit
fall
bending
lightning with
pines,
the faded
midnight
while incessant
SELECTED POEMS
LXXXII
A man
came
in.
was Juan.
It
in the studio,
cloven
although
foot,
he did
man
any
stiff,
at
all
gait,
He
or
None
sprinkle
tail,
lip
Bible and
his
of these things
Mercury
"My
as he pulled at his
doublet.
LXXXIII
The
"
"
?
mediately."
lady
asked
his
Don Juan
" By Jupiter,
lives
you thither."
down
When
The
find.
in softened tone.
that
but a step
"
It
is
is
the
way
from here.
well,"
sword, an Andrea
said
Pietro
"
!
Ferrara, a
A sunburnt
259
will."
face
to
speak.
lead
shall
taking
trusty
at
" Im-
Albertus,
his teeth
"
blade
I
am
the door
HW
aw
w (Tt
WM
vr*
aiiw
and
"
said
* v* ^v * ** * *
^^ ^
ALBERTUS, OR
appeared
^r*
(if*
"
What
doth
me my
my
SIN
lord will
**
LXXXIV
In
In a
less
time than
moment
the
it
takes to
young
tell,
man was
the
cavalier's toilet
back.
But suddenly,
he saw
it
or merely fancied
it
he
'd
his
com-
Whether
frame the Venetian lady's head move, and her mute lips
"
"
Well, my lord ?
ope as if she sought to speak.
" Dear
said Don Juan.
one," the painter said, the
" it is too late
soft
with a
sad,
portrait kissing
to
smile,
LXXXV
The
pair
went
out.
the
The
Scarce
rain with
gulls.
walls
belated toper
260
Surely he
Jvm,
SELECTED POEMS
had neither the mien nor the
gait of a lover
to
way
a thief to
punishment,
LXXXVI
He
might to
ture after
all
was
really strange
The
his place
and such
as ardently to
Don Juan
The
panes.
came down
the
from landing
bronze
door
young
light
flashed
to landing the
oped, and
cavalier's
the
gaze was
revealed.
LXXXVII
little
in rich
"
fair
" Here,"
said
Juan,
Albertus followed.
tain rich half
his
closed.
a cur-
Scenting
261
ib 5fe Jfc
>
"B*
S!
the
"^
F *
" * *
ALBERTUS, OR
lying, snuffed
raised
air,
"
SIN
their
back and
fell
dozed.
LXXXVIII
Upon my
word,
it
On
and wealth.
in
it,
comfort, elegance,
handsome citron-wood
shone
table
light.
sepias, bright
silks,
the
latest
a black
mask broken
pell-mell
attractive
with
steel
knobs, rich
wrought
cast
a casket
most
review, the
\
recent
novel,
innumerable fashionable
trifles
tables in
disorder.
LXXXIX
Our
entered
little
cry
when Albertus
fit
to
make
Never
as
fit
as society
brilliant eyes
showed
!
'**
tfi*
/**
#i #4
!* !
* ^^^
'V*
arr^
!>
(tw
i i il^#A*#||ll%ri*i#ltfl4>l
a^r* w
9fw Mw * *r
v#
^^
^^
(vm
eJr>
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SELECTED POEMS
under their long eyelids such morbidezza^ her manner,
her gestures, such graceful abandon.
XC
For a moment Albertus thought he saw
The
fair.
strange
head-dress, adorned
his
in
Venetian
the Italian
fashion
tude
resembled
Albertus
thought
her
and
his
well
it
that
so
eccentric, the
temper
to
was deceived.
he
assume
this
mask
She
Knowing
witch
had
slake
her
parted.
to
lust.
XCI
Veronica
little
hands
The
rang.
golden
portiere
bearing
fair
and
Louvre.
Upon
silver
lofty,
bowed
to the lovers,
The
263
A* *
^w
vJt*
mU
JL >
1*
aiiw
aivw
^'*
j*lS*S**9**t****^*^**
* a^* ''* * aM r* aw* m
>*
!!'
iw* wr*
an hundred
least
at
XCII
Within the tankards
glass
would have
it
glowed
a
sufficed
man
To
to spin.
As
ing, and
letting
and
fascinated
his
body
tried to
in
cast-
single
with the
all
vapour dim
in
daze
to
like gold.
his
head
he met.
XCIII
Albertus was neither of ice nor stone
he been, under the dark
sun whose
ice.
An
fire
angel, a son
eyelids
he,
his
"
in
possess
and melted
heart
the paradise of
264
his
place
God.
of heaven, to be in
stall
my
my
and forever.
single
1^
* aJU
am* v* *
A Jj%
WW
* *S*
*
^^ !
v>* >* >
w $
SELECTED POEMS
word of your
for
is
lips
life
eternal,
eternity
"
?
XCIV
"
on her
lips
what you
just
I 'd
repeat
would
accursed be
" From
you
said
give
my
cried
and Mephistophelian
in
Ve
" That
to possess
have
the devil
soul, if
said it."
it
the
angel.
The
sounded
"
?
his
in
painter
"
!
have
Yea, madam,
"
the
glow of sulphur
filled
the room,
laughter indescribable
suddenly
air.
xcv
instant Veronica's eyes shone with
For an
fire
like those
saw
it
though
for
it
of orfreys
darkness
in
hid.
darksome
Albertus
fear,
himself
was indeed
a glance of the
a glance
that
spoke of unending
damned, of the
265
devil the
for
evil,
time inquiring.
^ 4: ^
^ db tfci db i db
ALBERTUS, OR THE SOUL AND SIN
:b d: 4: db i: db i:
"
It read
die
"
The
truly.
eye of
man
Most
horrible,
would
cast.
XCVI
Her
lips
trembled.
like
know you
well what
is
asked
mine
for
estimate
aright
did
woman's
you
test
the strength
love
your
bearing
such
Think
again
for
is
He
burden without
Within
the
fail
wide
is.
soul
Man,
feel
'
you
Did you
What
of
capable
'
Ever, forever
universe
is
one
but
That being
unchanging
When
" But
tiger.
of your heart
being
maddened
mighty
some blasphemy
as if
when suddenly
about to escape,
were
seemed
It
God,
XCVII
Within the room,
pale
and
faint
discreetly
beam from
curtains,
Albertus, no word
all),
266
JU #*
m^
^i^
rA
#J/
^m
^n* Am* vr
^v*
!/ ri/v
m*
M 0^%
J:#( # ! #A% !* #1 #1 > tjl* A*f'
tMw
* w* ^ v
F* ^
*
wwm
<
ffw ftiM
vvi*
<
SELECTED POEMS
Here
shame-faced
in his
not
to stop.
fail
these
with
to
say
What
Basilio
immoral, and
in
hieroglyph of what
at
novel
is
chaste
stand
they
as
the
all.
XCVIII
But
I,
who am no
vine-leaf on
I
omit.
beg
others
man's
will
is
who
this
not
scream.
Besides
for
in
warm
and
what
read
may
details
the
;
mothers of
I
am
writing
My
tale
lines,
moral
few
to
not intended
butter
will
families will
is
ladies
be indulgent
wisest of them,
the
my
The
will
prude,
their
decent
lines are a
young
Emasculate them
cynicism they go
on,
straight or crooked.
XCIX
Little reck I, provided
absolute, finds
them
my
267
^ Jw
aiM iw
*^
<>
!!*
!>
>f*i*ai
ijf*il*i*iii*gj*i>|*#i
* > >* < -if * " <n <
ALBERTUS, OR
Adam
from
all
vice,
go
freely
SIN
in their
am
not
whom
of those
bosom bared
much
an
against
sacred.
Pray,
The
work
artist's
ye rigorous
Why declaim
What
the
critics,
had
painter
wander with
away
had
his
one's
own
this
delight
of.
It
rampart
beauty nude.
own
pleasure
love and
is
stay-lace
so
he does
Veronica's
cut.
had on
skirt
gaze on these
my
or
its
did
a breath
word, the
flimsiest stuff
frail,
He
this
air
spun
its
in
now
and
in
a hand's turn he
was wrong
sort of thing
268
fall
is
it
is
spoiling
killing one's
away.
^^
^* ^'*
"*
w*
Hw
n WJW *w
SELECTED POEMS
CI
Not
saint
thus
in
this
time
heaven would
welcomed.
out an ideal
lady
was so
for
perfect.
have
work what
O Nature!
is
Nature! by
What
painting worth ?
lord
What
names whose
that a
fair
more
the
-,
praise
all
of
the
God
vain
we
it
out
strive.
CII
Oh,
the lovely
shame, red
picture
as berry in
bows and
look, her
Blushing
May, upon
with her
browner showing
lips,
fair,
golden
269
J^ JU jU JU 4* ^
A'v
4*
i* -A*
4^ 4* 4* 4* *l 4 4 ! 4* 4* 4* 4* 4* 4
divine, and
guessed,
own
her
in
self she
was worth.
well
cm
The
curtains
Frantic
laugh,
my
angel,
and
my
tears,
life
and
mio cor
Idolo del
all
the
bed creaked
became.
?jiia !
heat, these
its
Wrecked was
and groaned
Showers of
Anima
invents in
strange which love delirious
kisses
the alcove
pleasure a
very rage
eyes
flaming, teeth
meeting and
biting,
breasts that
convulsive bound.
CIV
The lamp
flared up,
lightning-like, a red
and
and tawny
light.
for
that
all
he shuddered
young
at
the sight.
The
witch her
270
Then
lips to
all
the
SELECT ED POEMS
creaked under
bounds. Midnight
and
love's
The
sound mingled
its shrill
falsetto
window
struck.
CV
within
Suddenly,
confound
to
very
the strongest
charms of the
Broken was
his
fair
brain,
the prism.
It
Albertus
felt
all
rolling
fit
prodigy
whom
full
grasp,
the
flesh.
woman
her prey,
aiid, to seize
at
few white
her bones
hung stiff down her skinny neck
showed plain under withered breasts, and her ribs stuck
hairs
CVI
When
upon
his
though
head
they
did
would
in
stand, and
his
teeth
His hair
chattered
as
break.
lips to his
271
Jt/%
cA* JL
vJI*
Tv*
JS
<>
ALBERTUS, OR
el*
**'' *'*"
*'*v
SIN
climbed shapes
f/ jl
most strange.
of Goya's
brains
Horned
snails
issued
from beneath the bricks and silvered the old walls with
phosphorescent slime; the lamp smoked and sputtered.
CVII
Instead of the gilded
place
of the
boudoir
rose
rain, the
drops
great
Albertus with
like the
dog
in
in
badly
falling
the gleam of
his
glance, and
upon which
room of aspect
little
cracked
tail
CVIII
Hop
Hop
woman
fires,
two broom-
in
every
272
SELECTED POEMS
" These be my
do horses by
master
ing as
their
mare and
English
called.
my Arab
the witch,
said
steed,"
paws the
A swollen
Housch
stirrup held.
two broomsticks
housch
like
grass-
CIX
Trap
them the
trap
shadows
The
pass.
fists
as
it
with
mill turns
shows her
full,
outstretches
and follows,
its
far
gibbet
tree
its
wing
dim;
black
haggard shakes
its
above,
a curious
limbs
'Neath
strikes
the
brow of
the
air,
and
young man
dazed.
CX
Bats and owls, orfreys and vultures bald, great owls
monsters
and birds of night with dun, flaming eyes
of all kinds yet unknown, strygae with hooked beaks,
;
ghouls,
larvae,
i8
harpies,
vampires, and
273
were-wolves,
^tA*0M%
afi WS* Jh
JL f>**
Jm
A *A *L ! aJiw # l#llJlrt*w#9 a^
' "*- < * v < n >
I*
M*w
tif
v*
^^
mammoths and
leviathans, crocodiles
chattering,
leaping,
Less
and
swift
with
" This
the ground
till
is
is
air.
is
her
crawling,
flying,
gnarled
the
fingers
old
hag
bridle
drawing,
cried.
CXI
The
place
was
It
Wizards
gowns and
adown the four
in their
Investigators
sciences
into
red-haired,
occult,
diviners,
them
all
failed
at
of
rite,
cabalists,
Fausts
at
hermeceutists
not
one of
the meeting-place.
CXII
Skeletons preserved in dissecting rooms, stuffed animals,
monsters, greenish
their
spirit
bath,
foeti,
cripples
274
and
yet dripping
lamesters
all
on
from
slugs
SELECTED POEMS
mounted
man hanged
grimacing
hand
staying
crowd)
(a
dreadful
in
grouped
every
blood-stained
heretics
protruding tongue
one
with
to death with
flesh
on the
most dismal
a sight
to behold
CXIII
The
in
president
great
black
chair
seated,
backward
that
God's sacred
spelling
gleamed from
his orbs of
names.
began.
in
They were
fire.
coming, and
turn.
to the evocations
great
light
goat's feet,
The
He was
All
was busy
with
round
eyes in
seemed
tail,
slow
a deaf ear to
a pair of horns,
lustre
lacking,
an
apparition horrid.
CXIV
At
last
he came
and of aspect
terrific
275
****** Jr*!fc4r4*!fc*tfc*tfc!fcdk!fc*db?l?!l?
ALBERTUS, OR THE SOUL AND SIN
dandiest of fiends, wearing imperial and slight moustache,
You
'd
just
come
He
every
his
drawing-room a sensation
he
his
cravat,
would have
made.
CXV
This dandy Beelzebub made a sign, and the company
drew together the concert to hear. Neither Ludwig
Beethoven, nor Gluck, nor Meyerbeer, nor Theodore
fantastic,
all
their genius
symphony which
Boucher and
these
black
Beriot, Paganini
with more
brilliant pizzicati.
276
SELECTED POEMS
CXVI
Virtuosi with their dried, thin fingers
rumbled
blew
in
cavernous gongs
two horns
at
once
like
thunder
on a bone
strings
made the
make
four
little
demons with
while a
The
two
bows
iron
moan
result
a hellish row.
CXVII
The
with
black
chair
the
Hurrah
gave.
devil
!
form.
seated
hurrah
Hands
Within the
himself and
The
dances.
the
great
signal
The
starry eyes,
now
fied
the waters
in cloudlets
stayed,
fled.
Terrisilent
277
ib
CM
Jt/%
Vr*
>?<
ALBERTUS, OR
SIN
CXVIII
It
was
as
The
upon
FalstafF,
awkward
rose
its
The
badoes.
graceful, kicked
huge
in
the trodden
ground.
CXIX
Loose
in the
wind
women
whereat
A retino's
Hot
kisses
black
self
over
all
burned
arose
in lascivious
guttural
lips
air.
Never
never did
this earth
278
did
Sodom,
SELECTED POEMS
cxx
The
devil
To
sneezed.
fashionable
" God
and gnomes,
With
vanished.
man
had he uttered
witches,
as
He
On
was heard.
cry by none
bless
air
peasants
Scarce
that sacred
sprites
politely.
the
nostrils
that
Way
the
body of
CXXI
Happy
as a
boy
who
In vain for
pen
did
screeching
two months
past to
my
swarm of
as glad
drive; the
Are you
so moral.
my poem
was
laid,
and
upon another,
I,
all
bees, or else
The num-
279
*
WK> Kt
Z'* !-* *
< 0t Ml*
*i* * **
atra
>' jfi**il****!>*'*S*S*
i r ra t Wl* am* ano Vfo tw wiw ft t
!
<
!
wM !
repeating
"
To-morrow, to-morrow
't
will
be
done."
CXXII
This Homeric poem,
in the
sents a
scent
the
vase
the curtain
be
some learned
brains
gloss.
enough
to
But
take
follow me.
it,
So, good-night.
the door.
280
my man
Close
to bring
T' h e
Comedy of Death
"'.
f>1
n.'
THE COMEDT
OF DEATH
> <^ Jm
ttrm
w >
aS*
>
All Saints'
Day.
cold
leaves
fell
north
the
fluttering
drizzle cold
woof
gray
wb
mm
DEATH
LIFE IN
'T WAS
<
wind
blew
spread
along the
its
network
scattered
russet
stunted elms.
And
each and
all
vast
Almighty
God
and
there
for
tearfully
to
replace
the pale
I,
who knew
either
at
my mother
chance
my
sire
walked gazing
at
turf,
.s*^!"'.0.
Ai JLt * vA*
anv WW am >! *>
Iw
<w* i
S*
ov*
'M
XM vr* > <> vJp>*^*S**^*^
mm an* < '^'*
*M jriJr*'irs*i*i
a*
mU vii* *>T*
!!
And
domes.
as I noted
a leafless cross,
many
down, with
at the
pity I
was
where none
tall,
filled
many
a grave
to pray knelt
No
bear.
trace
names of widows
falsehood
bare
And,
to
moss
twist about
their covers
their
my
of
all
letters black.
Suppose
man may
in
peace
at
last
is
where on pillow
filters
remem-
or having been.
it
huge
soul possessed.
my
every
to veil their
as I gazed, within
were true
displayed
ne'er a trace of
downward
is
no desire
to the corpse
284
and when
come
the cold,
the
Oh
how
the
lonesomeness
of the
grave.
sadly
stiff folds
long,
blaze,
ashes
of our hearts
feel
still
and
move
it
remnant of a
life
of
whom
No
if
ever
they
some one
But, oh
of their grief
did
awake
to
the horror
within
the
doth
fall
To
feel that
one
is
dead to
all
its
to
mourns.
At
opes
least
its
if
silvery
285
pale,
wan moon
J^
{Mvi*
fl*K**fS*<i*|**<i*l*l***|
"r* '" " * '' '"^ 'S* <"-. SU 1V
fl"
looks
o'
the
branches
home
of the former
window
But no.
grass
a while at least
stroll
the
the
wisp o'er
If one could
stage
could,
the cemetery's
will
if
return
life,
sit
within
house, the
the
rummage
lighting drove
Upon
under the
flitting,
when dawn
one back to
coffin cold.
its
worm
its
prey, cutting
secret
no sound
that slowly
mine
no
Then,
all
that
Dante
has told of torments in his burning spiral would pleasant be to that they suffer.
jealousy
is,
a jealous corpse
Lovers,
who was
He
is
there, in his
grave,
now
286
in
SELECTED POEMS
what she blushing whispered, when nestling
close, with
sacred words.
And
to
while she
she
's
dancing, to cower
in
when
dress undoes, to
To
with cold
her heaving
kisses
breast
to
mark
and clutching
moan
human no
longer
"
Woman,
you
Weary
came
to
me
made
I, in
told
now am
numberless.
my sombre
me,
soon
me, that
of waiting,
promises
at
you
the
grave,
hour when
would
follow.
"
!
my
is
my
temples drop,
the thought.
287
for hideous
db dk 4: db
^ 4: ^ 4:
:!?
^ 4: ^ dbtif
life.
288
SELECTED POEMS
II
Within
my
ful I stood,
Brand-new
leaning.
of the
shoulder
it
weeping
The
figure
the
willow's
long
fall.
They seemed
the maid in
life's
springtime removed
a gentle
upon
morn-
ing
The
crescent
moon
on
which
like tears
lie.
wan
shine
did
its
still
world
arising
Moans of
voices entreating
ing
how went
new
terror
and
why
the
agony
289
deep
;
widows
ask^
left
all*
^v 4*
dB >
v^
^
MM
scarce
could
my own
credit
ears,
was, and
it
dialogue
tones mingled
shrill
Chilled
chattered
I
fear
worm
understood the
its
terror
my
teeth
my
awaked upon
With
was.
this
hymen was
winter
girl,
of a sudden
celebrating.
the
of,
an illusion
wedding
nuptial bed
Has
come
night,
at
last
when
Is
this
my
the groom,
The Worm
long,
To me
is
long
for ever
but the
watch-dog
forth in search
will
be,
fair
dead
tomb.
at
't
night
the
Now
moon
of prey
is
the time
when
when
girl
Thy
290
bed
bays the
crow.
the
<"
* >*
M>*
ov*
!;
oM
WM m
^ ^ mi K|w
OTW
<9>*
SELECTED POEMS
The Dead Girl
Oh
beloved, quickly
Oh
passed.
draw
me
though narrow
is
come
to
am
and
full
of dreadful
my mouth
kisses
side; and
room
arms
fears.
'
which
feels.
icy
make
'11
is
for thee,
our couch.
The Worm
Five feet
in
he
The couch
never come.
will
is.
two
length by
Thy
Come, upon
cries
in
width
too hard
is
he hears not
the
;
groom
at a feast
kiss
Oh, wonder
With
is
the
horror
my
none
to
right
bones do quake
feel
this
or
left
That
of
my whole
when blows
living
me
flesh
the wind.
The Worm
Mine
is
the solemn
the kiss
mystery.
the earth-worm
Possession
291
now
I,
I
here to
fulfil
take.
Thy
A*
!/
VU( WS*
fil^
^t/
9^
MW
^W "M *i<
Cl^
S*>4*
S*f|!**^**|**S4**l:*9^^>
* < M M> XIO Mi* MM (ff* tS* WM
ifl/t
aS* vT*
Ve become, and
The
air
beating, sings
Oh
if
In vain
too heavy
lid
is.
The
is
silence
is
my
profound
cries
is
de-
deaf!
The Worm
Mine
breasts
are thine
thy
shame
mine thy
fair
white
luxuriant swelling
soft
arms
ivory
lips,
mine thy
and that
first
little
kiss
feet
thy hands so
to love refused.
is
over
makes
gnaws.
pain
my
call
'T
in
my
Oh,
Mother,
is
over
The worm
wound
my
Its
heart
the cruel
Oh, my God
mine, why come you not unto
torture
sister
here.
is
292
SELECTED POEMS
The Worm
Within
gone
now
is
orange flowers
scarce
folded
forgot
forgot
still
is,
brilliant
yet
like
The
are.
funeral
pall
yester's
faster
call
which
alone recall
death, annihilation
mound
P^orgetfulness, second
seek,
come unto me
for you.
The Worm
Be now consoled,
ing under the
rosy
is,
Death gives
for
Life.
Upspring-
The
flower's
roots
wave the
grass
for in
God's hands
is
nothing
lost.
One
called.
293
&
M MM MM
tiS.
<
e>i<M*vT*vi^..nrA
its
^S aik
showed
all
the dead
skeletons
falling
flesh
in
away.
of the
gale,
and
to
their
upon
weariness a prey
within
their
Then
all
to darkness turned,
dial.
weary
in
much
mind and
and on
my way
went,
body both.
And, ever
me
294
the
moans they
tolled.
A***
*M (A*
f*
>>
SELECTED POE MS
III
To my home
I returned.
brow touching,
just as at
crows
eventide
their spirals
around
my
cathedral
ever round.
Within
my
light, all
passing strange.
funeral light
my
My
my lamp
pall,
is
Within
with
pallid
breathed.
its
outstretched
still
became, and
as
on Golgotha
in
stuff,
more
last
keen
All the
hearth-fire's
illumed by the
paintings, their faded hues
295
stage-box seated,
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the
old portraits,
smoky
now opened
eyes
their
wide.
advance
beam.
saw
it
From
the
came
as
from 'twixt
forth
'T was
shaking teeth.
its
breath
window
fell.
Then,
moan
one hears
in
heard a voice
as that day so
this
time
as the
dreams, sad
so
effects
many
dread
and
was
less
Raphael
I
am
brother,
tell
hideous skull
masks
steel
Oh
For there
my
is
makes me
in
different
296
know
this
that
features
from them
all.
of
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SELECTED POEMS
And
't is
yet,
't is
I,
indeed
I,
of Urbino,
idly
Raphael
Rome,
dreaming,
leaning,
resting
his
museums,
head
his
upon
hand.
Oh
a kiss
then,
my
this
fair
beloved
who
took with
my
is
my
Fornarina,
This,
Raphael
with
its
strange
Well,
grimace.
't is
be.
fall
Nay,
let
Oh
again.
calls
my
the
half-raised
come
not,
filled
come
not
but keep
Accursed
analysers
Race most
When
vile
Hyenas
in peace.
My
masters
Do
you
what one
know
feels
297
but
when
who
could
death
heart
palpitating
not another
is
Do
And
life ?
when
if,
So you come
which you
their remains
satisfied
and to
violate,
our skulls
steal
tombs
How
bold
Do
you
curse you
So you fancy
prise the secrets
God
It is
that
of mother Nature
fire
Oh
shall sur-
you
the
the rottenness
in
is
genius
is
the flame
and you
put out.
Madonnas
Oh
crowns, saints
Oh
in Paradise
The
suffer
my dark-haired
me your fairest
learned cast
it,
my skull
So
't is
true
dead indeed
Heaven
The
for faith.
Liberty.
its
power has
its
lost
God
Christ
has ta'en
is
298
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SELECTED POEMS
the mystic rose
of old
to love, farewell.
Farewell to poesy
to sacred
beauty a long farewell.
how
see
shaped
secret
my
is.
that shall
them
fail
ever,
beauty
can
mean,
not
head again
they
my
Faith.
woman's
render
one.
adored
Who
man
The Angel
mankind
is
No more
yet,
and
orfrey,
task
is
done.
Like a
about to call:
"
is
dead
upon the
I
Your
of Judgment to
Oh
man.
old
off-
mine, so draped
you, virgins
sainted ones, no
The
wan
at
may my
was,
this
saintly
alas
None,
Copy
Love and
my
it
lips
"Let
justice be done;
heard.
dullish
Dawn
with opal
window-pane
vision
by sudden gleam
299
a chill
strange
startled,
lips,
as
quite sleepy
beam
vanishes
cast,
the
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IN LIFE
IV
Death
is
multiform
its
face,
and
itself,
is
toothless and
Beauteous
all
it
can make
all
of the vaults
to behold.
all
vesture changes
Its subjects
upon
its
all
not
grave.
Dead
most various.
To
some
stench befalls, and corruption, palpable nothingness, horror and disgust, night profound
bier, its
Others,
whom
like
fro in
300
SELECTED POEMS
which none doth mourn, not even nearest and
suspects,
dearest.
unknown
monuments
or famous, the
asleep forever
lie
whether
beloved,
One
spread
says
veil
its
Behold,
dead
are
;
its
their
flesh
its
has
web
way through
in
worm
fast the
made
Moss
these.
dust doth
fall
their
forbears.
At night
their dogs
traits,
now
scarce
to
them
The Angel
those
for
remember them.
even
Their por-
o'er, in
fierce
all.
tears of stone,
301
and
as the
worm
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* ^ ""^ "" " "" S*
"^
with
silent
For
tooth.
Dead
mould do own.
are
they
feet
of heavy
are.
Perchance a
their
dust,
tear,
snow-strewn,
rain-soaked,
slowly
will
filters
home
faintly
no one
But
says,
What
sheath
to the
for
giving
it
And yet
guess
there
is
is
is
is
denied.
tomb.
there
there
is
is
without the
woman
white ever
prostrate below.
Every soul
lie
is
302
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SELECTED POEMS
Tears are always found beneath the
living smile
tell,
the
mankind
a cemetery.
The
wells of Hundred-gated
cities
Thebes not
so populous are
Some
the catacombs
of the dead as
in
mound
cross
whose
Death with
stone,
up a mighty
forgetful,
fill.
Egyptians
the pallid
features
Lovingly
recalling of
embalmed
in
their
all
Ghebers and
mummies
their
Death dwells
stand,
former loves.
the midst of
where no
which blind
and
less
Others,
build
who
still.
303
a treas-
in
them
dear soul
in
lost,
one
if
Where,
What
will
searches,
hearth
and
fair
owner outward
the
homeward
again
The
little
Perchance
Where
the thresh-
is
pall,
its
the
never
have caught
dust
pass
lips to kisses
ing
it
though
to turn
be
is
not
skeleton
scent
divine
that
bloom-
its
of Death.
is
some loved
charms so
much.
Oh
the
old
place
some
its
betrothed
man
echoes
grim.
his
if
shall
we had
you
death-rattle
it
with
remem-
the
sweet
perfumes.
Where
Even
like
still,
we
tread
and
not
tomb profane
like the
flashing
A^^A*
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SELECTED POEMS
Oh
of
the
brilliant
all
and
as angels
condemned.
2o
.
305
cease to dream
fair as
for
your sons,
sighs and
Our
turns.
is
guide
Beatrix towards us
distant
let
us descend to
all
its
accursed
bend from
doth
Paradise.
who
a wan-faced virgin,
lips
lips
of sun.
never
Colourless
delicate
form
her arms,
night,
more
under her ebony brows and her lashes long shine her
two great
silent
with
eyes.
306
SELECTED POEMS
her brow, the
bands chaste
linen
Upon
simple ornament
with
For the
are twined.
hemlock
rest she
is
and alluring
of white
and of her
is.
barren she
The
eternity began.
fatal lips,
lain in
same time
the
at
violets
and
leaves
and
still
remains since
none
e'er plucked.
She
she
is
is
who from
the one
is
the one
wills that
who
jealous
her turn
in
she
and sweet
is,
wicked she
On
and
passionless.
wretched sweet
Bitter
to
sets
fortunate
is,
and good.
crown,
ones
fearless
to
the
mighty grief
its
consolation.
Wandering Jew,
307
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il*
ir mm
inn, and
To
known.
Phryne w^elcomes
all
as she
foe
this
the bourne
unknown, through
spiral
terrible
a living hell
towards
that
knows
pitch,
the
same
attitude as
Rembrandt's wizard
in the
sombre
by the
that
light
makes the
Spirit
rise
" Tell
me, has Science, your mistress adored, to your
chaste desires yielded at last
.?
Or,
as
when you
first
SELECTED POEMS
met, do you kiss of her dress but the
slipper
enough
Is there yet in
for a sigh
of love
Or
as
hem
bring up nude,
fair
Truth,
now
until
are a tree,
or eke her
fruits
in
ignored
up
wisdom
your
pail
If
you
"
?
Faust
I
The
waves.
down
the
to
abyss with
fishes
water's
its tail,
combed upon
The
great
sea,
their
cast
came
again, for
the
on
my
309
monstrous
polyp
shadows
the surface
fleeting
depths.
enormous
me
did turn
but to
down,
am
where
Oh woe
is
place
at
still
my brow
the flowers of
silent
still
question,
the
and broken
not^
and
snow on
the
have passed.
me,
Not
Pallid
is.
drawn
isle,
for
Science
is
Death.
nothing, now, do
In
came,
and
weariness
for very
ready
furnace
my
now
my
was
thrills,
Nothingness
finds.
As
the
winds
was renouncing
break.
and
like a
is
what
Within
my
pendulum my
It is to
310
my
that, profitless,
've scattered as
grain.
at
to
soul
study
movement unchanging.
This, then,
believe.
scattered
is
my
the
SELECTED POEMS
A
kiss,
single
oh
fair
and
gentle Marguerite,
snatched from thy blooming mouth, so
fresh, so small,
is
which
in
the
live, forget
Book
all
of
this.
all!
Word
know how
Love,
to
for that is
THE COMEDY
DEATH
OF
VI
The
endless
spiral
wrong answer
ere your
with
glyphs
strewn,
fingers
As one
on
roll
pointed
It
with
From
darksome
breasts,
old bones,
sound.
sphinxes
flash
through the
air.
is
and that
still
is
darkness of eld.
its
problem doth
draws back
Ah
in affright.
how many
fatal
page.
all
have
carved.
312
"^
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vtl* *!?
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SELECTED POEMS
How
lists
filled
their
turn
pale
How many
desires to
who would
who
all
know, but
things
for valet
find.
whom
oh
Hell
pity
repels
them
For they
and
God
suffer, alas
Their
depths,
out.
Pity
these,
all.
from
casts
heart,
like
moans within
i!l
of sand that
the orfrey
their
Time
lets
weakened
breasts a
hymn
to despair.
Their
life
is
like
the
crown doth
strip
floating
the
silent,
Their torments
never
in
poets'
songs
are
told.
snow doth
As on
fall
when
went,
my
the night
in
out
her hand so
my companion
frail
as
comes.
it
narrow way, ^
stopping suddenly
fall
" Look
whither
my
finger
points."
It
was
ing hair
wore
horseman with a waving plume, long curland black moustache, and spurs of gold.
He
a
a mantle, a
and a
rapier,
like
rufF,
brown
whitened
wrinkled
hair
his
still
young.
hair.
;
saw
the ruffling
like
all
his
was
teeth did
show.
In
spite
covered,
his pallor
of the
as
was
thick
marble
plain
that every
o'erlaid
to see
plain
is
rouge
under
with
which
was
forced laugh
3H
it
kiss.
't
was
i* I*
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!: !<* fir*
*! ! * jl*Ai||#li#i*ll#l>ll9t|ai
"
m*
tif
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SELECTED POEMS
His staring eyes seemed eyes of
nor
tear,
in
they nothing
Diamonds
nor glance.
glass
lids,
brilliancy.
An
old
man
truth he was.
his
weight
all
this
let slip
the
grown.
home
tesan's
silk
than skeleton
Entrusting to
in
night
a mirror glancing.
his
amorous
No
its
face unveil
within
stood
lonesome balcony.
beauty did
he
plaint
no sun of
heaven.
" Tell
ness
there, old
man,
in the
fly
darkforth
!/
aA*
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whom
the
tombs
"You
are
when,
at the
petal
age
by
without
and weeps
when
the
smiled and
all
scattered
petal, virgins
torch,
when
the hour
far, at
no longer
welcomed you
and
Pageless
Angel of Midnight
at
it is
no longer
tomb.
" Hear
you not the owl
you not in the woods the
Oh
the
foolish old
great,
man, return
moon wakes
couch.
its shrill
it
cry uttering
Hear
the
moment when
its
golden
" The
mocking wind your song on its wing away
hath borne ; none to you is listening, and adown your
mantle stream the tears of the
nothing.
be,
" Oh
Death,
tell
gale.*'
me who
316
He
this
he
is
answers
man may
called
"
?
SELECTED POE MS
VII
Don Juan
Oh
like
first
opes
as
maybloom
scarce
warbles and
blows.
all
Oh
out
all
who your
ye
and knowledge
life
knowing
things to learn,
all
poets and
bitter
and
who
seek
took
in sunset's
At
that
splendour
lovely hour
white doves
bill
When
when
is
falls
asleep
calm and
when,
forgetfulness
restless
like a lyre
my
ardour
conquests
full,
all.
its
on
things fall;
moved by
You
all
when
have envied
for
me
my
lists
and
A**I*4
Iw am*
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aifw
aifw
feasts,
torments
Roman
all
girls,
Zerlina,
lilies,
the
exquisite
Anna, the
Elvira,
fair
England's
unknown
all
jealous
Andalusians brown,
And
"How
ever
of you
you do
did
owned
to have
How
did
you manage,
of bolts
in spite
" You
Don Juan
as within an urn
''
oh
how
how
well,
of gold, the
altar
"
that
own
pale
we
whose
violet
We
long,
your
of our heart.
springtime.
fair,
should
You
name you
star, that
in the
ball-room had
Oh
lips alight
^78
doves
kisses so bitter-
** *
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SELECTED POEMS
sweet
veils
last
falling
we know you
Ye
children
dream of
when
shall
have known
round the
these pleasures
all
you
fatal tree
To
fruit
make
my
blooming virgin
flight
within
pressed;
to
many
The truth
to find, ye
Ye
the road.
cunning courtesans,
lips
Debauch
I 've
pressed
I 've
so foul, thy
I 've
morrows
plunged
and
have known.
orgy done, amid the outpoured wine upon the cloth redstained.
balls,
and
faces
pallid
their
but
all in
for
one
but
like
've burned,
mine own
had
all
ashes trod
ideal
fresh
as
the
Mary
too,
in
did
dew, a
left
't
was thou
herself
worm
did lurk
allied
fateful
road
was
life
iridescent
At the
't
its
Cleopatra and a
beauty
a
and on
A woman,
a
gives,
affection felt
made
it
the
remain.
life
never
bore a name.
heart
by day,
searched, and
I 've
life
who
Many
oreless vein,
took
never reach.
followed, and
could be solved,
it
Y,
I travel,
Deceitful Sensuality!
may be
320
SELECTED POEMS
Why
Why
golden?
at
did
works reading, by
in seeking pleasure
Strong was
intoxicate, as
forced
heights
wine,
brought
magic
bitter
her
Isis
not,
my mind
so dark,
cell
my
my
veil
remove, and
to
down
the
stars
should have
from
within
heaven's
sombre
my
room.
know
to live
is
to
know.
So
To
learn,
love
is
and learn
more.
your elders
e'er.
its
nostrils
blow
let
the
has
Hunt through
known, and
perchance you
21
in
'11
its
find.
321
man
yet
Solomon
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wearied,
way
At
again.
the
resolved
last I
the
end to reach,
icy
arch,
took
my
a fiery
of carmine.
The
soil
band of richest
red.
It
was
level
wind
swept
with
it
its
and
wings
uttered
plaintive
moans.
first
thought the
tint
hue with which the stream thus flushed was but some
reflection faint
white.
But as
bent to drink,
saw
was
it
real
blood
saw
covered o'er, a
plant,
with
that
chill snow-fall
no flower,
the dust of
myra, and
whitened
did
grow
men, and
Rome
to
that the
earth
was
soil
was made of
were sleeping
322
the
that people
fill
bones
there.
J/* !/* !/ !/ !/
r*
wi
|/t
9f wf oM
JU*!*
Wi cTi
SELECTED POEMS
A
little
thereon
seeking,
standard's
The
spectral
An
hat.
skeletons
drummer
its
sticks
rattled
in
the
as
the
he passed, and
in
blast.
He seemed
god, of
its
Sometimes only, as if by
and sought in heaven his
But the
light,
bewildered,
staff.
sovereign step
brazen
anxious,
rest,
heavens,
showed never
stealth,
star
purple
a
star,
when
in
breast
he crossed,
When
the
he
St.
Helena of
full
came
his
now
with
in silence
sunk.
eyes looked up
fallen.
the
conflagration's
Then,
old,
his
paler
still
arms upon
than
his
of muttered moans.
before
"
Mighty Emperor,"
"
said I,
the mysterious word which fate compels me
the last word which Faust of his
here below to seek
;
323
us,
M* Xi rJ/* v^
be you
it
"Oh!
Don Juan
am
find
Look,
who
't is
falls
in
flight,
its
in
snow from
its
all
this
and yet,
feet, for
chilled
Death alone
star eclipsed
my
flecks
Black
is.
eagle's side,
wounded
of the eternal
Juan.
wind and
pass.
The
showers from
your desire
way
over.
wings downward
" Alas
the
the
is
imperial shade,
this
Along
said the
blood
of
cold
Icy
I.
receives those
"
wretched child,"
know
can never
know no more
in
my
In vain
satisfy.
heyday of
the
ground.
power,
it
my
was
Don
birth,
that
Everywhere
Man.
Before
me
that bore
my
train
was
above
all
men.
The
Roman
;
called
was
Caesars
a
there
Charlemagne within
324
a single
SELECTED POEMS
"
No
where
more have
my
glory, a tri-coloured
stress
of battle and
storm.
speeches
to
upon the
salute
men
thus
were spent
my
days.
"
How
mother,
Laetitia,
wretched
I
bitterly did
belie
fortune
my
Everywhere
bore
my
woeful
my
How
wandering pain
"
Oh
for
the
my
lot
palm.
of a shepherd,
and
the
beech
Oh
325
4* i*
** 'i'*
** *=*
*^'* *^^
i:**!'*
v^ i #4
! aj**!*
Oh
and
For
for the
and
for
new-mown
together
sum of my
that the
wood
of
platter
desire
who
"
sheepskin
laughing
shall
Sweeter
than
flee
to
shoulders
the
ambrosia
shall
reeds
cover
and
be
shall
shall
Daphnis
my
at
my
Galatea
pursue
her.
verse,
and
"
the
Oh
wood where
trees
nibble
way where
ing,
"
long to go to
my
Corsican home
my
the goats, as
down
through
its
wander-
Pitiless
the Sphinx to
mean
whomsoever
that
it
shall
who
fails.
Impru-
slay
you and
The
only one
"
incest committed.
Such the
326
victor's sad
reward
SELECTED POEMS
IX
Now
have returned
from that
for torch
sombre
and
for star
From
worn, and
My
of death.
one
voyage,
still
hue
my
ground.
than
far
what
it
that
takes
soul retains
keeps
am no
living
tomb wherein
survive myself.
remains of
make
my
lies
all
love;
illusions
lovely
shroud.
3^7
and alone,
me
dead
the
for
for 1
ice-cold
whom
Death
yet
young
darksome way.
hang.
Oh
time
thee
later
make more
build
to
return
Remem-
changed;
Oh
me
let
upon
I '11
a regal
I shall
live a
shall
Ml
sing
is
devote to thee
my
loveliest
moan
and
the marble
as
courted.
the
thee have
live,
to-morrow morn
my crown
Death, do thou
Thy
had
have not
too
My
planted,
garden,
the
own
'11
trees
the
lily
handsome
majestic
its
^^8
*f^^r
aw w*
>!*
i Jt JLv l>***|iii#i*riiJU*l* !*
WW WW
tiw
vv*
r* * " <vKg <u>w
> aw
mw
r*
or*
!>>
ip*
mU
SELECTED POEMS
the rose of
May
too, and
chrysanthemum,
Grow
ye not here
another
many
another
now
soil
still,
tell
the
seek, ye fresh
The
too great.
you and
and
bitter scent of
Forsake
me
imbibe,
not,
Mother,
Nature
time of
a season of love to
every soul.
;
'd
yew.
of age
would wound
leaves
holly's painted
still
The
its
torrent from
its
tears has
drowned
which
O
this
to
fails
virgin
world
bloom.
air,
crystal
air,
O
all
water, principle of
!
and
thou,
fertile
flame, a
who
life
more than
329
let
^i*i rl/* !
i*
4U if
* 4* *i<g**i**|k jifi*<gi*i**fk*l<i**
rain
tears
Moon,
upon me,
rays
Eye
fair
solitary,
more
thee once
swallows swift, to
Ye Winds
steal
me
their
free,
my
lie
for
Be
far
Roses,
full
still
lips
beloved
pure
for
me
the
a grassy carpet
blooms
lilac
springtime come.
is
my
made
fill
my brow
arms, sweet
breasts
now
lungs
above
now
see
has
April
may
griffins that
that
let
balsam
from
fume
diamond
lily
poet's
dreams
poor head
rest,
in
and cradle
me
to
clusters great,
Take me
between
whereon
within your
your
polished
long.
women,
songs,
all
330
w 'S
^S^ 'S^ ^B^
^Sm^ ^S^
>v ^i vp* ^ Mw
^Sf^ ^J^
'Jfc^
iU i wfw vw MTw
<
^fi^
WW
tt^w
Si > flv
SELECTED POEMS
ous,
younger
art
Brown with
Grecian
fair
girl
every day
lotus
eyes
To
Antiquity's
fair
filled.
Hail
first I
thy beauty
nectar
drink,
cup be
the
let
Theone
white, and
More
bosom
is
Milk
life,
lascivious
spurred on.
not
is
kiss
Theone,
wh'.ter,
Make
is
Why,
rounder.
make
haste, for
haste,
winged
nor apple
life
steed
Time
to use.
woman
But
who
't is
thou, infamous
is
by
this
under
hag
eternal
331
courtesan
clasping
the
SEPiLdds
CARDS OR
SLIPS